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Judith Exley  

A Song of Marigolds

Duration: 10' 00" Year: 1990
for soprano and gamelan orchestra

  • Programme Note

    The poem is a reflection of the transient nature of love and life. The gamelan, being an intergral part of a traditional which sees life as cyclic, maybe offers a balance. I have endeavoured to express this polarity by using traditional materials in non-traditional ways.

    Judith Exley

  • Availability

Dorothy Buchanan  

An Ocean Between Us

Duration: 25' 00" Year: 2006
for mezzo-soprano and piano quartet

Juliet Palmer  

bone-flower

Duration: 08' 00" Year: 1996
for chamber quintet

Anthony Ritchie  

Children and Adults

Duration: 10' 00" Year: 1992
four songs for mezzo soprano, viola and piano

Kit Powell  

Das Ausland

 Year: 2003
for soprano and trombone

Dorothy Ker  

Dreams from Stone Landscapes

Duration: 12' 00" Year: 1991
for soprano with flute/piccolo, oboe, clarinet

Helen Bowater  

He does not come

Duration: 08' 00" Year: 1988
setting of 5 poems for soprano and ensemble

Gillian Whitehead  

Hinetekakara

 Year: 2004
for voice, taonga puoro, flute, alto flute, and bassoon

  • Instrumentation
    Taonga puoro include: putatara, putorino matai (wheke), pumotomoto, oriori, pupuharakeke (flax snail), pu kaea, nguru rakau maire
  • Programme Note

    Hinetekakara is the ancestress of Aroha Yates-Smith, the kaikaranga (singer) who provided the idea and the text of this piece. Hinetekakara lived on the shores of Lake Rotorua with Ihenga, her husband or father, an eponymous ancestor of the Te Arawa people, when the land was still being settled after the arrival of the Te Arawa canoe from central Polynesia.

    The four cadenzas, for bassoon, alto flute, flute, cello and bassoon, and bassoon link improvised sections, in which all the instruments participate. The singer initially invokes, accompanied by putatara (conch shell trumpet), the spirit of Hinetekakara, then addresses rituals following the death of her future father-in-law (with putorino), and then the birth of her son (with pumotomoto, an instrument used to assist at child-birth). A voiceless improvisation on pupu harakeke (flax snail), an instrument presaging danger, is followed by Ihenga’s anguished lament as he finds the murdered body of Hinetekakara by the lake, by the place named for her, Ohinemutu, meaning the end of the woman. Finally, she is farewelled as her spirit returns to the afterworld.

  • Availability

John Rimmer  

Narcissus

Duration: 14' 00" Year: 1979
for soprano, flute, trumpet, cello piano and percussion

Gareth Farr  

Pagan Prayer

 Year: 1992
for soprano, percussion quartet, two trombones and two bass trombones