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I began writing this piece in the shadow of both the East Timor crisis and the death of my good friend and sometime mentor of many years, the musicologist and historian John Mansfield Thomson. These events modified both the original formal ideas and the detail of the piece. William’s ‘A Dictionary of the Maori Language’ gives four meanings for taurangi: “unsettled”, “changing or changeable”; “incomplete, unsatisfied, unfulfilled”; “to grieve for”; and “wanderer”. Taurangi was commissioned by the New Zealand International Festival of the Arts, during which it received its first performance by Bridget Douglas and Rachel Thompson, in March, 2000.

• Whitehead: Taurangi; computer-set 

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• Whitehead: Taurangi; facsimile 

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• Tuhonohono 

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• Tuhonohono: Music by Gillian Whitehead 

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• NZIAF: Gillian Whitehead Portrait; part 1 

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• Gillian Whitehead: Various Works 

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• Waiteata Collection of New Zealand Music Vol. 3 - Composer Portrait: Gillian Whitehead  Year: 2000 

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• Taurangi - New Zealand Music for flute and piano  Year: 2004 

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The thing that struck me about Charm when I first read it, was the wonderful concept of the spirit of the land – te wairua o te whenua. The land is our mother, she cares for all of her children. We have all at some point in time been a stranger to this land, and as visitors, we have all been welcomed by her.

Charm is a poem from the mid 19th century, a time when all Europeans were recent visitors to the land. It is likely, however that this poem was a Maori charm originally, translated into English by settlers, suggesting that Maori also felt the same way about Aotearoa.

We now live in a unique multi-cultural society. Our many and varied contemporary art forms reflect this fact, and display something that could only be created here. This piece is a recognition of the similarities and differences of all of the cultures of New Zealand. It is a musical analogy to my idea that cultures can co-exist without overshadowing or changing one other. And finally, it is a musical celebration that we all have ended up here on the same soil.

Gareth Farr

• Farr: Te Papa; computer-set 

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• Gareth Farr: Ruaumoko 

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• Gareth Farr: Te Papa  Year: 1998 

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• Gareth Farr: From the Depths Sound the Great Sea Gongs  Year: 2009 

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• Carr: The End of the Golden Weather; facsimile 

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• Carr: The End of the Golden Weather; facsimile 

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• Edwin Carr: Orchestral Works  Year: 1986 

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The Great Harbour of Tara is a tone poem about Wellington. A conductor’s score and fully edited parts are available.

The work starts with atmosphere – waves lapping very gently on Petone beach and the tinkle of sand. The main theme sounds on the french horn then the music builds and eventually a reference is made to the old whaling days followed by a storm (a characteristic of Cook Strait – the infamous ‘southerly’) building to hurricane force strength. The storm also alludes to the sinking of the Wahine (a Cook Strait ferry) in the ‘60s. An elegy for strings follows in honour of the victims of that disaster. The mood gradually changes to calm acceptance and on to an optimistic view of Wellington’s future, a big, full tutti . The work closes with the atmosphere of sand, surf and evening.

• Twomey: The Great Harbour of Tara (Opus 17); computer-set 

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• Twomey: The Great Harbour of Tara; computer-set 

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• Twomey: The Great Harbour of Tara; computer-set 

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• Reflections - Music Composed by Ray Twomey 

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• Twomey: Music for Orchestra and Concert Band 

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• Twomey: Ray Twomey  

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• Ray Twomey: The Spirit of the Land 

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• Bisley: Waipounamu; computer-set 

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• Norman: Wenceslas; facsimile 

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• Norman: Wenceslas; facsimile 

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• Philip Norman: Orchestral Compositions 

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• Powell: Whale; computer set 

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