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• Ben Hoadley: and I was there; video 

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‘Baxter Songs’ is a setting of three poems by James K Baxter. The three poems are ‘High Country Weather’, ‘Let time be still’ and an extract from ‘Stephanie’. The first two poems were composed early in the poets career and express his more romantic sentiments. When I hear these poems, I think of Baxter as a young poet in the South Island (Otago and Canterbury universities) exploring the Otago hinterland. I think, too, of the early days of his relationship with Jacqui Sturm and imagine the two of them exploring the hills and mountains. The extract from ‘Stephanie’ is from much later in Baxter’s life. He is older now and life has had its way with Baxter (or perhaps the other way around?). The poem follows a family tragedy and there is a sense of heartbreak in the voice.

• Royal: Baxter Songs; computer set 

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• Royal: Baxter Songs; computer set 

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• Charles Royal: Baxter Songs; video 

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Bele Doette (‘Lovely Doette’) is based on an anonymous 12th century Chanson de Toile. The vocal line follows the original song-line closely for two of the eight stanzas and refrains.

Doette is at a window, reading, when she receives the news that her friend Doon has been killed in a jousting contest. The refrain reads “See now what grief I have”, and at the end she vows to become a nun in the church of St Paul. The original transcription of the song is published in the Anthology of Medieval Music, edited by Richard Hoppin (1978). Pitches are notated in the transcription but no rhythm. Therefore, rhythm is freely interpreted while the original melismas and word setting are maintained. The refrain is expanded beyond the original. The oboe has a dual role. First, it freely develops motifs based on the song-lines by a process using magic squares. These motifs are used in the introduction and interludes between stanzas and refrains. Second, the oboe has a dialogue with the soprano that involves imitation and decoration, particularly in the refrains.

Bele Doette was commissioned by Pepe Becker, and written for her and oboist, Robert Orr. It has been composed as part of Ritchie’s research at the University of Otago.

• Ritchie, A.: Bele Doette; computer set 

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• Ritchie, A.: Bele Doette; computer-set 

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• Anthony Ritchie: Bele Doette; audio 

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• Becker; From the far point of the rising of the sun (Part I)  Year: 2005 

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• Macky: Better Than War!; facsimile 

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• Willow Macky: Better Than War!; video 

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• David Hamilton: Chamber Music 5; audio 

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• Bisley: Come Back Safely; facsimile 

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• Bisley: Come Back Safely; facsimile 

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• Brigid Bisley: Come Back Safely; audio 

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• Bisley: Come Back Safely 

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• Women Composers: Grenfell, Exley, Bisley 

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• Brigid Bisley: Come Back Safely 

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• Ritchie A.: Two Songs from 5 Songs of Colour; facsimile 

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• Anthony Ritchie: Five Songs of Colour; audio 

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• Cresswell: Four Sentimental Songs; facsimile 

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• Lyell Cresswell: Four Sentimental Songs; audio 

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• John Psathas and David Downes: Full of Sympathy; video 

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• John Psathas and David Downes: selected works 

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While thinking about producing a tribute to Stockhausen specifically for singer-songwriter Karen Hunter to perform, I decided to base it on Stockhausen’s famous vocal work Stimmung, focussing only on names of Maori gods. I then learnt of the very sad early death of NZ singer Mahinarangi Tocker, literally while I was eating muttonbird for the first time, at Moeraki. Various elements thus came into play in the work – tuning, lamentation, the elements, Maori waiata and a strong sense of ritual.

The Maori word hau has a variety of meanings including wind and breath.

• Eve de Castro-Robinson: Hau; audio 

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