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solo flute; 022(bass)2; 2200; perc.; strings

Maui Tikitiki a Taranga (“Maui formed in the topknot of Taranga”) was a demi-god found in the tribal myths of the Māori people of New Zealand.

Maui, the fifth and youngest child, was born at the edge of the sea. His mother, Taranga, thought he was stillborn, and wrapped him in a tuft of her hair and set him adrift. He was cared for by the seaweed until a breeze blew him ashore, where he was saved and brought up by one of his great-ancestors.

Maui was a great prankster. In one of his mischievous moods he decided to put out all the fires in the world. To bring fire back, he had to find Mahuika, the goddess of fire. He was awestruck upon meeting her, but decided to play a trick on her by taking fire from her fingernails one at a time, until she realised his game and threw fire to the ground, catching everything alight. Maui changed himself into a hawk to escape the flames, which singed his feathers. He called upon his ancestor to send rain and drench the fire, depriving Mahuika of her powers.

Maui decided to defeat death by journeying to where the earth meets the sky, where lived his great-ancestress Hine nui te po (“Great Hine the Night”). He was accompanied by many birds, and told them his plan to enter the body of the sleeping Hine and so defeat death. The birds sat quietly trying not to laugh as Maui, in the form of a caterpillar, crawled towards Hine. Suddenly the fantail could be quiet no longer and laughed aloud, dancing about with delight. Hine awoke with a start, realised Maui’s trickery, and he was killed.

• Maria Grenfell: Maui Tikitiki a Taranga - hardcopy score 

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• Maria Grenfell: Maui Tikitiki a Taranga - downloadable PDF 

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• Maria Grenfell: Maui Tikitiki a Taranga - hire set 

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• Maria Grenfell: Maui tikitiki a Taranga; audio 

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• Grenfell: Four Works 

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• Grenfell: Maui Tikitiki a Taranga; cassette 

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• Norman/Grenfell/MacKenzie; cassette 

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For baritone voice, baritone saxophone, piano (as percussion) wine glasses, claves, amplification and two-channel tape

• Lockwood: Night and Fog; facsimile 

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• Thomas Buckner - Full Spectrum Voice  Year: 1991 

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2 fl, 2 ob+ C.A, 2 cl, 2 bsn; 2 hn, 2 tpt; strings

“And from about him fierce effusion roll’d Of smoke and bickering flame, and sparkles dire” John Milton Paradise Lost Book IV Smoke and bickering (or flashing) flame surround Messiah’s chariot “driving into the midst of his enemies” on the third day of the battle against Satan and his Angels. Unable to resist “they leap down with horror and confusion into the place of punishment prepar’d for them in the Deep: Messiah returns with triumph to his Father”. With consignment to “The Deep”, I imagine Satan’s followers must be faced with many conflicting emotions – even nostalgia for their past condition. “Of Smoke and Bickering Flame” comprises eight short movements. The movements are related to each other in pairs after the following pattern: I and VI, II and V, III and VII, and IV and VIII.

• Cresswell: Of Smoke and Bickering Flame; computer-set 

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2222.2120.timp.str; written particularly for organ at St. Matthews in the City in Auckland

This work for orchestra and organ was commissioned by Uwe Alexander-Grodd and the St. Matthews Chamber Orchestra and premiered in November 1996. Based on Maori themes, it is in three movements.

• John Wells: Organ Concerto (organ part) - hardcopy score 

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• Wells plays Wells 

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Composed using a style located somewhere between Prokofiev and the neo-classicism of the 1920s and 30s with a little Messiaen and musical quotations thrown in along the way.

• Carey: Pastiche Sonata; facsimile 

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• Carey: Pastiche Sonata; facsimile 

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picc333bass cl3 (3 doubling contrabassoon);4331; piano; strings. Soloist1: marimba vibraphone. Soloist 2: timapni (4), triangle, tubular bells. Soloist 3: drum kit (3 toms, snare, hi-hat, 3 cymbals). Soloist 4: bongos (2), conga (1), glockenspiel, crotales, bass drum.

• Psathas: Percussion Concerto 1; facsimile 

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• John Psathas: Various Works 

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• Psathas: Eight Works 

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2222;4331;timp (4) , 5perc (on bs-dr, sd-dr,bongos,tamb,hand cym, 2sus cym,h-hat,gong,tri,cast,w-block, xylo,vibra);strs

This work features virtuosic writing for the soloist along with a colourful orchestral part. In four movements, it explores a wide range of moods and styles. It was composed as part of Ritchie’s honours portfolio at Canterbury University, and lasts 30 minutes. The second and third movements were performed in 1984 by Sharon Joy Vogan and the NZSO, and recorded for radio.

• Ritchie A.: Piano Concerto; facsimile 

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2,2,2,2; 2,2,0,0; timp., pno; strings

• Young, K.: Piano Concerto; computer-set 

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• Kenneth Young - Piano Concerto 

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• Kenneth Young: Piano Concerto  Year: 2004 

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(1)3222; 4100; timp,perc,hp; strs.

• Edwin Carr: Orchestral Works  Year: 1986 

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• Carr and Pruden: Orchestral Works  Year: 1987 

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One winter morning, a short walk from the marae at Waihi, on the southern shore of Lake Taupo, I stood on the shore to watch the sun rise. Behind me, a waterfall lead to a small stream that flowed into the lake, imposing its own patterns on those of the lake. The water was uniformly grey, but as the sun rose, for a moment the tops of the ripples were golden, with darker valleys between, before the whole area was flooded with light. So the ideas behind this trio have to do with the changing perspectives of patterns in water – in the bubbling of streams, the tumble of a waterfall, in the spiralling eddies where stream meets lake at sunrise.

In the opening movement, a group of short themes and ideas initially form a mosaic-like section, which recurs in developed and varied forms around more reflective passages. The second movement reverses the first, in that slow, sustained sections are interrupted by more energetic material, and the final movement draws all the previous ideas together.

• Whitehead: Piano Trio; computer-set 

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• Whitehead: Piano Trio; computer set 

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• Whitehead: Piano Trio; computer-set 

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• NZTrio: bright tide moving between  Year: 2008 

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