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Rachael Morgan  

Mata[hou]rua

Duration: 07' 20" Year: 2009
for bass clarinet

Score Sample
  • Programme Note

    Mata[hou]rua is the first in a series of solo works that focus on timbral exploration.

    This piece was originally inspired by a painting by New Zealand artist Sofia Minson, exploring the spirit of the legend of Kupe – the first navigator to travel from Hawaiiki to NZ on the waka Matawhaorua.

    There are many different translations for the component parts of the word Matahourua. In relation to this piece ‘mata’ is taken to mean fresh, green and not fully developed. ‘Hou’ is seen to bind together the two (‘rua’) elements of human breath and the clarinet itself.

    Underlying this is my continuing passion for the koru. From its natural organic growth patterns, to its numerous associations and symbolic meanings.

    Mata[hou]rua was written for Richard Haynes.

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Anthony Ritchie  

Te Hau-A-Kaiaua (The Winds of Kaiaua)

Duration: 09' 00" Year: 1989
for orchestra

Score Sample
  • Instrumentation
    2(+pc)222; 4330; perc.(4); strings Perc: timpani, side drum, xylophone, glockenspiel, cymbals, tamtam, wind machine
  • Programme Note

    Translation of title: ‘The winds of Kaiaua’

    In Maori mythology, Kaiaua was a child of Tahwiri, the great god of the wind. The winds of Kaiaua are the nor’-westers that frequently sweep across the Canterbury plains. This piece describes an old Maori legend about a chief who disliked the hot nor’-westers so much that he instructed a tohunga (or priest) to perform a chant, making the mountains bigger and stopping the winds coming. However, this caused the plains to become too damp and miserable for the people to live there. The chief prayed for the return of the winds, and eventually they do indeed return, forcing their way over the Southern Alps. The music for this one-movement piece is directly programmatic, owing something to the composer’s experience as Composer-in-schools (1987), where childrens’ imagination very readily turns sounds into images. Consequently, a theme from Ritchie’s own youth (from age 13) is used in the piece, to depict the march of the wind at the end.

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