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• Nunns and Melbourne: Hinemokemoke 

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• Melbourne and Nunns: Te hekenga-a-rangi  Year: 2003 

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For unaccompanied SATB choir this work has a Maori text which is attributed to Rangiamoa.

• Freed: Lament for Te Wano; facsimile 

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• Freed: Lament for Te Wano; facsimile 

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The Auckland Primary Principals’ Association holds an annual music festival and over the years several of my choral works have been included in the event. In early 2010 I was approached by former student Pip Faulknor who, along with two other conductors, was keen to include something specifically about Auckland in their programmes, and asked if I had anything suitable. I suggested something new might be appropriate and a text was devised by Mary Cornish. The text talks of many of the features of Auckland, but is also a call for the people of the area to listen to, and respect, the children of Tamaki Makaurau (Auckland).

David Hamilton

• Hamilton: Listen Tamaki Makaurau; computer-set  Year: 2010 

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• Waikohu: Mere Boynton and Friends 

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These three vocalises, using Maori vowel sounds, were first recorded by the Wellington members of the National Youth Choir. They were composed for the opening section of ‘Wahine Toa’, a dance theatre celebration of Maori female ancestral figures. This work was performed at Taki Rua Theatre in Wellington in 1992 and in Christchurch in 1993. The three pieces are: 1. Te Po Nui, Te Po Roa, where male voices hum a series of sustained chords. 2. The Earth Lay in the Womb of Darkness – inspired by Robin Kahukiwa’s painting of the same title. This choral vocalise by full choir begins with alto melodic line, soon building to a widely spaced texture of superimposed fifth chords. 3. Papatuanuku – the Separation of Ranginui and Papatuanuku. The vocalise begins gently, becoming increasingly contrapuntal, building to five strong chords, and ending with a sighing texture of vocal glissandi. Wahine Toa was choreographed by Keri Kaa, Jan Bolwell and Sunny Amey, and was commissioned with assistance from the Queen Elizabeth 11 Arts Council of New Zealand.

• Fisher: Papatuanuku; facsimile 

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• Fisher: Papatuanuku; facsimile 

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• Helen Fisher: Various Works 

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Inspired by sparkling waters of Tasman Bay Nelson, this choral work (SSAATB) was originally composed with flute accompaniment, which has been substituted in performances by the Shakuhachi (traditional Japanese flute) and also the Koauau (traditional Maori flute). There are recordings of Pounamu with each of these flutes. The piece’s choral texture uses Maori vowel sounds and a text which is a whakatauki (proverb) from the Waikato region.

• Tower New Zealand Voices: Spirit of the Land  Year: 2006 

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Inspired by sparkling waters of Tasman Bay Nelson, this choral work (SSAATB) was originally composed with flute accompaniment, which has been substituted in performances by the Shakuhachi (traditional Japanese flute) and also the Koauau (traditional Maori flute). There are recordings of Pounamu with each of these flutes. The piece’s choral texture uses Maori vowel sounds and a text which is a whakatauki (proverb) from the Waikato region.

• Helen Fisher: Pounamu (SOUNZwrite) - hardcopy study score  Year: 1997 

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• Helen Fisher: Pounamu - hardcopy vocal score  Year: 1997 

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• Helen Fisher: Pounamu - hardcopy score & part  Year: 1997 

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• Pounamu 

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• New Zealand Choral Music  Year: 1998 

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• Melbourne and Nunns: Pumotomoto 

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• Melbourne and Nunns: Te hekenga-a-rangi  Year: 2003 

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• Booth: Rawhitiwhiti; computer-set 

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• Waikohu: Mere Boynton and Friends 

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• Booth: Rere Atu Rere Mai; computer-set 

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• Waikohu: Mere Boynton and Friends 

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