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Ahotu is the sixth in a series of instrumental pieces based on the phases of the moon, and refers to the seventh day of the cycle. The entire thirty-day cycle has been used as one of the rhythmic generators of the piece, with vowels and consonants translated into durations to provide the apparently irrational rhythms, which are contrasted in a series of short ensemble or solo sections with either proportional or regular rhythms. The two longest sections are centrally placed. The first, featuring trombone and percussion, presents the language-based material in the percussion; the second, starting with the long piano solo, begins a mensural canon based on the proportional material. However, half-way through this canon, recapitulatory material begins, and subsequent appearances of the canon occur in continually shorter blocks, each transformed very differently. O Matenga, in the title of the piece, refers to the Maori custom, found also in many other civilisations, of providing sustenance for the spirit to the next world after death.

• Whitehead: Ahotu (O Matenga); facsimile 

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• Whitehead: Ahotu (O Matenga); facsimile 

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• Lontano: New Zealand Women Composers 

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Originally called A Song of Tamatea, this work was revised in 2000 to become An Offering for Parihaka.

• Hamilton: A Song of Tamatea; facsimile 

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• Hamilton: An Offering for Parihaka; computer set 

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• Hamilton: An Offering for Parihaka; computer set 

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• David Hamilton: A Song of Tamatea 

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• Parihaka 

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• Hamilton: And Music Shall Untune the Sky; facsimile 

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• Hamilton: And Music Shall Untune The Sky; facsimile 

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• Whitehead: Antiphons; facsimile 

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• Whitehead: Antiphons; facsimile 

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A three-movement concert suite for string orchestra, originally commissioned for the Schola Musica of the New Zealand Symphony Orchestra.

• John Ritchie: Aquarius (Suite No. 2) - hire set 

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• Ritchie J.: Aquarius; computer-set 

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• Aquarius: Music by John Ritchie  Year: 1998 

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• Ritchie A.: Autumn Concerto; facsimile 

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• McClymont: Blue Trio; facsimile 

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• Peter McClymont: Blue Trio 

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• 1982 Wales Bank School Music Contest  Year: 1982 

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• Norman: Canterbury Rhythms; facsimile 

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• Philip Norman: Orchestral Compositions 

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• John Rimmer: Centrifugues - hardcopy score  Year: 2009 

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• Seaswell  Year: 1992 

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This set of songs was written in 1987 during my time as lecturer in voice at Otago University.

The title is drawn from the second song of the set.

Herbert’s poetry has always been a delight to me and in these settings I have endeavoured to capture in music his unique and lively reflections on his relationship with God. His words are beautifully wrought and fathom deep waters making a challenge for musical setting. However I think the songs touch something of the intentions of this great metaphysical poet.

David Griffiths

• Charms & Knots - songs by David Griffiths  Year: 2011 

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