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Background

The Moriori were the indigenous people (tchakat henu) of Rekohu, now known as the Chatham Islands, in modern times part of New Zealand. The Moriori migrated there from New Zealand some time between 1400 and 1600. They share common ancestry with the Maori, and are Polynesians, but their own distinct culture developed over the period of 400 years of isolation. Their first contact with the outside world was in 1791, when a British ship stumbled upon the islands. They lived in relative peace with both Europeans and Maori until 1835 when the islands were invaded by Taranaki Maori tribes. A fifth of the population of Moriori were slaughtered, and the rest taken into slavery. Over the next 30 years of slavery the population sharply declined, and eventually the last full-blooded Moriori, Tommy Soloman, died in 1933.

Before contact with the outside world, the Moriori had adapted to their harsh environment, and eked out a subsistence living based mainly around fish, seals, and birds. A unique feature of their culture was a taboo against the killing of another human. According to their ancient traditions, a chief named Nunuku stopped warring parties from fighting to the death, as he realized this was counter-productive to survival of the small population on the islands. men still fought, but only until blood was drawn – then they stopped.

When the Taranaki tribes commandeered a British ship to the Chathams in 1835, the Moriori at first welcomed them. The Maori initially ignored them, as they explored the islands. Concerned by a possible theta, the Moriori held a large gathering, discussing whether or not they should fight the Maori (who they greatly outnumbered). The older chiefs prevailed, citing Nunuku’s law of non-violence. The Maori, on the other hand, did not hold back: they massacred 300 Moriori (men, women and children) and held a large cannibal feast in accordance with their tikanga, or fighting customs. The treatment of the survivors was horrendous. The Moriori continued to be treated poorly, being regarded by most Europeans as an inferior race, low in intellect, lazy, and degenerate; of course the Europeans were seeing only the sad remnants of an oppressed people. In addition to these in justices, the land courts of the 1870s awarded the vast majority of the land to the Maori, and not to the Moriori.

It was not until late in the 20th century that the true story of the Moriori became better known, thanks largely to Michael King’s book Moriori: A People Rediscovered (1989). The marae on the Chatham Islands has been restored, and in 2005, relatives of Moriori submitted a claim to the Waitangi Tribunal.

A Survivor from Rekohu was inspired by the story of the Moriori and commissioned by Alexa Still, for flute, piccolo and Maori flute. It is based around the life of a Moriori named Koche who witnessed the 1835 massacre, survived years of slavery under the Maori chief Matioro, and made many attempts to escape from captivity.

Eventually he did escape, permanently, on a ship to the USA where he told his story to an American lawyer. His whereabouts after this are unknown. The music recalls three main passages from Koche’s life:

his childhood on Rekohu in the days before the invasion
the massacre of 1835
slavery and escape

These are framed by four little melodies (variations on a theme) played on different Maori instruments, acting as meditations on the events. They are each labelled ‘Kopi Grove’, after the sacred place on Rekohu where chiefs would meet and ceremonies were held.

• Ritchie, A.: A Survivor from Rekohu; computer-set 

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• Ritchie, A.: A Survivor from Rekohu; computer-set 

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• Anthony Ritchie: A Survivor from Rekohu 

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• Anthony Ritchie: Octopus  Year: 2011 

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Just in the way music boxes are used to store keepsakes and ignite faded memories, the instrumentalists in this piece are called on to respond to the primary instrumentalist by playing a transformed and faded version of the initial musical occurrence. Much in the same way memories are often comprised of reality and ongoing transfiguration’s; the instrumentalists material becomes more disparate and takes on more of a life of its own.

This work was commissioned by the New Zealand School of Music with funding assistance from Creative New Zealand.

• Lardelli: Musical box; computer-set 

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• Dylan Lardelli: Musical Box; video 

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Na Aroha Yates-Smith koropupu ake ana nga wai o te matapuna he wai matao he wai reka ki te korokoro he wai tohi i te punua waiora waimarama wairua te puna o te tangata te putanga mai o nga reanga hei poipoi I nga taonga tuku iho pukenga wananga manaaki tangata tiaki whenua tamaiti taiohi taiao.

Bubbling upwards rise the waters from the spring cool, refreshing water fluid delighting the taste buds blessing the young water – life-giving, clear – the spirit. The springs of humankind producing generations who will nurture their inheritance learning from the storehouse of knowledge hospitality/generosity to all guardianship of the land Child Youth Universe. The waiata acknowledges the vital role natural springs have in providing clean, delicious drinking water, which nourishes humankind and the wider environment. The water is also used in traditional and contemporary forms of blessing our young. The line “waiora waimarama wairua” refers to the life-giving force of the water, its clarity and purity, and the spiritual essence which pervades it and every life force. The second verse focuses on the importance of generation after generation preserving all that is important: “Te puna o te tangata” refers to the fountain of humankind, that is, the womb which produces the future progeny of our people. From woman is born humankind: generations of people who continue to nurture and maintain those treasures passed down through eons of time: knowledge and wisdom, the importance of caring for others and looking after the environment. The final line, “tamaiti taiohi taiao”, creates a link between the (tiny) infant, youth and the wider environment, and ultimately the Universe.

• Whitehead: Taiohi taiao; computer set 

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• Whitehead: Taiohi taiao; computer set 

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• Whitehead: Taiohi taiao; computer set 

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

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Te Hau o Tawhirimatea is dedicated to Richard Nunns and Bridget Douglas. The music aims to create a space in which the musicians, and the voices of their instruments, may speak together. The musical space is flexible, encouraging spontaneous dialogue between the various instrumental voices. Tawhirimatea, the wind god, child of Earth and Sky, represents powerful elemental forces, but he is also capable of gentle playfulness. Te hau refers also to human breath, the force which animates the wind instruments. From the mingling of breath, sweet voices are brought into being.

• Brownlee: Te Hau o Tawhirimatea; computer-set 

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• Brownlee: Te Hau o Tawhirimatea; computer-set 

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• Te Hau o Tawhirimatea 

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• Selection 05  Year: 2005 

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• Precious Legacy: Museum music by Jonathan Besser  Year: 2007 

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Toru means ‘three’ in Maori, here referring to the trio of players.
The written score of Toru lays out the structure, dramatic shape and instrumentation of the music, but the musical details is left to the creativity of the performers, so the musical voyage complete each time Toru is performed will be unique. An aim in Toru has been to draw the cello and clarinet into the sound world of the taonga puoro in the course of the performance.

Notes taken from Toru, Atoll CD (ACD 143)

• Toru - Chamber Music by Martin Lodge  Year: 2011 

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Images of the bush and wild west coast: their beauty and their darkness, their dynamic and contrasting moods, are the starting point for this work which paints visual and auditory elements encountered here – metaphors also for spirit of place.

• Bisley: Waitakere Overture; computer-set 

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• Bisley: Waitakere Overture; computer-set 

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