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This music for eleven silent films,including Treasures / Nga Taonga, for clarinet, cello, and piano, would be most suitable for chamber music groups, including secondary school performers.

• Buchanan: Film Music; facsimile 

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Hau means ‘breath’ or ‘wind’, but can also mean ‘to strike’ or ‘to stoke’ (not too gently!). In these senses it can be related to the action of playing the cello, from tapping its body through to bowing the strings. All sounds carried by the air, or wind. Hau is also the base word in Maori for energy: E rere ana te hau – energy flowing; Kua pau te hau – no more energy. The piece was composed partly with the aim of providing the cello with a pathway for a visit to the soundscape of traditional Maori instrumental music, centred on a purely musical dialogue between the players.
Hau is in two sections played without a break. Pao, pao, pao refers to the tapping sounds which open the work, rhythm without pitch. This leads inperceptibly into the second section Tawhirimatea – voices of the winds. The concluding secion of the work may be though of as a dialogue of the north (cello) and south (taonga puoro) winds. The breaths of two worlds join harmoniously.

Notes taken from Toru, Atoll CD (ACD 143)

• Martin Lodge: Hau; audio 

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• Toru - Chamber Music by Martin Lodge  Year: 2011 

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This work was intended to feature something of New Zealand’s spirit and is a ‘deconstructed’ version of Now is the Hour.

• notes from a journey  Year: 2010 

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Taonga puoro (improvised): poi awhioahio, hue puruhau, koauau ponga ihu, nguru, ororuarangi, ku, putatara, pu kaea, pumotomoto, pupu harakekek, tumutumu

Hineputehue translates literally as the woman of the sound of the gourd, and she is the Maori goddess of peace. The work was written in 2001, at the time of President Bush’s State of the Union address shortly before the invasion of Afghanistan, and suggests the fragility rather than the celebration of peace, particularly in a pre-European environment.

A number of instruments used in Hineputehue are made of gourds – the gourd, which carried food and water, is a symbol of peace. These include the poi awiowhio, a very quiet bird lure which is swung around the head, the tiny koauau ponga ihu or noseflute which ends the piece, the hue puru hau, a large gourd which is blown across its top opening and the gourd rattles played by the quartet. Two other wind instruments frequently made from gourds, the nguru and the ororuarangi, are also used. Other instruments are the putatara or conch shell trumpet, traditionally used for signalling, the pu kaea or war trumpet, a nguru niho paraoa or flute made from a whale’s tooth, the pumotomoto, associated with birth, and tumutumu (tapped percussion).

There is a similarity between the stringed instruments of the quartet and the gourds, in that they are made from plant material, with sound emitted through sound holes. Another link is the ku, the only stringed instrument known to Maori, which is a small musical bow played like a jaws harp (jews harp) using the mouth as a resonating chamber. The idea of ororuarangi, which can be translated as spirit voice (or double stopping in a different context) has had some influence on this piece as in the parallel movement of the strings.

• Whitehead: Hineputehue; computer-set 

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• Whitehead: Hineputehue; computer set 

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• Whitehead: Hineputehue; computer set 

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• NZIAF: Gillian Whitehead Portrait; part 2 

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• Whitehead: Bright Silence  Year: 2002 

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• Gillian Whitehead: Puhake ki te rangi  Year: 2007 

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taonga puoro, piccolo/alto flute, flute, bassoon, marimba/percussion, harp, 2 violins, viola, cello

Hineteiwaiwa is a wahine atua – a Maori goddess – the exemplary wife and mother who provided the pattern that all women follow. She assists at the entrances into and the exits from the world, with rituals concerned with tattooing of the lips prior to marriage, with the raising of tapu, and she is credited by some iwi with the introduction of weaving into the culture. Generally, she supports the role of women in traditional society. Hineteiwaiwa was written at the time that Tungia Baker, herself an exemplary wahine toa, or woman of strength, was dying, and is dedicated to her memory. In the improvisatory sections, which are guided and shaped by the taonga puoro player, there are few indications in the score. Generally, the improvisations involve the percussionist. Maori texts, devised and sung by the Kaikaranga, may be integrated into these sections. Also embedded in the improvisatory sections of the piece is a separate vocal composition by Aroha Yates-Smith, woven around the attributes and quality of Hineteiwaiwa.

• Whitehead: Hineteiwaiwa; computer set 

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• Whitehead: Hineteiwaiwa; computer-set 

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• Whitehead: Hineteiwaiwa; computer-set 

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2 fl. (dbl. alto flute, 2 players), oboe (dbl. cor anglais, 1 player), clarinets (1), piano, percussion (1 player: vibraphone, triangle, maracas, rainsticks, 3 gongs of different sizes, small tambourine), drumkit, violins (2), viola, cellos (2), bass, taonga puoro: wooden koauau, iwi kuri, iwi maire, large putorino, putatara, porotiti, birdcalls; 1-2 baroque sopranos, 1 chamber soprano, 1 Maori female voice (alto range)

• Bisley: In Memoriam; facsimile 

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• Bisley: In Memoriam; facsimile 

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Taonga Puoro: ipu, pahu pounamu, koauau rakau maire, panguru, hure puru hau, poi awhio whio, ua roria rau karamu, putorino rakaumatai, kouaua pponga ihu, kouauau koiwi kuri, koauau koiwi toroa, tumutumu, pupu harakehe, porotiti, purerehua kohatu pounamu, pukaea rakau manuka, karanga manu; Maori instruments and piano improvised (guidelines in score), cello notated

• Gillian Whitehead: Aftermath 

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• Gillian Whitehead: Waka, Kowhai and Tui 

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• Gillian Whitehead: Waka's Love for Kowhai 

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• Gillian Whitehead: The Storm 

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• Whitehead: IPU  Year: 1998 

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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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flute, clarinet, recorders, voices, percussion, piano, rock band

This children’s dance theatre work choreographed by Rangimoana Taylor is based on taniwha (sea-monsters) Whataitai and Ngake, a traditional Maori legend from the Wellington region.

• Helen Fisher: Works 1  Year: 1992 

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flute/saxophone, piano, drums, guitar, bassoon, synthesiser