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for bass clarinet, synthesizer, strings, piano, percussion, taonga puoro (including bone flute, wooden flute, gourds, river stones, whirler, sticks) and voice

• 'Whetu-Rere' - The Sea Lion and the Comet  Year: 2007 

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This song cycle for soprano and piano has texts by the composer in Maori and English.

“Awa Herea memorably evokes the physical appearance of symbolic significance of these braided rivers… cosmic weather-driven energy.” (Covell, Sydney Morning Herald).

“Its pace was shrewdly varied and the music encompassed a range of styles – from sung declamation to florid lyricism – without incongruity.” (Jack, Independent).

“The cycle displays all the characteristics of her [Gillian Whitehead’s] mature work. The vocal line is at once exultant and contemplative, the piano writing incisive or lulling; the formal shaping novel yet accessible. It is a memorable piece, filled with the energetic spirit of the natural world and finding through that spirit its own serenity.”

• Whitehead: Awa Herea; computer-set 

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• Whitehead: Awa Herea; computer-set 

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• Whitehead: Awa Herea; facsimile 

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• NZIAF: Gillian Whitehead Portrait; part 2 

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• Waikohu: Mere Boynton and Friends 

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• Tracey Chadwell's Songbook  Year: 1995 

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• Ears Wide Open Taringa Areare Education Resource CD  Year: 2000 

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• Kim Dyett: Wallpaper Music   Year: 1993 

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keyboards: 2 pianos and synthesiser; requires waiata from people of Maonga Marae

• McLeod: He Iwi Kotahi Tatou (We Are One People); facsimile 

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• McLeod: He Iwi Kotahi Tatou (We Are One People); facsimile 

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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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solo flute; 022(bass)2; 2200; perc.; strings

Maui Tikitiki a Taranga (“Maui formed in the topknot of Taranga”) was a demi-god found in the tribal myths of the Māori people of New Zealand.

Maui, the fifth and youngest child, was born at the edge of the sea. His mother, Taranga, thought he was stillborn, and wrapped him in a tuft of her hair and set him adrift. He was cared for by the seaweed until a breeze blew him ashore, where he was saved and brought up by one of his great-ancestors.

Maui was a great prankster. In one of his mischievous moods he decided to put out all the fires in the world. To bring fire back, he had to find Mahuika, the goddess of fire. He was awestruck upon meeting her, but decided to play a trick on her by taking fire from her fingernails one at a time, until she realised his game and threw fire to the ground, catching everything alight. Maui changed himself into a hawk to escape the flames, which singed his feathers. He called upon his ancestor to send rain and drench the fire, depriving Mahuika of her powers.

Maui decided to defeat death by journeying to where the earth meets the sky, where lived his great-ancestress Hine nui te po (“Great Hine the Night”). He was accompanied by many birds, and told them his plan to enter the body of the sleeping Hine and so defeat death. The birds sat quietly trying not to laugh as Maui, in the form of a caterpillar, crawled towards Hine. Suddenly the fantail could be quiet no longer and laughed aloud, dancing about with delight. Hine awoke with a start, realised Maui’s trickery, and he was killed.

• Maria Grenfell: Maui Tikitiki a Taranga - hardcopy score 

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• Maria Grenfell: Maui Tikitiki a Taranga - downloadable PDF 

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• Maria Grenfell: Maui Tikitiki a Taranga - hire set 

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• Maria Grenfell: Maui tikitiki a Taranga; audio 

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• Grenfell: Four Works 

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• Grenfell: Maui Tikitiki a Taranga; cassette 

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• Norman/Grenfell/MacKenzie; cassette 

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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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choir, percussion, Rarotongan drums, guitars (students), Taonga Puoro (koauau), piano, clarinet in B flat, alto saxophone, horn in F, flute, guitar (advanced performer)

Nga Tapuwae o Kupe is a music drama directed by Rangimoana Taylor. It is based on the story of Kupe’s journey from Hawaiki to Aotearoa and his discovery of various landmarks around Whanganui-a-Tara / the Wellington region.

While this work maintains a strong Maori theme, with karanga, haka and waiata, as well it weaves in other Pacific and European elements.

For school choir, instrumentalists, dancers and kapa haka, this work was composed with the financial assistance of a composition grant from Queen Elizabeth II Arts Council, was first performed by 140 students from South Wellington Intermediate School in July 1992 for Artsplash, the Wellington Young People’s Festival.

• Fisher: Nga Tapuwae o Kupe; facsimile 

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• Fisher: Nga Tapuwae o Kupe; facsimile 

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• Helen Fisher: Works 1  Year: 1992 

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in part 1: tuned PVC pipes, metal chimes, roto-toms, voices, trom-tubes, spun drones, rattle-jackets and kerosene cans

in part 2: voices, tuned wood, metal and PVC pipe lengths, 3 tenor slide trombones and 3 saxophones, soprano, alto, tenor and surf sticks

Pacific 3-2-1-Zero (parts 1 and 2) is a work of protest against nuclear testing and waste dumping in Oceania. The structure is based on an image of isolated islands of acitivity connected by common waters whose currents now innocently carry nuclear contamination.

The work takes place in the round, with the instruments in Part 1 arranged centrally to indicate the symbol for nuclear disarmament.

The syllables heard in the first vocal section are taken from the names of individual islands within Micronesia, Melanesia and Polynesia. These are mirrored and inverted in the same way as the rhythms in the music are. In a later vocal section the names of contaminated islands testing sites: Mururoa (France), Fangata’ufa (France), Christmas Island (UK/USA), Johnston Island (USA), Enewetak (USA), Bikini (USA) are sung, then shouted and drummed on tins to sound both lament and warning.

Part 2, developed in 1983, expresses hope and is dedicated to the emerging force of solidarity among the people of the Pacific.

• From Scratch: Pacific 3-2-1-zero Parts 1 and 2  Year: 1986 

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• From Scratch: Pacific 3.2.1 Zero, Eye/Drum  Year: 1994 

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• Pacific 3.2.1 Zero, Eye/Drum  Year: 1994 

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