SSAATTBB, 4 percussion
Text: multilingual, devised by Randolph Stow
Commissioned by The Song Company, funded by Music Board of Australia Council.
First performed by The Song Company and Synergy, Sydney.
6 solo voices (S,M-S,A,T,Bar,B) with solo flute in three songs. Some songs have been sung chorally
Text: Translations from Latin – five mediaeval poems about birds by Fleur Adcock
The nightingale songs are
Commissioned with funding from the Music Board of the Australia Council.
First complete performance: The Song Company, 1992.
Released on The Laughter of Mermaids, AMC VAST016-2 1996.
SSAA, percussion, male narrator
Text: various, including Manhire, Shackleton, Whitehead
Nga Haerenga, which translates from Māori as “journeys” tells stories about mythical, legendary, allegorical and actual journeys.
The piece opens with a soundscape evoking central Australia. Across the sand and rock by day and night, through heat and cold, Kuniya, the Woma python, is travelling to Uluru where she will lay her eggs. Her timeless journey spans the piece.
The second section needs some background. By perhaps 6,000 BC, because of huge glacial melting in Baffin Bay and elsewhere, the sea level had risen 120 metres over roughly four millennia; this is reflected in the descriptions of flooding in the creation myths of most civilizations. A tribe then living on coastal lowlands, now underwater on the Sunda shelf in Indonesia, took their language, knowledge, traditions and artifacts with them as they and their descendants moved continually to higher ground to escape the rising water, and over time spread through Asia, Europe the Pacific and America, where traces of their culture survived.
In the second section this story is briefly told and a prophetess warns her followers of the impending inundation as the water levels rise. After a continuation of the story of Kuniya, the Woma python, we hear in Māori the song of Kupe the legendary discoverer of Aotearoa (New Zealand). In mid-ocean, Kupe, at the prow of the waka, or canoe, asks for a calm and speedy journey over the waters, travelling with dolphins and flying fish along the paths of the great whales, to the south where the sun, trapped in the net of Maui, stands still.
Where the sun really seems to stand still is in Antarctica in midsummer. It is December 1914, and Ernest Shackleton is setting off in the Endeavour on his epic journey to cross the icecap. Only the first part of this three-year series of epic journeys is told here. The entire journey, which taxed the resources of the expedition to the utmost limit, involved being trapped in ice for ten months until the ship was crushed by the pressure of the ice, a trek across the ice to open water, two dangerous journeys in southern seas in open boats and a final march over uncharted highlands and glaciers to reach help. Thanks to Shackleton’s superb leadership, every member of the crew survived.
Over soundscapes evoking the Antarctic, the narrator tells Shackleton’s story in short excerpts from his writings. The singers elaborate the story with excerpts from Shackleton’s diary, with two wonderfully evocative poems by Bill Manhire, and with a quotation from Job which Shackleton tore out of his bible and kept with him throughout his ordeal. After the Endeavour is crushed in ice, the piece ends with an allegorical journey of the soul. In this 9th century Latin poem, a swan is flying over the ocean, lamenting his unfortunate state, his exile from dry land, his failing strength, his inability to rise above the level of the water. He calls on Orion to light his way, to sweep away the clouds. As dawn comes, his strength returns and he rejoices and praises God as he reaches dry land.
Apart from the ninth century allegory and the two Manhire poems, the text has been devised by the composer. The background information for the second section comes from Eden in the East by Stephen Oppenheimer and Ernest Shackleton’s South was the main source for his story. The Bill Manhire poems come from what to call your child, published by Random House New Zealand in 1999.
Nga Haerenga, was commissioned, with financial assistance from the Performing Arts Board of the Australia Council, by Voiceworks, who gave the piece its first performance in 2000.
First perf. Voiceworks, cond. Francis Greep with Daryl Pratt (perc.) John Pringle (narrator).
Text: Jenny Bornholdt
First performance: Baroque Voices, St Mary of the Angels, Wellington, 30 May, 2010.