Winds That Whisper by Promethean Editions

Winds that Whisper TOWer new zealand youth choir karen grylls CONDUCTOR

Sam Piper (b.1977) 01 | Kyrie from Requiem

arr. Richard Puanaki (b.1934) 4:07

11 | Ka Waiata

John Ritchie (b.1921)

David Hamilton (b.1955)

Canary Wine

12 | The Moon is Silently Singing

02 | Queene and Huntress 1:26

(Horns: Nicola Averill, Erica Challis)

03 | So Sweet is She

1:32

04 | Make Room for the Bouncing Belly 1:24 05 | Slow, Slow, Fresh Fount

1:36

06 | Men’s Shadows

1:14

2:28

9:09

Jenny McLeod (b.1941) Childhood 13 | Cocks Crow

1:04

14 | Sometimes Things Just Disappear 1:10

David Griffiths (b.1950)

15 | My Granddaddy

from Lie Deep, My Love

16 | Hear the Great Ocean

2:00 1:06

0:59

07 | I I Earth Does at Length

3:30

17 | Puss, Puss, Pussy

08 | I II Blow, Wind of Fruitfulness

3:41

18 | My Father’s Big

1:06

19 | They Dance All Night

1:44

20 | Mary Had a Lamb

1:22

Douglas Mews (1918-1993) 09 | The Lovesong of Rangipouri

10:18

(Baritone solo: Robert Wiremu) Ngapo Wehi (Wehi Whanau) (b.1934) 10 | Hinemoa

2:14

21 | Night Again

1:31

22 | There’s a Time to Live

2:39

TOTAL TIME

57:10

MMT2016 | Digital Stereo Recording |  1999, 2003 HRL Morrison Music Trust  1999 HRL Morrison Music Trust

TOWER New Zealand Youth Choir The TOWER New Zealand Youth Choir has achieved considerable success since its formation in 1979. Performances around New Zealand and four international tours have firmly established the choir’s reputation for consistency, energy and excellence. In 1992 this choir won the Silver Rose Bowl for the best choir in the international radio competition, ‘Let the Peoples Sing’, in Cologne, out of a field of 26 choirs from 15 countries. In 1993 the choir toured Canada and the United States for five weeks, representing New Zealand at the World Choral Symposium in Vancouver, Canada. It also represented New Zealand at the 4th World Choral Symposium in Sydney in August 1996. With equal success, the recently-formed chamber choir Voices New Zealand won first and second placings in two disciplines of the mixed choir section at the Tolosa International Choral Competition in Spain in October 1998. The choir has provided vocal backing on two ENZSO albums, which featured the New Zealand Symphony Orchestra and

guest artists performing the music of the pop group Split Enz, and was involved in the ENZSO tours. In 1997 the choir joined forces with the Auckland Philharmonia Orchestra, Auckland Dorian Choir and Auckland University Singers in two highly acclaimed performances of Britten’s War Requiem. In 1998, it performed Carmina Burana with the National Youth Orchestra and other youth choirs in Napier and Wellington, and toured to Christchurch, Timaru and Dunedin. In June 1999, the TOWER New Zealand Youth Choir celebrated its 20th anniversary with a weekend of events in Wellington. This included a special concert of a cappella music featuring, along with the current choir, many of the choir’s graduate singers, soloists, and Voices New Zealand. Following the anniversary, the major project in 1999 was an international tour to Europe for four weeks in June and July where the choir took part in several major competitions and appeared at a number of festivals. The tour itinerary included

engagements in Wales, England, Ireland, the Czech Republic, Slovakia, Austria, the Netherlands and Singapore. Choir Members

Helen Acheson+, Donna Alley+, Lauren Armishaw+, Celia Aspey*, Sarah Besley+, Megan Flint+, Philippa Hopkins*, Susie Houtman*, Briony Jack+, Hester Lees-Jeffries*+, Sarah Lineham*, Juliet Mann+, Fiona Milmine*, Susan Mitchell*, Bronwyn Moran*+, Shelley Morris*+, Daniela Phelon+, Anna Pierard+, Amy Scott+, Anna Sedcole+, Stephanie Shroff*+, Ruth Shwer+, Elizabeth Somervell*, Keston Smith*, Virginia Stevenson*, Charlotte Taylor+, Wendy Thompson+. ALTOS Bianca Abelskamp+, Rosamund Allison+, Rhonda Browne+, Jacqueline Coats*, Andrea Cochrane*, Catherine Connelly*, Melinda Collie-Holmes*, Judy Dale*+, Amelia Giles+, Rachel Gillett*, Michelle Harrison*, Alex Hill+, Katherine Hodge*, Megan Hurnard+, Sarah McOnie+, Brigitte Murray*+, Jodie Ohlson*, Karl Read+, Zoe Triggs+, Sarah Walmsley+, Cecilia Vakameilalo-Kioa+. Tenors Chris Bowen*+, Warren Buckingham*, Nigel Collins*, Phillip SOPRANOS

Collins*+, Matthew Coplon+, James Curtis+, Peter George*+, Luke Gorton*+, Tim Jackson+, Andrew Kania+, Kent McIntosh*, Euan McMillan+, Andrew Milner-White+, Jonathan Newton-Howes*, Philip Roderick+, Nigel Tongs*, Kenneth Trass*+. BASSES Christopher Adams+, Peter Aitken+, Simon Baskerville+, Ben Campbell+, Brendan Casey+, Simon Christie*, Andrew Crooks+, John Duncan*+, Benjamin France-Hudson+, Iain Fraser+, James Harrison*, Nicholas Hogg*, Rowan Johnston*+, Jonathan Kennedy*, Matthew Leese+, Jonathan Lemalu*+, Gerard Masters+, Rowan Payne+, Rowan Payton+, Sam Piper+, Michael Wallace*, Andrew Withington+. (*1996 member, +1998 member)

KAREN GRYLLS MUSICAL DIRECTOR Karen Grylls, Associate Professor in Conducting and Theory/Analysis, and Head of Choral Studies at the University of Auckland, directed the Auckland Dorian Choir (1985-1998), and assumed the position of Musical Director of the Choir in 1989 and the chamber choir Tower Voices New Zealand in 1998.

Grylls also directs the two choirs at the University of Auckland School of Music, the Auckland University Singers and Campus Cantoris. A graduate of both Otago and Auckland Universities, Grylls studied post-graduate Conducting and Music Theory at the University of Washington, Seattle. In 1985 she returned to New Zealand to teach at the University of Auckland School of Music. Grylls is much in demand as a choral clinician and has many CD recordings to her credit. She has toured as an international guest with the New Zealand Youth Choir to the American Choral Directors Association Convention in Texas and with Voices New Zealand to the Asia South Pacific Choral Symposium in Singapore. Invitations to adjudicate have taken her to Australia, Singapore, Tolosa and Hong Kong. In 1996 the University of Auckland honoured her with a Distinguished Teaching Award in Music and in 1999 she was made an Officer of the New Zealand Order of Merit for her services to choral music. Grylls has recently been appointed to the board of the International Federation for Choral Music. Philip Trusttum (b.1940), In the Garden (1973), oil on board, 820 x 1100 mm. Private collection. Reproduced by permission of the artist.

Sam Piper

Sam Piper (b.1977) was a member of the TOWER New Zealand Youth Choir between 1997 and 2001. Originally from Auckland, he studied composition at the School of Music at Victoria University of Wellington, New Zealand. Sam Piperâ&#x20AC;&#x2122;s Requiem was composed in 1994. The setting of the Kyrie is simple in construction, employing minimal fragments of rhythm and melody woven together to create pulsing, vibrant textures that seek to evoke a deep sense of ritual. 01 | Kyrie from Requiem Lord have mercy, Christ have mercy, Lord have mercy.

John Ritchie John Ritchie (b.1921) was born in Wellington and graduated BMus from the University of Otago in 1943. He was appointed professor of music at the University of Canterbury in 1962, and was the acting deputy vice chancellor there between 1973-83. He was the visiting professor at Exeter University in 1967-68. He has been guest conductor with the New Zealand Symphony Orchestra, the New Zealand Ballet, the Auckland Sinfonia and the Christchurch Harmonic Society. Ritchie has also served in key positions with major governing music bodies. He was awarded a Composers Association of New Zealand Citation for Services to New Zealand Music, and is Professor Emeritus at the University of Canterbury. For the Canary Wine cycle Ritchie selected five poems by Shakespeareâ&#x20AC;&#x2122;s contemporary and fellow playwright Ben Johnson (1572-1637) and set them in 1974 for the Wellington Girls College Special Choir, Christchurch Girls High School Singers and the Cecilian Singers.

Canary Wine 02 | Queene and Huntress Queene and Huntress, chaste and faire, Now the sun is laid to sleep. Seated in thy silver chair, State in wonted manner keep: Hesperus intreats thy light, Goddess, excellently bright. Lay thy bow of pearl apart, And thy crystal shining quiver; Give unto the flying heart Space to breathe, how short so ever: Thou that mak’st a day of night, Goddess, excellently bright.

03 | So Sweet is She Have you seen but a bright lily grow Before rude hands have touch’d it? Have you mark’d but the fall of the snow Before the soil hath smutch’d it? Have you felt the wool of beaver, Or swan’s down ever? Or have smelt o’ the bud o’ the brier, Or the nard in the fire? Or have tasted the bag of the bee? O so white, O so soft, O so sweet is she!

04 | Make Room for the Bouncing Belly Make room for the bouncing belly First father of sauce, and deviser of jelly, Prime master of arts, and the giver of wit,

That found out the excellent engine, the spit, The plow, and the flail, the mill and the hopper, The hutch, and the bolter, the furnace and copper, The oven, the bavin, the mawkin, the peel, The hearth and the range, the dog, and the wheel.

05 | Slow, Slow, Fresh Fount Slow, slow, fresh fount, Keep time with my salt tears; Yet slower, yet, O faintly gentle springs! List to the heavy part the music bears, Woe weeps out her division when she sings. Droop herbs and flowers; Fall grief in showers; Our beauties are not ours. O I could still, like melting snow upon some craggy hill, Drop, since nature’s pride is now a withered daffodil.

06 | Men’s Shadows Follow a shadow, it still flies you; Seem to fly it, it will pursue: So court a mistress, she denies you; Let her alone, she will court you. Say, are not women truly, then, Stil’d but the shadows of us men? At morn, and even, shades are longest; At noon they are short, or none. So men at weakest, they are strongest, But grant us perfect, they’re not known. Say, are not women truly, then, Stil’d by the shadows of us men? Ah, Men!

David Griffiths Auckland composer and singer David Griffiths (b.1950) was educated at Westlake Boys High School. He graduated BMus (1971) and MMus (1973) from the University of Auckland, and then studied composition at the Guildhall School of Music in London. From 1986 to 1992 he worked as both composer and baritone and held a post as lecturer in voice at the University of Otago. David Griffiths now resides in Auckland and works as a freelance composer and singer. His singing engagements include solo concert work, operatic roles and broadcasts with Radio New Zealand, and his compositions for choir have been performed all over the world. David Griffiths selected three poems by James K. Baxter (1926-1972) for his deeply felt cycle Lie Deep, My Love, the second and third movements of which are performed here. The second, ‘Earth Does at Length’, is punctuated with solo highlights, and movement and variety in the underpinning choral fabric. For the third song ‘Blow, Wind of Fruitfulness’, Griffiths employs canons to

evoke the wind’s restlessness and its effects upon the land. Both songs evoke New Zealand images which run through much of Baxter’s work. from Lie Deep, My Love 07 | I I Earth Does at Length Earth does at length her own sweet brood devour – Not pelican to blood them at her breast But doubtful boons at usured interest Salt in the bud and angered in the flower: Summer for this is sweeter, snow more sour Since it sun alone that does invest Our day with richness or our night with rest And under the shadow of the ruined tower. Beyond the dune surf groans in narrow cove. Lie still: let thunder beat upon the brain Sun clothe the naked shoulders like a grave – Till air and earth and sea revive again The mountains and the dark imagined plain The wild lost city of a mother’s love.

08 | I II Blow, Wind of Fruitfulness Blow, wind of fruitfulness Blow from the buried sun: Blow from the buried kingdom Where heart and mind are one. Blow, wind of fruitfulness, The murm’ring leaves remember;

For deep in doorless rock Awaits their green September. Blow from the wells of night: The blind flower breathes thy coming Birds that are silent now And buds of barren springing. Blow from beyond our day. The hillborn streams complain; Hear from their stony courses The great sea rise again. Blow on the mouth of morning Renew the single eye: And from remembered darkness Our immortality.

Douglas Mews Douglas Mews (1918-1993) was born in St Johns, Newfoundland, Canada and studied in London from 1936-39. He completed wartime service in the Second World War and gained a music doctorate in 1961. Mews worked as professor at the Trinity College of Music (1946-63) and lectured at Colchester Technical College (1963-68). He joined the University of Auckland Music Department and was associate professor from 1974 to 1984.

Douglas Mews composed The Lovesong of Rangipouri (1974) for Aucklandâ&#x20AC;&#x2122;s Dorian Choir. His text is a chant recorded at Makara, near Wellington, in 1963. It tells how the fairy chieftain Te Rangipouri won and lost the first human woman to ever reach New Zealandâ&#x20AC;&#x2122;s shores. 09 | The Lovesong of Rangipouri (Sung in Maori) Harsh winds blow upon the uplands. Once I held my loved one of Tireni, Now my heart is filled with sorrow. I, Te Rangipouri, would be most joyful At possessing her, the first of her race. I dared all dangers when I boldly entered The house of Ruarangi, to touch her human skin. Mists now hide the ridge at Puhau, The ridge that hides my loved one from the world.

Wehi Whanau Ngapo (Bub) Wehi (b.1934), a leading member of the Wehi whanau (family), is a highly distinguished figure in almost every aspect of Maori language, culture and education. He works closely with his wife Pimia in tutoring and composing for Te Waka Huia, an organisation dedicated to preserving the songs and dances which have been an intrinsic part of Maori tribal activity, enhancing special events and emotions such as ceremonies of welcome, mourning, love, war or friendship. They have worked in close conjunction with the TOWER New Zealand Youth Choir and both groups performed together at the 4th World Choral Symposium in Sydney, 1996. Hinemoa tells the story of the famous Maori legend of Tutanekai, who loves Hinemoa and woos her with melody. Though forbidden, Hinemoa swims out to the island of Mokoia to be with her lover. 10 | Hinemoa (Sung in Maori) There is no other woman To compare with Hinemoa

She will seek what she desires Till the end. Look at Mokoia It is covered with mist. She will not hesitate, No obstacle will prevent her going Her love will remain faithful Until both of them are dead. Oh maiden, Oh maiden, Oh maiden, Oh maiden, Oh turn to me, Show me your smiling face Oh maiden, Oh maiden, Oh maiden, Oh maiden, Let me embrace you Come close to me.

Richard Puanaki Richard Puanaki (b.1934) is a Maori composer who lives in Wairoa, Hawkes Bay. Recordings of his music have been released by the group Whetu, and much of his music is not written down and is only available in this form. Ka Waiata is an arrangement of the â&#x20AC;&#x2DC;Ave Mariaâ&#x20AC;&#x2122; in Maori. The melody line is

provided, and the composer suggests that harmony should be improvised. 11 | Ka Waiata (Sung in Maori) Let us sing the praises of Mary Woman of beauty, woman of grace, woman of peace Mother of the world

David Hamilton Born in Napier, David Hamilton (b.1955) attended the University of Auckland (19741979) and completed a BA and MMus with tutors Douglas Mews and John Rimmer. He studied at Auckland Teachers College (1980) and became Head of Music at Epsom Girls Grammar School in 1986. He has won a variety of awards and all of New Zealand’s principal music organisations have commissioned Hamilton’s work. A former member of the TOWER New Zealand Youth Choir, he is a prolific composer of choral music and has over 60 choral works to his credit. Several of his works have been published in the USA and are becoming increasingly known outside New Zealand, with performances in Australia, Canada,

the USA, England and Ireland. In recent years Hamilton has shown a marked affinity with American minimalism in his music. David Hamilton’s The Moon Is Silently Singing (1985) is scored for two fivepart choirs and two horns. At first the text is delivered in a fragmentary manner, highlighting single key words. As the words sung by the two choirs combine, we hear verse by the Spanish poet Miguel de Unamuno (1864-1936). Stillness and calm is the governing mood. The setting closes as singers alternate the words ‘canta’ (singing) and ‘luna’ (moon). 12 | The Moon is Silently Singing The moon is silently singing – one should hear it with one’s eyes; a white and lulling song, a song of secret love. A song of love growing weary from seeing itself so alone; absent-minded every star refuses to join in its choir. Poor moon, oh, still so blind and lonesome! It cannot see its own eyes – shadows that dream – and sings only to fill its idleness.

Jenny McLeod Jenny McLeod (b.1941) was born in Wellington and had her schooling in New Zealand and Illinois, USA. She earned a BMus (Wellington), and while in Europe (1964-66) studied with Messiaen, Stockhausen and Berio. In the 1970s McLeod drew great attention with her ‘mega’ musicals for children, Under the Sun and Earth and Sky. Eventually she became professor of music at Victoria University. Since 1982 she has lived at Pukerua Bay, near Wellington, working as composer, poet and music theorist. In 1997 Jenny McLeod was made an Officer of the New Zealand Order of Merit. Childhood, a setting of ten related poems by the composer, depicts a representative experience – a day in the life of a small boy, seen as if from the ‘inside out’. McLeod’s words are thoughts that tumble through the youngster’s mind, unaware of any audience. He inhabits a world of spontaneous joys, perceptions that puzzle and delight him, fragments of legend and nursery rhymes, hazy understandings

of much his parents say – a place where magic, everyday reality and dream are bundled together. The parents appear briefly – in the seventh song, the father tells a bedtime story and bounces the lad on his knee, and in the last piece the mother sings to her sleeping child. Childhood 13 | Cocks Crow Cocks crow, babies grow Kettles whistle, hedgehogs bristle Cock-a-doodle-dee-do! The day is bright with Sun! Glory! The world has just begun! Glory! Good morning sun – and everyone!

14 | Sometimes Things Just Disappear Sometimes things just disappear They simply vanish Completely… Where do they go? Into thin air…

15 | My Granddaddy My Grandaddy told me God lives in the Sky He said I’ll go to heaven when I die! Heaven – what’s that? Good heavens! What’s that? Our Father in Heaven…

So many times I wonder how you feel Up in the sky? Do the stars shine in your eyes? Is your beard grey or white? Is it cold in the night?

16 | Hear the Great Ocean Hear the great ocean roll and roar And billow and bellow Singing old tales of distant lands Of ships and dragons and sinking sands Of crags and starfish and lobster claws And wonders washed up from the ocean floor. With her winds that whisper and winds that roar And her waves that roll and billow and bellow.

17 | Puss, Puss, Pussy Puss-Puss-Pussy-Puss-Puss, come here Come Pussy-Puss-Puss, come near, come here Come Puss-Pussy-Puss-Puss Nice Pussy! What a pretty tail Kit-kit-kit! Heavens, what’s that! Good heavens, what’s that! Oh, Pussy has a mouse, a mouse Oh, a dear wee mouse… Puss-pussy-puss, come here Come pussy-puss-puss come near Give it here, kit-kit-kitty! I…gotcha! Ow! Ooh! Mum-mum-mummy, come here mummy-mummy Come here, come mummy, come here! Kitty hurt me, hurt me –

She’s scratching me – see? Ooh, take that! Get away! Bad cat!

18 | My Father’s Big My father’s big, my father’s strong My father’s arms are very long And when he holds me on his knee I’m very, very glad I’m me Daddy, what’s that golden rule, daddy, you know – Pussy might creep and jump on my tail And then I could scratch her as well!

19 | They Dance All Night They dance all night and eat mince pies In this strange town where it’s no surprise To see a house fly up in the air Or a boy turn into a fish or a bear! They talk in riddles and laugh and wink For magic they know, and magic they think! Brrom-pa-pa bom-bom, popa-popa-bom-bom pom

20 | Mary Had a Lamb Mary had a lamb I’ve got a teddy called Humpfry Humpfry-Dumpfry climbed too high And he fell And busted his shell. Clear away your toys Never take candy from strangers Wash your face and comb your hair And try To be a good boy…(kitty hurt me, hurt me)

21 | Night Again Night again On the pillow My head is dreaming Of lights and frights And gold a-gleaming Of cities and soldiers Glory and fame And weeping willows And forests of rain

22 | There’s a Time to Live There’s a time to live, there’s a time for dying There’s a time to weep, and a time to stop crying So sleep my darling No need to wonder why And I will sing you a lullaby To everything a season To everything a reason Just like the good book said There’s a time to turn, there’s a time to keep going There’s a time to learn, and a time for not knowing So hush my darling No need to wonder why And I will sing a lullaby.

M.T. Woollaston (1910-1998), Rangitoto (1995), oil on canvas, 910 x 1210 mm. Private collection, Auckland. Reproduced by permission of the Estate of M.T. Woollaston.

Philip Trusttum

(b.1940) graduated with a Diploma in Fine Arts from

the University of Canterbury School of Art in 1964. In 1967 he was awarded a Queen Elizabeth II Arts Council scholarship and since then has travelled and worked in Europe and North America. Philip Trusttum is endlessly inventive in technique and style, his painting is exuberant and full of vitality and his output is prolific. He has worked in Expressionist Abstraction and in the figurative, and is adept at working on abstract interpretations of realistic symbols of ordinary life. He has also worked in cut-outs, collage, mixed media and glass design. In the 1970s he produced the â&#x20AC;&#x2DC;Gardenâ&#x20AC;&#x2122; series, which portrayed his own garden and others in the city of Christchurch and conveying the effect of light on foliage, the patterns of leaves and the diversity of rich colour. Philip Trusttum is represented in all major public and private collections within New Zealand, and the National Gallery of Victoria in Melbourne, Australia.

Toss Woollaston

(1910-1998) was born in Huinga, Taranaki, New Zealand.

Although he studied for two terms at the Canterbury College School of Art in 1931, the most important early influence on his art was the notebooks that Flora Scales, returning from the Hoffman School in Munich, made available to the 24-year old artist. Woollaston was one of the pioneers of modern art in New Zealand, especially with his early landscapes and figurative paintings of the 1930s. He focussed on painting landscapes, mainly of the wild and untamed landscape of the north and west of the South Island of New Zealand. Instead of using the hard outlines and strong forms of regionalism, he used a far more expressionist approach to line, colour and form. He often tilted the plane to suit the subject and supported it with the energy of his paint application. His landscapes have a muddy quality that is at odds with the traditional hard-edged treatment of the landscape, which emphasizes clarity of form.

Winds that Whisper TOWer new zealand youth choir karen grylls CONDUCTOR MMT2016 Digital Stereo Recording  1999, 2003 HRL Morrison Music Trust  1999 HRL Morrison Music Trust Tracks 1-10 recorded in the Metropolitan Catholic Cathedral, Hill St, Wellington, January 1998 and tracks 11-22 recorded in St Michael’s Catholic Church, Remuera, Auckland, August 1996 Technical Production Atoll Ltd Producer Wayne Laird Recording Engineer Sam Negri Digital Editing and Mastering Wayne Laird Executive Producers Russell Armitage and Hamish Morrison Booklet Notes Howard Smith Design Mallabar Music Ltd Photographs Bruce Connew The TOWER New Zealand Youth Choir would like to thank the many organisations, choirs and individuals whose support and donations have helped towards its achievements. Choir Liaison Jacqueline Simpson Musical Director Karen Grylls Assistant Musical Director Peter Watts

The HRL Morrison Music Trust was established in March 1995 as a charitable trust to support New Zealand musicians of international calibre. All funds received by the Trust are used to make recordings, present concerts – both in New Zealand and overseas – and assist artists to undertake projects to further develop their talents. HRL Morrison Music Trust PO Box 1395 Wellington, New Zealand info@trustcds.com ALL RIGHTS OF THE PRODUCER AND OF THE OWNER OF THE WORK REPRODUCED ARE RESERVED. UNAUTHORISED COPYING, HIRING, LENDING, PUBLIC PERFORMANCE AND BROADCASTING OF THIS RECORDING IS PROHIBITED.

The HRL Morrison Music Trust gratefully acknowledges the support of the following people and organisations in the making of this recording: Gow Langsford Gallery, Auckland & Tower Limited.