21×21: Aotearoa New Zealand Festival of the Arts 2022 & More News Here

The World Premiere of 21 x 21 by soprano Jenny Wollerman and live performance pianist Jian Liu artfully pairs Aotearoa’s feminine composers and poets in 21 newly written songs celebrating the distinctive cultural and social kaupapa of Māori and Pākehā.

Why 21? Because the songs could be written in 2021, and firmly based mostly in twenty first century Aotearoa New Zealand. A tune recital programme of 21 songs appeared a superb size too. By profiling the work of 21 feminine composers and poets from Aotearoa New Zealand, this undertaking would strengthen and diversify the musical canon and convey forth a contemporary new set of works related to this time we reside in. The distinctive expertise of right here and now comes by means of in the various choice of texts and music, simply as I hoped for.

Mere Boynton – Āio

Music and phrases by Mere Boynton, organized by Glenda Keam

As Māori we see the world by means of a twin lens: the female and the masculine, darkish and light-weight, sacred and profane. Right at this second in our world the masculine is dominant and the female has develop into enslaved and silenced. This imbalance has been manifested in our egocentric consumption and destruction of Papatūānuku. Āio is a karanga a name out to the universe to return the divine female to wāhine, to girl and to Papatūānuku, Earth mom and due to this fact deliver steadiness and peace to our world.

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Josie Burdon – When I First Asked For My Whakapapa

Poem by Miriama Gemmell

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Rosa Elliott – Of Trees and Hope

Poem by Dinah Hawken

The century-old tree bears many rings of knowledge. Painted with easy melancholic traces, Of Trees and Hope presents the classes one could be taught from such a tree as expressed by poet Dinah Hawken. A data of the tree’s affected person ready and gradual strengthening are notably acceptable for occasions wherein we too discover ourselves ‘bound to the earth’ and grappling with the grief of a pandemic. Hidden in the bare-boned harmonies is a tinge of hope.

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Gillian Whitehead – Because of the little one

Poem by Fiona Farrell

Fiona Farrell wrote the poem Because of the little one for me to set, and for it to be sung at a gathering exterior the Dunedin museum to launch Sir Alan Mark’s ‘Wise response’ motion, which proposes that authorities events work collectively to handle our overwhelming local weather change points. Note: the ‘blue hats’ on the homes consult with the tarpaulins that lined many homes after the Christchurch earthquakes.

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Claire Cowan – My Sister’s Country

Poem by Rhian Gallagher

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Aiono Manu Fa’aea – Ala Mai Moana

Words and music by Aiono Manu Fa’aea

The inspiration for this piece is a name to motion for Moana to stand up and declare her place in the world by taking a look at Moana in a number of methods; one as the ocean, two as the folks of the ocean and three as a private dialog between dad or mum and little one to remind them of the legacy that oldsters need them to proceed. The reward that oldsters can provide their kids who’re seen as ‘oloa or koloa (items) embody passing on data and tales, hopes and goals of the household for his or her younger.

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Deborah Wai Kapohe – Kia Hora Te Marino

Poem textual content set to music by Deborah Wai Kapohe, organized by Glenda Keam

This poem is related in its unique type with Ngāti Maniapoto/Ngāti Rereahu, of the King Country/ Maniapoto area. It is now used broadly in shorter varieties resembling this one, which will be discovered on the Playcentre web site as a Karakia Tīmatanga (Opening Incantation).

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Salina Fisher – If I may land

Poem by Sarah Broom

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Celeste Oram – The Power of Moss

Poem by Jo Randerson

An excerpt from Jo Randerson’s reside analysis efficiency for Secret Art Powers (her upcoming e-book) at Lit Crawl 2021 encapsulates the feminist philosophy of continuance that underscores her poem ‘AND’ on this tune.

Right now, it’s not the energy of the sword we’d like however the energy of moss the oldest surviving plant EVER it’s not tall, it doesn’t thrust up above every thing else It doesn’t outline itself effectively, there’s no shiny grand assertion it simply quietly and softly persists and is thought in each continent.

This tune is devoted to Carmel Carroll and Ronnie Karadjov, the two flame-haired ladies who taught me easy methods to sing.

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Jenny McLeod – Nā Kui ki a Tama: Te Pūroto Kōpua / Big Sis to Little Bro: The Deep Dark Pool (I, II, III, IV)

Words and music by Jenny McLeod

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Janet Jennings – Talking of Goldfish

Poem by Jeni Curtis

This charming and eccentric poem by Jeni Curtis pops us gently into the watery worlds of fish. Are goldfish devoid of reminiscence as they circle their bowls? Do flounder ponder the flatness of the earth from the flatness of their estuaries? Do salmon recollect which stream to comply with? Do herrings of their flurried shoals share a single thought? Finally, the poet sinks into the sea of her personal reminiscence. The tune is a synthesis of phrases and music. Individual phrases, phrases, and stanzas are painted musically in addition to the general temper and delicate construction of the poem. The composer hopes that the music will encourage listeners to immerse themselves in the worlds of the textual content.

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Leonie Holmes – Wild Light

Poem by Michele Leggott

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Gemma Peacocke – Night prepare to Anyang

Poem by Nina Mingya Powles

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Helen Bowater – Out in the Garden

Poem by Katherine Mansfield

The 1917 poem could effectively allude to the backyard surrounding Chesney Wold, Karori, the place Mansfield’s household lived from 1893-98, and mirror the nostalgia she felt for these happiest occasions of her childhood. Her brother Leslie’s loss of life throughout a grenade coaching drill in October, 1915, profoundly affected her and impressed writings drawn from her childhood expertise resembling the brief tales See-saw (1917) and Prelude (1915-18) – the latter based mostly on the household’s transfer to Karori.

I additionally lived on this space as a baby and instantly responded to the depth, simplicity, implied thriller and sense of exultation on a swing anchored by a towering tree, see-sawing over hedges and flower-beds in ‘the windy, swinging darkish.

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Helen Fisher – O Little One

Poem by Lauris Edmond

Lauris Edmond’s poignant lyrics deliver to life the April 1843 story of an intimate relationship between a compassionate girl, Sarah Ironside, with a child in her care, the daughter of homicide sufferer Rangihaua Kuika, who was a niece of Te Rauparaha. This was a time of growing rigidity between some Māori and settlers which led to the June 1843 Wairau Affray, New Zealand’s first Land War. Earlier, Sarah’s husband, Samuel Ironside, had been persuading the sufferer’s household and associates to place their religion in the new justice system, which had been established for all New Zealanders after the Treaty of Waitangi signing. But he they usually had been shocked when Rangihaua’s assassin, a Pākehā referred to as Dick Cook was tried and discharged, this verdict being justified as a result of “It was only a Māori girl”. Originally from the music drama Taku Wana (1998/2002) the composing course of for O Little One (2021) started in 1993 : a journey of kōrero and whanaungatanga, with Maui John and Hilary Mitchell (historians), Rangimoana Taylor (Artistic Director), Lauris Edmond (poet) Linden Loader (mezzo soprano), kuia and kaumatua of Whakatū Marae, and eventually in 2021, with Jenny Wollerman (soprano) and Jian Liu (piano) as half of 21 x 21.

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Leila Adu-Gilmore – Massacre

Poem by Tusiata Avia

There is a pristine colonial manicured backyard metropolis stuffed with a radical underbelly of musicians, artists, and activists; that is Christchurch. I grew up in a spot the place I encountered racist experiences from being somewhat woman being referred to as the ‘N’ phrase at college and numerous different microagressions that I assumed had been regular and that made me really feel like I didn’t belong; this place can also be Christchurch. These competing notions of this place I referred to as residence formed how I view the world right now. I’m proud of this group and the interconnectedness that folks confirmed one another throughout and after the 2011 earthquake, but these two Christchurches nonetheless exist and result in the occasions that impressed this piece.

When I used to be requested by Jenny Wollerman to work with a New Zealand feminine poet, I assumed of Tusiata Avia who I’d met years earlier than in New York. When I noticed her poem Massacre I instantly knew that this was a tune I may write: it resonated on so many ranges. When the Christchurch bloodbath occurred, I’d simply began educating at NYU. I heard a Muslim chief on the information say that the public may assist the group by going to mosque in solidarity, and I’d by no means been to 1. I went to the NYU mosque and noticed the group—everybody mourning, a woman in tears as a result of she felt so scared that folks had been coming to assault them. They requested me to talk on behalf of school, and as somebody from Christchurch, together with interfaith leaders, a Christian priest, a Muslim imam and Jewish rabbi. The feeling of togetherness was palpable. When I noticed this poem, I knew that I wanted to make this a chunk of music as a remembrance. This will not be a straightforward poem or piece, nevertheless it’s actual. The bloodbath actually occurred and we should always remember that ignorance can take violent varieties, and that we should be vigilant in our each day quest for peace. The piece begins with the ‘Thursday 14 March’ part, with dreamy birdlike piano to decrease driving chords turning into blurred, with an summary vocal type together with microtones influenced by Māori waiata. In the subsequent chosen part ‘Sunday 17 March,’ I reveal the opposites and irony of the poem as I transfer by means of totally different textures from vocals and piano that edges in the direction of schmaltzy and romantic juxtaposed with brutalist Russian Ustvolskayan type piano. The piece developed into arpeggios reminiscent of Schubert’s Wintereisse however laced with Arabic scales.

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Eve de Castro-Robinson – Riven

Poem by Roma Potiki

I used to be instantly struck by Roma Potiki’s highly effective phrases and powerful, stark pictures – darkish, impassioned, spiky and percussive – and begging to be coaxed into sound. The tune ought to be delivered as a form of ritual; intense, pressing, but contained and nonetheless. The piano half has an uncompromising high quality, with a palpable depth. Much of its materials is percussive, both on the physique of the instrument, or just a few ready notes.

This tune is devoted to the reminiscence of my husband Ken, who died in 2021.

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Miriama Young – With you – with out you

Poem by Panni Palásti

Inspired by musical evocations inherent in the poem, I sought to seize the ebb of the tide, and the rhythms of music and metronome each incessant and gone ‘haywire’, as symbols for the coronary heart each pulsating and craving. My due to Panni Palásti for generously creating and sharing this poem.

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Louise Webster – Inhabiting each sounding sea

Poem by Peggy Dunstan

For this tune I needed phrases and music that spoke to the sturdy and enduring relationships amongst ladies. I discovered ‘… and her ashes scattered upon the waters’, a poem by Peggy Dunstan wherein she writes with such vivid and compelling imagery of the persevering with bonds between two ladies, even after

the loss of life of one. The music I’ve written is formed by Peggy’s phrases – in flip sturdy, brittle, sharp, dissonant, tender, translucent, fragile, craving, and above all, enduring.

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Tabea Squire – He Wawata kia Māhorahora: Freedom

Poem in Te Reo and English by Arapera

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Maria Grenfell – Listening to The Goldberg Variations

Poem by Elizabeth Smither

Looking for a textual content to set for Jenny Wollerman’s epic 21 x 21 undertaking, I got here throughout a gorgeous poem titled Listening to The Goldberg Variations by New Zealand poet Elizabeth Smither. Rhapsodic and musical in its use of language, it paints a dreamy and imaginative image of two folks escaping a “disagreeable dinner party” and discovering a piano, the place the gentleman performs Bach’s Goldberg Variations. It appeared a chance to make use of some snippets of Bach amidst the relaxation of the musical setting.

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Programme notes by Aotearoa New Zealand Festival of the Arts

The live performance was recorded in Wellington’s Michael Fowler Centre by Radio New Zealand Concert.

Produced and Engineered by David Houston

Technical Assistance by Sam Smaill

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