E KIWI E
TRIBUTE TO THE 28TH MĀORI BATTALION
Takerei Komene (1999-)
Trumpets: Matthew Stein, Toby Pringle
Trombone: Mark Davey
Organ: Jonathan Berkahn
Percussion: Grant Myhill, Hamish Goodhue, Mone Isoda, Martyn Smith
E Kiwi E features the following text in variable sequence:
Text from Laurence Binyon’s For the Fallen, translated to Māori by the New Zealand Defence Force, and Tuini Ngāwai’s E Kiwi E.
FOR THE FALLEN
E kore rātou e kaumātuatia
Pēnei i a tātou kua mahue nei
E kore hoki rātou e ngoikore
Ahakoa pehea i ngā āhuatanga o te wā
I te hekenga atu o te rā
Tae noa ki te arangamai i te ata
Ka maumahara tonu tātou ki a rātou
Ka maumahara tonu tātou ki a rātou
E KIWI E’S ORIGINAL TEXT
E Kiwi e, aroha rā
O parirau hei awhi mai
Te Hokowhitu-a-Tū toa
A Tūmatauenga, auē. Auē.
Taukuri rā, te aroha e
Maringi noa ngā roimata
E taea te pupuri rā
Te Hokowhitu-a-Tū toa
A Tūmatauenga, auē. Auē.
Taukuri rā, te aroha e
They shall grow not old
As we that are left grow old
Age shall not weary them
Nor the years condemn
At the going down of the sun
And in the morning
We will remember them
We will remember them
Oh Kiwis, spread out
Your wings to help
The brave lads in the Māori Battalion
Away with the War God, auē!
Oh goodness, our hearts go out to them
Our tears have been spilt freely
Hoping we won’t lose
Our warriors in the Māori Battalion
Away with the War God, auē!
Oh goodness, we’re so concerned about them
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Images supplied courtesy of the National Army Museum Te Mata Toa.
28TH MĀORI BATTALION
By the end of the Second World War in 1945, the 28th (Māori) Battalion had become one of the most celebrated and decorated units in the New Zealand forces.
At the outset of the Second World War, Māori leaders, such as Apirana Ngata, pushed both for Māori participation in the armed forces and for a dedicated Māori force to be established. This view was not supported unanimously by Māori.
Te Puea Hērangi voiced her opposition to Waikato people fighting overseas while the government ignored their land grievances. Nonetheless, the Māori Battalion was formed, while many other Māori served in regular units of the armed forces.
The Māori Battalion was divided into five companies: four rifle companies of about 125 men each and a headquarters (HQ) company of around 200 men. The Battalion's four rifle companies (named A, B, C and D) were organised along tribal lines, while HQ Company drew its personnel from all over Māoridom.
In total, almost 3600 men served overseas with the Māori Battalion between 1940 and 1945. Of these, 649 were killed in action or died on active service. In addition, 1712 men were wounded and 237 were prisoners of war. In the words of LieutenantGeneral Bernard Freyberg, who commanded the 2nd NZ Division, 'no infantry battalion had a more distinguished record, or saw more
Those losses were sustained in a series of campaigns. The Māori Battalion was to the fore on Crete, in Egypt and the desert campaign, and in Italy. They won renown as fierce and courageous fighters. Field Marshall Erwin Rommel, the Commander of the German Afrika Korps, once said, “Give me a Māori Battalion and I will conquer the world.”
The bravery of the Battalion’s soldiers was recognised in a multitude of awards. While the Victoria Cross awarded posthumously to 2nd Lieutenant Te Moananui-a-Kiwa Ngārimu stands out as the ultimate achievement by Māori in battle, the Māori Battalion received 99 honours and awards – the highest number among the 11 New Zealand infantry battalions.
The Second World War was a significant event in terms of Māori–Pākehā relations. The contribution and reputation of the Māori Battalion was a source of great pride to the wider New Zealand community. It was seen by many as a positive step forward for race relations in this country. Apirana Ngata had argued that Māori participation in the First World War was the price of citizenship –after the Second World War it was clear that Māori had paid in full.
The interaction between Māori and non-Māori within New Zealand society with World War II has been what can only be seen by some as a continued conversation about representation at all levels of political and social endeavours.
The response in recruiting to see action in World War II was variable within different tribal areas and the responsibility, as noted, fell to Apirana Ngata and others. The transitional nature of some tribal groups relocating to urban situations throughout the country was evident and bore witness to numbers within the rural sector lessen therefore creating challenges for Māori society in general. Despite widespread praise for their wartime service, the Māori veterans returned to a country that was in many ways socially and racially divided. The impact of such significant losses of lives coupled with related health and social issues mentally and physically stemming from the experiences of warfare extends to present day situations. Veterans and whānau more recently are presenting to a number of political forums such as the Waitangi Treaty Claims Tribunal on such outflows of redress the are required to address the impact that such significant event(s) of war have had on New Zealand society as a whole. No value can be placed on the price and the impact that such events can have on whānau and / or society as a whole.
Orpheus Choir Wellington acknowledges and thanks the Ngarimu VC & 28th (Māori) Battalion Scholarship Fund Board for its endorsement of this commission and for its support and assistance.
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THE ARMED MAN: A MASS FOR PEACE
Karl Jenkins (1944-)
Mezzo: Maaike Christie-Beekman
The Armed Man: A Mass for Peace was commissioned by the Royal Armouries Museum to mark the transition from one millennium to another and the Museum’s move from London to Leeds. It reflects on the passing of “the most wartorn and destructive century in human history” and looks forward to a more peaceful future. The Armed Man is dedicated to the victims of the Kosovo conflict, whose tragedy was unfolding as it was being composed. It was first performed in 2000 by the London Philharmonic Orchestra and the National Youth Choir of Great Britain, conducted by Jenkins himself.
The texts were chosen jointly by Jenkins and the then Master of the Royal Armouries, Guy Wilson. A framework for the work is provided by the traditional Catholic Mass and includes settings of the Kyrie, Sanctus, Agnus Dei and Benedictus. The work is interspersed by other movements where the lyrics are drawn from diverse religions and cultures. The music too is cosmopolitan in its inspiration.
There are 13 movements. Jenkins uses the structure of the piece to
reinforce his anti-war sentiment. The movements in the first half involve preparing for battle, culminating in the seventh movement, Charge!, which includes the line “Charge, ‘tis too late to retreat”. This movement concludes with the Last Post, the short piece played on the bugle, usually at remembrance services such as Anzac Day.
The movements of the second half suggest the futility of the conflict described in the first half. The movements initially focus on the horror and tragedy of war, before moving to a more gentle expression in the Agnus Dei and Benedictus. The final movement expresses hope and optimism for the new millennium.
In tonight’s performance, the choir is accompanied by the Wellington Brass Band. Jenkins originally composed the piece with a full orchestral arrangement but later completed this arrangement for brass band. This has been selected for tonight’s performance because of the connection between the brass instruments and the militaristic themes of the music and lyrics.
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MOVEMENT 1: THE ARMED MAN (L’HOMME ARMÉ)
The ‘mass for peace’ is introduced by a marching drumbeat and the tune of a French folk song (based on a 15th-century original). The choir sing the folk song, which celebrates the man of arms: the armed man is to be feared, let every man arm himself with a coat of steel.
MOVEMENT 2: CALL TO PRAYERS
A traditional Muslim Adhann is sung in Arabic by a muezzin. The call to prayers is preceded by the declarations: ‘Allah is the greatest; I bear witness that there is no other god but Allah; I bear witness that Muhammed is the messenger of Allah.’
MOVEMENT 3: KYRIE
The Kyrie eleison (Greek for ‘Lord have mercy on us’) is usually the opening part of a mass. After a solemn instrumental introduction, the soprano soloist leads with the main theme which the choir then takes up. It is followed by the Christe eleison in a different Renaissance style before returning to the Kyrie eleison.
MOVEMENT 4: SAVE ME FROM BLOODY MEN
The words are taken from Psalms 56 and 59. It is sung by the tenors and basses of the choir a cappella (unaccompanied) in the style of a Gregorian Chant. The singers call on God to be merciful and deliver them from their enemies, but a sudden drumbeat at the end brings a sense of foreboding.
MOVEMENT 5: SANCTUS
Often in a Latin Mass the Sanctus expresses joy, but this is not present as the percussive quality of the music suggests both militarism and urgency.
MOVEMENT 6: HYMN BEFORE ACTION
This movement uses words by Rudyard Kipling. The soldiers prepare for the ultimate sacrifice, as in the final words “Lord grant us strength to die!” Like other movements, the plaintiffs express a special relationship with God; given the futility of their pleas, it’s a way for Jenkins to express his belief in a broader concept of religion than tends to be found in any single faith.
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MOVEMENT 7: CHARGE!
Trumpets and drums conjure up an army on the move and we move beyond preparation into battle itself. The text is a stanza from John Dryden’s Ode for St Cecilia’s Day, interrupted by the words ‘How blest is he who for his country dies’ sung by the soprani and alti of the choir – words referred to by the anti-war poet Wilfred Owen as “the old lie”. The Last Post, which concludes the movement, is a reminder that war means death.
MOVEMENT 8: ANGRY FLAMES
This is a setting of words by the Japanese poet Toge Sankichi, reflecting on the effects of the atom bomb dropped on Hiroshima on 6th August 1945. Introduced by the tolling of bells and marked Lacrimoso, this movement, led by soloists, is mournful in mood. In arresting imagery it conveys the horrific consequences of the bomb, including: “Popping up in the dense smoke, Crawling out wreathed in fire, Countless human beings on all fours in a heap of embers that erupt and subside, Hair rent, rigid in death, There smoulders a curse.”
MOVEMENT 9: TORCHES
This is a setting of part of the Hindu epic the Mahabharata. The Mahabharata narrates the events and aftermath of the Kurukshetra War that started around 3000BCE. In this extract, the horror of war is reflected in the fate of animals. They catch fire and, as they flee, they become “living torches”.
MOVEMENT 10: AGNUS DEI
After the traumas of war this movement brings the hope of peace. It is a beautiful setting of part of the Latin Mass: ‘Lamb of God, who takes away the sins of the world ...’.
MOVEMENT 11: NOW THE GUNS HAVE STOPPED
The mezzo soloist sings of a lonely survivor who mourns the death of a friend in the battle. The words were written by Guy Wilson. Even survivors are scarred by war: “I shall go home, alone; And must try to live life as before and hide my grief.”
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MOVEMENT 12: BENEDICTUS
This movement is introduced by a serenely beautiful flugelhorn solo played by Toby Pringle. The tune is taken up by the choir to words from the Latin Mass: “Blessed is he that comes in the name of the Lord”. Peace leads to rejoicing but after an explosive “Hosanna” the mood of serenity returns.
MOVEMENT 13: BETTER IS PEACE
The substantial final movement begins by returning to the music from the beginning but with a subtle shift from minor (mournful) to major (optimistic) key. The words, too, have changed. The choir now sings: “Better is peace than always war”, before moving to an adaptation of a poem by Tennyson expressing hope for the new millennium: “Ring out the thousand wars of old. Ring in the thousand years of peace.”
Perhaps anticipating that wishing for a thousand years of peace was naïve, Jenkins ends with comforting words from the Book of Revelation. The brass and percussion are suddenly silent. Hymn-like the choir sings unaccompanied. “God shall wipe away all tears, and there shall be no more death, neither sorrow nor crying, and there shall be no more pain.”
This performance of The Armed Man: A Mass for Peace by Karl Jenkins (arranged by Andrew Wainwright & Duncan Gibbs) is given by permission of Hal Leonard Australia Pty. Ltd. exclusive agent for Boosey & Hawkes Music Publishers
On route march Maadi Egypt.
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Driving through street of Sora 1944.
BRENT STEWART – CONDUCTOR
Brent Stewart is a leading New Zealand conductor, percussionist and pianist. Last year his conducting engagements included the New Zealand Symphony Orchestra, Auckland Philharmonia, Orchestra Wellington, Christchurch Symphony Orchestra, Dunedin Symphony Orchestra, St Matthew’s Chamber Orchestra and Manukau Symphony Orchestra.
His current posts include Music Director of Orpheus Choir Wellington, Assistant Conductor and Pianist of the New Zealand Secondary Students’ Choir, and Principal Percussion and Acting Section Principal Timpani of Orchestra Wellington.
A champion of New Zealand composers, Brent has premiered many percussion, orchestral, and choral works to critical acclaim. In 2007, he premiered Karlo Margetic’s Xylophone concerto with the Auckland Philharmonia Orchestra. In the following year, Brent recorded the same work as soloist with the New Zealand Symphony Orchestra. Last year
Brent was assistant conductor on Claire Cowan’s Cinderella with the Royal New Zealand Ballet and recently served as Assistant Producer on NZSO’s recording of her ballet, Hansel & Gretel. In 2021, Brent conducted the New Zealand premiere of Red! by New Zealand composer Lucy Mulgan, with New Zealand Opera, and in 2023 conducted the world premiere of Dame Gillian Whitehead’s Ngā Whetū o Matariki with the Dunedin Symphony Orchestra.
Brent’s diverse repertoire also includes contemporary pop collaborations including Synthony, a fusion of electronic dance music plus symphony orchestra with performances around the country including New Zealand’s largest music festival, Electric Avenue, and recently with Singapore’s Metropolitan Festival Orchestra on a floating platform at Marina Bay, Singapore. He also recently conducted Benee live with the NZSO and travelled to Tokyo in January 2024 for a season of Phantom of the Opera
Beyond his artistic pursuits, Brent has made significant contributions to music education. Formerly the Head of Music at Wellington East Girls’ College for nine years before going freelance full-time, he has continued to engage in educational projects, including workshops, mentoring and adjudicating the New Zealand Choral Federation’s Big Sing Finale in 2023.
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SIR KARL JENKINS
Karl Jenkins is a Welsh musician and composer. He studied music at Cardiff University and the Royal Academy of Music in London. Despite a training in classical music, he initially worked as a jazz and jazz-rock musician, achieving fame playing saxophone, oboe and flute for the award-winning progressive rock band, Soft Machine.
His career as a composer started in the advertising industry and he twice won prizes in that field. His breakthrough as a composer came with Adiemus, a series of new-age song-length pieces, the first of which was released in 1994.
With reference to the eclectic musical styles he embraces, Jenkins describes himself as a musical tourist. He attributes a
preference for vocal music to his Welsh heritage and, though his pieces often reference Christian worship, his desire is to express a broader more global picture that is universal and embraces all cultures.
His music has not always been well received by critics but Jenkins is unconcerned. His goal is to write music that communicates with people which he achieves through appealing melodies and arresting rhythms. He is pleased that the Benedictus from The Armed Man is one of the most played pieces at funerals in the United Kingdom as it indicates the connection people feel with his music.
Jenkins was knighted in 2015 for services to composing and crossing musical genres.
TAKEREI KOMENE
Takerei (Ia/They/Them) is a musician based in Auckland, having trained as a baritone and choral conductor at the University of Auckland under Dr Te Oti Rakena, Catrin Johnsson and Robert Wiremu, and Dr Karen Grylls respectively. Currently, they work as a professional choral singer, composer, conductor and music administrator, and feel privileged to be a part of the choral community in Aotearoa in whatever capacity they find themself in.
As a composer, Takerei’s works have a particular focus on
Te Ao Māori, as well as identity in general. This is reflected in their compositional output, which has been written almost exclusively in Te Reo Māori. They are particularly interested in the retelling of ancient stories and musical traditions in the context of music today. Their influences range from puoro Māori, both traditional and contemporary, to other indigenous musical traditions, to the many eras of choral music past and present, to video game soundtracks and music of other popular media.
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MAAIKE CHRISTIE-BEEKMAN - MEZZO
Maaike Christie-Beekman started her vocal training and pedagogy studies at the Amsterdam Conservatorium where she first graduated for her bachelor’s degree in vocal pedagogy and in 2000 gained her master’s diploma in performance. Maaike has sung opera, oratorio and chamber music throughout the Netherlands and Europe and features on Brilliant Classics, singing the title role of Mozart’s Ascanio in Alba and featuring on Poulenc’s Les Mamelles de Tiresias.
In 2010 Maaike moved to New Zealand with her husband and two daughters. She was a Resident Artist for the New Zealand Opera for two years and performed in a number of Days Bay Opera productions. Currently, Maaike regularly performs chamber music and oratorio. She has sung at the Schubertiade Festival, sang Berlioz’s Les Nuits d’Ete with the Manawatu Symphony Orchestra, performed Mahler songs with the Wellington Chamber Orchestra and regularly collaborates with the Takiri ensemble. As an oratorio soloist, she performed in Mendelssohn’s Elijah and Bach’s Mass in B Minor with the Orpheus Choir, Handel’s Messiah with the Christchurch City Choir, and Bach’s St Matthew’s Passion with the Tudor Consort.
Next to singing, Maaike is a voice and performance coach. She was an artist teacher at Te Kōkī New Zealand School for two years, regularly works with choirs as a vocal consultant and currently conducts two choirs.
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WELLINGTON BRASS BAND
Established in 1905, Wellington Brass are New Zealand’s preeminent Brass Band. In 2023, they secured an unprecedented 5th consecutive A-Grade title at the New Zealand Brass Band Championships in Dunedin, and their 9th national title in 10 years. In addition to domestic success, Wellington Brass won A-Grade titles in Australia in 2015 and 2018. In 2016, Wellington Brass received an invitation to, and performed at the prestigious British Open competition, in Birmingham, UK. At home, they have toured with the New Zealand Symphony Orchestra, performed alongside Orchestra Wellington and Dave Dobbyn.
CORNETS
Toby Pringle
Clarke Spence
Andrew Weir
Brendan Agnew
Nina Noble
Daniel Dalgleish
Kodi Rasmussen
Tom Baker
SOPRANO CORNET
Matthew Stein
TENOR HORNS
Clynton Payne
Alice Rudhall
Garth Coffey
EUPHONIUMS
Byron Newton
Reuben Brown
Finlay Van Lent
BARITONES
Jack Bewley
Ethan Mancer
TROMBONES
Mark Davey
Clara Dujakovic
Patrick Di Somma
EB TUBA
Hamish Williams
Ian Peters
BB TUBA
Chris Collings
James Sutherland
PERCUSSION
Grant Myhill
Martyn Smith
Hamish Goodhue
Mone Isoda
ORPHEUS CHOIR WELLINGTON
The choir is often referred to as “the mighty Orpheus” because we bring the big choir experience — dramatic, spectacular, and emotionally charged performances of stunning choral music — to a wide variety of events. These include the Choir’s own sell-out events, festivals and the occasional pop concert. Our concerts, including tonight’s The Armed Man, are often recorded by Radio New Zealand Concert.
Formed in 1947, we are custodians of some of the greatest music
ever written and we love to make it come alive for contemporary audiences of all ages and stages. Our varied and sometimes surprising repertoire includes everything from the most loved works in the choral repertoire to some of the less known and more challenging as well as Māori waiata. In line with our role at the centre of performing arts in the Wellington Region, we’re regularly seen at community events where our performances have included jazz, pop and other contemporary music.
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ORPHEUS CHOIR WELLINGTON
BRENT STEWART MUSIC DIRECTOR
Stephen Clothier Assistant Conductor
Jonathan Berkahn Pianist
SOPRANO 1
Emma Blunt
Lizzie Callaghan
Eliza Cartmell
Gemma Conn
Tessa Coppard
Isabel Doudney
Sarah Fearon
Rosalene Fogel
Alison Forrest
Emilia Gray*
Marion Harvey
Allie Hodge
Veronica Huntington
Amy Noble
Kerri Osborne
Jo Pegler
Molly Powers-Tora
Ruth Pritchard
Justine Robbins
Rosie Salas
Gretel Standage
Sharon Talbot
Rebecca Thomson
Kate Williams
SOPRANO 2
Paddy Austin
Mandy Britnell
Catherine Conland
Natalie Crane
Rachael Dewar
Janet Dixon
Ishbel Eade*
Penny Halse
Vivienne Healey
Janet Holst
Anna Kennedy
Meredith Lawry
Svetlana Lushkott
Linn McManamon
Caitlin Melhuish
Mary-Anne Morgan
Gemma Nash
Katherine Quigley
Manjula Shivanandan
Polly Sorenson
Emily Stephens
Judy Sutherland
Joy Taylor
Folole Togiatama
Linda Van Milligan
Sandra Warwick
Maureen Woodhams
ALTO 1
Faith Atkins
Robin Averill
Jacqui Barber
Moyra Brown
Mashal Butler
Jane Dancer
Sarah Gaitanos
Naomi Geldard
Claire Giblin
Andrea Gray
Greta Healy-Melhuish
Ursula Kerpen
Nina Koele
Jenny Kortright
Mary-Anne
Liddington
Kerry Lloydd
Helen McNeil
Amy Nathanson
Grace Nelles
Roxani Rahn
Veronica Reid
Charlotte Secker*
Jane Shallcrass
Diane Stevens
Lilli Street
Clare Tattersall
Kate Telford
Vicki Thorpe
Lydia White
Nicola Woodhouse
ALTO 2
Heather Armishaw
Felicia Edgecombe
Marian Leicester
Adrienne Leuchars
Frances Manwaring
Sarah-Jane McCosh
Denise Nassenstein
Katherine Noble
Naomi Parker
Hilda Payne
Christine Ridding
Rosemary Russell
Tatjana Schaefer
Sarah Schnellenberg
Sonia Wansbrough
Angela Werren
Susi Woelz
Imogen Wybourne
TENOR 1
James Asquith
Graeme Austin
Richard Braae
Peter Butchers
Francesco van Eerd
Jon Howes
Ollie Levy
Andrew Williams
Charles Wise
TENOR 2
Randall Cobb
Jo Craggs
Ramon Das
Baxter Ferguson*
Minto Fung
Charles Greenlees
Roger Joyce
Paul Oliver
Mike Pointer
Glen Vivian
BASS 1
Tom Ackroyd
Bruce Asher
Andreas Benz
Osmond Borthwick
Samuel Brown*
Robert Caldwell
Billy Clemens
Stephen Clothier
Jono Cordwell
Andrew Davies
Hamish Dixon
Trevor Henry
Alastair Hercus
Chris Lipscombe
Hasil Maksud
David Marrison
Jackson McCarthy
Stirling Smidt
Angus Stewart
Peter Vose
David Wansbrough
Mark Wilcox
Roger Wilson
BASS 2
Richard Armishaw
Chris Bell
Richard Dean
Craig Fitton
Simon Harnden
Alastair Ker
Daniel Kibblewhite
Charle Rainey*
Russell Tregonning
* Orpheus Scholars
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2024
HIWA PERFORMANCE CREATIVE
Hiwa Performance Creative (the Hiwa Crew) thrive on delivering quality Māori performance and learning experiences filled with passion and knowledge. Our Crew focuses on maintaining Tikanga whilst allowing the ever changing creative space to accommodate for your ideas to become a reality.
