Reviews MUSIC

Kaea, Issue 1, 1 December 1979, Page 22

Reviews MUSIC

A n unusual new record has been published whose star performers are complete amateurs. You’ll never see them on stage; they are the birds of our forests. Nevertheless, there is some human influence in the shape of Robert Taylor, the narrator, and Sydney Melbourne, whose exquisite songs Tipene O’Regan reviews for us here.

CHILDREN OF TANE: NEW ZEALAND BIRDS OF THE FOREST Viking Sevenseas: Record VP429, Cassette VPS429C, $8.99 each

Hirini Melbourne’s composition and presentation of songs in Maori, based on the natural melody of our native bird calls, arrived like a dawn chorus to herald Maori Language Week in 1978. Since then his songs nave become a regular item on the National Programme, both in association with Te Reo o Aotearoa programmes and the bird song recordings which have been a regular feature of the “Early Morning Call ,v programme on Radio New Zealand. This seventeen-track record from Viking Sevenseas offers a feast of Hirini and the birds sounds of which we have until now had only in tantalising snippets. The production team have re-created the atmosphere and acoustics of the forest and set against them the remarkable collection of bird song recordings assembled by John Kendrick of the Wildlife Service. Each of the “natural”

recordings, in themselves all too brief, is followed by Hirini and his guitar calling up the soul and personality of the Particular bird in his soft and melodic uhoe Maori. The lyrics are striking in two regards they are in ordinary Maori vernacular sucn as a Maori child might respond to, full of transliterations and simple, observant humour, and they are laced with brilliant voice imitations of each bird’s call. There is no attempt to lock the songs up into tight textbook Maori; he sings with a smile and obvious enjoyment in the language as it is, dynamic, expressive and full of English borrowings. In “Nga Pipi o te Pipiwharauroa” a play on words in itself, he has the chicks calling: Kei whea ke koe e pa e? Kei whea ke koe e ma e? In “Kiwi”, the final track, he sings of the kiwi as a blind man with a walking stick, prodding as he walks: Rite kite kapo Mau tiripou Torotoro hikoi haere

Despite the modern idiom and the lightness of feeling these compositions are heavily dependent on classic Maori references, allusions, and beliefs about nature. These are never oppressive or out of place, however the rainbow is a tohu atua but what is important for the song is its colours. His mihi to the shining cuckoo, pipiwharauroa, records his pleasure that summer has arrived rather than restating the status of the bird in so much Maori belief and customary lore. Some of the songs are extremely simple, such as that for the tui of five lines or that for the putorino, or bag moth, of seven. Others are more complex and much longer, such as “Waiata kite Ra” which includes the rooster, the cicada, the skylark and the owl. However short or long, each in its own way is a delight, calling up feelings and responses to which most Maoris are alive or would like to be again!

TE REO O MAWAI-HAKONA Kiwi Pacific: Record SLCI39, Cassette TC SLC 139, $8.99 each

Te Reo o Mawai-hakona is an attractive addition to the increasing number of L.P. recordings in New Zealand. Appropriately packaged, its cover conveys much information for the waiata enthusiast. Translations of the Maori texts into English make the record meaningful for the novice. What the record demonstrates is a fast-growing development of Maori action songs. Melodies, lyrics, themes, changes in rhythm and pitch all have an originality about them that is a change from tne compositions, particularly those composed since the Second World War, based on western hit songs. The departure here is remarkable and suggests that this class of waiata may be the dawn of a new era in composition. Like a breath of fresh air this contribution will, I believe, inject new spirit and new maturity into this art form. Dovey Katene-Horvath, whose four compositions appear on side one, needs no introduction as her hallmark has been well and truly stamped in this field for some time. As with those of her fellow composers, Tua Delamere, Tamati Kaiwai and Te Oka, her compositions demonstrate considerable artistic flair in manipulating the elements of song composition change in rhythm, texture, choice of themes ana appropriate lyrics. The poi song, “I Roto I Te Ngahere”, brings out the depth of quality of which Maori waiata is capable. In many ways, this is a work that can be enjoyed by people of all age-groups that have an ear for music, whether as listeners or performers. Haka composition appears to be a difficult field to work in, requiring as it does skill and subtlety in the use of imagery, allusion and co-ordination of rhythm. Tua Delamere’s effort here does not compare with his two fine compositions on side two “Te Ao Hou” and “Takahe”. The latter in particular

brings out the best in women’s singing. “Maui-tikitiki” shows how a simple legend can be adapted to song. As a way of perpetuating an aspect of culture, and having regard to its moving melody, it must rate very highly. There is strength in the way “He Aroha Ra” is rendered. Men and women sing against each other and then in unison. There is change of pace and variation in melody. This record, because of its variety, will appeal to everybody. It has something in it for all ages and will enrich any collection. Joe Malcolm