What was your inspiration behind composing Stealing Tutunui?

In 1998, I wrote a flute concerto for Alexa Still, inspired by the legends of Maui Tikitiki a Taranga, and it was my doctoral dissertation piece. After I moved to Australia, I was commissioned by Symphony Australia to write an orchestra piece. I’ve always been inspired by Maori legends and took the opportunity to write a piece based on another terrific story.

This work was commissioned by Symphony Australia in 2000 for the New Voices composer development program in Perth, and premiered by WASO, with Kenneth Young as the conductor. What was it like to hear this piece performed live for the first time?

It was great! I had had a few orchestral performances before, while I was doing my doctorate, but it was quite a step up to hear a piece of mine played by a professional orchestra who had commissioned the piece. I was very lucky being able to work with Ken Young many times as my career has developed.

Can you tell us a bit about the musicality of the work? Are there any special musical elements or motifs that you use to represent key aspects of the story? 

I would describe the piece as a tone poem, which means it follows the narrative of a story. Various musical motifs include a rocking triple-time motive to portray the rolling ocean, pitch bending in the upper woodwinds to imitate sea birds, and winds and muted trumpets to imitate the sounds of people laughing.

Stealing Tutunui was re-orchestrated for the Tasmanian Symphony Orchestra in 2001. What prompted the decision to re-orchestrate, and how did this process enhance or alter the musical narrative?

It’s actually more practical than that. The West Australian Symphony is a triple wind size orchestra, whereas the TSO is a double wind orchestra. Double wind size means that the orchestra’s wind section consists of two flutes, two oboes, two clarinets, and two bassoons, instead of three. Having it as a double wind piece means that those sized orchestras can play the piece in future. I can’t remember the piece before I re-orchestrated it because this version is the only one that is performed.

You were raised in Ōtautahi Christchurch… What are you most excited about this piece being performed on your old turf?

So many things! Firstly, I’m thrilled that my parents are able to hear one of my pieces performed by an orchestra. They have always been great supporters of the CSO. My former music teacher Russell Kent is also coming to the concert. He encouraged me to try composition! I’m very excited to hear the orchestra again; I loved playing in the second violins while I was at university, and I have worked with Ben Northey quite a few times in Australia, and it’s always a joy.

If you could summarise 'Stealing Tutunui' in three words, what would they be?

Colourful, mysterious, exciting.


You can learn more about the story behind Stealing Tutunui, and listen to it here.