Von Tempsky

Commissioned by Howick Brass Band

Premiere: 10 September 2017
Howick Brass Band, conductor Kerry Wood
All Saints Anglican Church, Howick, Auckland

Programme Note

Von Tempsky is a symphonic work for brass band in four movements depicting episodes from the life of Gustavus von Tempsky (1828 - 1868), who arrived in New Zealand in 1862 and rose to fame as an officer in the Forest Rangers during the wars in the Waikato and Taranaki. While he was a popular figure in colonial society, his place in New Zealand history has been revised as the country's view of the nineteenth-century land wars have evolved. In particular, his involvement, and that of many others in the colonial forces, at Rangiaowhia and Ōrākau, is a subject that causes strong reactions to this day.

The first movement is a tragic depiction of the wars in broad brushstrokes. It segues into a fast second movement reflecting the intense but ever-changing nature of close-quarter bush warfare. The third movement recalls a night Von Tempsky hid in wetlands that echoed with the calls of bitterns, and features a melody, 'Ah! Non credea mirarti', by his favourite composer, Bellini. The final movement is the scene of Von Tempky's death at Te Ngutu-o-te-Manu.

Von Tempsky was commissioned by the Howick Brass Band with the support of Creative Communities, the Howick Local Board, and Dr Toot Brass & Woodwind Specialist.

Performance Notes

Pukaea - the taonga puoro instrument is included in the fourth movement as an 'brass' instrument indigenous to New Zealand. Pukaea is the ideal instrument, but if this is not available, pūtātara could be substituted. While a specialist in taonga puoro is ideal, the performance of this part can be by any member of the band, including percussion. It may be necessary for the player to put aside their regular instrument in the bars surrounding the cues. (At the premiere, the composer on second trombone, played the part on an unmodified conch shell.)

The part is improvised within the tradition of taonga puoro. Although the part it is notated with single notes of longer duration, these simply mark the place that the instrument is to be played, not the rhythm or style. Similarly, notes with pauses indicate a solo of longer duration. It is advised that performers take time and opportunities to learn how the instrument is played for its part in the piece, and the story, to have maximum effect.

Pauses at the end of the second and third movements may be extended into slightly longer breaks, but noise such as page turns, blowing moisture out of instruments, and insertion of mutes should be avoided.