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pc2233cb; 2331; timp.; 3 perc (triangle, tomtoms, bass drum, suspended cymbal, xylophone, tam tam, log drum); strs

In 1995 I was approached by the NZSO to write an overture to commemorate the recent death of New Zealand’s most famous war hero, Sir Charles Upham. Upham was famous for having won the Victoria Cross twice for bravery during World War II. He was, however, extremely modest when it came to discussing his achievements. Some years before his death it was suggested to Upham that he have a state funeral; he simply replied, “A bugle will do”. This comment seemed like a good starting point for my piece.

There are no bugles in the orchestra, but the opening section depicting the horrors of battle contains plenty of brass. Sub-titled Maleme and Ruweisat Ridge, the music is fast and furious, built from several motifs, and includes the opening rhythm for the most well known Maori haka (war dance), Kamate, kamate. The music builds to a climax, and the scene changes to a bleak Colditz Castle, where Upham was imprisoned during the war. While in prison he dreams of rural NZ, and the farm near Kaikoura called ‘Landsdowne’, where he eventually settled after the war. This brief pastoral section links into a coda celebrating the outbreak of peace. Motifs from earlier in the piece return but changed into brighter modes. ’

A Bugle Will Do was first performed by the NZSO in 1996 under Andrew Sewell, and was subsequently performed in the USA.

• Ritchie, A.: A Bugle will Do; computer-set 

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Taonga puoro include: Putatara, Poi awhiowhio, Koauau ponga ihu and Pumotomoto

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• Whitehead: "Aria" from Outrageous Fortune; computer-set 

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This song cycle for soprano and piano has texts by the composer in Maori and English.

“Awa Herea memorably evokes the physical appearance of symbolic significance of these braided rivers… cosmic weather-driven energy.” (Covell, Sydney Morning Herald).

“Its pace was shrewdly varied and the music encompassed a range of styles – from sung declamation to florid lyricism – without incongruity.” (Jack, Independent).

“The cycle displays all the characteristics of her [Gillian Whitehead’s] mature work. The vocal line is at once exultant and contemplative, the piano writing incisive or lulling; the formal shaping novel yet accessible. It is a memorable piece, filled with the energetic spirit of the natural world and finding through that spirit its own serenity.”

• Whitehead: Awa Herea; computer-set 

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• NZIAF: Gillian Whitehead Portrait; part 2 

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• Waikohu: Mere Boynton and Friends 

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• Tracey Chadwell's Songbook  Year: 1995 

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• Ears Wide Open Taringa Areare Education Resource CD  Year: 2000 

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2sop,1ten,2bari,SATB chorus and orchestra: (2)22(2)2(2); 2220; 2perc,timp,2keyb; strs.

Bitter Calm is a full length opera for five principals, chorus and orchestra in two acts. It is based on an incident at Motuarohia Island in the Bay of Islands, New Zealand in the 1840s. It is a drama of human passions in the contexts of land alienation and tensions between Maori and new settlers. Premiered at the New Zealand International Festival for the Arts in 1994 and filmed for television.

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pic2,2CA,2Bass,2 Contra; 4331; Timpani; 3 Perc; Strings (optional organ part)

Commissioned by the Christchurch Youth Orchestra and premiered by them, it has subsequently been played by the Auckland Philharmonia, in Australia and in the USA by the Eugene Symphony Orchestra. It is full of pounding rhythms and a vital sense of action and movement as befits a work which takes the Haka as its inspiration.

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• Toiapiapi - Hirini Melbourne  Year: 1991 

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piccolo, C flute, alto flute. Taonga puoro: tumu tumu, karanga manu, putorino toroa, putorino maine, putorino nui, purerehua, pakunu. Taonga puoro parts mostly improvised.

In the tradition of the Maori, the indigenous people of New Zealand, Hine Raukatauri is the goddess of music and dance. She is embodied in the form of the female case-moth, who hangs in the bushes and sings in a pure, high voice to attract the male moths to her. Her hair is found as a fern, the hanging spleenwort, and her voice is heard in the sound of the putorino, an instrument known only in Aotearoa (the Maori name for New Zealand). The putorino is an instrument that can be played in various ways – as a flute, as a trumpet and as a means of enhancing or altering the human voice.

Hineraukatauri is written for two performers, one playing conventional flutes (piccolo, C and alto flutes), and the other for taonga puoro (instruments). The score features three different putorino, which, like all taonga puoro, (and also the songs and chants) have a small pitch range, rarely exceeding a fourth, which varies from instrument to instrument. Three putorino are used in this piece – one made of albatross bone and two of wood, and both the flute and trumpet voices are used. Other instruments used are a karanga manu (bird-caller), a purerehua (swung bull-roarer) and tumutumu (tapped instruments.)

The flute player’s part is notated, but the music for the taonga puoro is improvised; there are areas when the flute player is encouraged to improvise with the taonga.

• Whitehead: Hineraukatauri; facsimile 

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• NZIAF: Gillian Whitehead Portrait; part 1 

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• Sound Barrier  Year: 2006 

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• Gillian Whitehead: Puhake ki te rangi  Year: 2007 

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• Luca Manghi: Quays  Year: 2012 

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Taonga Puoro: ipu, pahu pounamu, koauau rakau maire, panguru, hure puru hau, poi awhio whio, ua roria rau karamu, putorino rakaumatai, kouaua pponga ihu, kouauau koiwi kuri, koauau koiwi toroa, tumutumu, pupu harakehe, porotiti, purerehua kohatu pounamu, pukaea rakau manuka, karanga manu; Maori instruments and piano improvised (guidelines in score), cello notated

• Gillian Whitehead: Aftermath 

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• Gillian Whitehead: Waka, Kowhai and Tui 

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• Gillian Whitehead: Waka's Love for Kowhai 

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• Gillian Whitehead: The Storm 

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• Whitehead: IPU  Year: 1998 

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• Toiapiapi - Hirini Melbourne  Year: 1991 

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• Toiapiapi - Hirini Melbourne  Year: 1991 

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