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The poem is a reflection of the transient nature of love and life. The gamelan, being an intergral part of a traditional which sees life as cyclic, maybe offers a balance. I have endeavoured to express this polarity by using traditional materials in non-traditional ways.

Judith Exley

• Exley; A Song of Marigolds; computer-set 

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• Three works by Judith Exley 

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

• Whitehead: Aria from Outrageous Fortune; computer set 

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

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• Tuhonohono: Music by Gillian Whitehead 

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• Tuhonohono 

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For Piano, Mandoline, Bass, Violin, Cello, Accordion and Female Voice

• Besser: Music for Peace Volume One  Year: 2002 

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bagpipes, cello, marimba/harp/tenor drum (1 player), violin, flute/piccolo (1 player), clarinet/bass clarinet/soprano and alto saxophones (1 player)

This dance theatre project was commissioned to celebrate the New Zealand Women’s Suffrage Centennial, and explores a range of historical and contemporary issues. It is based on documents written by Kate Shepherd and was choreographed by Susan Jordan.

• Fisher: Bone of Contention; facsimile 

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• Fisher: Bone of Contention (excerpt); facsimile 

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• Helen Fisher: Bone of Contention  Year: 1993 

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Children and Adults was conceived as a song cycle, commissioned by Rosemary Stott for the Klarion Trio in 1992. The different ways that children and adults view the world has been a recurring source of fascination for the composer (who has reared three children of his own). This is encapsulated in these four settings, in which issues such as life, death, survival and creativity emerge as the main themes.

• Ritchie: Children and Adults; facsimile 

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• New Zealand Poets in Song - Anna and Matthew Leese sing songs by Anthony Ritchie  Year: 2008 

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two violins, viola, cello and bass

• Freed: Deserted Beach; facsimile 

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• Freed: Deserted Beach; facsimile 

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• Freed: Deserted Beach; facsimile 

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• New Zealand Composers: Franchi, Axtens, Bowater, Freed, Lockwood 

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• The Music of Dorothy Freed 

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Taonga puoro include: putatara, putorino matai (wheke), pumotomoto, oriori, pupuharakeke (flax snail), pu kaea, nguru rakau maire

Hinetekakara is the ancestress of Aroha Yates-Smith, the kaikaranga (singer) who provided the idea and the text of this piece. Hinetekakara lived on the shores of Lake Rotorua with Ihenga, her husband or father, an eponymous ancestor of the Te Arawa people, when the land was still being settled after the arrival of the Te Arawa canoe from central Polynesia.

The four cadenzas, for bassoon, alto flute, flute, cello and bassoon, and bassoon link improvised sections, in which all the instruments participate. The singer initially invokes, accompanied by putatara (conch shell trumpet), the spirit of Hinetekakara, then addresses rituals following the death of her future father-in-law (with putorino), and then the birth of her son (with pumotomoto, an instrument used to assist at child-birth). A voiceless improvisation on pupu harakeke (flax snail), an instrument presaging danger, is followed by Ihenga’s anguished lament as he finds the murdered body of Hinetekakara by the lake, by the place named for her, Ohinemutu, meaning the end of the woman. Finally, she is farewelled as her spirit returns to the afterworld.

• Whitehead: Hinetekakara; computer-set 

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• Whitehead: Hinetekakara; computer-set 

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• Whitehead: Hinetekakara; computer set 

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• Gillian Whitehead: Various Works 

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Voice used for waiata; Taonga puoro includes: Putatara, Putorino Matai, Pumotomoto, Pupuharakeke, Pu Kaea, and Nguru Rakau Maire

Hinetekakara is the ancestress of Aroha Yates-Smith, the kaikaranga (singer) who provided the idea and the text of this piece. Hinetekakara lived on the shores of Lake Rotorua with Ihenga, her husband or father, an eponymous ancestor of the Te Arawa people, when the land was still being settled after the arrival of the Te Arawa canoe from central Polynesia. The four cadenzas, for bassoon, alto flute, flute, cello and bassoon, and bassoon link improvised sections, in which all the instruments participate. The singer initially invokes, accompanied by putatara (conch shell trumpet), the spirit of Hinetekakara, then addresses rituals following the death of her future father-in-law (with putorino), and then the birth of her son (with pumotomoto, an instrument used to assist at child-birth). A voiceless improvisation on pupu harakeke (flax snail), an instrument presaging danger, is followed by Ihenga’s anguished lament as he finds the murdered body of Hinetekakara by the lake, by the place named for her, Ohinemutu, meaning the end of the woman. Finally, she is farewelled as her spirit returns to the afterworld.

• Whitehead: Hinetekakara; computer set 

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• Whitehead: Hinetekakara; computer set 

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• Tuhonohono 

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Taonga puoro: putatara, putorino matai (wheke), pumotomoto, oriori, pupuharakeke (flax snail), pu kaea, nguru rakau maire

Hinetekakara is the ancestress of Aroha Yates-Smith, the kaikaranga (singer) who provided the idea and the text of this piece. Hinetekakara lived on the shores of Lake Rotorua with Ihenga, her husband or father, an eponymous ancestor of the Te Arawa people, when the land was still being settled after the arrival of the Te Arawa canoe from central Polynesia. The four cadenzas, for bassoon, alto flute, flute, cello and bassoon, and bassoon link improvised sections, in which all the instruments participate. The singer initially invokes, accompanied by putatara (conch shell trumpet), the spirit of Hinetekakara, then addresses rituals following the death of her future father-in-law (with putorino), and then the birth of her son (with pumotomoto, an instrument used to assist at child-birth). A voiceless improvisation on pupu harakeke (flax snail), an instrument presaging danger, is followed by Ihenga’s anguished lament as he finds the murdered body of Hinetekakara by the lake, by the place named for her, Ohinemutu, meaning the end of the woman. Finally, she is farewelled as her spirit returns to the afterworld.

• Whitehead: Hinetekakara; computer-set 

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• Whitehead: Hinetekakara; computer set 

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• Tuhonohono: Music by Gillian Whitehead 

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• Gillian Whitehead: Puhake ki te rangi  Year: 2007 

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• Gillian Whitehead: Arapātiki CD  Year: 2012 

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clarinet, clarinet/bass-clarinet, violin/viola, cello, percussion (marimba, 9 drums in high to low sequence, drum of fluctuating pitch, bass drum, 5 suspended cymbals, ching - Thai finger cymbals, bell tree, rasp, 2 woodblocks, 3 temple blocks, wood chimes)

This monodrama for mezzo soprano and chamber sextet, commissioned by Northern Arts UK, tells of the 14th century North of England warrior Henry Percy (Hotspur), seen through the eyes of Elizabeth Mortimer, in a striking ballad sequence written by Fleur Adcock.

Whitehead’s imaginative score combines exotic and arresting instrumental colours, a strong dramatic vocal line (often with flamboyant flourishes) and an admirable overall conception of the mood changes and tonal graduation of the work. (William Dart, NZ Listener)

She has the rare gift of knowing when to us nightmarish vehemences and when to be utterly straightforward and calm. (Roger Covell, Sydney Morning Herald).

• Whitehead: Hotspur; facsimile 

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• Whitehead: Hotspur; facsimile 

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• Gillian Whitehead: selected works 

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• Anthology of Australian music - Dramatic vocal music  Year: 1997 

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