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This album was inspired by the poem “To L.H.B.” by Katherine Mansfield that was the first poem set.

• Bell: A NZ Journal: Songs for Solo Voices; computer set 

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• Bell: A NZ Journal: Songs for Solo Voices; computer set 

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• Michael Bell: To L.H.B.; audio 

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This cycle of five songs for baritone and piano was awarded the Philip Neill Prize by the University of Otago in 1991. It expresses five perspectives on the concept of time, some humorous and some more contemplative.

• Grenfell: A Pinch of Time...; facsimile 

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• Grenfell: A Pinch of Time...; facsimile 

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• Grenfell: 2 pieces from "A Pinch of Time..."; computer-set 

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• Kowhai - an album of songs by NZ women composers  Year: 1994 

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• Grenfell: selected works 

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• Burning Bright - four NZ women composers  Year: 1999 

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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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• 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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This cycle was written at the request of Dunedin soprano Judy Bellingham. It represents my first extended writing for solo voice and piano, something which is perhaps surprising given my substantial choral output.

Ursula Bethell (1874-1945) was born in England, grew up in New Zealand, then spent most of her early adult life in England and Europe. In the 1920’s she returned to live in Christchurch, establishing a garden and becoming a focus for the city’s literary life. She began to write poetry from the age of fifty. It has been suggested that her poetry was influenced by Whitman and Hopkins, and she has been called ‘the truest colonial voice New Zealand possesses’.

I am grateful to my colleague at Epsom Girls Grammar School, Dr Dot Neutze, for offering the following interpretive comments on the cycle: I’m sure (the cycle) comes from Bethell’s looking westward from her “limen amabile” on the Port Hills, and watching the sun set over the Southern Alps. Section I describes the physical scene at sunset, rather grandly as she is leading up to God (“Light of Lights”). She watches the last light of day give way to “all-encompassing dark”. In Section II the lights of mankind (Christchurch and the settlements of the Canterbury Plains) provide “choirs of golden lights”, but they are only “sparks” in the “deepening dark…deepening night”. In Section III, as it gets darker, the “antiphonal stars” take up the song, extending the music to the lights of the whole universe: “imperial orbs…moons…planets of magnitude…suns to suns reply…serene to serene stars”. In Section IV heavenly beings take up the mortal Christians’ evening hymns “at the time of lamp-lighting”. While “pastoral ministers sleep” the “bright clair-audient angels” continue the praises of the “Master of Music”. The hymn of praise in Section V deals with the deepest Christian mysteries, the paradox of the Creator who became mortal: “Almighty Artificer…human heart”. It’s the light shining in darkness “put out for a night” in crucifixion and “rising mightily” to become the light of the Holy City. At the climax of the hymn “our lights” are consumed in the light of heaven. After the power of this universal hymn of praise the sequence needs the simplicity of word (and rhyme) in Section VI to bring the poem back to the reality of the physical scene: “hidden seas and river…the silent night”, and the darkness of the plains. In Bethell’s poem it shows a reluctance to let go of the vision, a sadness that we are only human. The words seem to tumble over each other, almost in anticlimax, as a very quick winding down.

Musically the cycle develops from the opening piano gesture. It provides a starting point for much of the melodic and harmonic material. Each section of the cycle begins at the point at which the previous section concluded by picking up on some musical element from its concluding bars. Sections II and VI are most closely linked musically with material from the earlier part reappearing in an altered guise in the later part.

• Hamilton: At the Lighting of the Lamps; computer-set 

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• Hamilton: At the Lighting of the Lamps; computer-set 

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• Bellingham, Dennis, Rawson: NZ vocal music  Year: 2006 

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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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• Whitehead: Awa Herea; computer-set 

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• Whitehead: Awa Herea; facsimile 

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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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In 1990 I attended the launch of Cilla McQueen’s new book Berlin Diary. This diary made a big impression on me, initially because it brought back memories of my own trip to Europe. I also liked the brilliant mixing of poetic and prosaic styles, and the vivid descriptions of people and places. Something else that impressed me was the strong contrast between the inhuman political situation in Berlin (the wall was still up) and the natural, peaceful beauty of Dunedin, New Zealand (Cilla’s and my own home town). A few months later the Aramoana tragedy (where a deranged gunman killed 13 people – Aramoana is a remote seaside township at the end of the Otago peninsula) changed that around. Cilla’s beautiful, almost ecstatic centrepiece in the dairy “O Aramoana” now took on a terrible subtext, and it seemed as if the inhumanity of Berlin had come to the remote beach community. A year later, the Berlin wall finally came down, and the unification of East and West Germany became a reality.

When Judy Bellingham approached me in 1991 to write a song cycle for her, I immediately wanted to set extracts from the Berlin Diary, to capture these layers of dramatic historical irony along with the essence of a marvellous text. In reality I was able to only set a fraction of the diary to music, and hence the title of my work – Berlin Fragments (which I would also like to think suggests the breaking of the Berlin wall into bits). After talking to Cilla about the work, I decided to make “O Aramoana” the heart of the work, around which somewhat shorter texts are clustered. Sections are often linked by a recurrent chord in the bottom of the piano (the dyad E-F), which I have imagined as a tombstone in musical terms. Framing the work are brief sections which convey the flight to and from Berlin (the “green below” being an unmistakable reference to a return to New Zealand).

The 23 minutes of this song cycle run continuously.

• Ritchie A.: Berlin Fragments; facsimile 

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• Bellingham, Dennis, Rawson: NZ vocal music  Year: 2006 

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“The systems they learn are nothing but skeletons to them…” – John Ruskin Arrows of the Chace (1880)

Ruskin’s words suggest that rigorous formulae, valuable as a starting point, may be overwhelmed by the vigor of life itself. bone-flower takes its name from a dialect word for daisy, a humble bright flower growing on the bones of the dead. Soon we’ll all be pushing up the daisies.

• Palmer: bone-flower; computer-set 

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• Palmer: bone-flower; computer-set 

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• Palmer: bone-flower; computer set 

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• Mix-up - various works by Juliet Palmer 

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• SOUNZfine Volume 3 

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• Princeton: bone-flower (Palmer) and other works  Year: 1996 

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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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Camlot, a collaboration between Glenn Colquhoun and Gillian Whitehead, is a response to a visit by ten artists on the Breaksea Girl, skippered by Lance Shaw and Ruth Dalley, to Dusky and Doubtful Sounds in Fiordland, and particularly to a trip up Camelot, the river that flows into Gaer Arm in Doubtful Sound. Glenn’s poems, cryptic and spare, relate to old Chinese poetic forms, and the cycle traces the poet’s travelling up the river, and, changed by what he learns, his return to the open water. The titles of the poems draw on imagery very apparent
on this journey.

One thing that was made very apparent on that journey was the extent of the degradation of the environment, because of the depredations of deer, goats, rats, possums and other pests, which have made the forest a silent place, where biodiversity is acutely threatened.

The first performance of Camelot took place in St Paul’s Cathedral, Dunedin on 8th October, 2008, during the Otago Festival of the Arts. The performers were Janet Roddick (voice), Emma Sayers (piano) and Ben Hoadley (bassoon).

Both the performances and the journey to the sounds were devised as a fund-raiser by the Caselberg Trust, which is raising money to purchase the Broad Bay house of Anna and John Caselberg, for use by resident artists.

• Whitehead: Camelot; computer-set 

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• Whitehead: Camelot; computer-set 

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• Gillian Whitehead: Camelot 

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• Gillian Whitehead: Camelot 

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• Gillian Whitehead: Arapātiki CD  Year: 2012 

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