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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 

  CD
  

• 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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• Gareth Farr: From the Depths Sound the Great Sea Gongs - hardcopy score 

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• Gareth Farr: Orchestral Music  Year: 1997 

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• Symphony of Sails  Year: 2002 

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• Gareth Farr: From the Depths Sound the Great Sea Gongs  Year: 2009 

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In Procession I use several unorthodox playing techniques on the gamelan. The tunings of pelog and slendro are combined freely throughout; the piano remains tuned as is usual (well-tempered chromatic). The instruments are not dampened, but are left to ring on while subsequent notes are played, giving the effect of clouds of sound. Compositionally as well the piece is not at all conventional, but explores the gamelan in different ways both harmonically and melodically.

In the first movement this is through combining the close intervals between the pelog and slendro modes; in Quartet through step-wise ascending movement; in the fifth movement, a transcription of a short Liszt’s Ave Maria, the gamelan approximates the triadic harmonies of the piano original. The third movement, Melody in Pelog and Slendro, is closest to a traditional Javanese composition, although here the free intermingling of the two modes creates an unusual effect. As well, various instruments are used in atypical ways – the Gong in the first movement struck with an open palm and functioning as a rhythmic marker, or the kempul in the third movement acting as an ostinato; over this rebab and gender elaborate melodic patterns combining the two tunings. The piano is sometimes used as a timbral device (as in the opening movement) and sometimes more in a melodic manner, as in the Finale.

• Carey: Procession; facsimile 

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• Carey: Procession; facsimile 

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• Tabuh Pacific  Year: 1995 

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

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• Sound Barrier  Year: 2006 

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• Farr: Ruaumoko; computer-set 

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• Gareth Farr: Ruaumoko 

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• Gareth Farr: Ruaumoko 

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• Farr: Ruaumoko (Interlude - Te Ru Tuatoru)  Year: 1997 

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

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