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• sync / shed  Year: 2001 

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• sync / shed  Year: 2001 

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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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• sync / shed  Year: 2001 

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In the middle of 2002, Tim Cummings, an American who had been living in New Zealand for some years, returned home and, with his friend Ringo, embarked on a road-trip from Florida to Los Angeles. Along the way he e-mailed his friends a series of haiku poems (sixteen in total) that related his coast-to-coast experiences of a land that, although his own, he had come to feel like a stranger in. From the lethargy and obesity of Florida’s residents, to the disturbing cruelty of an animal park tour guide in Louisiana, to the beautiful but oppressive landscape of the desert, the depraved glitz of Las Vegas and the polluted haze hanging above Los Angeles, Tim’s haiku, though necessarily brief, said much about the country from which Western popular culture draws so much.

I began the task of setting Tim’s words to music as momentum was gathering for the American-lead war on Iraq. Don’t Mess With Texas is a view – admittedly through a distant lens – of an essentially insular people, whose outward gestures, driven by self-interest and an unconscious belief in the superiority of their culture, often take on menacing forms. The many style quotations should not be interpreted as hammy representations of American stereotypes portrayed with music, but rather should reflect the sometimes dangerous consequences of unbridled patriotism and of ignorance of matters global. That said, Don’t Mess With Texas deals not only with America’s human population and alluded to socio-political-environmental matters, but with the beauty of its natural interior, where a redemptive musical language is able to emerge from the urban chaos.

Don’t Mess With Texas is dedicated to Tim Cummings, the sort of open-eyed American the world needs more of. The work was premiered by *gate*seven in May 2003, conductor Ewan Clark, soprano soloist Madeleine Pierard.

• Watson, C.: Don't Mess with Texas; computer-set 

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• Watson, C.: Don't Mess With Texas; computer-set 

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• Selected Works: Utting, Watson, Cree Brown 

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• Chris Watson: Nacelle and Don't Mess with Texas  Year: 2003 

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• Dr Kevorkian & the Suicide Machine: The Ironman  Year: 2000 

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• sync / shed  Year: 2001 

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• Dr Kevorkian & the Suicide Machine: The Ironman  Year: 2000 

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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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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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