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Five Vignettes of Women was commissioned in December 1987 by Christchurch flautist, Rebecca Steel, and was first performed by her in April 1988 with a women’s choir conducted by the composer. Each work has a subtitle and the texts are taken from the writings of the subject of each song: Virginia Woolf, Olivia Spencer-Brown, Robin Hyde, Fanny Buss and Katherine Mansfield.

• Buchanan: Five Vignettes of Women; facsimile 

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• Buchanan: Five Vignettes of Women; facsimile 

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• Buchanan: Five Vignettes of Women; facsimile 

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• Dorothy Buchanan: Olivia from Five Vignettes of Women; Con Brio; video 

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• Dorothy Buchanan: Olivia from Five Vignettes of Women; Craighead Chorale; video 

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• Buchanan: Five Vignettes of Women 

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• Music for Vienna: Bel Canto Choir 

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• The Big Sing Finale 2005  Year: 2005 

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• Buchanan: Mary Magdelene and the Birds; facsimile 

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• Buchanan: Mary Magdalene and the Birds; computer-set  Year: 1993 

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• Buchanan: Mary Magdalene and the Birds 

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

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In this work, inspired by Paekakariki on the Kapiti Coast – ‘home’ during the composer’s six-week residency at Victoria University in 1989 – the relationship between music and environment is particularly strong. The cello’s low repeated D, which opens the piece, is the fundamental pitch heard in the sea and the restless semi-quavers evoke the continuous movement of waves crashing on the Paekakariki shore. Whitehead’s fascination with medieval philosophy and music, incorporating concepts of natural cycles, is reflected both in the title and in the compositional process, where magic squares were used to generate the background structure.
(Programme note by Emma Carle and Jack Body).

“This is a rich evocative piece that is never merely picturesque, as the title might suggest. It has a lyrical complexity reminiscent of Tippett… (it) achieves moments of great beauty.” (Tim Bridgewater, The Dominion).

“The highlight for me was the premiere of Gillian Whitehead’s Moon Tides, and Shoreline. … Perhaps there are marine associations to be heard in the score, but, more importantly, one appreciates the work’s cool and eminently logical form. The various musical motifs are inventive in themselves and intriguingly handled.” (William Dart, Music in New Zealand)

• Whitehead: Moon, Tides and Shoreline; facsimile 

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• Whitehead: Moon, Tides and Shoreline; computer-set 

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• Gillian Whitehead: Various Works 

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• Waiteata Collection of New Zealand Music Vol. 3 - Composer Portrait: Gillian Whitehead  Year: 2000 

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‘Pao’ is the name given by Maori to two-lined epigrammatic songs which comment on a wide range of subjects such as love, war, politics or religion; often topical, often improvised. Most of the songs set here were collected in 1864 from Maori prisoners captured during the the land wars in the Waikato area south of Auckland. The couplets are not connected in any way except for the central group, for unaccompanied voice, concerning Pikeri, a character famous at the time for his escapades evading the police; in this instance, enforced separation during a love affair is charted.

The English translations of these pao are used with the kind permission of the late Margaret Orbell, and come from her Maori Poetry, an introductory anthology (Heinemann, 1978).

Pao was commissioned by the Northumberland-based Syrinx Trio, with financial assistance from Northern Arts; the first performance was given by Syrinx in Newcastle in 1981.

• Whitehead: Pao; computer set 

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• Whitehead: Pao; computer-set 

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• Whitehead: Pao; facsimile 

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• Whitehead: Pikeri; computer-set 

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• Whitehead: Pikeri; computer-set 

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

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• Gillian Whitehead: Pikeri from Pao; audio 

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• Freed: Sounds and Winds of Wellington; facsimile 

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• Freed: Sounds and Winds of Wellington; facsimile 

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• Charles: The Turning Wheel; facsimile 

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• Charles: The Turning Wheel; facsimile 

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• Bisley: This land of water; facsimile 

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• Brigid Bisley: This Land of Water; audio 

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• Love's Philosophy... feeding the soul  Year: 2002 

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This cycle is based on the concept of water as both a life giving substance and an agent of death and destruction.

• Hinds: Water Water Everywhere; facsimile 

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• Hinds: Water Water Everywhere; facsimile 

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