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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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• Rimmer: Composition 9; facsimile 

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• Rimmer: Electronic Sounds for Compositions 6-10 

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• John Rimmer: Soundweb  Year: 1979 

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• Powell: Devotion to the Small; facsimile 

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• Powell: Devotion to the Small 

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• Harlow - Powell: Radio NZ Archive Recordings 

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This work could also be performed as Duo for Soprano and Cello.

• Duet for Soprano and Cello; facsimile 

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• Besser: Duet for Soprano and Cello; facsimile 

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• Jonathan Besser: Duet for Soprano and Cello 

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• Jonathan Besser: Duet for Soprano and Cello 

  Digital sound file - MP3
  

piano solo or with choir

“These modern, tuneful pieces with their interesting, rhythmic and harmonic patterns, have proved popular with young students. Five New Zealand Christmas Songs are a welcome addition to use alongside standard repertoire. The imaginative teacher will find them invaluable in teaching aural and keyboard skills, plus the inclusion of chord symbols with the words are a bonus, making these pieces ideal for use in group situations. Highly recommended.” Adrienne Van Drimmelen AIRMT

• Daverne: Five NZ Christmas Songs; computer-set 

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Taonga puoro include: 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 

  Full score | Pdf - computer set
  
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• Whitehead: Hinetekakara; computer set 

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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 

  Full score | Pdf - computer set
  
  $13.50
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• Whitehead: Hinetekakara; computer-set 

  Parts - written | Hardcopy - 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 

  Full score | Pdf - computer set
  
  $15.00
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• Whitehead: Hinetekakara; computer set 

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• Tuhonohono 

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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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This lament for unaccompanied mezzo-soprano is to a text by Harjo.
“The simple image of one woman onstage, barefoot, letting loose great octave leaps and glissandos peaking in sharp cries, projected a beautifully unfettered freedom.”
Cahill, Berkeley Express

• Lockwood: I give you back; facsimile 

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• NZ Women Composers Vol. 2 

  CD
  

• Lesbian American Composers   Year: 1997 

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