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• Starrett: and the blood splatted through the orange sunset; facsimile 

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• Starrett: and the blood splatted through the...; computer set 

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• Starrett: and the blood splatted through the orange sunset; facsimile 

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3trumpets, 2horns, 3trombones, tuba

• Whitehead: Antiphons; facsimile 

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• Whitehead: Antiphons; facsimile 

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Bright Forms Return written in 1980 while I was composer-in-residence for Northern Arts (UK), is one of the first pieces I wrote that is concerned with landscape (and sea-scape). I was living in Northumberland, on the moors north of Newcastle, very near the house where Kathleen Raine had spent her childhood. When I was asked to write a piece for the Cumbria Quartet and mezzo-soprano Elizabeth Lamb, Raine’s poetry was an obvious choice, as its northern imagery was very familiar to me.

Although the piece is designed as a single entity, the quartet falls into four clearly-defined sections in its setting of the four short poems. The vocal writing is relatively simple (rhythmically at least), and the writing for the quartet sometimes reflects the poetic imagery or mood, and is sometimes derived from the formal structure of the poems. The text, which comes from The Oval Mirror published by Hamish Hamilton, is used with the kind permission of the author and her publishers.

• Whitehead: Bright Forms Return; computer-set 

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• Whitehead: Bright Forms Return; facsimile 

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• Whitehead: Bright Forms Return; facsimile 

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• Buchanan: Clarinets Apart; computer-set 

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• Moon: Duo for Two Violins; facsimile 

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• Moon: Duo for Two Violins; facsimile 

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• Moon: Duo for Two Violins; facsimile 

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Can also be sung by soprano

• Tremain: Eleven Haiku; facsimile 

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• Larry Pruden: Flight of the Albatross - hardcopy score & parts  Year: 2013 

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• Release: The Mozart Fellowship  Year: 2012 

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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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2222; 3220; 2perc; strs.

• Sanders: Marram; facsimile  Year: 1991 

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• Works for orchestra: Body, Farr, Sanders, Carr 

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• McDonald: Moment for violin and piano; facsimile 

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• Release: The Mozart Fellowship  Year: 2012 

  CD
  
  $27.00
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