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The rich overtone resonances from low, rubber-stopped notes on the piano create sensuous single sound moments in the music. These Filipino gong music inspired resonances combine with slow European chorale-like gestures throughout to provide breath moments within an increasingly combative musical texture. The melodic-line derived from Bontok war-chant, usually the prerogative of men, finds full cry in erotic “sea ripples”, which in turn generates long-lyric lines expressive of the poem’s princess meditation on war. Even the chorale-like breath segments work in shortening gasps leading to transfigured Kulintang (Filipino percussion) segments whose dance-like momentum undergird the “metal timbre” climax of work. The text is drawn from Merlinda Bobis’ epic poem Cantata of the Warrior Woman Daragang Magayon – a revisionist re-telling of the Philippines ancient myth associated with the active volcano Mount Mayon. It charts the play of ambivalence and conviction of a beautiful maiden on the eve of battle and is interpreted by the composer as a metaphor of volcanic, erotically-fuelled anger against social injustice, not just in war but in cultural colonisation.

• Crossman: Daragang Magayon Cantata; computer  

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• Daragang Magayon Cantata - Bruce Crossman / Merlinda Bobis 

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• Bruce Crossman: Selected Works (1996-2001) 

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• Bruce Crossman: Intercultural Sounds 

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• Bruce Crossman: Selected Works (1996-2001) Vol. 2 

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• Double Resonances - Bruce Crossman  Year: 2008 

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Undoubtedly, this is one of Whitehead’s more unusual collaborations. The work, intended for five dancers and organ, with soprano added at the composer’s request, was to have been performed in five cathedrals around Britain during the summer of 1982. Due to the cancellation of the dance component however, the work received performance in only one of the cathedrals – Carlisle – but was later presented with a solo dancer, Bronwyn Judge, at the 1987 Sonic Circus in Wellington. The singer on that occasion was Glenys Taylor and the organist Douglas Mews. The composer initially delayed beginning work on the piece, since her sister was expecting a baby, and a Requiem did not seem an appropriate preoccupation. The successful birth was however followed by two close-family deaths and it was these which provided the composer with the emotional impetus to proceed with the composition. (Programme note by Emma Carle and Jack Body).

• Whitehead: Requiem; facsimile 

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• Whitehead: Requiem; computer-set  Year: 2001 

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

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