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voice and piano

Away with the Fairies is a string of kitsch songs about fairies and pixies, animals and children. They are linked by recitatives which, like the songs, include quotations from other composers’ music.

• William Dart: Song Book; computer-set 

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Solo baritone, childrens' chorus Orchestra: 2222; 2220; timp., perc.(2), pno, organ; no strings. Uses slide projections

The first version was written in 1981 collectively with Andre Fischer, a pupil at the Kantonsschule Zürcher Unterland in Bülach. It is a setting of words from an advent calendar by Max Bolliger. It is scored for baritone soloist (Christophorus), children’s chorus and wind orchestra, with percussion. The work was performed twice in December 1981.

Christophorus tells the story of St. Christopher, a very strong man, who is searching for an ogre who rules the world. Each year, instead of finding the ogre, he finds a child in distress. In the eighth year, still searching, he meets Mary and Joseph in Bethlehem. During the night, when Jesus is born, the child speaks to him and says he has met the ogre seven times already. Christophorus now knows what the ogre is, but is much less sure of his ability to conquer lt.

The characters of and the children whom he meets are dressed in costume, but do not act. The Cantata is, however, illustrated by a series of slides which are shown during the whole performance.

In 1982 in Christchurch I revised Christophorus and translated the text into English. It was performed for a season before Christmas of that year, with James Dames singing the part of Christophorus. This revised version has double wind, piano, organ and three percussionists, plus the children’s chorus. A recording was made.

• Powell: Christophorus; facsimile 

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Percussion is triangle (small), clave, suspended cymbal, tom tom (medium), wind chimes, tam tam (small/medium), temple blocks (small and medium), wood block and finger cymbal

• Biggs: Four Oriental Pieces; facsimile 

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A song-drama exploring gay rights, written at the time when there were moves around New Zealand to pass the Homosexual Law Reform Bill. Many of the songs are based on true incidents and are presented in a cabaret format. The show toured the country in 1982 under the auspices of the New Zealand Student Arts Council.

• William Dart: Song Book; computer-set 

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2 male soloists, 2 male narrators, chorus of 2 tenors, 2 basses, piccolo, fl, alto fl, vibraphone, 1 percussion: windchimes, gong, hand drum

• Buchanan: Greenleaf; facsimile 

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• Buchanan: Greenleaf; facsimile 

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• Buchanan: Greenleaf; facsimile 

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• Buchanan: Greenleaf; facsimile 

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flute/piccolo, piano and cello

Originally choreographed by Jamie Bull, this work can be performed as an instrumental work only. It was re-choreographed in 1991 by Mary-Jane O’Reilly and called Fresh in Exposed Places

• Buchanan: Just Looking; facsimile 

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• Buchanan: Just Looking; facsimile 

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The Love Sonnets of Michelangelo I wrote for Michael Parmenter, with whom I worked on a programme entitled Between Two Fires (also included was a dance-theatre work I created collaboratively with Michael, using his voice as well as his body, with imagery extracted from the diaries of Franz Kafka.) At the time I was focused on different styles of melody, having just completed my Five Melodies for Piano. Inspired by the lovely voices of some of the then current students in our School of Music, I felt that women’s voices gave the expressive quality I wanted, as well as providing a useful ‘cover’ for the overtly homo-erotic tenor of the texts. The original production used film, shot by my good friend Bayley Watson, showed the dancer’s prostrate figure, swathed in bandages. As the performance unfolded the cloth was gradually cut and pealed back by hands belonging to an old man whose face we never saw, the intended metaphor being of the sculptor cutting away marble to reveal the male form that he sensed already existed within the stone.

The work has since had other performances that have discarded the theatrical elements, most successfully when each setting is prefaced by a reading of the poem in translation.

These settings of some of Michelangelo Buonarroti’s most personal sonnets articulate the anguish of love and desire, as well as the despair of old age. The musical style combines the theatricality of Italian bel canto with the direct expressivity of folksong.

• Body: Love Sonnets of Michelangelo; facsimile 

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• Jack Body and Michael Parmenter: Love Sonnets 

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• Baroque Voices: How Great is the Pleasure   Year: 2001 

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• Waiteata Collection of New Zealand Music Vol. 6 - Composer Portrait: Jack Body  Year: 2003 

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Main roles for bari, ten; smaller roles for sop, m-sop, alto, ten, 3 bari, 2 bass; additional roles for sop, 2m-sop, alto, ten, bari; 6 children (1 solo); accomp for pf, 2 synth.

• Drummond: Plague upon Eyam; computer-set 

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• John Drummond: Mr Polly at the Potwell Inn   Year: 2000 

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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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1011;1000; perc, pf, hp; strings

• Dixon: Song Celestial; computer-set 

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• Dixon: Song Celestial; computer-set 

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