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Suite of pieces with poems that can be read between movements or omitted.

• Jagger: A Nursery of Pain; facsimile 

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In many ways this is a companion piece to an earlier work, Vivid for solo trumpet, which also sets a powerful, sexually charged poem by Will Christie. But where Vivid is very often overtly violent and forceful in its gestures, deepwalker is mostly much subtler, almost passive-aggressive in outlook. The opening lines of the poem – “the day is a drum that connects these vocal loops with grey traffic circles bridge after bridge” – are mirrored in the cyclical, sometimes elliptical form of the work, loops and circles that play between registers of the clarinet. Sexual tension and aggression bubble away in the background, periodically rupturing the musical surface with piercing, angular outbursts, sometimes in parallel with the rather tender, fluid lines of the low register, and with the spoken text itself. This violent interplay creates a kind of disordered internal conversation, a bizarre hermetic character opening and shutting her windows; a clarinet of many voices.

Warning: contains coarse language

• Taylor: deepwalker; computer set 

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• Taylor: deepwalker; computer set 

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• Alex Taylor: deepwalker; audio 

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• Alex Taylor: deepwalker 

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In the tradition of the Maori, the indigenous people of New Zealand, Hine Raukatauri is the goddess of music and dance. She is embodied in the form of the female case-moth, who hangs in the bushes and sings in a pure, high voice to attract the male moths to her. Her hair is found as a fern, the hanging spleenwort, and her voice is heard in the sound of the putorino, an instrument known only in Aotearoa (the Maori name for New Zealand). The putorino is an instrument that can be played in various ways – as a flute, as a trumpet and as a means of enhancing or altering the human voice.

Hineraukatauri is written for two performers, one playing conventional flutes (piccolo, C and alto flutes), and the other for taonga puoro (instruments). The score features three different putorino, which, like all taonga puoro, (and also the songs and chants) have a small pitch range, rarely exceeding a fourth, which varies from instrument to instrument. Three putorino are used in this piece – one made of albatross bone and two of wood, and both the flute and trumpet voices are used. Other instruments used are a karanga manu (bird-caller), a purerehua (swung bull-roarer) and tumutumu (tapped instruments.)

The flute player’s part is notated, but the music for the taonga puoro is improvised; there are areas when the flute player is encouraged to improvise with the taonga.

• Whitehead: Hineraukatauri; facsimile 

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• Gillian Whitehead: Hineraukatauri; video 

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• Whitehead: Hineraukatauri 

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• NZIAF: Gillian Whitehead Portrait; part 1 

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• Tuhonohono: Music by Gillian Whitehead 

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• Tuhonohono 

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• Sound Barrier  Year: 2006 

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• Gillian Whitehead: Puhake ki te rangi  Year: 2007 

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• Luca Manghi: Quays  Year: 2012 

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This stylised, visceral ‘take’ on some of the composer’s favourite Len Lye texts achieves a heightened expression to match the whimsy and wackiness of his wonderful words.

Notes taken from Ritual Auras, Atoll CD (ACD 842)

• Eve de Castro-Robinson: Knife Apple Sheer Brush; audio 

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• New Zealand Music for Woodwind 

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• Ritual Auras - Karlheinz Company  Year: 2011 

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I began writing this piece in the shadow of both the East Timor crisis and the death of my good friend and sometime mentor of many years, the musicologist and historian John Mansfield Thomson. These events modified both the original formal ideas and the detail of the piece. William’s ‘A Dictionary of the Maori Language’ gives four meanings for taurangi: “unsettled”, “changing or changeable”; “incomplete, unsatisfied, unfulfilled”; “to grieve for”; and “wanderer”. Taurangi was commissioned by the New Zealand International Festival of the Arts, during which it received its first performance by Bridget Douglas and Rachel Thompson, in March, 2000.

• Whitehead: Taurangi; computer-set 

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• Whitehead: Taurangi; facsimile 

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• Tuhonohono 

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• Tuhonohono: Music by Gillian Whitehead 

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• NZIAF: Gillian Whitehead Portrait; part 1 

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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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• Taurangi - New Zealand Music for flute and piano  Year: 2004 

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Te Tangi A Te Matui (The Call of the Matui), a work for solo flute, traces a delicate web between instrument and voice. This work is based on a Maori karakia , which the flautist sings and then blends with the sound of her instrument. The ornate flute style is inspired by that of the small Maori flute, the koauau. Te Tangi A Te Matui is dedicated to the memory of the composer’s mother, Freda McKee.

• Fisher: Te Tangi and Wings of the Wind; computer set 

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• Helen Fisher: Various Works 

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• SOUNZfine Volume 3 

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• Helen Fisher: Matairangi  Year: 1998 

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• Sound Barrier  Year: 2006 

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