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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 

  CD
  

• 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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• John Rimmer: Fleeting Images  Year: 1993 

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• Buchanan: Carnival of New Zealand Creatures; computer-set 

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• Bolley: Concerto for orchestra; facsimile 

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• Bolley: Concerto for orchestra; facsimile 

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This work commissioned by the City of Aberdeen is in one continuous movement comprising eleven sections. The orchestra has 3 roles – to accompany, to assist the quartet and to supply much of the musical argument – it is of equal importance to the quartet. At its first performance, this work was described as “astoundingly successful”.

• Cresswell: Concerto for Orchestra and String Quartet; computer set 

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• New Zealand New Music in Scotland 

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• Ryan: Concerto for tuba and orchestra; computer-set 

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• Ryan: Concerto for tuba and orchestra; computer-set 

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In 3 movements, this work was reviewed as follows, “There are proper tunes, there are pattems that can be traced, brass and percussion in abundance, and rhythms that dance light off the stage at you.” Christchurch Press 11-95. This work was commissioned and premiered by the Christchurch Symphony Orchestra.

• Norman: Concerto; computer-set 

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• Orchestra Works: Body and Norman 

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For prepared piano and exploring pianist, uses the classic piano piano preparations: coins (to detune the strings), screws, wiring insulation sheathing, plus bubble wrap, a rubber ball and small wooden balls, two round stones, a bowl gong, mallets and a water glass. The piece was commissioned by Lois Svard, to whom it is dedicated and who has given many superb performances of it.

When I started experimenting with these objects on my own piano, I found that even slight changes in the method of producing a sound evoked striking variants in sonic details, for example: rocking a stone gently between two sets of strings brins out several pitches and their overtones, iterating in unpredictable rhythms. Getting the stone to rock really hard adds higher pitches and at times the stone will turn over, setting of a new set of strings and pitches, which gradually fade away as the stone comes to rest.

The work is set up as an open-ended exploration, in which have determined which ‘tools’ are to be used in each section, and the pianist is asked to listen closely to the sounds created by each action, and to explore further the variants which arise when she or he uses a little more pressure and change of speed, a slightly different wrist position, a different make of piano. I think of this experience as “ear-walking”, like a hiker exploring a landscape.

Annea Lockwood

• Lockwood: Ear-Walking Woman; facsimile 

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• Lockwood: Ear-Walking Woman - Lois Svard  Year: 2005 

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• Scholes: Islands II (2nd movement)  

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• Different Tracks  Year: 1993 

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First performed by the Scottish Chamber Orchestra conducted by Joseph Swenson with Christian Lindberg as soloist in St. Andrews 18 February 1998.

‘Kaea’: a wooden Maori war trumpet, somewhere between four and six feet in length with a diameter of about one inch at the blowing end widening to about eight inches at the bell. It was made of hollow sections of wood lashed together with a flax cord. Wedges of wood were glued to the bell to amplify and direct the sound. Inside the bell end it was fitted with a tongue or vibrating reed. The sound was loud and booming and was used to raise the alarm in times of danger or to terrify the enemy by shouting curses through it.

• Cresswell: Kaea; computer-set 

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• Cresswell: Kaea; computer-set 

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• Lyell Cresswell: The Voice Inside 

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