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Arapatiki was commissioned by Stephen De Pledge as one of a series of Landscape preludes, and received its first performance in the Wigmore Hall, London, in January, 2004. Arapatiki translates (from the Maori language) as ‘the way of the flounder’, and is the ancient name of the sand flats in front of my house at Harwood, near Dunedin. The piece has something to do with the advance and retreat of the tide across the flats, where many species of sea and water birds spend much of the day – an ever-varying water-scape. The opening idea is based on the song of the korimako or bellbird.

• Whitehead: Arapatiki; computer-set 

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• Whitehead: Arapatiki; computer-set 

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• Landscape Preludes  Year: 2011 

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• Gillian Whitehead: Arapatiki; video 

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• Gillian Whitehead: Various Works 

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• Stephen de Pledge - Landscape Preludes  

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• Stephen de Pledge plays Arapatiki by Gillian Whitehead 

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• Tuhonohono: Music by Gillian Whitehead 

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• An Interview with Gillian Whitehead 

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• Stephen de Pledge: Three Landscape Preludes  Year: 2004 

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• Gillian Whitehead: Arapātiki CD  Year: 2012 

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From The Bad Bird Book

• Sunrise: Music from New Zealand for Young Pianists  Year: 2008 

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• Sunrise - Music from New Zealand for Young Pianists  Year: 2008 

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Written in response to Bartok’s ‘44 Violin Duos’(1931) which were based on traditional East European melodies. Bartok was concerned that such tunes would become extinct and wanted to preserve them. ‘Birds Reply’ is also intended as an educational resource although the pieces are original compositions with Celtic, English, Balkan and Klezmer influences. On this recording Chris Prosser plays both violin parts.

• Prosser: Birds Reply to Bartok; computer-set 

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• Prosser: Birds Reply to Bartok: 44 Violin Duos; computer-set 

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• Accordatura Violin - Chris Prosser 

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• Prosser: Birds Reply to Bartok - 44 Violin Duos  Year: 2003 

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Chaos of Delight IV continues my series of works inspired by NZ birdsong (Chaos of Delight I for bass clarinet, Chaos of Delight II for soprano, Chaos of Delight III for women’s voices) and in this case is a short, theatrical duo written especially for the talents of my colleagues Luca Manghi and Ben Hoadley. Some more recognizable birdcalls are: the thrush calls played by piccolo; the Paradise Duck in the bassoon; the Kokako played by both in unison and the Little Blue Penguin in the fluttertongued basson.

The work was premiered by the duo on October 22nd, 2008 in Auckland.

• de Castro-Robinson: Chaos of Delight IV; facsimile 

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• Sunrise: Music from New Zealand for Young Pianists  Year: 2008 

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• Sunrise - Music from New Zealand for Young Pianists  Year: 2008 

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• Sunrise: Music from New Zealand for Young Pianists  Year: 2008 

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• Sunrise - Music from New Zealand for Young Pianists  Year: 2008 

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The name hihi (“stitchbird”) has an onomatopoeiac quality which suggests the insistent call of this bird which is urgent, penetrating and strong. Hearing the striking call of the “hihi” on Tiritiri Matangi in the Hauraki Gulf inspired this piece.

• Bowater: Hihi; computer set 

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• Bowater: Hihi; computer set 

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• NZ Premieres 2008 Vol. 1 

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• Love's Nature  Year: 2011 

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3*223*; 4321; timp., perc. (2); strings

The title In Memoriam relates to the many things and people from our individual and shared pasts that shape us and make us the way we are. It is a piece that draws on music from the past, particularly early European music and also the native birdsong and sounds of the New Zealand bush.

• Adams, C.: In Memoriam; computer-set 

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• Chris Adams: In memoriam - Wellington Youth Orchestra 

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• Take Flight - Music from New Zealand for Intermediate Pianists  Year: 2010 

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• Take Flight - Music from New Zealand for Intermediate Pianists CD 1 

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2222;2200;3 perc;harp;strings perc 1: timp, large susp. cym., snare,guiro,large log drum, small rain stick perc 2: marimba, medium suspended cymbal, snare drum, guiro, medium log drum perc 3: vibraphone, small suspended cymbal, snare drum, guiro, small log drum

‘Manukau Refrains’ is a delicate, colourful piece for 3 percussionists and community orchestra inspired by images of wading birds (‘manukau’), shifting patterns of water and sand in an environment teeming with life. In performance, the percussionists are spaced apart with the timpani in their usual position at the rear of the orchestra and the marimba and vibraphone in front of the orchestra. Each percussionist also plays a variety of small non-tuned instruments such as guiros, small drums and Pacific log drums. After a soft introduction, the ‘refrain’ begins as a short rhythmic pattern played by the timpani and is extended on each of its repetitions. Gradually instruments from the orchestra are drawn into this activity which accelerates as the piece progresses. The music builds to a climax followed by a short coda which reminisces on the mood of the opening.

• Rimmer: Manukau Refrains; computer-set 

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• Rimmer: Manukau Refrains; computer-set 

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