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Hau means ‘breath’ or ‘wind’, but can also mean ‘to strike’ or ‘to stoke’ (not too gently!). In these senses it can be related to the action of playing the cello, from tapping its body through to bowing the strings. All sounds carried by the air, or wind. Hau is also the base word in Maori for energy: E rere ana te hau – energy flowing; Kua pau te hau – no more energy. The piece was composed partly with the aim of providing the cello with a pathway for a visit to the soundscape of traditional Maori instrumental music, centred on a purely musical dialogue between the players.
Hau is in two sections played without a break. Pao, pao, pao refers to the tapping sounds which open the work, rhythm without pitch. This leads inperceptibly into the second section Tawhirimatea – voices of the winds. The concluding secion of the work may be though of as a dialogue of the north (cello) and south (taonga puoro) winds. The breaths of two worlds join harmoniously.

Notes taken from Toru, Atoll CD (ACD 143)

• Martin Lodge: Hau; audio 

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• Toru - Chamber Music by Martin Lodge  Year: 2011 

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This work was intended to feature something of New Zealand’s spirit and is a ‘deconstructed’ version of Now is the Hour.

• notes from a journey  Year: 2010 

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Taonga puoro (improvised): poi awhioahio, hue puruhau, koauau ponga ihu, nguru, ororuarangi, ku, putatara, pu kaea, pumotomoto, pupu harakekek, tumutumu

Hineputehue translates literally as the woman of the sound of the gourd, and she is the Maori goddess of peace. The work was written in 2001, at the time of President Bush’s State of the Union address shortly before the invasion of Afghanistan, and suggests the fragility rather than the celebration of peace, particularly in a pre-European environment.

A number of instruments used in Hineputehue are made of gourds – the gourd, which carried food and water, is a symbol of peace. These include the poi awiowhio, a very quiet bird lure which is swung around the head, the tiny koauau ponga ihu or noseflute which ends the piece, the hue puru hau, a large gourd which is blown across its top opening and the gourd rattles played by the quartet. Two other wind instruments frequently made from gourds, the nguru and the ororuarangi, are also used. Other instruments are the putatara or conch shell trumpet, traditionally used for signalling, the pu kaea or war trumpet, a nguru niho paraoa or flute made from a whale’s tooth, the pumotomoto, associated with birth, and tumutumu (tapped percussion).

There is a similarity between the stringed instruments of the quartet and the gourds, in that they are made from plant material, with sound emitted through sound holes. Another link is the ku, the only stringed instrument known to Maori, which is a small musical bow played like a jaws harp (jews harp) using the mouth as a resonating chamber. The idea of ororuarangi, which can be translated as spirit voice (or double stopping in a different context) has had some influence on this piece as in the parallel movement of the strings.

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• NZIAF: Gillian Whitehead Portrait; part 2 

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• Whitehead: Bright Silence  Year: 2002 

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• Gillian Whitehead: Puhake ki te rangi  Year: 2007 

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Taonga Puoro: ipu, pahu pounamu, koauau rakau maire, panguru, hure puru hau, poi awhio whio, ua roria rau karamu, putorino rakaumatai, kouaua pponga ihu, kouauau koiwi kuri, koauau koiwi toroa, tumutumu, pupu harakehe, porotiti, purerehua kohatu pounamu, pukaea rakau manuka, karanga manu; Maori instruments and piano improvised (guidelines in score), cello notated

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• Gillian Whitehead: Waka, Kowhai and Tui 

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• Gillian Whitehead: The Storm 

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• Whitehead: IPU  Year: 1998 

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flute, clarinet, recorders, voices, percussion, piano, rock band

This children’s dance theatre work choreographed by Rangimoana Taylor is based on taniwha (sea-monsters) Whataitai and Ngake, a traditional Maori legend from the Wellington region.

• Helen Fisher: Works 1  Year: 1992 

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Puhake ki te rangi, which translates as spouting to the skies is a celebration of whales, and was written late in 2006 for the New Zealand String Quartet and Richard Nunns as a project undertaken while I was the CNZ/NZSM composer-in-residence, living in the Lilburn House in Wellington.


Although one section is based on a transcription of whale song, there is no programme to the piece – no confrontation with humanity, for instance. The guiding principles were the extreme range of whale song, the changing patterns of their song, and the image, given to me by the late Tungia Baker, of a whale in Campbell Island waters allowing seal pups at play to slide down her flanks over and over again until, tiring of the game, she flipped them gently away.


The taonga puoro (Maori instruments) used in this piece are all made from whale bone or the bone from the albatross, the whale’s avian counterpart. In the order they are played, the taonga are, the percussive tumutumu, made from the jaw of a pilot whale washed up on Farewell Spit, a karanga manu (bird caller) made from an orca tooth, two nguru (flutes) made from the teeth of sperm whales that stranded one in Tory channel and one at Paekakariki, two putorino koiwi toroa (instruments made here from albatross bones, which have two different voices, being played as flute or trumpet), made here from the wingbones of a wandering albatross from the sub-Antarctic islands and a young royal albatross from the Chatham Islands, a nguru made from the cochlea of a hump-backed whale and finally a putorino koiwi toroa, especially made for this piece from the rib of a right whale that beached at Cable Bay. Members of the Quartet play percussive instruments – whalebone tumutumu and tokere (castanets). All these instruments were made by Brian Flintoff.


In the score, the taonga puoro sections are improvised; mostly the quartet parts are notated, but sometimes the players are required to improvise.

• Whitehead: Puhake ki te rangi; computer-set 

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• Gillian Whitehead: Puhake ki te rangi  Year: 2007 

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Flutes: piccolo/alto flute; Taonga puoro: putorino, koauau ponga ihu, pumotomoto

Te Hau o Tawhirimatea is dedicated to Richard Nunns and Bridget Douglas. The music aims to create a space in which the musicians, and the voices of their instruments, may speak together. The musical space is flexible, encouraging spontaneous dialogue between the various instrumental voices. Tawhirimatea, the wind god, child of Earth and Sky, represents powerful elemental forces, but he is also capable of gentle playfulness. Te hau refers also to human breath, the force which animates the wind instruments. From the mingling of breath, sweet voices are brought into being.

• Brownlee: Te Hau o Tawhirimatea; computer-set 

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• Te Hau o Tawhirimatea 

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• Selection 05  Year: 2005 

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This work was commissioned as the SOUNZ Community Commission in 1999 for the Millennium Parade in Gisborne.

• Besser: Te Rangimarie Dawn Pagent 

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• Besser: Te Rangimarie Dawn Pagent  Year: 2000 

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violin, viola, cello, piano

• Alfred Hill: Three Works for Piano Quartet  Year: 2002 

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Toru means ‘three’ in Maori, here referring to the trio of players.
The written score of Toru lays out the structure, dramatic shape and instrumentation of the music, but the musical details is left to the creativity of the performers, so the musical voyage complete each time Toru is performed will be unique. An aim in Toru has been to draw the cello and clarinet into the sound world of the taonga puoro in the course of the performance.

Notes taken from Toru, Atoll CD (ACD 143)

• Toru - Chamber Music by Martin Lodge  Year: 2011 

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