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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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• Hamilton: He Ha Kotahi; facsimile 

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• Hamilton: He Ha Kotahi; facsimile 

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Original music for the documentary Lands of Our Fathers – My African Legacy.

• Jonathan Besser: Lands of our Fathers - my African Legacy  Year: 2004 

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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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Original music for the documentary Lands of Our Fathers – My African Legacy for vocalist and ensemble.

• Jonathan Besser: Lands of our Fathers - my African Legacy  Year: 2004 

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• Nunns and Melbourne: Hinemokemoke 

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• Melbourne and Nunns: Te hekenga-a-rangi  Year: 2003 

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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.

• Whitehead: Hineputehue; computer-set 

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• Whitehead: Hineputehue; computer set 

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• Whitehead: Hineputehue; computer set 

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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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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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• Nunns and Melbourne: Hineruhi 

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• Melbourne and Nunns: Te hekenga-a-rangi  Year: 2003 

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Hineteiwaiwa is a wahine atua – a Maori goddess – the exemplary wife and mother who provided the pattern that all women follow. She assists at the entrances into and the exits from the world, with rituals concerned with tattooing of the lips prior to marriage, with the raising of tapu, and she is credited by some iwi with the introduction of weaving into the culture. Generally, she supports the role of women in traditional society. Hineteiwaiwa was written at the time that Tungia Baker, herself an exemplary wahine toa, or woman of strength, was dying, and is dedicated to her memory. In the improvisatory sections, which are guided and shaped by the taonga puoro player, there are few indications in the score. Generally, the improvisations involve the percussionist. Maori texts, devised and sung by the Kaikaranga, may be integrated into these sections. Also embedded in the improvisatory sections of the piece is a separate vocal composition by Aroha Yates-Smith, woven around the attributes and quality of Hineteiwaiwa.

• Whitehead: Hineteiwaiwa; computer set 

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• Whitehead: Hineteiwaiwa; computer-set 

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