Balinese Pieces (Preview)

PROMETHEAN EDITIONS

GARETH FARR

Balinese Pieces

Piano

Gareth Farr

Balinese Pieces

Piano

PROMETHEAN EDITIONS

WELLINGTON

Balinese Pieces (PE128) for Piano by Gareth Farr (1994-2003)

Sepuluh Jari (1996) © Promethean Editions Limited

Tentang Cara Gamelan (1994) © Promethean Editions Limited

Jangan Lupa (2003) © Promethean Editions Limited

First edition © 2013 Promethean Editions Limited (201504)

Series Editor: Ross Hendy

Editors: Thomas Liggett, Ben Woods

ISBN: 978-1-877564-28-4 (print)

ISBN: 978-1-77660-128-8 (ebook)

ISMN: 979-0-67452-200-7

Promethean Editions Limited

PO Box 10-143

Wellington

NEW ZEALAND

http://www.promethean-editions.com

No part of this publication may be reproduced in any form or by

any means without permission in writing from the Publisher.

PE128 – ii

Gareth Farr (1968)

Gareth Farr was born in Wellington, New Zealand. He began his studies in composition and

percussion performance at the University of Auckland. The experience of hearing a visiting

gamelan orchestra prompted his return to Wellington to attend Victoria University, where the

characteristic rhythms and textures of the Indonesian gamelan rapidly became hallmarks of

his own composition. Farr continued with postgraduate study in composition and percussion

at the Eastman School of Music in Rochester, NY, where his teachers included Samuel Adler

and Christopher Rouse.

The inclusion of his works in four events at the 1996 New Zealand International Festival of

the Arts inaugurated his career as a dedicated freelance composer. Since then, Farr’s music

has been heard at, or especially commissioned for, high-profile events including the 50th

anniversary of the New Zealand Symphony Orchestra (From the Depths Sound the Great Sea

Gongs), the opening of the Museum of New Zealand Te Papa Tongarewa (Te Papa), and the

2000 Olympic Games in Sydney (Hikoi, a concerto for percussionist Evelyn Glennie and the

NZSO). In 2003, a commission by the Auckland Festival resulted in Stone and Ice, composed

for the combined forces of the NZSO and the Auckland Philharmonia Orchestra. In 2006

Farr was made an Officer of the New Zealand Order of Merit, for his services to music and

entertainment. In the same year, the Royal New Zealand Ballet toured the country with their

brand new work The Wedding, featuring a score by Gareth Farr. At ninety minutes, it was

among the ballet company’s most ambitious projects, and combined Farr’s talents with those

of prominent New Zealand novelist and librettist Witi Ihimaera.

Farr’s music was integral to Maui – One Man Against the Gods, a stage show four years in the

making. First premiered in 2003, it featured aerial theatre, Maori kapa haka, contemporary

dance and song, with Farr’s stirring music, and toured a number of centres in New Zealand.

In more recent years, Farr has developed a fruitful collaboration with director and librettist

Paul Jenden, producing four comedy musicals. In 2007 Farr was appointed as Composer-

PE128 – iii

in-Residence for the Auckland Philharmonia Orchestra. The residency culminated in 2008

with the premiere of Ex Stasis, a symphonic song cycle for four soloists. In 2008, Farr also

celebrated the world premiere of his work Terra Incognita, for bass solo, choir and orchestra,

performed by Paul Whelan and the Orpheus Choir with the New Zealand Symphony

Orchestra. Farr’s artistic excellence was acknowledged when he received the Arts Foundation

of New Zealand’s Arts Laureate Award 2010, which aims to celebrate significant artistic

achievement as well as nurture future creative endeavours.

In March of 2014 Farr’s Concerto for Piano and Orchestra received its world premiere from

soloist Tony Lee and the New Zealand Symphony Orchestra, conducted by Pietari Inkenen.

Its UK premiere followed one year later, with Lee backed by the BBC Philharmonic, with

conductor Tecwyn Evans. The BBC Philharmonic included Farr’s work alongside Douglas

Lilburn’s Symphony No.2 as a programme to mark the 100th anniversary of the ANZAC

troops’ battle at Gallipoli during World War I. The concerto received critical acclaim,

described by the Dominion Post’s John Button as containing “marvellously free piano

writing surrounded by orchestral sounds that conjure up memories of Prokofiev ballets,

Ravel’s L’Enfant et les Sortileges and even the Bartok First Piano Concerto…the ear was tickled

bar after bar. I have no doubt that this marvellously inventive piano concerto is bound to

develop an international life all its own.”

Farr’s music is particularly influenced by his extensive study of percussion, both Western

and non-Western. Rhythmic elements of his compositions can be linked to the complex and

exciting rhythms of Rarotongan log drum ensembles, Balinese gamelan and other percussion

music of the Pacific Rim.

Latest information about the composer may be found at www.garethfarr.com.

PE128 – iv

Balinese Pieces (1994-2003)

With a tradition dating back well beyond 500 years, gamelan music continues to be an iconic

feature of the Indonesian performing arts. The gamelan orchestra is comprised of bronze

percussion instruments, ranging from smaller keyed instruments hit with hammers to large

gongs struck with soft mallets which produce a deep resonance. New Zealand composer Jack

Body notes that “gamelan reflects the character of the cultures; Javanese gamelan is more

refined, reflective, and conservative while Balinese gamelan is more extrovert, dynamic, and

open to exploring new things.” The three Balinese Pieces explore the exciting rhythms and

beautiful sonorities of this music. Apart from Farr’s works written specifically for gamelan,

this set of three pieces best exemplifies the significant influence of Indonesian music on

his writing. Balinese Pieces appears on Horizon, a compilation album of Farr’s piano music

performed by Henry Wong Doe (Trust Records MMT2070).

Sepuluh Jari (1996) was the result of a commission Farr received from New Zealand pianist

Michael Houstoun. Houstoun asked Farr to compose a toccata, which led the composer

to write a virtuosic work that draws on two non-Western tuning systems for its harmonic

material — the Indian saraswati scale and the Balinese pelog scale. Beginning in the rumbling

lower register of the piano, a lurching, dissonant sprinkling of pitches is repeated before

being joined by a comparatively clear melodic line that gradually draws both hands into

a higher and more expansive range. Cascading scalar passages interject over low-register

arpeggiations, which then arrive at joyous declamatory moments that make use of the

exoticism of the work’s harmonic influences. The composer transforms these features as they

recur throughout the work, rendering them as challenging passages that often require swift

finger work. Insistent, pulsed material is interspersed with elastic rushes of energy and brief

snatches of stillness and reflection. Sepuluh Jari was commissioned by Michael Houstoun

(with financial support from Creative New Zealand) and received its premiere performance at

the New Zealand International Festival of the Arts, in Wellington, New Zealand, on 12 March

1996.

PE128 – v

Tentang Cara Gamelan (1994), pron. “chara”, translates to “on the technique of gamelan”, was

written by Farr for his friend and colleague Nicola Melville while they were both studying

at the Eastman School of Music, New York, USA in 1990-92 and 1994. Farr had become

intrigued by how French impressionist composers such as Claude Debussy responded to

their exposure to the music of the Javanese Gamelan, which was famously showcased at

the Paris Exposition in 1889. In an early programme note, Farr humorously alludes to the

character of the music by imagining a dinner conversation between Debussy and composer/

ethnomusicologist Colin McPhee in which they discuss the influence of gamelan on their

music, before professional jealousy leads to an exchange of insults. Tentang Cara Gamelan

does indeed bring together an impressionistic sound-world with a more clearly derivative

gamelan style, at first as if viewing gamelan ‘from the outside’ with a flurry of notes that

merely hint at Balinese harmony, then moving towards Balinese harmony and rhythms

outright. Tentang Cara Gamelan was commissioned by Nicola Melville and received its

premiere performance at Kilbourn Hall, Eastman School of Music, Rochester, New York, USA.

Jangan Lupa (2003) was written in memory of the victims of the terrorist bombings that

took place in Bali on 12 October, 2002. The commission for the work came from Indonesian

pianist Ananda Sukarlan, and was one of a number of Bali-inspired works commissioned by

Sukarlan in response to the bombings. Being familiar with Bali due to several journeys there,

Farr was deeply affected upon hearing of the bombings. The composer says of the Balinese

people that they are “incredibly forgiving and get on with life — their music and dance reflects

this and keeps going undeterred.” The most emotionally direct of the Balinese Pieces, the

pianist will find Jangan Lupa’s journey through catharsis, hope and sorrow to be a worthy

test of their expressive capabilities. The trauma at the heart of Jangan Lupa is evident in the

thunderous opening chord in the piano’s lower register and in the group of rhythmic upper

register stabs that follow. A tender, drifting melodic statement emerges from the resonance of

the opening material, and eventually receives a rhythmic foundation through a soft internal

pedal note. As the work expands in register, this tenderness takes on a defiant strength before

the eventual return of the work’s turbulent opening material. We are reminded of the sombre

circumstances surrounding the work’s origin in its final moments, in the delicate gravitas of

the repeated octave chord in the piano’s lower register. The phrase “jangan lupa” translates to

“don’t forget”. Jangan Lupa was commissioned by Ananda Sukarlan and received its premiere

performance in Wellington, New Zealand, on 5 August 2003.

PE128 – vi

Performance notes

Tentang Cara Gamelan

Metre: This work is notated without time signatures. Bar lines and bar numbers have been

implemented in this edition to assist comprehension and navigation of the score. Dotted bar

lines have been used where material should be aurally seamless and without a stress on the

downbeat.

Accidentals: Dotted barlines are to be treated as if they were solid barlines and standard

conventions apply. Accidentals have been restated at the start of systems where there is no

preceding barline for added clarity.

The melody stated in m.17 is repeated in mm.18-19 but must be shared between the hands

to accommodate the addition of new material. Maintaining legato performance of the melody

is paramount in this section and some pianists may find it preferable to cross hands or

distribute the notes differently than notated.

PE128 – vii

PE128 – viii

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PE128 – 31

PROMETHEAN EDITIONS

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