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Balinese Pieces (Preview)

Music by Gareth Farr | Piano Works include Sepuluh Jari, Tentang Cara Gamelan, and Jangan Lupa

Music by Gareth Farr | Piano
Works include Sepuluh Jari, Tentang Cara Gamelan, and Jangan Lupa

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PROMETHEAN EDITIONS<br />

GARETH FARR<br />

<strong>Balinese</strong> <strong>Pieces</strong><br />

Piano


Gareth Farr<br />

<strong>Balinese</strong> <strong>Pieces</strong><br />

Piano<br />

PROMETHEAN EDITIONS<br />

WELLINGTON


<strong>Balinese</strong> <strong>Pieces</strong> (PE128) for Piano by Gareth Farr (1994-2003)<br />

Sepuluh Jari (1996) © Promethean Editions Limited<br />

Tentang Cara Gamelan (1994) © Promethean Editions Limited<br />

Jangan Lupa (2003) © Promethean Editions Limited<br />

First edition © 2013 Promethean Editions Limited (201504)<br />

Series Editor: Ross Hendy<br />

Editors: Thomas Liggett, Ben Woods<br />

ISBN: 978-1-877564-28-4 (print)<br />

ISBN: 978-1-77660-128-8 (ebook)<br />

ISMN: 979-0-67452-200-7<br />

Promethean Editions Limited<br />

PO Box 10-143<br />

Wellington<br />

NEW ZEALAND<br />

http://www.promethean-editions.com<br />

No part of this publication may be reproduced in any form or by<br />

any means without permission in writing from the Publisher.<br />

PE128 – ii


Gareth Farr (1968)<br />

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

percussion performance at the University of Auckland. The experience of hearing a visiting<br />

gamelan orchestra prompted his return to Wellington to attend Victoria University, where the<br />

characteristic rhythms and textures of the Indonesian gamelan rapidly became hallmarks of<br />

his own composition. Farr continued with postgraduate study in composition and percussion<br />

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

and Christopher Rouse.<br />

The inclusion of his works in four events at the 1996 New Zealand International Festival of<br />

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

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

anniversary of the New Zealand Symphony Orchestra (From the Depths Sound the Great Sea<br />

Gongs), the opening of the Museum of New Zealand Te Papa Tongarewa (Te Papa), and the<br />

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

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

for the combined forces of the NZSO and the Auckland Philharmonia Orchestra. In 2006<br />

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

entertainment. In the same year, the Royal New Zealand Ballet toured the country with their<br />

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

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

of prominent New Zealand novelist and librettist Witi Ihimaera.<br />

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

making. First premiered in 2003, it featured aerial theatre, Maori kapa haka, contemporary<br />

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

In more recent years, Farr has developed a fruitful collaboration with director and librettist<br />

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

PE128 – iii


in-Residence for the Auckland Philharmonia Orchestra. The residency culminated in 2008<br />

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

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

performed by Paul Whelan and the Orpheus Choir with the New Zealand Symphony<br />

Orchestra. Farr’s artistic excellence was acknowledged when he received the Arts Foundation<br />

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

achievement as well as nurture future creative endeavours.<br />

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

soloist Tony Lee and the New Zealand Symphony Orchestra, conducted by Pietari Inkenen.<br />

Its UK premiere followed one year later, with Lee backed by the BBC Philharmonic, with<br />

conductor Tecwyn Evans. The BBC Philharmonic included Farr’s work alongside Douglas<br />

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

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

described by the Dominion Post’s John Button as containing “marvellously free piano<br />

writing surrounded by orchestral sounds that conjure up memories of Prokofiev ballets,<br />

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

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

develop an international life all its own.”<br />

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

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

exciting rhythms of Rarotongan log drum ensembles, <strong>Balinese</strong> gamelan and other percussion<br />

music of the Pacific Rim.<br />

Latest information about the composer may be found at www.garethfarr.com.<br />

PE128 – iv


<strong>Balinese</strong> <strong>Pieces</strong> (1994-2003)<br />

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

feature of the Indonesian performing arts. The gamelan orchestra is comprised of bronze<br />

percussion instruments, ranging from smaller keyed instruments hit with hammers to large<br />

gongs struck with soft mallets which produce a deep resonance. New Zealand composer Jack<br />

Body notes that “gamelan reflects the character of the cultures; Javanese gamelan is more<br />

refined, reflective, and conservative while <strong>Balinese</strong> gamelan is more extrovert, dynamic, and<br />

open to exploring new things.” The three <strong>Balinese</strong> <strong>Pieces</strong> explore the exciting rhythms and<br />

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

this set of three pieces best exemplifies the significant influence of Indonesian music on<br />

his writing. <strong>Balinese</strong> <strong>Pieces</strong> appears on Horizon, a compilation album of Farr’s piano music<br />

performed by Henry Wong Doe (Trust Records MMT2070).<br />

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

Michael Houstoun. Houstoun asked Farr to compose a toccata, which led the composer<br />

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

material — the Indian saraswati scale and the <strong>Balinese</strong> pelog scale. Beginning in the rumbling<br />

lower register of the piano, a lurching, dissonant sprinkling of pitches is repeated before<br />

being joined by a comparatively clear melodic line that gradually draws both hands into<br />

a higher and more expansive range. Cascading scalar passages interject over low-register<br />

arpeggiations, which then arrive at joyous declamatory moments that make use of the<br />

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

recur throughout the work, rendering them as challenging passages that often require swift<br />

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

snatches of stillness and reflection. Sepuluh Jari was commissioned by Michael Houstoun<br />

(with financial support from Creative New Zealand) and received its premiere performance at<br />

the New Zealand International Festival of the Arts, in Wellington, New Zealand, on 12 March<br />

1996.<br />

PE128 – v


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

written by Farr for his friend and colleague Nicola Melville while they were both studying<br />

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

intrigued by how French impressionist composers such as Claude Debussy responded to<br />

their exposure to the music of the Javanese Gamelan, which was famously showcased at<br />

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

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

ethnomusicologist Colin McPhee in which they discuss the influence of gamelan on their<br />

music, before professional jealousy leads to an exchange of insults. Tentang Cara Gamelan<br />

does indeed bring together an impressionistic sound-world with a more clearly derivative<br />

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

merely hint at <strong>Balinese</strong> harmony, then moving towards <strong>Balinese</strong> harmony and rhythms<br />

outright. Tentang Cara Gamelan was commissioned by Nicola Melville and received its<br />

premiere performance at Kilbourn Hall, Eastman School of Music, Rochester, New York, USA.<br />

Jangan Lupa (2003) was written in memory of the victims of the terrorist bombings that<br />

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

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

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

Farr was deeply affected upon hearing of the bombings. The composer says of the <strong>Balinese</strong><br />

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

this and keeps going undeterred.” The most emotionally direct of the <strong>Balinese</strong> <strong>Pieces</strong>, the<br />

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

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

thunderous opening chord in the piano’s lower register and in the group of rhythmic upper<br />

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

the opening material, and eventually receives a rhythmic foundation through a soft internal<br />

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

the eventual return of the work’s turbulent opening material. We are reminded of the sombre<br />

circumstances surrounding the work’s origin in its final moments, in the delicate gravitas of<br />

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

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

performance in Wellington, New Zealand, on 5 August 2003.<br />

PE128 – vi


Performance notes<br />

Tentang Cara Gamelan<br />

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

implemented in this edition to assist comprehension and navigation of the score. Dotted bar<br />

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

downbeat.<br />

Accidentals: Dotted barlines are to be treated as if they were solid barlines and standard<br />

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

preceding barline for added clarity.<br />

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

to accommodate the addition of new material. Maintaining legato performance of the melody<br />

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

distribute the notes differently than notated.<br />

PE128 – vii


PE128 – viii


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PE128 – 4


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PE128 – 5


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PE128 – 6


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PE128 – 7<br />

PE128 – 7


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PE128 – – 8 8


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PE128 – 9


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Sost. Ped.<br />

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(to m.197)<br />

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PE128 – 10


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PE128 – 11


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PE128 – 12


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PE128 – 13


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PE128 – 15


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PE128b<br />

Tentang Cara Gamelan © 1994 Promethean Editions Limited<br />

This Edition © 2013 Promethean Editions Limited PE128 – 19<br />

ISMN: 979-0-67452-200-7


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PE128 – 22


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PE128 – 23


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C C C C g<br />

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C C<br />

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G J<br />

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CCC<br />

4<br />

7 #<br />

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O<br />

PE128 – 31


PROMETHEAN EDITIONS

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