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PROMETHEAN EDITIONS

GARETH FARR

Mouse Hole

Piano


Gareth Farr

Mouse Hole

Piano

PROMETHEAN EDITIONS

WELLINGTON


Mouse Hole (PE100) for Piano by Gareth Farr (1998/2002)

© Promethean Editions 1998/2002

First edition © 2014 Promethean Editions Limited

Series Editor: Ross Hendy

Editor: Ben Woods

ISBN: 978-1-877218-31-6 (print)

ISBN: 978-1-77660-100-4 (ebook)

ISMN: 979-0-67452-217-5

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.

PE100 – 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-

PE100 – 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.

PE100 – iv


Mouse Hole (1998/2002)

An exciting and virtuosic work for solo piano, Mouse Hole (1998/2002) requires fast

fingerwork and dares the pianist to keep pace with the scurrying rodent evoked by the

speedy streams of semiquavers that define the work. While Farr has stated that there is

no actual programmatic element connected to Mouse Hole, the composer acknowledges

the associative impact of the work’s title, enjoying the mental image of a cartoon mouse

dashing about, in the midst of some frantic adventure. Farr cites the piano itself as the

true compositional inspiration for Mouse Hole. As with two of Farr’s other works for piano,

Tentang Cara Gamelan and Ramayana, Farr wrote Mouse Hole for his friend Nicola Melville.

Farr revised the work in 2002 to reduce the use of parallel octaves with the aim of making it

less predictable, more punchy, and most importantly ‘more fun’ to play.

Following the deceptive severity of the widely spread chordal stabs in the opening bars,

the work bolts out of the gate, introducing its bright main theme – swift and persistent

semiquaver material in the right hand, holding a wave-like contour as it gradually travels

between the middle and upper registers. Underpinning the right hand activity is syncopated

supporting material, illuminating Farr’s penchant for rhythmic propulsion that typifies much

of his other work. Some breathing space is provided at the work’s midpoint, as the dynamic

intensity eases and the stream of semiquavers is broken up into fragmentary phrases that

still maintain the briskness of the preceding material. A degree of chromatic uncertainty is

also introduced to the rising and falling figures that converse in this section. It is not long,

however, before we return to the work’s main theme for one last sprint.

Mouse Hole was premiered by Nicola Melville at St Andrews on The Terrace, Wellington, New

Zealand in July 1988.

Mouse Hole appears on Horizon, a compilation album of Farr’s piano music performed by

Henry Wong Doe (Trust Records MMT2070). In revisiting this work for publication in 2014,

Farr made several note alterations which cause it to differ slightly from this recording.

PE100 – v


Performance notes

Use of sustain pedal is not specified in the score however it may be used sparsely throughout

with care to avoid the blurring of chromatic lines.

PE100 – vi


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