PROMETHEAN EDITIONS
GARETH FARR
Kembang Suling
Flute & Marimba
Gareth Farr
Kembang Suling
Flute and Marimba
PROMETHEAN EDITIONS
WELLINGTON
Kembang Suling (PE001) for Flute and Marimba by Gareth Farr
(1996). Dedicated to Alexa Still.
© Promethean Editions Limited 1996
First edition © 1997 Promethean Editions Limited (201506)
Series Editor: Ross Hendy
Editor: Ross Hendy, Thomas Liggett
Editorial Comments: Alexa Still
ISBN: 978-0-9583679-0-5 (print)
ISBN: 978-1-77660-001-4 (ebook)
ISMN: 979-0-67452-081-2
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.
Kembang Suling was commissioned by Alexa Still with financial
support from Creative New Zealand, Arts Council of New Zealand Toi
Aotearoa.
PE001 – 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-
PE001 – 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.
PE001 – iv
Kembang Suling (1996)
Farr describes the three movements of Kembang Suling as “three musical snapshots of Asia”.
The first movement references the magical Indonesian island of Bali, with the marimba and
flute evoking flowing gamelan melodies intertwined with the sound of the suling (Balinese
bamboo flute) to form rich colourful tapestries. The performers begin the movement as
one, playing their soft semiquaver material in unison to create an idyllic stream of sound.
Bit by bit the flute asserts its independence, introducing chromatic departures from the
opening material and blurring the movement’s harmonic character. An argument ensues,
with the initial unison playing now replaced by increasingly impassioned call-and-response
statements. The flute ventures into its upper register, alternating between jagged leaps
and smooth ascending runs. Eventually all is resolved between our two performers, with
some semblance of order – but not unison – restored. Farr takes inspiration for the second
movement from the Japanese shakuhachi flute, its haunting voice floating out over the warm
echoes of a rolling landscape. This short, sensual movement is underpinned by the marimba’s
softly rolling chords, providing space for the flute to sing in flowing rubato lines peppered
with grace-note detailing, resulting in an almost improvisatory feel. The second movement
flows straight into the third, in which complex rhythms and South Indian scales set the two
performers off in a race to see who can outplay the other. The marimba is set in a three bar
cycle of Ed + Eh + Ep but the flute plays a different cross rhythm each time, returning to the
marimba’s pattern at the end of every cycle. This final movement exudes a sense of dynamic,
exploratory playfulness throughout.
Kembang Suling was commissioned by Alexa Still, with financial support from Creative New
Zealand. Its premiere performance was given by Alexa Still (flute) and Gareth Farr (marimba)
at St Andrews on the Terrace, in Wellington, New Zealand on 7 March 1996.
PE001 – v
PE001 – vi
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Kembang Suling © Promethean Editions Ltd
This edition © 1997 Promethean Editions Ltd PE001 – 1
ISMN 979-0-67452-081-2
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C
C
C
C
C
C
C
C
B
B
C
C
C
C
C
C
C
100
!
! S
C Y C C C Y C C Y C
C C^
! S C
ÒC
^C
C
U U T
U T
C C C C C C C C C^
U U T U T C C C C C C C C A
t Y
sfpp
^C
C
sf
C
ÒC
O
BBO
pp
O
102
!
TU
C C
TU
C C
TU
C TU
fff
Y C C C C U
fff
U T
C
TU
C TU
Y
C U T C C U T C
TU
C TU
C TU
Y
U T
C C
U T
C C
U T
C C C C C U T
TU
C TU
TU
C C
TU
C C
TU
C TU
C C C Y C C C C C TU
U T
C
TU
C TU
C U T C
! C C
C
C
C
C
C
C
C C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
105
!
Y
U T C
TU
C TU
C TU
Y
U T
U T
pp
C C
pp sub.
sub.
C C
U T
C C U T
TU
C TU
TU
C C
TU
C C
TU
C TU
C C C Y C C C C C TU
U T
C U T
C
TU
C TU
Y
Y C C TU
C
TU
C TU
C TU
Y
U T
C C
U T
C C
U T
C C C C C U T
TU
C TU
108
!
! C C
C
C
C
C
p
TU
C C
TU
C C
TU
C TU
Y C C C C C TU
U T
C
C
C U T C U T
Y
C
C
C U T C C U T C
C
C
TU
C TU
C TU
Y
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C
C
U T
fff
C C
sub.
C C
U T
C C U T
C
C
U T C U T
C
C
C
C
TU
C C
TU
C C
TU
C TU
C C C Y C C C C C TU
C
C
U T
C
C
C U T C U T
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fff sub.
! C C
C
C
C
C
C
C
C C
C
C
C
C
fff
C
C
C
C
C
C
C
C
C
C
PE001 – 8
!
#
#
!
#
#
C
C
C
U
C
C
C
U
C
C
T U
C
T
C
C
C
C
C
C
T U
C
C
C
C
C
C
T U
C
C
T
C
C
U
C
C
C
C
C
T
C
C
B
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
B
C
C
C
C
C
C
C
C
C
C
C
jh
C
S
C
C
T
C
Y T C T U C U
T C U
O
! 4
3 Q
O
F
mp
T C Y C C C C C C U
O
! 4
3 Q Q Q
111
C
C
C
C
C
C
C
C
#
C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C
4
3
pp
Y Y
G
115
! C B C C O B C C C
! Q Q Q
Y C C C C C C C C C C C C Y C C C C C C C C C C C C Y C C C C C C C C C C C
118
G
! C C C
I
C C C C C
C C C C C C C C C C C C C C C C C C C C C C
C
pp legatissimo
! Q Q Q
Y C C C C C C C C C C C C Y C C C C C C C C C C C C Y C C C C C C C C C C C
121
! T U
C C C C Y C C C C C C C C C C C C C C Y C C C C C C C C C C C C C C Y C C C
124
! C Y C C C C C C C C C C C C C C Y C C C C C C C C C C Y C C C C C C C
! C C
C
pppp
pppp
O
PE001 – 9
B
B
C
g
C
g
C
g
C
C
B
B
B
g
C
h
C
B
A
A
g
C
g
C
C
g
C
C
C
R
A
A
C
A
BB
B
B
C
S
S
g
C
C
B
B
g
C
B
BB
B
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A
A
C
C
BB
B
B
C
S
S
C
II
! 4 4
g
C
= 44
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g
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molto rubato
O
p
! 4 Q Q B B
pp
# 4 Q Q
g
C C C T O C C C C C C C C
roll throughout
BBA
B
B
A
A
5
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g
C R C
p
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C C C C B O C C C
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g
C C C
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G
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9
G
! C C C C
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pp
g
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B B W
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13
G
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O
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W C p
G
W
W C
C C C W A
! W B B B
W W
# B W B
W A
B B W
W
O
O
PE001 – 10
!
A
C
B
B
C
B
BB
B
A
C
BB
B B
C
C
B
B
B B
C
C
B
B
B B
C
C
C
A
A
A A
C
A A
A A
C
B B
B B
C
C
B
B
B B
C
B
B
B
C
C
B
S
g
C
C
A A
A A
C
g
C
g
C
h
A
B
B
g
C
C
g
C
g
C
C
T U
C
g
C
C
C
C
A A
C
C
C
B B
C
C
C
16
g
?
,
molto rubato
Y C
! g
W C W B
C C C
g
U
Y
C O C C C C O
T
W
C W C C W C C C C Y C -
ppp p
mp
G
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A Y
Più mosso = 54
Y
Y
19
!
Y
Y
G
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B C Y C
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Y
Y
O
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p
C C Y C Y C
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! B Y
# Y
B
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Y
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Y
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Y
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Y
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A
A
23
!
C C C C
Y Y
Y
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Y
mf
Y
Y
g
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C C Y C
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g
C
C C O C
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molto rubato
p
Y
Y C C C
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Q Q
Ymp B Y
Y
# B Y B Y
Y
Q Q
!
27
!
O
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Y C C C T O
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G
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h
30
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Y
g
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attacca
A A
Y
O
! Y BBO
Q Q
! Q Q
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A
S
Y O
attacca
PE001 – 11
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
g
C
C
C
III
= 108
! 5 4
Q 5 8
Q 5 16
Q 5 4
! 4
5 Y C C C C C C C C C
5 8 Y C C C C 16
5 C C Y C 4
5
mp
# C C C Y C C C C C C
C C Y C C
4
5 5 Y 8 16
5
C C Y C
4
5
4
! 5 4
Q 5 8
Q 5 16
Q 5 4
! 5 5 5 5 4 Y C C C C C C C C C 8 Y C C C C 16 C C Y C 4
# 5
C C C Y C C C C C C
C C Y C C
5 Y 5
C C Y C
5 4 8 16 4
7
! 5 5 4 O Y C C Y O C C C O Y C 5 5 8 C O 16 Y C C Y C 4
mf
>
! 5 5 5 5 4 Y C C C C C C C C C 8 Y C C C C 16 C C Y C 4
p
# C C C Y C C C C C C
C C Y C C
4
5 5 Y 8 16
5
C C Y C
4
5
10
! 4
5 Y > O C C C O Y C C C O 5 Y O 8 C C C O C 16
5 C C
> Y C C C
4
5
! 4
5 Y C C C C C C C C C
5 8 Y C C C C 16
5 C C Y C 4
5
# 4
5
C C C Y C C C C C C
C C Y C C
5 Y 8 16
5
C C Y C
4
5
PE001 – 12
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
g
C
C
h
C
C
C
C
C
C
h
C
h
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
g
C
C
C
13
! 4
5 Y O C C C C C Y O O C C Y C C 5 8 C Y O C C C Y O C >
16
5
C Y C C Y C 4
5
! 4
5 Y
5 8 16
5 4
5 C C C C C C C C C Y C C C C C C Y C
# C C C Y C C C C C C
C C Y C C
4
5 5 Y 8 16
5
C C Y C
4
5
16
! 4
5 Y Y C C 5 O 8
Y O Y C C > C
16
5 Y C C Y C 4
5
p
! 4
5 Y C C C C C C C C C
5 8 Y C C C C 16
5 C C Y C 4
5
# C C C Y C C C C C C
C C Y C C
4
5 5 Y 8 16
5
C C Y C
4
5
19
! 5 Y
Y C O
5 Y O C Y C C > Y C C C
5 Y C 5 4 8 16 4
! 5 5 5 5 4 Y C C C C C C C C C 8 Y C C C C 16 C C Y C 4
mp
# C C C Y C C C C C C
C C Y C C
5 5 Y 5
C C Y C
5 4 8 16 4
22
! 5 O Y C C O Y C C C O C 5 C C Y O 5 5 4 8 16 Y C C Y C 4
mf
>
! 5 5 5 5 4 Y C C C C C C C C C 8 Y C C C C 16 C C Y C 4
p
# C C
4
5
C Y C C C C C C
C C Y C C
5 Y 8 16
5
C C Y C
4
5
25
! 4
5 Y O C C C O Y C C C O 5 8
Y O
C C C O C 16
5 C C
> Y C C C
4
5
! 4
5 Y
5 8 16
5 4
5 C C C C C C C C C Y C C C C C C Y C
# C C
4
5
C Y C C C C C C
C C Y C C
5 Y C C Y C
8 16
5 4
5
PE001 – 13
C
C
C
C
C
C
B
C
C
B
C
C
C
C
C
C
C
C
C
C
C
TU
TU
C
C
C
C
T
TU
TU
C
C
C
C
C
g
C
C
C
C
C
C
C
R
C
C
C
C
C
TU
TU
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
TU
U
C
jh
C
C
28
! 4
5 Y O C C C C C Y O O C C Y C C 5 8 C Y O C C C Y O C >
16
5
C Y C C Y C 4
5
! 4
5 Y
5 8 16
5 4 5 C C C C C C C C C Y C C C C C C Y C
# C C C Y C C C C C C
C C Y C C
4
5 5 Y 8 16
5
C C Y C
4 5 31
! 4
5 Y C C C C C Y C C C - C
5 - Y C -
>
C C
C
C
8 16
5 Y C C Y C 4
5
34
! 4
5 Y C C C C C C C C C
5 8 Y C C C C 16
5 C C Y C 4 5 # C C C Y C C C C C C
C C Y C C
4
5 5 Y 8 16
5
C C Y C
4 5 >
! 5 Y C C C C Y C C Y C- C- Y C-
C C
C
Y C C Y C
C
5 5 5 4 8 T hj
16 4
! 5 5 5 5 4 Y C C C C C C C C C 8 Y C C C C 16 C C Y C 4 # C C C Y C C C C C C
C C Y C C
5 5 Y 5
C C Y C
5 4 8 16 4 37
! 5 5 4 C C 5 5 8 C C C C C 16 C C C C C 4
molto rubato (quasi accel.)
! 5 5 5 5 4 Y C C C C C C C C C 8 Y C C C C 16 C C Y C 4 # C C
4
5
C Y C C C C C C
C C Y C C
5 Y 8 16
5
C C Y C
4 5 (in tempo)
40
! 4
5 5 Q 8 16
5 Q
O
4
5
! 4
5 Y
5 8 16
5 4
5 C C C C C C C C C Y C C C C C C Y C
mf
# C C
4
5
C Y C C C C C C
C C Y C C
5 Y C C Y C
8 16
5 4
5
PE001 – 14
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
S
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
h
C
C
C
43
46
! 4
5 O Y C C Y O C C C O Y 5 8
C C Y O
16
5 Y > C C Y
4
5
mf
! 4
5 Y C C C C C C C C C
5 8 Y C C C C 16
5 C C Y C 4
5
mp
# 4
5
C C C Y C C C C C C
C C Y C C
5 Y C C Y C
8 16
5 4
5
Y O C C C O
Y C C C O Y O
! 4
5 5
C C C O C C C
> Y C C C
8 16
5 4
5
49
! 4
5 Y
5 8 16
5 4
5 C C C C C C C C C Y C C C C C C Y C
# C C
4
5
C Y C C C C C C
C C Y C C
5 Y 8 16
5
C C Y C
4
5
Y O C C C C C Y C O C O C C Y C C C Y O C C C Y O >
C
! 5 5 5
C Y C C Y C 5 4 8 16 4
f
! 5 5 5 5 4 Y C C C C C C C C C 8 Y C C C C 16 C C Y C 4
# 5
C C C Y C C C C C C
C C Y C C
5 Y 5
C C Y C
5 4 8 16 4
52
! 5 Y C C 5 5 5 4 C C Y C C C C C O C C C C 8
Y C C C C Y C C C C C C Y C C C C C Y C C Y C
16 C 4
mf I I
ING I
! 5 5 5 5 4 Y C C C C C C C C C 8 Y C C C C 16 C C Y C 4
# 4
5
C C C Y C C C C C C
C C Y C C
5 Y 8 16
5
C C Y C
4
5
55
! 4
5 Y C C C C Y C C C C C O C C C 5 C 8
Y C C C C Y C C C C C C Y C C C C
16
5
C Y C C Y C C 4
5
I I
ING I
! 4
5 Y
5 8 16
5 4
5 C C C C C C C C C Y C C C C C C Y C
# 4
5
C C C Y C C C C C C
C C Y C C
5 Y 8 16
5
C C Y C
4
5
PE001 – 15
C
C
C
C
C
C
C
C
C
C
C
C
T
C
C
C
C
C
C
C
C
C
TU
C
C
jh
C
TU
C
C
C
C
C
C
TU
C
T
C
ig
C
C
TU
ig
C
T
C
C
C
C
C
S
U
C
C
C
C
T
C
C
C
C
TU
58
60
62
! 4
5 Y C U Y C C C C Y C C C C U C C C C Y C C C 5 8 16
5
Y C T C Y C C Y C C C C C C
I
f
! 4
5 Y C C C C C C C C C
5 8 Y C C C C 16
5
mf
# 4
5
C C C Y C C C C C C
C C Y C C
5 Y
8 16
5
Y C C
! 16
5 C Y C C C C C C C C
C C C Y C C 4
5 C
5 8
ff C Y C C C C C C
Y C C U C C C C Y C C C
! 16
5 C C Y 4
5
Y C C C C C C C C C
5 8
# C C Y C Cf
16
5 4
5
C C C Y C C C C C C
5 8
! 5 Y C C
Y C C
5 5 5 8 C C
C C TU
C C
C C C Y C
Faster = 120
C Y C C C Y C C Y C O S S S
16 4 8
! 5 5 5 5 8 Y C C C 16 C C Y C 4 Y C C C C C C C C C 8
C C ff
# Y C C C
5 Y 5
C C Y C
5 C C C C Y C C C C C C
5 8 16 4 C 8
65
! 5 Q 5
C Y C C Y C 5 5 8 16 4 C C C C Y C C C C C C Y C C C C C C C C C C
8
ff
! 5 5 5 Q 5 8 Y C C C 16 C C Y C 4 8
#
C C Y C C
5 Y 8 16
5
C C Y C
4
5 Q 5 8
68
! 5 C C C 8
Y C C C Y C C C C C
16
5
C Y C C Y C 4
5 T O S S S S 5 8
p
! 5 Q 8 16
5 C C Y C 4
5
Y C C C C C C C C C
5 8
p
# 5 Q
Y
8 16
5 4
5
C C C C Y C C C C C C
C
C 5 8
PE001 – 16
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
h
T
C
C
C
C
C
C
C
C
C
U
C
C
C
C
C
U
C
C
C
C
h
C
C
C
C
C
C
C
C
TU
T
C
C
h
C
C
C
C
C
C
C
jh
U
C
h
U
C
C
C
C
C
C
C
h
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C
C
C
>
C
C
TU
TU
C
g
C
C
h
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
T
g
C
jh
C
TU
TU
C
g
C
,
71
! 5 C C C 8
Y C C Y C C C C
16
5 C Y C C Y C C C C C C Y C C C C C C Y C C C C C C C C C C
4
5 5 8
ff
! 5 8 16
5 Q Y C C C
4
5 S S S
C C C C C C C
5 8
C C
ff
# Y C C
5 Y 5 Q 8 16 4
5 S S S C
5 8
74
Y C C Y C
! 5 Q 8 16
5 4
5 T T S T Y C C C C C C C C C C 5 S T Y C C C C
8 16
5
ff
p sub.
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5 4
5 5 8 16
5 C C C
C C C C Y C C C C C C T S S C C C Y C C C S
p
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5 Y C Y C C Y C
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5 4
5 Q 5 Q 8 16
5
78
83
88
! 5 Y C Y C 5 5 5 5 5 16 4 OY C C Y O C C C OY C C Y O Y C C Y C C Y O C C C O
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f sub.
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sub.
5
C C OY
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fff
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