Kembang Suling

PrometheanEditions

by Gareth Farr | Flute and Marimba

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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This edition © 1997 Promethean Editions Ltd PE001 – 1

ISMN 979-0-67452-081-2


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