Tangaroa

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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. PE064 – iv
Tangaroa (2001) Composed at the request of North American marimbist Andy Harnsberger, the virtuosic Tangaroa exploits a number of contemporary performance techniques, making it an exciting showcase work for advanced percussionists. The mighty Pacific Ocean was Farr’s inspiration for Tangaroa, with the work named after the Polynesian god of the sea. In its surging ebb and flow, the music evokes the ocean in its many moods – from the gentle rippling of calm, sparkling waters to the turmoil of a chaotic storm. Farr intentionally exploits a handful of contemporary marimba performance techniques, in particular the standard hand-to-hand roll, the independent (or one-hand) roll, and the double lateral roll. The journey begins with the work’s mysterious theme bobbing above rippling harmonic material, surges of rhythmic subversion pushing us onward. Metric acrobatics and harmonic departures begin to punctuate the work, the opening theme recast but still recognisable; the presence of fourth and fifth intervals between the pitches played by each hand maintain Tangaroa‘s dark majesty. In the work’s middle section the performer must transition between a series of challenging roll techniques while traversing the range of the marimba. Later, Tangaroa‘s simmering, tightly coiled energy alternates with gestures that bring out gulping, woody depths of the marimba’s lower register as the work dances towards its finale. Tangaroa was commissioned by Andy Harnsberger, who gave its premiere performance at the Virginia Day of Percussion, Radford University, Virginia, USA, on 12 April 2003. Performance notes • A marimba with a 5-octave range (C 2 -C 7 ) is required • Choice of mallets is left to the discretion of the performer • The following notational conventions are employed: ˇ ˇæ Standard hand-to-hand roll ˇ ˇ0 Independent or one-hand roll ˇ ˇS Double lateral roll (4-3-1-2) PE064 – v
Page 1: PROMETHEAN EDITIONS GARETH FARR Tan
Page 4 and 5: Tangaroa (PE064) for Marimba by
Page 8 and 9: PE064 - vi
Page 10 and 11: 11 & ˇ . ˛ ? ˛ ˛ ˛ ˛ ˛ ˛ ˛
Page 12 and 13: 40 & 16 6 b˛ b˛ ˛ ˛ 8 3 # b ˛
Page 14 and 15: ˇ b . 69 & mf ? ˛ b˛ b˛ ˛ ˛ b
Page 16 and 17: 103 & 16 6 16 9 # 7 8 b ˛ ˛ ˛
Page 18 and 19: 128 & ˛ ˛ ? ˛. ˛ ˛ ˛ ˛ ˛ ˛
Page 20 and 21: 159 & & ˛ b˛ b b ˛ ˛˛ ˛ ˛ ˛
Page 22 and 23: 183 & ? ˛. ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛
Page 24 and 25: 220 & #˛ ? A little faster Œ = 88
Page 26 and 27: 235 & 7 8 Tempo I Œ = 132 ? 7 8
Page 28 and 29: 262 & ? ˛. ˛ ˛˛ b˛ ˛ ˛ ˛ b
Page 30: 291 ˛˛ & 4 2 & 2 4 # b ˛ ˛ b #

Tangaroa

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