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PROMETHEAN EDITIONS<br />

GARETH FARR<br />

<strong>Tuatara</strong><br />

Percussion & Piano


Gareth Farr<br />

<strong>Tuatara</strong><br />

Percussion and Piano<br />

PROMETHEAN EDITIONS<br />

WELLINGTON


<strong>Tuatara</strong> (PE037) for Percussion and Piano by Gareth Farr (1998)<br />

© Promethean Editions 1998<br />

First edition © 2004 Promethean Editions Limited (201505)<br />

Series Editor: Ross Hendy<br />

Editor: Thomas Liggett<br />

ISBN: 978-1-877218-37-8 (print)<br />

ISBN: 978-1-77660-037-3 (ebook)<br />

ISMN: 979-0-67452-099-7<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 />

PE037 – 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 />

PE037 – 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, Balinese gamelan and other percussion<br />

music of the Pacific Rim.<br />

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

PE037 – iv


<strong>Tuatara</strong> (1998)<br />

As part of the 1998 Sunday Concert series presented by the Wellington Chamber Music<br />

Society, Gareth Farr and pianist Dan Poynton gave a concert of music for percussion and<br />

piano which had the idea of the New Zealand forest as a unifying theme. The concert hall<br />

was decked out with potted plants and giant fern fronds for the occasion, and the eclectic<br />

programme included a new arrangement of Poynton’s Moa and a work composed especially<br />

as a companion-piece, <strong>Tuatara</strong>. Each were named after a creature unique to New Zealand’s<br />

native fauna – the moa was a giant, flightless and now extinct bird, and tuatara is a<br />

remarkable reptile, thought to be a species which has existed since the time of the dinosaurs.<br />

<strong>Tuatara</strong> is based on two musical ideas which are heard concurrently at the beginning. A<br />

jaunty, angular, syncopated theme in the piano part is set against the marimba’s running<br />

semiquavers. The musical argument of the work is entirely derived from these two ideas,<br />

which are exchanged between the instruments and subjected to development by variation.<br />

The percussion part is enhanced through the addition of tom toms and cymbals as the work<br />

proceeds.<br />

The first performance of <strong>Tuatara</strong> took place at the Ilott Chamber, Wellington, New Zealand,<br />

on 21 June 1998.<br />

Performance notes<br />

Percussion<br />

• A marimba with a 4 1/3-octave range (A 2 -C 7 ) is required<br />

• The un-pitched percussion should be set up in front of the marimba<br />

• The pitch of the gong is non-specific<br />

• Choice of mallets is left to the discretion of the performer<br />

PE037 – v


Legend:<br />

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PE037 – vi


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<strong>Tuatara</strong> © 1998 Promethean Editions Limited<br />

This edition © 2004 Promethean Editions Limited PE037 – 1<br />

ISMN: 979-0-67452-099-7


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PE037 – 3


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PE037 – 5


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PE037 – 6


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PE037 – 7


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PE037 – 12


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PE037 – 13


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PE037 – 14


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PE037 – 22


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PE037 – 29


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PE037 – 30


PROMETHEAN EDITIONS

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