Sepuluh Jari (Preview)

PROMETHEAN EDITIONS

GARETH FARR

Sepuluh Jari

Piano

Gareth Farr


Piano

PROMETHEAN EDITIONS

WELLINGTON

Sepuluh Jari (PE014) for Piano by Gareth Farr (1996). Dedicated to

Michael Houstoun.

© Promethean Editions Limited 1996

First edition © 2000 Promethean Editions Limited (201507)

Series Editor: Ross Hendy

Editor: Thomas Liggett

ISBN: 978-1-877218-14-9 (print)

ISBN: 978-1-77660-014-4 (ebook)

ISMN: 979-0-67452-072-0

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.

Sepuluh Jari was commissioned by Michael Houstoun with financial

support from Creative New Zealand, Arts Council of New Zealand Toi

Aotearoa.

PE014 – 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-

PE014 – 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.

PE014 – iv

Sepuluh Jari (1996)

A work heavy in bravura, Sepuluh Jari is the result of a commission Farr received from New

Zealand pianist Michael Houstoun for a toccata. Here, Farr takes the toccata’s traditional

emphasis on dexterity and melds it with the cross-cultural influences that enrich so many

of his works. Drawing on the Indian saraswati scale and Balinese pelog scale for its harmonic

material, Farr creates cascading scalar passages that eventually arrive at joyous declamatory

moments. Its challenging passages require swift finger work, its insistent pulsed material

interspersed with elastic rushes of energy and brief snatches of stillness and reflection.

In articulating the range of stylistic influences that were mixed together to produce Sepuluh

Jari, Farr imagined the work as something Bach may have produced in an alternate life in

which the famed composer had journeyed to the lands of India and Indonesia:

From a recently-unearthed letter, apparently in the hand of of J.S. Bach:

“…and here it is, my recently completed toccata, Sepuluh Jari — it means “ten fingers” in the

native language here on the island of Bali.

I’m forever grateful to you for persuading me to take leave from my position as church organist

and spend a year in the Hindu lands of India and Bali. I have found the rhythms and scales of

the music here so inspirational that I could not stop them from creeping into this piece.

You must forgive me, though, if it gets a little crazy at times; a strange potion offered to me from

a coconut shell may be to blame — it made me feel quite queer…”

The rest of the letter is illegible.

Sepuluh Jari was commissioned by Michael Houstoun, who gave its premiere performance

at the Ilott Concert Chamber in Wellington, New Zealand on 12 March 1996 as part of the

New Zealand International Festival of the Arts. A recording of this performance appears on

the Trust Records album Michael Houstoun – Elusive Dreams (MMT2010). A studio recording

PE014 – v

of Sepuluh Jari with the revised ending – as published in this score – appears on the Trust

Records album Gareth Farr – Chamber Music (MMT2020), also performed by Houstoun.

Sepuluh Jari also appears on the Trust Records album Gareth Farr – Horizon (MMT2070),

performed by Henry Wong Doe.

PE014 – vi

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Sost. Ped.

94

(to m.197)

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PROMETHEAN EDITIONS

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