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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C 

W 

W C 

> C 

C g 

C 

C 

>C 

C 

T C g 

C 

W g 

W C 

C 

>C 

! 

! U T 

A 

A 

C 

C W C 

esitando 

C C C C W C 

C CW 

C 

C C C C C C C C C C C C C? 

g 

C 

! 

W W C 

g 

C 

W C 

> g 

C C C C 

C > C C C 

^ 

? 

TU 

W C C 

W C CC 

C 

C C 

CC 

CC 

CC 

C C 

C CC 

C 

C C 

CC 

! 

C 

fff 

ev` 

! 4 ! 

W C C 

W C CC 

CC 

C 

C C C C 

C CC 

CC 

C 

C C 

CC 

CÒ C 

CC 

¯ 

Ò 

4 PE014 – 9 

PE128 – 9

# 

# 

^ 

C 

A 

C 

A 

C 

C 

C 

C 

g 

C 

C 

C 

C 

C 

C 

C 

C 

g 

C 

C 

C 

C 

C 

C 

C 

C 

g 

jh 

C 

jh 

C 

B 

CB 

U 

U 

# 

C 

C 

CC 

T 

T 

CC 

h 

h 

C 

A 

C 

A 

C 

C 

# 

C 

g 

C 

C 

S 

C 

g 

C 

C 

C C 

>C 

C 

g 

C 

CC 

C 

jh 

C 

jh 

C 

C 

C 

C 

CC 

h 

g 

C 

B 

CB 

C 

g 

C 

C>C 

h 

g 

CCC 

>C 

CCCC 

CC 

h 

C 

h 

C 

C 

# 

Œ = 144 

86 

! 4 U C 

T 

W C C C C C W C 


C C W C C C C C 

TU 

T T 

g 

C 

C 

f metallic, brilliant 

! 4 U 

T C C W C C C C C W C 


C C W C C C C C 

TU 

T T 

g 

C 

88 

! 

g 

C 

g 

C 

WW > C C C C C > C C C C > C C C C^C 

g 

C 

U T 

W C C W C 

U T 

C C C C C C C 

! 

W > C C > C C > C C^ 

TU 

C W C C W C 

TU 

C C C C C C C 

90 

C C W C C 

C C C C 

C C C 

W C 

g 

C 

! T T W C > g 

4 

6 

C CC C > g 

C CC C > g 

C CC C > g 

C C C C 

C CC C^C 

4 

g 

C C W C C 

! 

C C C C 

W C 

C C C 

C C 

T T 

> C C > C C > C C > C C^ 

4 

6 4 92 

! 4 4 

U T 

W C C W C 

W C C W C 

! 

W > WW 

C O 

C>C 

C C 

C C 

C C 

CC 

C C 

! 4 4 

W C C W C C C 

! 

W CCO C O 

CC > 

C CC 

W 

Sost. Ped. 

94 

(to m.197) 

! Q Q Q Q 

f staccatissimo 

. ^. ^. ^. ^. ^. ^. ^. ^. ^. ^. ^. ^. ^. 

W C W C C C W C C C W C 

W 

W 

W 

W 

Ì 

^. 

C 

^. 

C 

98 

! Q Q Q Q # 

pp subito 

. . . . 

W C C W . . . . 

C W . . . . 

C C C W . . . . 

C C 

W 

W 

W 

W 

PE014 – 10 

PE128 – 10

! 

A 

A 

B 

B 

A 

A 

B 

B 

A 

A 

A 

B 

! 

A 

B 

B 

B 

A 

A 

A 

B 

B 

102 

p legato 

W C # W C C C W C 

W C C C W C 

W C C C W C C W C C C 

C 

W 

C 

C 

# 

W 

W 

. 

C 

. 

C 

. 

C 

. 

C 

W 

W 

. 

C 

C 

. 

C 

. 

C 

. 

C 

L.H. sempre sim. 

W C C C C W C C C C W C C C C 

W 

W C W 

107 

# 

# 

C 

C 

W C C C 

C 

W 

C 

W C C W C C C 

W C C C 

W C C 

W C 

W C 

C W C C C 

W C C 

C C W C 

W C 

C C C 

W C C C C W C C C C W C C C C W C C C C W C C C C 

W C W W C W 

W C 

g 

! W C C C 

W C C C C 

W C C 

W C 

W C C C W C 

W C C 

C W C 

C C 

W C C C 

C C 

C 

C W C 

C C 

W C C C 

C C 

C 

C W C 

A C 

# 

W C C C C W C C C C W C C C C W C C C C W C C C C 

W 

W C W 

W C W 

112 

117 

! TU 

CW 

C 

# 

f 

W C 

W C 

CW C C C C C C C C C 

h j T U T 

metallic, brilliant 

W 

C 

C C C CW C C C C C C C C C C C W C 

C C C W C C C C W C 

W 

W C 

C C C CW 

C 

C 

C C 

120 

C C W C C C C C C W C 


CW 

C 


# 

W C 

C W C C C C W C C C C 

W 

W C 

PE014 – 11 

PE128 – 11

# 

# 

# 

# 

# 

A 

B 

B 

A 

B 

A 

B 

A 

A 

T 

A 

T 

B 

# 

122 

! 

CW 

C 

C CW C C C C C C C C C C C C C C CW 

C 

C C C C W C C C C C C C C CW 

C 

C CW 

C 

C C C 

W C C C C W C C C C W C 

W 

W C 

W 

(S.P.) 

Ì 

C 

! 

CW 

C 

W C C 125 

C C C CW 

C 

C C C 

CW C C C C C C C C C C C W C 

C C C CW 

C 


W C C W C C C C W C C C C 

W C 

W 

127 

! 

W 

C 


C C C CW 

C 


W C C C C W C C C C 

W C 

W 

129 

! 

W 

C 

CW C C C C C C C C C C C C C C CW 

C 

C CW C C C C C C C C C C C C C C CW 

C 

C C C C 


W C 

W 

W C 

C 

! 

W 

C 

132 

W C C C C C C C CW 

C 

C CW C C C C C C C C C C C C C W C 

WW C Ċ C 

U T 

C- CO 

O 

C CO 

Ċ C C C T 

C- C CO C 

O 

W C 

C W C C C C W C 

W 

W C 

! 

g i 

W TU 

C C. 

C COO 

C- 

C. 

C COO 

C- 

PE014 – 12 

PE128 – 12

134 

! 

# 

C 

-C 

CW C C C C C 

- C- C C C 

- C C C 

- C C C UT W - W C - C C C - C C C - 

T U C - C C C - C C C - 

legato, less percussive 

UT C - CW C C 

- C C C C C C 

- C- C C C 

- C C 

W C C C C W C CB 

C C W C C C C 

W A 

W C 

W A 

137 

! 

# 

C- W - 

C C W C C C- C- 

C C C C C- C- 

C C C C C- C 

UT C - CW C C 

- C C C 

- C C C C- C C C 

- C C C C- W 

W C - C C C - C C C - 

W C CB 

C C W C C C C W C CB 

C C 

W C 

W A 

W C 

C 

C- C C C C - C C 

140 

! C C- 

C C- C C W C 

- C C C C 

- C C C C 

- C C C C C- C 

W C C 

C C W C C C C C C C C h j C UT T 

W 

C 

C C C CW C C C C C C C C C C C 

# 


W C C C C W C CB 

C C W C C C C 

W A 

W C 

W A 

143 

! 

W 

C 


C C C CW 

C 


# 

145 

! 

# 

W C CB 

C C W C C C C 

W C 

W A 

W 

C 


C 

C CW 

C 


W C CB 

C C W C C C C 

W C 

W A 

147 

! 

C C CW 

C 

C C C CW C C C C C C C C CW 

C 

C CW 

C 

CW 

C 


# 

W C CB 

C C W C C C C 

W C 

W A 

PE014 – 13 

PE128 – 13

# 

# 

# 

# 

# 

T 

B 

ig 

B 

B 

B 

T 

A 

# 

A 

A 

A 

A 

B 

B 

B 

B 

B 

A 

A 

A 

A 

A 

149 

! 

W 

W 

C 

C 

C 

W C 

WW C Ċ 

C 

! 

W C. 

U T 

U T 

-CO 

CCO 

C 

O 

O 

CO -C 

Ċ C C C T 

C. 

-C CCO 

C 

O 

O 

CO -C 

W C C C 

W C C C 

W C 

W C W C C C 

W C C C C C W C W C W C C C 

W C C C 

C C W C 

W C C C 

W C 

W 

p legato 

C C C W C C C C W C C C C 

W C 

W 

(S.P.) 

Ì 

153 

! 

g 

C 

W C C W C 

C C 

W C W C 

C C 

W C C W C C 

C C 

C W C 

C C 

W C C W C C 

C C 

C W C 

C C 

W C C W C 

C C 

C W C 

W C C C C W C C C C W C C C C W C C C C 

W C 

W 

W C 

W 

g 

C 

W C 

W C 

157 

! 

C 

C 

W C C C W C W C C C 



W C C C 

C C W C 

W C C C 


W C 

W 

W C 

W 

161 

! 

g 

C 

W C C W C 

C C 

W C W C 

C C 

W C C W C 

C C 

C 

C W C 

C C 

W C C W C 

C C 

C 

C W C 

A C 


W C 

W 

W C 

W 

165 

! TU 

CW C CW C C C C C C C C h j 

f 

W C 

W C 


C U T T 

W 

C 


W 

C 


C C C W C C C C W C C C C 

W 

W C 

PE128 PE014 – – 14 14

# 

# 

# 

# 

# 

T 

A 

A 

B 

T 

# 

A 

B 

A 

B 

B 

A 

A 

B 

B 

A 

168 

! 

W 

C 



C 

C CW 

C 

C C C 


W 

W C 

W 

C 

! 

CW 

C 

W C C C 

171 

C C CW 

C 

C C C 

C C C C W C C C C C C C C CW 

C 

C CW 

C 


W C C W C C C C W C C C C 

W C 

W 

173 

! 

C W C 

WW C Ċ C 

U T 

C- C CO C 

O 

Ċ C C C T 

C- C CO C 

O 

C 

- C 

C W C C - 

C C C C- C C C 

- C C C 

- C C C U - 

T 

W 

W C- 

C C C - C C C U - 

T C C- C C C C- C C C C- 

W 

W 

C 

C 

! 

g i 

W C 

TU 

C. 

C CO 

O 

C- 

C. 

C CO 

O 

C- 

legato, less percussive 

W C C C C W C C C C 

W 

W C 

176 

! TU 

C 

- C W C C 

- C C C - 

C C C C- C C C 

- C C 

C - C 

W - C W C C C- C 

C- 

C C C C - C 

C- 

C C C C - C 

TU 

C 

- C W C C 

- C C C 

- C C C C- C C C 

- C C 


W 

W C 

W 

179 

! 

C W C- W C- 

C C C - C C C - 

C C- C C C C- C C 

C C 

C- C- C W C C 

- C C C 

- C C C - 

C C C C- C 

W C C 

C C W C C C C C C C C h j C TU 

T 

, 



W C 

W 

W C 

PE014 – 15 

PE128 – 15

# 

# 

# 

182 

! 

! 

W 

Half speed ( Œ = 72) 

C 

p 

W C 

W C 

(S.P.) 

W 

C 

C 

C 


legato 

C C 

Ì 

W C 

W C 

C C C C C 

W C 

W C 

C 

C 

185 

W C C W C 

g 

C 

C 

C 


C C C CW 

C 

W C C C W C C W C 

C W C C CW C 

W C C C W C 

W C 


C 

W C C W C 

C C 

W C W C C C 

W C 

C CW 

C 

C C 


CW C C C C W C 

C 

C 

187 

! 

C C CW 

C 

C C C C W C 

C C C C C C C CW C C C W C 

# C C 

W C C C C 

C 

C W C 

C C 

W C C C 

C C 

C W C 

C C C CW C C C C C C C C C CW 

C 

g 

C 

W C C W C 

W C C W C 

CW 

C 

C C 

! 

C C W C C C C C C W C 

accelerando poco a poco 

190 

C C C CW 

C 

C CW C C C C C C C C W C 

C C C CW 

C 


# C C C C 

W C C 

C C W C W C 

C W C C C 

W C C 

C C W C 

W C 

C C C 

W C 

192 

! 

W 

C 

C C C CW 

C 

# W C C C 

W C 

W C 

C 

C CW C C C C C C C C W C 

CW 

C 

g 

C C C 

W C C 

W C C W C 

W C C W C 


C 

C 

194 

! 

W 

CW 

C 

C 

C 

C CW 

C 

CW 

C 

C 

W C C C C 

C CW C C C C C C C C C CW 

C 

C C C CW 

C 

W C C C 

W C C W C 

W C C C 

C W C 

C C C C C C C 

C 

C 

PE128 PE014 – – 16 16

# 

# 

B 

jh 

T 

B^ 

B 

B 

196 

! 

CW 

C 

C CW C C C C C C C C C C C C C W C 

WW C Ċ 

C 

f 

# A T 

A 

a tempo ( Œ = 144) 

(S.P.) 

U T 

W ĊC C U 

-CO 

CCO 

Ċ 

CO 

C C T 

>C 

C C > W C > CW 

C 

G 

C 

>C 

-C CCO 

C 

O 

G 

C W C 

>C W C> 

C 

C > 

C 

C W > 

ff 

X C 

X C Ò 

CW 

C 

C C 

! 

201 

! 

W C 

W 

CC 

W 

g 

C 

C 

C 

W W W 

C 

W 

199 

W B C B 

C C C CW C C C W C 

C 

W C 

W C 

W 

CC C 

B BB 


X C 

X C 

Ò 

C 

C W 

C 

C BB 

B 

G 


C 

C CW 

C 

C C C CW 

C 

X C 

X C 

Ò 

W C 

W W W 

C 


W C 

W 

CC 


203 

! 

C 

W W B B 

W B 

C 

W W W 

C 

C 

W C 

W 

CC 

C C 

# C C CW 

C 

C C C CW 

C 

C 

Ò 

C C C C C C C 

CW 

C 

C CW 

C 

C C C CW 

C 

C C C C C C 

205 

! 

W W B B 

B 

W B 

C C W BB 

W C 

W 

CC 

C C 

# C C C C C C C C C C C W C 

W C 

W C C C 

C 

C 

Ò 

PE128 PE014 – 17 – 17 

C C C CW 

C 

C C C C 

C > 

con rubato 

W > 

C 

C 

C W C C> 

W C> 

C C C C> 

C> 

W C>

# 

# 

# 

# 

# 

>C 

C 

> 

>C 

>C 

C 

T 

C 

C 

C 

C 

C 

>C 

> 

C 

C 

C 

CCC 

C 

C 

>C 

>C 

>C 

CC>C 

C 

C 

>C 

CC>C 

CCC 

C 

C 

C 

C 

>C 

>C 

C> 

CCC 

CC 

C 

C 

C 

>C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

>C 

>C 

>C 

C 

C C 

C C 

Ò 

C 

C 

>C 

C 

C 

C 

C 

C 

C 

„ 

Â 

W W A ^A W A 

! Q 

pp subito, crescendo poco a poco 

W 

W C C C C C C C C C C C W C 

W C C C 

207 

C C C 

C C C 

‰ 

A 

X ÒA 

G 

J 

J 

J 

J 

J 

J 

J 

209 

J 

W C W C 

J 

C C C C C C 

J 

C C C C W C 

J 

C C C C C C 

! ! 

W 

210 

! 

J 

W C C W C C C 

J 

C C C C C C 

J 

W C C C C W C 

J 

W C C W C C C 

W 

211 

! 

fff 

g 

C 

! 

W 

W C CC 

C > C C 

G 

g 

C 

W C C C 

G 

g 

C 

g 

C 

C C C C 

> 

g 

C 

g 

C 

CCC 

G 

G 

CC 

C C 

> 

g 

C 

g 

C 

CC>C 

G 

G 

CCC C 

> 

g 

C 

W > C CC W 

eva 

eva 

W C> 

C C 

C C 

W 

W > 

g 

W C 

C # 

C 

> 

g 

W 

W 

W > C 

g 

W 

C 

C 

> 

? 

B 

B B 

B 

B 

PE128 PE014 – – 18 18

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