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by Gareth Farr | Cello and Piano

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PROMETHEAN EDITIONS<br />

GARETH FARR<br />

<strong>Shadow</strong> <strong>of</strong> <strong>the</strong> <strong>Hawk</strong><br />

Cello and Piano


Gareth Farr<br />

<strong>Shadow</strong> <strong>of</strong> <strong>the</strong> <strong>Hawk</strong><br />

Violoncello and Piano<br />

PROMETHEAN EDITIONS<br />

WELLINGTON


<strong>Shadow</strong> <strong>of</strong> <strong>the</strong> <strong>Hawk</strong> (PE016) for Violoncello and Piano by<br />

Gareth Farr (1997).<br />

© Prome<strong>the</strong>an Editions Limited 1997<br />

First edition © 1999 Prome<strong>the</strong>an Editions Limited (201507)<br />

Series Editor: Ross Hendy<br />

Editor: Thomas Liggett<br />

Music Typesetting: Alistair Gilkison<br />

ISBN: 978-1-877218-16-3 (print)<br />

ISBN: 978-1-77660-016-8 (ebook)<br />

ISMN: 979-0-67452-062-1<br />

Prome<strong>the</strong>an Editions Limited<br />

PO Box 10-143<br />

Wellington<br />

NEW ZEALAND<br />

http://www.prome<strong>the</strong>an-editions.com<br />

No part <strong>of</strong> this publication may be reproduced in any form or by<br />

any means without permission in writing from <strong>the</strong> Publisher.<br />

<strong>Shadow</strong> <strong>of</strong> <strong>the</strong> <strong>Hawk</strong> was commissioned by James Tennant and<br />

Ka<strong>the</strong>rine Austin with financial support from Creative New Zealand,<br />

Arts Council <strong>of</strong> New Zealand Toi Aotearoa.<br />

PE016 – ii


Gareth Farr (1968)<br />

Gareth Farr was born in Wellington, New Zealand. He began his studies in composition and<br />

percussion performance at <strong>the</strong> University <strong>of</strong> Auckland. The experience <strong>of</strong> hearing a visiting<br />

gamelan orchestra prompted his return to Wellington to attend Victoria University, where <strong>the</strong><br />

characteristic rhythms and textures <strong>of</strong> <strong>the</strong> Indonesian gamelan rapidly became hallmarks <strong>of</strong><br />

his own composition. Farr continued with postgraduate study in composition and percussion<br />

at <strong>the</strong> Eastman School <strong>of</strong> Music in Rochester, NY, where his teachers included Samuel Adler<br />

and Christopher Rouse.<br />

The inclusion <strong>of</strong> his works in four events at <strong>the</strong> 1996 New Zealand International Festival <strong>of</strong><br />

<strong>the</strong> Arts inaugurated his career as a dedicated freelance composer. Since <strong>the</strong>n, Farr’s music<br />

has been heard at, or especially commissioned for, high-pr<strong>of</strong>ile events including <strong>the</strong> 50th<br />

anniversary <strong>of</strong> <strong>the</strong> New Zealand Symphony Orchestra (From <strong>the</strong> Depths Sound <strong>the</strong> Great Sea<br />

Gongs), <strong>the</strong> opening <strong>of</strong> <strong>the</strong> Museum <strong>of</strong> New Zealand Te Papa Tongarewa (Te Papa), and <strong>the</strong><br />

2000 Olympic Games in Sydney (Hikoi, a concerto for percussionist Evelyn Glennie and <strong>the</strong><br />

NZSO). In 2003, a commission by <strong>the</strong> Auckland Festival resulted in Stone and Ice, composed<br />

for <strong>the</strong> combined forces <strong>of</strong> <strong>the</strong> NZSO and <strong>the</strong> Auckland Philharmonia Orchestra. In 2006<br />

Farr was made an Officer <strong>of</strong> <strong>the</strong> New Zealand Order <strong>of</strong> Merit, for his services to music and<br />

entertainment. In <strong>the</strong> same year, <strong>the</strong> Royal New Zealand Ballet toured <strong>the</strong> country with <strong>the</strong>ir<br />

brand new work The Wedding, featuring a score by Gareth Farr. At ninety minutes, it was<br />

among <strong>the</strong> ballet company’s most ambitious projects, and combined Farr’s talents with those<br />

<strong>of</strong> prominent New Zealand novelist and librettist Witi Ihimaera.<br />

Farr’s music was integral to Maui – One Man Against <strong>the</strong> Gods, a stage show four years in <strong>the</strong><br />

making. First premiered in 2003, it featured aerial <strong>the</strong>atre, Maori kapa haka, contemporary<br />

dance and song, with Farr’s stirring music, and toured a number <strong>of</strong> 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 />

PE016 – iii


in-Residence for <strong>the</strong> Auckland Philharmonia Orchestra. The residency culminated in 2008<br />

with <strong>the</strong> premiere <strong>of</strong> Ex Stasis, a symphonic song cycle for four soloists. In 2008, Farr also<br />

celebrated <strong>the</strong> world premiere <strong>of</strong> his work Terra Incognita, for bass solo, choir and orchestra,<br />

performed by Paul Whelan and <strong>the</strong> Orpheus Choir with <strong>the</strong> New Zealand Symphony<br />

Orchestra. Farr’s artistic excellence was acknowledged when he received <strong>the</strong> Arts Foundation<br />

<strong>of</strong> 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 <strong>of</strong> 2014 Farr’s Concerto for Piano and Orchestra received its world premiere from<br />

soloist Tony Lee and <strong>the</strong> New Zealand Symphony Orchestra, conducted by Pietari Inkenen.<br />

Its UK premiere followed one year later, with Lee backed by <strong>the</strong> 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 <strong>the</strong> 100th anniversary <strong>of</strong> <strong>the</strong> ANZAC<br />

troops’ battle at Gallipoli during World War I. The concerto received critical acclaim,<br />

described by <strong>the</strong> Dominion Post’s John Button as containing “marvellously free piano<br />

writing surrounded by orchestral sounds that conjure up memories <strong>of</strong> Prok<strong>of</strong>iev ballets,<br />

Ravel’s L’Enfant et les Sortileges and even <strong>the</strong> Bartok First Piano Concerto…<strong>the</strong> 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 <strong>of</strong> percussion, both Western<br />

and non-Western. Rhythmic elements <strong>of</strong> his compositions can be linked to <strong>the</strong> complex and<br />

exciting rhythms <strong>of</strong> Rarotongan log drum ensembles, Balinese gamelan and o<strong>the</strong>r percussion<br />

music <strong>of</strong> <strong>the</strong> Pacific Rim.<br />

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

PE016 – iv


<strong>Shadow</strong> <strong>of</strong> <strong>the</strong> <strong>Hawk</strong> (1997)<br />

The shadow <strong>of</strong> <strong>the</strong> hawk rises and falls as <strong>the</strong> landscape gently undulates beneath it. One moment<br />

it is indistinct and unfocussed, <strong>the</strong> next it snaps into clear definition as <strong>the</strong> ground rises. A rocky<br />

outcrop thrusts up towards <strong>the</strong> sky – <strong>the</strong> shadow is suddenly crystal-clear. Slowly it slides away<br />

again as <strong>the</strong> hills recede, and <strong>the</strong> hawk ascends soundlessly back into <strong>the</strong> sky.<br />

Gareth Farr<br />

<strong>Shadow</strong> <strong>of</strong> <strong>the</strong> <strong>Hawk</strong> is an exuberant work for cello and piano that takes influence from<br />

Balinese gamelan music, while echoes <strong>of</strong> Prok<strong>of</strong>iev and Shostakovich can also be heard. The<br />

work is pervaded by a continual sense <strong>of</strong> forward momentum, demanding considerable<br />

stamina from both performers as <strong>the</strong>y traverse many passages <strong>of</strong> tightly motoric unison<br />

playing. The action occasionally gives way to more expansive and lyrical sections, which<br />

highlight <strong>the</strong> expressive voice <strong>of</strong> <strong>the</strong> cello.<br />

<strong>Shadow</strong> <strong>of</strong> <strong>the</strong> <strong>Hawk</strong> was commissioned by <strong>the</strong> Adam Chamber Music Festival and Creative<br />

New Zealand. It received its premiere performance from Ka<strong>the</strong>rine Austin (piano) and James<br />

Tennant (cello) at <strong>the</strong> Adam Chamber Music Festival in January <strong>of</strong> 1997. Austin and Tennant<br />

have also recorded <strong>Shadow</strong> <strong>of</strong> <strong>the</strong> <strong>Hawk</strong> for <strong>the</strong> Trust Records album Gareth Farr – Chamber<br />

Music (MMT2020). A performance <strong>of</strong> <strong>the</strong> work also appears on <strong>the</strong> Trust Records album<br />

Gareth Farr – Horizon (MMT2070), performed by Henry Wong Doe (piano) and Jisoo Ok<br />

(cello).<br />

PE016 – v


PE016 – vi


<strong>Shadow</strong> <strong>of</strong> <strong>the</strong> <strong>Hawk</strong> TO JAMES TENNANT AND KATHERINE AUSTIN<br />

Gareth Farr<br />

= 108<br />

pizz.<br />

3<br />

6<br />

8<br />

cresc.<br />

cresc.<br />

<strong>Shadow</strong> <strong>of</strong> <strong>the</strong> <strong>Hawk</strong> © Prome<strong>the</strong>an Editions Ltd<br />

This edition © 1999 Prome<strong>the</strong>an Editions Ltd PE016 – 1<br />

ISMN: 979-0-67452-062-1


10<br />

12<br />

arco<br />

cresc.<br />

cresc.<br />

15<br />

18<br />

21<br />

port.<br />

PE016 – 2


24<br />

26<br />

29<br />

cresc.<br />

cresc.<br />

31<br />

34<br />

<strong>of</strong>f <strong>the</strong> string<br />

PE016 – 3


37<br />

sim.<br />

40<br />

I<br />

II<br />

III<br />

port.<br />

43<br />

II<br />

I<br />

détaché<br />

port.<br />

port.<br />

46<br />

48<br />

PE016 – 4


51<br />

53<br />

55<br />

57<br />

(loco)<br />

60<br />

PE016 – 5


63<br />

66<br />

69<br />

72<br />

75<br />

PE016 – 6


78<br />

81<br />

sub.<br />

sub.<br />

85<br />

poco<br />

poco<br />

3 3 3<br />

88<br />

cresc.<br />

3<br />

3<br />

3<br />

3 3 3<br />

90<br />

<strong>of</strong>f <strong>the</strong> string<br />

cresc.<br />

3<br />

3<br />

3<br />

3<br />

3<br />

3<br />

PE016 – 7


92<br />

(8vb)<br />

96<br />

(8va)<br />

99<br />

( ) loco<br />

loco<br />

102<br />

senza vibrato<br />

106<br />

sim.<br />

PE016 – 8


111<br />

116<br />

120<br />

123<br />

( ) loco<br />

127<br />

8 va<br />

PE016 – 9


131<br />

3<br />

3 3<br />

(8)<br />

3 3 3<br />

134<br />

cresc. poco a poco<br />

cresc. poco a poco<br />

136<br />

138<br />

loco<br />

140<br />

PE016 – 10


142<br />

144<br />

146<br />

149<br />

pizz.<br />

arco<br />

pizz.<br />

arco<br />

pizz.<br />

arco<br />

pizz.<br />

s z<br />

s z<br />

s z<br />

152<br />

arco<br />

pizz.<br />

arco<br />

pizz.<br />

arco<br />

s z<br />

s z<br />

s z s z s z<br />

PE016 – 11


156<br />

cresc.<br />

cresc.<br />

cresc.<br />

cresc.<br />

158<br />

159<br />

vb 8 loco<br />

Molto meno mosso ( = 46)<br />

7 7 7<br />

163<br />

7<br />

accel.<br />

166<br />

Tempo I<br />

pizz.<br />

s<br />

s<br />

s<br />

s<br />

s<br />

s<br />

s<br />

s<br />

PE016 – 12


170<br />

Molto meno mosso ( = 48)<br />

arco<br />

175<br />

non espressivo<br />

sim.<br />

180<br />

184<br />

espressivo<br />

186<br />

sim.<br />

PE016 – 13


188<br />

191<br />

193<br />

5<br />

5<br />

195<br />

5<br />

5<br />

5<br />

5<br />

197<br />

accelerando poco a poco<br />

(loco)<br />

6 10 10<br />

5<br />

PE016 – 14


199<br />

10 10 10 10<br />

201<br />

10<br />

10<br />

10<br />

7<br />

7<br />

203<br />

s<br />

z<br />

7 7<br />

206<br />

7 7<br />

Tempo I ( = 108)<br />

cresc. poco a poco<br />

208<br />

cresc. poco a poco<br />

PE016 – 15


211<br />

213<br />

215<br />

217<br />

loco<br />

219<br />

PE016 – 16


221<br />

223<br />

226<br />

228<br />

230<br />

8vb<br />

PE016 – 17


PROMETHEAN EDITIONS

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