Promethean Editions: Piano Music Catalogue 2015 by Promethean Editions

PROMETHEAN EDITIONS Piano Music Catalogue

Sepuluh Jari

SEPULUH JARI DEDICATED TO MICHAEL HOUSTOUN Gareth Farr

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Promethean Editions is the exciting fusion of diﬀerent

K K C C C C C C C C C and {etextures reminiscent of French impressionism. His v`}

musical styles that can be heard in the works of its

melodic passages and complex rhythms.

published composers. Looking outward from the Western

One of the deﬁning qualities of the music published by

mp legato e cantabile g g C C C X C C C C C C C C C CWC C CC CWC C C J J J J J J # C C C C C C C C C C C C C C C C C C C C C C p {ev`} Excerpt from Sepuluh Jari, bar 3, p.1 (PE128)

ancient – to create challenging, exciting contemporary classical works. Works for piano by Gareth Farr, Christos Hatzis, Vincent Ho and John Psathas certainly reﬂect this broad range of inﬂuences and styles. The following sample

piano, as well as collections of piano works by inﬂuential New Zealand ﬁgures Douglas Lilburn and Larry Pruden.

Solo Piano Gareth Farr’s music reﬂects his personality – bold, brash, or delicate and sensuous, but inevitably, immediately engaging. Rhythmic elements of his compositions can be

The Horizon from Owhiro Bay (2007) (PE091) is Farr’s musical

WC C C C C C C CWC C C C C C C C representation of the view I see at twilight from my studio J J J J J J on# the south coast of Wellington, NewC Zealand — C the C C C C C depthsC ofC Cook Strait,C the inky blue C Csky, C C moody C dark green C C C and the endless unbroken horizon dividing the two.” The {ev`} work’s simple arching structure begins and ends with a #

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5 depiction of the ‘moody depths’ visible from the

composer’s home. Farr writes: “This prelude is a musical

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 C C An exciting and virtuosic work for solo piano, Farr’s Mouse J J J J ﬁnger work J and dares J Hole fast # (1998/2002) C C (PE100) C requires C C C C C C the scurrying C C rodentC evoked the pianist to keep C C pace with C C by the speedy streams of semiquavers that deﬁne the work.(loco) ev` {ev`} This work perfectly illuminates Farr’s penchant for

linked to the complex and exciting rhythms of Rarotongan

repeated two-note motif which serves as a literal horizon as

log drum ensembles, Balinese gamelan and other

the pianist performs surrounding ascending and 7

percussion music of the Paciﬁc Rim, and these inﬂuences

descending ﬁgures.

spill over into his works for piano. Balinese Pieces (1996-2003) (PE128) is a set of three piano works inﬂuenced by gamelan music of Indonesia. This collection includes Sepuluh Jari (“ten ﬁngers”), Tentang Cara Gamelan (“on the technique of gamelan”), and Jangan Lupa (“don’t forget”). Farr perfectly captures the exciting rhythms and beautiful sonorities of gamelan music and combines it with sounds

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horizons by partnering the traditional with the modern – or

covers virtuosic works for solo piano, chamber works for

Jenny Lin performs the music of John Psathas

writing for piano in these pieces is virtuosic, with fast

classical tradition, these composers broaden their stylistic

of piano music from the Promethean Editions catalogue

–1 of hisPE128 musical PE128 – 1

output. The persistent semiquaver material in the right

Piano Music Catalogue – September 2015

Y C>

ü ü > ## ü>ü ≈ # üü ü ü # > > # ü YC > #ü C C >C Y C >C >C C >C > > ## üü Y C Y C Y C C S C C C C C C T C Y C C C C C C C C ! is underpinned with syncopated supporting material C extremely long, complex routine. üü hand before completingY the ü nn ürelentless in the > left, making it highly engaging for listeners. Matre’s Dance is highly energetic andnnmaintains üü > > > n ü Y C ü ü n ü Y C Y C # YC T ! C Y CC T Y C C T # Y C Y C ü T T Y C T S ü Y C rhythmic tension courtesy of unpredictable accents and T Y C Y C Y C ü ü > A great test forY C advanced pianists, John Psathas’s Jettatura > > > Y C> YC YC C.C Y C> syncopation. 9

> >C C 45 >C üY ü>C ü C >ü C >C ü ü ü ü ü Y > > > > > Y C C C C YC C CYC C T compelling works.C Requiring C Y C impassioned C Y C C Y C heavy C Y C C C and T 5 ! C C YC C 4 fingering, Jettatura is shot through with defiance and 5 cresc. f > ü ü 4 > Y C left hand hammers a stream of ostinatos mf sub.Y C cresc. > > > aggression. The C C Y C >C Y C #C ü ü Y CC üY C ü # YC T YC C YC T C C Y C. Y C S 5 #ü ! almost YC C> Y C keys, C C C while the right hand flies over the 4ü YY CC. Y C> incautiously 5 4 stretching to the piano’s upper register. (1999) (PE029) is an uncomplicated moto perpetuo, and

another example of Psathas’s gift for creating high-energy, 13

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Excerpt from Jettatura, bar 17, p.5 (PE029)

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—# energy expressed in lyrical, child-like melodic gestures that YC Y C> C C YC > YC evoke a sense of exploration and discovery. TheC opening C h> > h> > > measures contain a two-note ostinato sfz pattern that forms a (PE090)

is built using minimalist techniques, the composer’s

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(PE008), which is now also standard4repertoire for drum kit YCYCYC 4 YC C C C and in this work ü ü movements ü ü > üofütheüfour > 4piano.> Each #>ü ##were 5 üü

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musical ideas which are heard concurrently at the start of the work. A jaunty, angular, syncopated theme in the piano

melodies, steering the dynamic and registral development

part is set against fast marimba lines. The musical

of the piece, and generating the work’s pulse.

argument of the work is entirely derived from these two

Vincent Ho’s Nostalgia (2011) (PE161) was originally intended

ideas, which are exchanged between the instruments and

as an encore piece for his percussion concerto The Shaman.

subjected to development by variation.

Piano and Woodwind

Shifting haunting and dextrous, Farr’s Nga Whetu W œ . between œ œ Wœ œ œ œ œ œ œ Wœ Wœ Wœ œ œ œ 43 W œ e&Whitu (PE131) (2005) W œ Wisœ aœ captivating and challenging

sustained resonance of the piano. Ho expresses a sense of

155

nostalgia throughout the work with simple melodic lines

performance œ piece for piano and ﬂute. Containing tonal

Also on the theme of memory, Hatzis’ Through A Glass Darkly (2005) (PE102) is a dramatic and intricate work for solo piano that plays with the idea of ageing and failing memory. Wrong harmonic turns at the ends of phrases, memory slips, starting a new phrase in the wrong key and then adjusting afterwards; all of these harmonic dysfunctions intensify as the work progresses. Jagged juxtapositions of twelve-tone rows, minimalist fragments, and Liszt-like statements of the main theme all intertwine, making it particularly intriguing.

Piano and Percussion First made famous by Dame Evelyn Glennie, Psathas’s Matre’s Dance (1991/94) (PE027) is now a standard in the repertoire for piano and percussion. The title refers to a dance performed by a group of fanatics in one of Frank Herbert’s Dune books. The dance was non-repeating and exhausting for the dancer, who often collapsed or died

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Farr’s Tuatara (1998) (PE037) is an energetic and

‘voice-like’ notes, which gracefully evolve into scalic

thoughtful point within recital programmes.

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of momentum and subsequent departure emerges from the

and ebbing accompaniment, making for a beautiful and

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entertaining work for percussion and piano, based on two

lines of the original work also lend themselves to the

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Excerpt from Matre’s Dance, bar 31, p.7 (PE027)

static harmonic base from which the workPE029 unfolds. A sense –5

Originally written for vibraphone, the evocative and lyrical

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Piano Music Catalogue – September 2015

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saxophone’s expressive pitch bends, honks and frenzied

chamber musicians who want to perform a virtuosic

gestures in combination with the piano’s colourful

contemporary AND work inﬂuenced by Greek folk1950 music. MOTHS CANDLES

harmonic clusters makes for a playful, energetic and

Individual lines are combined into layers of collective

performance.

textures throughout the work, which makes the overall C = 60 eva sempreC throughout sound powerful. C C C W of the ensemble evocativeC and

Piano and Strings

Douglas Lilburn Collected Edition sempre throughout

virtuosic addition to any post-graduate or professional

! W 44

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due to its combination of exotic melodies and percussive,j ‰ œ & œ. œ Wœ œ Wœ œ. W œ movements. œ œ funky rhythms throughout three contrasting

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The pianist mimics the original version’s pizzicato

movement of Hatzis’s award-winning multimedia theatre

The Douglas Lilburn Complete Piano Music Edition (PEL01-04)

C C The C C ﬁrstC volume W W atC various C C inC hisC career. style C B C C W C points

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work Constantinople. Old Photographs takes inspiration

provides substantial insight into Lilburn’s compositional 13

from a combination of sources including the music of Robert Schumann and early 20th-century popular idioms reminiscent of the music of Astor Piazzolla.

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Excerpt from Old Photographs, bars 50-52, p.4 (PE104)

Arranged for piano trio as well as clarinet, cello and piano, Psathas’s Island Songs (1999) (PE075 & PE177) is perfect for

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W C C C C C C C W C C C C C C C C C C C C C C C C CX ! Y C . C C .. C œ œ œ œ ≈ œ J & J Y B O bars 25-28, p.28 (PEL02) W B O Excerpt from Moths Y B 16 Y A C and Y C Candles, Psathas’ most performed works with numerous PEL02c YC C # Y BB OO Y C S T OW j C ! Yvolume Moths Candles Turnbull Library Endowment Trust j presentations worldwide. Of≈ similar Theand third features Lilburn’s Sonata (1956), while œ© Alexander Xœ B h œ œ Yœ. X . & œ œ W œ .and ≈broadcasts C C œ Y œ X œ œ ..originsœ Y œ This PEL02 – 28 edition © 2012 Promethean Editions Limited B B 1 (1946). AR pp p Y No. is Psathas’s Piano Quintet (2000) (PE036), perfect for  the fourthppvolume features his Sonatina # # S OOY C Y C C C C C Y A ! ! S TU W C C C B C B- C WW AAA j Y œ X œ œ œ œ Y A Y B œ œ œ œ œ œ œ h œ œ & œ œ Wœ œ œ œ Xœ œ œ Yœ œ œ œ œ œ œ œ Y œ Y œA X œ œ œ Piano Music Publications Yœ œ Yœ œ œ Yœ œ œ Wœ ?œ Yœ œ Yœ œ œ Yœ œ Wœ CY CATEGORY COMPOSER TITLE DUR. PP ISMN Y B FORMAT 23 CODE C YC C CYBO YPRICE CYB Y C OO C S OO j PE104 – 4 C Brenton Broadstock Dying of the Light (Piano) PE042 12:45 17 Performance Score NZ$34.00 979-0-67452-070-6 Solo Piano h ! WC WB C OO jh B W B 9:30 11 979-0-67452-071-3 Brenton Broadstock In the Silence of Night (Piano) PE043 Performancecresc. Score NZ$27.00 p O W C W B 32C 979-0-67452-200-7 Gareth Farr Balinese Pieces (Piano) 18:00 # PE128 Y C Performance YBO # Score YCYC C YB YY BB OO Y C Y NZ$65.00 BO B WB ! TU Y C C ! TU Y C Y NZ$37.00 BO Gareth Farr Mouse Hole (Piano) PE100 6:00 17 979-0-67452-217-5 Performance Score ensembles looking to perform a high-energy work inspired by Greek dance. Suitable for performance by advanced 54 . œ .. œ .. above, œ œIsland Y œ X œ of secondary students Songs≈isœone œ œ. ≈ and 3

Gareth Farr

The Horizon from Owhiro Bay (Piano)

Stuart Greenbaum

But I Want the Harmonica (Piano)

Stuart Greenbaum

First Light (Piano)

Stuart Greenbaum

Ice Man (Piano)

Christos Hatzis

Through a Glass Darkly (Piano)

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PE091

3:00

eva 7:45 5:45 29 Y BB Y C Y S OO j 33:00 ! PE005 hY B PE102 10:30 B # C OO ! C B C OO jh

12 979-0-67452-120-8 Performance Score NZ$27.00

11 979-0-67452-074-4 Score Y C Performance C C NZ$15.00I

PE062

12 979-0-67452-073-7 Performance Score NZ$27.00

PE030

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Y C YY CC OOOO j Y C PerformanceC Score NZ$49.00 CYCYC C 34 S OO979-0-67452-075-1 j h h

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Catalogue – September 2015 PEL01 – 1

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