TANGAROA

Posted By : TimoPalm
Piece Title : Tangaroa
No. of times Viewed (January 2019) :20
Total No. of times Viewed :1184
No. of Media Uploads :0(Videos -0, MP3 - 0, Photos - 0)
Dificulty Rating :
Level : Graduate
Composer / Arranger : Farr, Gareth
Composer / Arranger Details: Gareth Farr: composer, percussionist... and drag queen! an indisputably colourful figure in New Zealand music. And whether scored for percussion duet or the resources of two large orchestras, Farr s music reflects his personality bold, brash, or delicate and sensuous, but inevitably, immediately, engaging. 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. In addition to his music for the concert chamber, Farr has written music for dance, theatre and television.
Total Number of Percussionists Required :1 Percussionist(s)
Categories : Tuned Percussion
Instrument / Discipline : Marimba Solo
Instrumentation : N/A
Range of Instruments / Number of Drums : NA
Written for / Commissioned by : Andy Harnsberger
Permission given for Youtube video by Copyright holder
and Youtube Channel Owner. Recorded / Provided by:
 Andy Harnsberger
Accompanied :N/A
Publisher :Promethean Editions
Publishers Website :www.promethean-editions.com/
Publisher Details :

A Greek legend tells how the demigod Prometheus stole fire from the Gods and brought it to mankind in order that they might establish civilisation. Subsequently Zeus took vengeance on Prometheus for his cunning, condemning him to be bound in chains for eternity and sending an eagle to feed upon his immortal liver!

Promethean Editions was established in 1996 with the mission of bringing the fire of new, fresh and exciting contemporary music to performers and audiences throughout the world. Today we publish, promote and market music by emerging and established composers in the global market-place.

We publish and represent the music of thirty composers and work closely with our house composers: Gareth Farr, Christos Hatzis, Vincent Ho and John Psathas.

Key strategies include the publication of sheet music and services to composers (management, music typesetting and administration of music hire and facsimile score publication).

Promethean Editions are intended primarily for performance. Scores and parts are sturdy and easy to use: durable outside, clearly and sensibly laid out within.

Music is engraved using either Music Press (Graphire) or Finale (MakeMusic!). Music Press is a high-end expert music typesetting software package whose output is comparable to the finest classical hand engraving, and custom fonts and spacing are employed in Finale to achieve clean and stylish scores.

Gareth Farr and John Psathas are two important New Zealand composers. Together with Canadians Christos Hatzis and Vincent Ho they form part of an emerging unique artistic voice. Gareth Farr is renowned for his colourful melodies and driving, percussive writing, while referencing musical styles of the Pacific-rim, including Cook Island drumming, Balinese Gamelan and Maori music traditions. Christos Hatzis, a Greek born Canadian resident, draws musical inspiration from Christian spirituality, his own Byzantine heritage and other cultures. His music is eclectic and combines elements of jazz, pop and world music, including several earlier works inspired by the music of the Inuit, Canada’s arctic inhabitants. Canadian Vincent Ho’s music is rich and energetic, a unique integration of influences ranging from the visual arts, electroacoustic and natural soundscapes, traditional classical music forms, and the physical properties of the instruments and ensembles for which he writes. Ho is currently Composer in Residence with the Winnipeg Symphony Orchestra. New Zealand born Greek John Psathas was recognised early in his career for writing high-energy and propulsive music. He continues to fuse a new classical style by drawing from his heritage and aspects of European art music, jazz and rock.

Year Composed / Copyright Date :2001 /  2004
Duration :11Minutes
No. of Mallets/Sticks Required :4
Special Needs :NA
Sheet Music Available From :www.promethean-editions.co.nz/      Check to see if in stock
Programme Notes / Performance Details :

Throughout Polynesia, Tangaroa is the god of the sea. The sustaining life force of the cultures of this region (and the mythical origin of humanity), the mighty Pacific Ocean is the inspiration for this work. In its surging ebb and flow, the music evokes the ocean in its many moods – from the gentle rippling of calm, sparkling waters to the turmoil of a chaotic storm.

Composed at the request of the American marimba player Andy Harnsberger, Tangaroa is a virtuoso work in which are intentionally exploited a number of contemporary performance techniques.

 

`In the fast-growing world of percussion music (who would have thought, 15 years ago pre-Glennie, monthly reviews would appear?) publishers continually seek more eye-catching formats, and Promethean Editions have done very nicely with their selection of pieces for marimba and vibraphone. Works as difficult as Gareth Farr’s Tangaroa need to justify time spent in preparation with a musical reward – and this piece is pleasant-sounding and well structured, the constant running semiquavers (at crotchet=132, this is a technically demanding piece) and harmonic flavours being reminiscent of Debussy’s Préludes. Tangaroa is perhaps a little overlong, and although most players will want to play it from memory, it might have been easier to have fold-out pages for easier page turns. Nevertheless, this is an attractive addition to the virtuoso mallet player’s repertoire.`

David Corkhill, Music Teacher, April 2005

`The work opens in 4/4 with quarter note at 132 bpm and with moving sixteenth-note arpeggio patterns predominating. There are a few five-note groupings and, after about 23 measures, the metric changes begin to get very complex, involving meters of 9/16, 11/16, 3/8, 6/16, 7/16 and 7/8. Although the feel of sixteenth notes is primary, the technique of alternating double stops and running arpeggios continue to be the thrust. It is not, however, only the complex rhythms that make this work a particular challenge; the dynamic changes are just as significant, going from pp to fff, and the full range of a 5.0-octave marimba is used.

After the opening, driving material, a middle section provides contrast in both style and technique. This middle section has five smaller sections; the first being a slow, eight-measure chorale calling for independent or one-hand rolls and double-lateral rolls in addition to standard hand-to-hand rolls. The chorale material continues a little faster for an additional 15 measures that move into three more sections – each faster than the previous one. By measure 235, Tempo I is indicated and material similar in style to the opening returns and drives to an exciting and rhythmically complicated conclusion.

Covering 22 pages, it would not be possible to perform this work from one score with all of the page turns. The performer would likely need to memorize the piece for performance. This work is only for an advanced virtuoso player – or a marimbist wishing to become one.`

Michael Combs, Percussive Notes, August, September 2009.

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