Further Background
http://www.trustcds.com/pages/artists/Farquhar.html
http://www.trustcds.com/pages/recordings/MMT2060.html
New Zealand composer
David Farquhar was educated at universities
New Zealand and at London’s Guildhall.
He has been active in the promotion
of music by New Zealand composers. As
a composer his successes have largely
been in the theatre although there are
these three symphonies and four string
quartets. His incidental score for Jean
Anouilh’s play Ring Round the
Moon (original version 1953-7,
suite 1975) and the 1962 opera A
Unicorn for Christmas (libretto:
Ngaio Marsh) are classics. The dance-suite
from Ring Round the Moon
has been recorded.
The three symphonies
were premiered by the orchestra that
has recorded them here. The first was
premiered in the Wellington Town Hall
by John Hopkins. The other two symphonies
were commissioned and first performed
by the New Zealand Symphony Orchestra;
the second in 1982 under Kenneth Montgomery,
and the third in 2003 under James Judd.
The Farquhar First
Symphony is tough but there is a
warm hint of dawn to soften the atonal
chill. Some of the woodwind writing
emulates Arnold and there are also some
blood cooling Copland-isms. The whole
has a proper symphonic gravity offset
by a more louche and laid back Sibelian
presto which here is not taken at anything
like presto. Sibelius who is also a
very strong presence in the first two
Lilburn symphonies also puts in an appearance
in the last movement. The 1982 Second
Symphony is in three movements and
reminded me of the earlier symphonies
of Benjamin Frankel. This is not instantly
ingratiating music and may well yield
up its secrets and satisfactions only
slowly. However the magical evolving
and coaxing lyricism of the start of
the final movement with its allusions
to birdsong bodes well.
The Third Symphony
is dedicated to the memory of Farquhar’s
wife, the artist Raydia d’Elsa (1922-2001)
whose abstract oil Colour Rhythms is
reproduced on the centre pages of the
booklet. The Symphony is based on material
from his song-cycle, In Despite of
Death, a work with which Raydia
had been closely associated. The composer
adds: "The symphony follows the
emotional shape of the song-cycle, moving
from struggle and resistance towards
acceptance." It is in four movements
and is the shortest of the three. The
mood map tracks from Beethovenian brooding
and explosions of anger (a little reminiscent
of Robert Simpson) to haunted cool Sibelian
piping, to a brief, gauntly desolate
march to a melancholic yet fulfillingly
slow Mahlerian cortege. Subdued but
not defeated acceptance vibrates through
these glowingly calming final pages.
This is a wonderful symphony that grows
on you with every hearing.
Three atmospheric symphonies
to set alongside and in contrast to
those by that other New Zealand symphonist,
Douglas Lilburn. The Third is a striking,
moving and instantly commanding work.
All three, while being personal and
distinctive, should appeal to the same
constituency as the Rawsthorne and Frankel
symphonies.
Rob Barnett
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