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Both movements of this work began as transcriptions of recorded performances by two of Greece’s living master-musicians, clarino player Manos Achalinotopoulos and percussionist Vagelis Karypis. The Transcriptions are based on two separate recordings of a traditional taximi entitled Kartsigar. Taximia form part of an oral tradition in which improvisation played an important role. Songs would begin with an instrumental prelude, the taximi, where a musican showed off his prowess. This set the mood for the song to follow, and could last for as long as twenty minutes.

The taximi Kartsigar comprises two elements, an ostinato and the improvised melody. The melody forms the basis of the first movement of the quartet, and the ostinato forms the basis of the second.

• John Psathas: Kartsigar - hardcopy score & parts 

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• John Psathas: Kartsigar; (part 1 of 2) video 

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• John Psathas: Kartsigar; (part 2 of 2) video 

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• New Zealand Selection 2 

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• John Psathas: Kartsigar  Year: 2005 

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• John Psathas: Helix  Year: 2011 

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I had conceived the ideas for Moth long before it was written down on paper, having been kept awake on many occasions during the summer nights by the sounds of these fluttering insects. The sounds were fragmented by intervals of long silence, but they came so suddenly even the heaviest of sleepers would be irritated.

Moths are beautiful and eerie nocturnal creatures; they use a celestial navigation system which keeps them flying in a straight line, but however are unable to resist bright objects nearby.

In Moth, by using two violins, I have juxtaposed the serene attraction of the bright light, with the nervous and agitated behaviour of a single moth. Placing the violin parts closely together – both striving for a common goal, yet always in conflict with each other – I have attempted to portray the struggle of the poor creature who is forever trying to reach the moon.

Chen (Tony) Lin

• Lin, T.: Moth; computer-set 

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• Lin, T.: Moth; computer-set 

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• Tony Lin: Moth 

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• Killin: Muoversi Lento; computer-set 

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• Killin: Muoversi Lento; computer-set 

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• Killin: Muoversi Lento; computer-set 

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• Anton Killin: Muoversi Lento 

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• Agus and Friends  Year: 2001 

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In this work, the first movement uses two Basque melodies (one of which is a Basque lullaby whose text contains only Basque nonsense words) for the first group and a “Bulgarianized” version of a Hungarian folk melody for the second in this short sonata form. The second movement is an arrangement of a 14th century melody by Guillaume de Machault, and the last owes something to Scandinavian folk music (the obscure title refers to a favorite Finnish dill-infused salad dressing that I like to make on occasion).

Music for Viola and Piano is dedicated to Rudolf Haken, Rachel Jensen, and my counterpoint teacher, Jack Melby.

• Davidson: Music for Viola and Piano; computer-set 

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• Davidson: Music for Viola and Piano; computer-set 

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• Davidson: Music for Viola and Piano; computer-set 

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• Davidson: Music for Viola and Piano; computer-set 

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• Davidson: Music for Viola and Piano; facsimile 

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• Talencourt  Year: 2008 

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Persephone is an abstract work for String Quartet. While the piece is not programmatic, the title did influence the piece, effecting the mood and the musical material.


Persephone was the daughter of Demeter and Zeus in classical Mythology. Hades abducted her and took her back with him to the underworld. As a result, Demeter, the goddess of the Earth, became so upset that plants stopped growing as she searched everywhere for her lost daughter. To stop Earth from dying, Zeus forced Hades to return Persephone. However, Hades tricked her into eating pomegranate seeds, which forced her to return to the underworld for a season each year. As a result, for four months each year, Persephone returned to the underworld and the earth became barren.


The piece begins with a number of different musical fragments which are developed and integrated throughout the piece and interspliced with a number of other sections. The conceptual images of moving between two different worlds evoked swirling chromatic semiquaver sections and the sense of viewing the world from another place added to the sense of distortion and fragmentation which is a feature of the work.

• Adams: Persephone; computer-set 

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• Adams: Persephone; computer-set 

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• Adams: Persephone; computer-set 

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• Chris Adams: Persephone 

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This work is inspired by Ariel’s song ‘Full Fathom Five’ from The Tempest by Shakespeare (“a sea-change into something rich and strange”).

• Fazakerley: Sea-Change; facsimile 

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• Sea Change  

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Sinew/Synapse is concerned with ideas of connection: the causal links between brain and body, score and sound, performance gesture and sonic result. The musical materials existed first as independent objects, which were then manipulated to draw out links between them. I was particularly interested in areas in which the acoustical systems of the instrument become unstable, where a precisely specified physical gesture will produce an unpredictable sonic result. Many of the sounds hover around the threshold of audibility, and the performer is constantly involved in a delicate balancing act. Sinew/Synapse is dedicated to the cellist Robert Ibell, whose role in the music’s evolution was invaluable.

• Brownlee: Sinew/Synapse; computer-set 

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• Brownlee: Sinew/Synapse; computer-set 

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• Philip Brownlee: Sinew/Synapse; audio 

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• Brownlee: Sinew/Synapse 

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• Philip Brownlee: Sinew/Synapse  Year: 2001 

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• Waiteata Collection of New Zealand Music Vol. 7 - Emerging Composers  Year: 2003 

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• Clark: Soliloquy; computer-set 

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• Waiteata Collection of New Zealand Music Vol. 7 - Emerging Composers  Year: 2003 

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A four movement string quartet based on a 12-note row. The work was composed as a tribute to the late Matyas Seiber, using many of that composer’s contrapuntal techniques.

• Sands: String Quartet: In Memoriam - Matyas Seiber; computer-set 

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• Sands: String Quartet: In Memoriam - Matyas Seiber; computer set 

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• Strung - A Collection of String Music 

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• Sands - String Quartet - In Memoriam Matyas Seiber 

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