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• Rimmer: A dialogue of Opposites; facsimile 

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• Rimmer: A dialogue of Opposites; facsimile 

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• Under the Southern Cross: works for cello 

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• Biddington: A Little Suite for Unaccompanied Cello; computer-set 

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• The Land God Gave To Meg - Chamber Music of Eric Biddington 

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“The sanskrit equivalent for initiation is abhisheka, meaning ‘sprinkle’, ‘pour’, ‘anointment’. And if there is pouring, there must be a vessel into which the pouring can fall. So at last we might really give up all these complications and just allow some space, just give in. This is the moment when abhisheka – sprinkling and pouring – really takes place, because we are open and are really giving up the whole attempt to do anything, giving up all the busyness and overcrowding. Finally we have been forced to really stop properly, which is quite a rare occurrence for us.”

(Taken from Chogyam Trungpa’s Cutting Through Spiritual Materialism, from album Nederlands Blazers Ensemble: Zeibekiko, NBECD014).

The composer writes: ”Drafted immediately after reading a book by the Buddhist guru Chögyam Trungpa, Abhisheka was my first-ever attempt at writing music with space in it. Until this piece, practically everything I had written was ultra-caffeinated, fast, full of notes, and murder on performers. But having been (albeit temporarily) inspired by the great truths and peace in Trungpa’s writing, I found myself navigating slower passages of musical time, as well as exploring the microcosm of inner space between the even intervals of our chromatic tuning system.”

Abhisheka by John Psathas was chosen for the list of string quartets in 2000 for ‘IAMIC Sounds of the Year’. The composer has also prepared versions of Abhisheka for mixed chamber ensemble, this version performed by Manos Achalinotopoulos, Vangelis Karipis and Nederlands Blazers Ensemble at Paradiso, in Amsterdam in 2004, and for string orchestra (2008).

Programme note from the New Zealand String Quartet’s 2012 New Zealand at Kings Place concert.

• Psathas: Abhisheka; computer-set 

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• Psathas: Abhisheka; computer-set   Year: 2000 

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• John Psathas: Abhisheka; video  

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• John Psathas, RNZB: Abhisheka (part 4 of 4); video 

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• John Psathas, RNZB: Abhisheka (part 3 of 4); video 

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• John Psathas, RNZB: Abhisheka (part 2 of 4); video 

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• John Psathas, RNZB: Abhisheka (part 1 of 4); video 

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• Psathas: Eight Works 

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• John Psathas: Abhisheka 

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• John Psathas: Rhythm Spike  Year: 1999 

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• Sound Barrier  Year: 2006 

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• notes from a journey  Year: 2010 

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Karlheinz Stockhausen, Luciano Berio and Pierre Boulez have long been in my group of compositional heroes. Not that I have always understood or accepted what they were doing but rather because they opened new vistas of compositional processes.

Stockhausen in particular offered composers new ideas about the way music is structured. His ‘moment’ forms made a deep impression and his early electronic music pieces Gesang der Jünglinge and Kontakte blazed new pathways. They are classics in the music of the twentieth century.

Adieu KS for solo vioklin is my musical way of offering a deep sense of gratitude to Karlheinz Stockhausen. This short hommage nods in the directly of Stockhausen’s early Sonatina for violin and piano and utilises a sequence of pitches from this work. Fragments contrast with continuity, melody with violinistic sounds and movement with stasis.

• Rimmer: Adieu KS; computer-set 

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• Rimmer: Adieu KS; computer-set 

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• John Rimmer: Adieu KS; audio 

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• Release: The Mozart Fellowship  Year: 2012 

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This piece was inspired by the beguiling sounds of the aeolian harp to which I was first introduced by Chris Cree Brown. Said to have been first ‘discovered’ by the ancient Greeks, aeolian harps are intended to be played not by human hands, but by the wind. The strings vibrates through a range of harmonics creating an eerie effect difficult to describe.

Jack Body

• Body: Aeolian Harp; computer-set 

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• Mark Menzies in Concert 

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• Waiteata Collection of New Zealand Music Vol. 1 - A Violin and Piano Recital  Year: 1999 

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This piece was inspired by the beguiling sounds of the aeolian harp to which I was first introduced by Chris Cree Brown. Said to have been first ‘discovered’ by the ancient Greeks, aeolian harps are intended to be played not by human hands, but by the wind. The strings vibrates through a range of harmonics creating an eerie effect difficult to describe.


Jack Body

• Body: Aeolian Harp; computer-set 

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• Under the Southern Cross: works for cello 

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• Speak: Arabesques; computer-set 

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

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Aria with Commentary was inspired by walking through the streets of Florence in 2008 and overhearing a wonderful and spontaneous everyday mixture of singing, conversation and argument going on between various people who live there. So in this piece one cello presents a cantilena line while the other offers comments on it, and ripostes.

Notes taken from Toru, Atoll CD (ACD 143)

• Toru - Chamber Music by Martin Lodge  Year: 2011 

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An unusual work combining field recordings of fiddle music played by an Indonesian street-seller of candy-floss (in Indonesian, "arum manis, meaning “sweet aroma”) with a string quartet. The listeners’ ears are charmed by music which passes seamlessly between the tape and the live performers. Composed for the Kronos Quartet, this work was presented at the 1996 International Rostrum of Composers.

• Body: Arum Manis; facsimile 

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• SOUNZfine Volume 3 

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• Sound Barrier  Year: 2006 

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• Frykberg: Astonishing Sense... 

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• Frykberg: Astonishing Sense...; computer-set 

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• Susan Frykberg: Astonishing Sense 

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