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A music-theatre work especially written for Wellington pianist Dan Poynton. Although referring indirectly to religious symbolism, the composition focuses on the physical and mental stress that pianists submit themselves to.

• Body: 14 Stations; computer-set 

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• Jack Body: 14 Stations 

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• Body: 14 Stations 

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This work could also be performed as Duo for Soprano and Cello.

• Duet for Soprano and Cello; facsimile 

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• Besser: Duet for Soprano and Cello; facsimile 

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• Jonathan Besser: Duet for Soprano and Cello 

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• Jonathan Besser: Duet for Soprano and Cello 

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Yamaha SPX900, computer bass clarinet, E flat clarinet, B flat clarinet

• Scholes: Islands II (2nd movement)  

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• Different Tracks  Year: 1993 

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A solo unpremeditated improvisation at the regular Fritt Fall (Free Falling) Saturday afternoon free-jazz concert series at legendary Oslo jazz club Blå

• Samuel Gray: Oslo, 4 October 2001 

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3332+contra bassoon; 4231; Timpani (4); 3 percussion; harp; piano; strings

A radical composition for orchestra based totally on transcription and quotation, this work examines the West’s fascination with pulse in music, and associated ideas of “primitivism”. Direct quotes from Beethoven, Berlioz and Stravinsky intermingle and cross-pollinate, while the overall musical structure is underpinned by an extended transcription of the dynamic fire dance of the Baining people of Papua New Guinea.

• Body: Pulse; facsimile 

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• Body: Pulse; computer-set 

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• Orchestra Works: Body and Norman 

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• APO Commissions of NZ Music 1995 - 1997 

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• Jack Body: Pulse 

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• New Zealand New Music in Scotland 

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• Jack Body: Pulse  Year: 2001 

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This electroacoustic work is an exploration of white noise/static. It was premiered at Happy Bar in Wellington, New Zealand, realised by the composer not through conventional loudspeakers, but through various guitar amplifiers.

• Anton Killin: Static Unfolding 

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Percussion 1: vibraphone (motor off), sleigh bell, tambourine (with sticks), marimba, triangle. Percussion 2: marimba, tubular bells, finger cymbals, china crash cymbal, vibraphone, bass drum. Percussion 3: timpani (4 drums), triangle, tubular bells, mark tree, wind chimes (metal), vibraphone, tam-tam, bass drum, 2 bongos, finger cymbals, marimba; harp; strings

• Psathas: Piano Concerto (Three Psalms); computer-set 

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• Psathas: Three Psalms; computer-set  Year: 2006 

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• John Psathas: Three Psalms (mvt 3); video 

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• John Psathas: Three Psalms (mvt 2); video 

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• John Psathas: Three Psalms (mvt 1); video 

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• Psathas: Piano Concerto (Three Psalms) 

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• John Psathas: Three Psalms 

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• John Psathas: View from Olympus (Three Concertos) 

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2222;4331; timp; 2 perc. ( triangle, snare drum, mark tree, glockenspiel, tubular bells, marimba,cowbell, vibraphone, cymbals -splash, medium crash, china crash), bass drum, tambourine, 3 high tom toms (different pitches), finger cymbals; harp; strings; solo piano; solo percussion ( vibraphone, marimba, simtak, dulcimer, bass steel drums, wind chimes (2 or 3 sets), bell tree, mark tree, triangle, finger cymbals, drum station (4 octobans, 4 tom toms, 3 paddle drums, cymbals (trash, splash, medium crash, china crash, plus a cluster of smallest-possible splash cymbals), hi-hat)

I The Furies – The Furies were avenging spirits of retributive justice whose task was to punish crimes outside the reach of human justice. Their names were Alecto, Megæra and Tisiphone. This movement contains an adapted transcription of a fragment of improvised playing by one of my favourite Greek violinists, Stathis Koukoularis (It appears as a solo for violin about 2 minutes into the movement).

II To Yelasto Paithi (The Smiling Child) – This is the closest I’ve come to expressing – in a way not possible with the spoken or written word – the feelings inspired by my precious children, Emanuel and Zoe. In this movement is also caught the summer I spent working on the concerto at my parents’ house just outside the village of Nea Michaniona – a house perched on a cliff which looks down on the Aegean and up to Mount Olympus.

III Dance of the Mænads – Draped in the skins of fawns, crowned with wreaths of ivy and carrying the thyrsos – a staff wound round with ivy leaves and topped with a pine cone – the Mænads roamed the mountains and woods, seeking to assimilate the potency of the beasts that dwelled there and celebrating their god Dionysos with song, music and dance. The human spirit demands Dionysiac ecstasy; to those who accept it, the experience offers spiritual power. For those who repress the natural force within themselves, or refuse it to others, it is transformed into destruction, both of the innocent and the guilty. When possessed by Dionysos, the Mænads became savage and brutal. They plunged into a frenzied dance, obtaining an intoxicating high and a mystical ecstasy that gave them unknown powers, making them the match of the bravest hero.

John Psathas, 2001

• Psathas: View From Olympus; computer-set 

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• Psathas: View from Olympus; computer-set  Year: 2003 

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• John Psathas: View from Olympus (3nd mvt); video 

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• John Psathas: View from Olympus (2nd mvt); video 

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• John Psathas: View from Olympus (1st mvt); video 

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• View From Olympus 

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• Psathas: View from Olympus 

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• Preview - a journey to Olympus, and beyond 

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• John Psathas: View from Olympus 

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• John Psathas: View from Olympus (Three Concertos) 

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• Adams, C.: Viola Sonata for Helen; computer-set 

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• Adams, C.: Viola Sonata for Helen; computer-set 

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• Adams, C.: Viola Sonata for Helen; computer-set 

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• Chris Adams: Viola Sonata for Helen 

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