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Cheryl Camm  

Hinemoa

 Year: 2000
for SSAA Choir

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John Psathas  

Omnifenix

Duration: 16' 00" Year: 2000
for tenor saxophone, drumkit and orchestra

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John Psathas  

Three Psalms

Duration: 23' 00" Year: 2003
for piano and chamber orchestra

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John Psathas  

View from Olympus

Duration: 20' 00" Year: 2002
double concerto for percussion, piano and orchestra

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  • Instrumentation
    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)
  • Programme Note

    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

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