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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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• Frykberg: Astonishing Sense... 

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

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• Susan Frykberg: Astonishing Sense 

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• Piper: Dance of the Sidhe; computer-set 

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• Piper: Dance of the Sidhe; computer-set 

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• Ritchie, A.: Dedication; computer-set 

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• Anthony Ritchie: Dedication; computer-set 

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• Anthony Ritchie: Dedication; video 

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• Hall: in the folds of silence 2; facsimile 

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Matairangi – 1 for cello and piano is in one movement with two sections: the first is more percussive and energetic, while the second is more melodic. It was partly inspired by the changing and contrasting moods of sea, wind and sky that shape Wellington’s hilly and exposed environment. The title, combining two Maori words, ‘Matai’ meaning ‘sea’ and ‘Rangi’ meaning ‘sky’, is an original name for one of Wellington’s more prominent hills, Mount Victoria.

Matairangi – 1 was commissioned by Chamber Music New Zealand for James Bush and Sarah Watkins to premiere in 1996, and the funds for the commission were provided by Creative New Zealand Toi Aotearoa.

• Fisher: Mataraingi - 1; computer-set 

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• Fisher: Matairangi I; computer-set 

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• Fisher: Mataraingi - 1; computer-set 

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• Helen Fisher: Matairangi  Year: 1998 

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• Buchanan: Richmond's Song; facsimile 

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• Buchanan: Richmond's Song; facsimile 

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• Utting: Sabre Dance; computer-set 

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• Biddington: Sentimental Piece; computer-set 

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• Eric Biddington - Sentimental Piece 

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• Music for Friends: the chamber music of Eric Biddington  Year: 1997 

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• Biddington: Cantilena  Year: 2005 

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• Eric Biddington: Cupid and Pysche  Year: 2006 

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‘Whiria’ is Māori for violin, or fiddle. These seven pieces were written over a period of three or four years for more or less personal reasons. The intention, however, was always to put them together to form one substantial work. There are, therefore, a number of cross-references and some ideas are developed from piece to piece. Although there are seven pieces, the overall shape is in five parts: numbers 3,4 and 5 form a lighter middle section to the whole work.

• Cresswell: Whira; computer-set 

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• Lyell Cresswell: Anake and other works  Year: 2000 

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