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violin, cello and piano soloists & orchestra: 2222, 4330, timp. 2perc, strings.

Although the five movements of this piece traverse a variety of sonic terrain, they amalgamate to explore the distinction between diffused sounds and those in close proximity in rhythmic, harmonic and physical space.

Apart from the third movement, which is a short interlude for trio alone, the names of the movements toy with the usual associations of such titles: the first movement’s “Procession” is from stage to audience. Nobody enters, but the music itself. The “Ritual” is one of frantic pursuit. The “Chorale” exploits some spontaneous (and often gnarly) voice leading. This is where the brass make their major contribution from their positions scattered around the hall. “Circuits” describes both the distribution of sound around the ensemble and some subtle, ever-decreasing circles of harmonic material.

The “Orchestra Tacet” allows the NZTrio more prominence in a cadenza-like movement requiring some virtuosity to give the sense of sliding in and out of coherence. “They play a kind of music that seems to be constantly forgetting and then recovering its memory,” Gendall says.

• Gendall: Triple Concerto; computer set 

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• Gendall: Triple Concerto; computer set 

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Orchestra: 2[1.2/p]2[1.ca]2[1.2/b cl]2, 2200, strings

• Cresswell: Triple Concerto; computer set 

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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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(1)2(1)2(1)2(1)2(1); 2211; timp,2perc,pf,hp; strs

• Rimmer: Viola Concerto; facsimile 

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• Rimmer: Viola Concerto; facsimile  Year: 1991 

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solo viola, orchestra: 22*2*2*, 2 horns in F, timpani and strings

• Keay: Viola Concerto; computer-set 

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• Keay: Viola Concerto; computer set 

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• Keay: Viola Concerto; computer set 

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• Keay: Viola Concerto; computer set  

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• Keay: Viola Concerto; computer set 

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• Keay: Viola Concerto (viola part); computer-set 

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• Nigel Keay: Viola Concerto; audio 

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• Nigel Keay: Viola Concerto - First Movement; audio 

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• Nigel Keay: Viola Concerto - Third Movement; audio 

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• Nigel Keay: Viola Concerto - Second Movement; audio 

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• Keay: Viola Concerto 

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• Tribute to Jack W.M. Speirs  Year: 2001 

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