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Both movements of this work began as transcriptions of recorded performances by two of Greece’s living master-musicians, clarino player Manos Achalinotopoulos and percussionist Vagelis Karypis. The Transcriptions are based on two separate recordings of a traditional taximi entitled Kartsigar. Taximia form part of an oral tradition in which improvisation played an important role. Songs would begin with an instrumental prelude, the taximi, where a musican showed off his prowess. This set the mood for the song to follow, and could last for as long as twenty minutes.

The taximi Kartsigar comprises two elements, an ostinato and the improvised melody. The melody forms the basis of the first movement of the quartet, and the ostinato forms the basis of the second.

• John Psathas: Kartsigar - hardcopy score & parts 

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• John Psathas: Kartsigar; (part 1 of 2) video 

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• John Psathas: Kartsigar; (part 2 of 2) video 

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• New Zealand Selection 2 

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• John Psathas: Kartsigar  Year: 2005 

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• John Psathas: Helix  Year: 2011 

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In this work, the first movement uses two Basque melodies (one of which is a Basque lullaby whose text contains only Basque nonsense words) for the first group and a “Bulgarianized” version of a Hungarian folk melody for the second in this short sonata form. The second movement is an arrangement of a 14th century melody by Guillaume de Machault, and the last owes something to Scandinavian folk music (the obscure title refers to a favorite Finnish dill-infused salad dressing that I like to make on occasion).

Music for Viola and Piano is dedicated to Rudolf Haken, Rachel Jensen, and my counterpoint teacher, Jack Melby.

• Davidson: Music for Viola and Piano; computer-set 

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• Davidson: Music for Viola and Piano; computer-set 

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• Davidson: Music for Viola and Piano; computer-set 

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• Davidson: Music for Viola and Piano; computer-set 

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• Davidson: Music for Viola and Piano; facsimile 

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• Talencourt  Year: 2008 

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Persephone is an abstract work for String Quartet. While the piece is not programmatic, the title did influence the piece, effecting the mood and the musical material.


Persephone was the daughter of Demeter and Zeus in classical Mythology. Hades abducted her and took her back with him to the underworld. As a result, Demeter, the goddess of the Earth, became so upset that plants stopped growing as she searched everywhere for her lost daughter. To stop Earth from dying, Zeus forced Hades to return Persephone. However, Hades tricked her into eating pomegranate seeds, which forced her to return to the underworld for a season each year. As a result, for four months each year, Persephone returned to the underworld and the earth became barren.


The piece begins with a number of different musical fragments which are developed and integrated throughout the piece and interspliced with a number of other sections. The conceptual images of moving between two different worlds evoked swirling chromatic semiquaver sections and the sense of viewing the world from another place added to the sense of distortion and fragmentation which is a feature of the work.

• Adams: Persephone; computer-set 

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• Adams: Persephone; computer-set 

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• Adams: Persephone; computer-set 

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• Chris Adams: Persephone 

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• Body: Saetas; computer-set 

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So begins ‘La Vuelta al Reino Extranjero’, performed by the greatest son huasteco trio in Mexico, Los Camperos de Valles. Comprising the virtuosic violinist Heliodoro Copado, Marcos Hernandez’ extraordinary falsetto and the jarana guitar playing of Gregorio Solano, this trio sizzles to the words of a legendary trovador, Serapio El Gero Nieto. Rhythmic sleights-of-hand twist an already complex argument of two against three into an intoxicating ‘journey to a foreign kingdom’. The words of each verse were extemporized, the last line of each repeated as the first of the next, in an endless chain of surreal connections. Snap is a musical tourist’s album of this virtuosic performance.

• Palmer: Snap; computer-set 

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• Palmer: Snap; computer-set 

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• Palmer: Snap; computer-set 

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• Farquhar: Suite; computer-set 

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• Farquhar: Suite for solo cello; computer-set 

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“Tathāgata” is the term Goutama Buddha often used when referring to himself after his enlightenment. In Pali and Sanskrit, “tatha” is the “truth”, and “āgata” is “to come”, “arrived”. (The noun buddha drives from “budh”, which means “to understand”.) As Buddha often said, he was a man, not a god or saviour and “…Tathagatas are only teachers… [who] point out the path…”. He taught that it is up to us to make the effort ourselves to follow the right path. “Nibbāna” is the cessation of sorrow and suffering (in Sanskrit “Nirvana”).

The String Quartet is in two contrasting movements. The structure, both overall and within movements, and many musical procedures, build on mathematical ideas. For the composer many layers of intention and personal history combine, but in performance the main impression is of struggle against conflict and discord, eventually overcome in exultant song in the First movement; the Second instead is contemplative, fugal, sometimes complex and intense, but finally resolving tensions and simplifying to end in an ancient cadence.

Maarire Goodall

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• Palmer, J.: Te Kahu; computer set 

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• Palmer, J.: Te Kahu; CD 

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