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View From Olympus - Soli version with Digital Audio (Preview)

Music by John Psathas | Double Concerto for Percussion, Piano and Orchestra

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PROMETHEAN EDITIONS<br />

JOHN PSATHAS<br />

<strong>View</strong> <strong>From</strong> <strong>Olympus</strong><br />

Double Concerto for Percussion, Piano and Orchestra<br />

(<strong>Soli</strong> Version <strong>with</strong> <strong>Digital</strong> <strong>Audio</strong>)


John Psathas<br />

<strong>View</strong> <strong>From</strong> <strong>Olympus</strong><br />

Double Concerto for Percussion, Piano and Orchestra<br />

(<strong>Soli</strong> Version <strong>with</strong> <strong>Digital</strong> <strong>Audio</strong>)<br />

PROMETHEAN EDITIONS<br />

WELLINGTON


<strong>View</strong> <strong>From</strong> <strong>Olympus</strong> (PE073R), for Double Concerto for Percussion,<br />

Piano and Orchestra by John Psathas (2001) (<strong>Soli</strong> Version <strong>with</strong><br />

<strong>Digital</strong> <strong>Audio</strong>)<br />

© John Psathas 2001<br />

Published exclusively by Promethean Editions Limited<br />

First edition © 2016 Promethean Editions Limited<br />

Series Editor: Ross Hendy<br />

Editors: Thomas Liggett, Ben Woods<br />

MIDI Realisation: David Downes<br />

ISBN: 978-1-77660-901-7 (print)<br />

ISBN: 978-1-77660-902-4 (ebook)<br />

ISMN: 979-0-67452-238-0<br />

Promethean Editions Limited<br />

PO Box 10-143<br />

Wellington<br />

NEW ZEALAND<br />

http://www.promethean-editions.com<br />

No part of this publication may be reproduced in any form or by<br />

any means <strong>with</strong>out permission in writing from the Publisher.<br />

PE073R – ii


John Psathas (1966)<br />

John Psathas is one of New Zealand’s most frequently performed composers. With works<br />

in the repertoire of such high profile musicians as Evelyn Glennie, Michael Brecker, Pedro<br />

Carneiro, Michael Houstoun, Joshua Redman, Federico Mondelci, the Takács Quartet, the<br />

Netherlands New Blazers Ensemble, the Hallé Orchestra and others, he has established an<br />

international profile and is receiving regular commission offers from outside New Zealand.<br />

Psathas grew up in Taumaranui and then Napier, and left high school early to study<br />

composition and piano at Victoria University of Wellington. Psathas studied further <strong>with</strong><br />

composer Jacqueline Fontyn in Belgium before returning to New Zealand, where he has since<br />

lectured in music at the New Zealand School of Music and continued to fulfil a busy schedule<br />

of commissions.<br />

Early success came in 1991 <strong>with</strong> Matre’s Dance, a maximum-energy duet for percussion and<br />

piano that has since made Psathas’ name internationally known through having been taken<br />

up and championed by percussionist Evelyn Glennie. This work and Drum Dances are now<br />

standard repertoire for percussionists throughout the world.<br />

In August 2000, the premiere of his saxophone concerto, Omnifenix, by legendary jazz<br />

saxophonist Michael Brecker in Bolgna, Italy, brought international acclaim; further<br />

prominent performances of his works have included the 2001 Klangspuren Schwaz Festival<br />

of Contemporary Music in Austria; Psyzygysm, performed by Pedro Carneiro <strong>with</strong> Strike and<br />

Stroma in the 2002 New Zealand Festival; the premiere of <strong>View</strong> <strong>From</strong> <strong>Olympus</strong> at the 2002<br />

Royal Gala Concert in Manchester, and the premiere of Orpheus in Rarohenga in November<br />

2002. This last, a major work for choir, soloists and orchestra, was a joint commission from<br />

poet Robert Sullivan and John Psathas by the Orpheus Choir of Wellington. In April 2004,<br />

pianist Stephen Gosling first performed Psathas’ piano concerto, Three Psalms, <strong>with</strong> the New<br />

Zealand Symphony Orchestra, who commissioned the work for pianist Michael Houstoun.<br />

Saxophonist Federico Mondelci commissioned Psathas to write his second saxophone<br />

PE073R – iii


concerto, Zahara, which he first performed <strong>with</strong> the New Zealand Symphony Orchestra,<br />

conducted by David Atherton, at the Michael Fowler Centre, Wellington, New Zealand on<br />

22 September 2006. In 2008, Chamber Music New Zealand commissioned Psathas to write<br />

a string quartet, A Cool Wind, for the world renown Takács Quartet, who presented the first<br />

performance in the Auckland Town Hall, Auckland, New Zealand on 23 July 2008.<br />

Psathas’ recent career highlights include the creation of key ceremonial music for the<br />

2004 Athens Olympic Games and more recently Zeibekiko, an entire programme of music<br />

celebrating the heritage of Greek music from antiquity and the present day. Zeibekiko was<br />

commissioned by the Eduard van Beinum Foundation at the request of the Nederlands<br />

Blazers Ensemble and toured Holland in 2004. It was a highlight of both the 2004 Bath<br />

Festival (UK) and the 2006 New Zealand International Festival of the Arts.<br />

Psathas’ inclination to work in a collaborative capacity <strong>with</strong> artists from a wide range of<br />

musical genres and backgrounds has resulted in projects such as Elect the Dead Symphony<br />

<strong>with</strong> Serj Tankian, and Pounamu <strong>with</strong> New Zealand roots musician Warren Maxwell. In 2011,<br />

Psathas produced his first film score for the feature-film, Good for Nothing, and further film<br />

music followed <strong>with</strong> White Lies in 2013. Psathas’ involvement <strong>with</strong> Booktrack—a company<br />

focused on developing synchronised soundtracks for eBooks—saw the opportunity to write<br />

music for the Salman Rushdie novel, In the South.<br />

Psathas has received a number of awards and honours, including twice winning the SOUNZ<br />

Contemporary APRA Silver Scroll Award (2002 and 2004) for individual works and taking<br />

three Classical CD of the Year awards (2000, 2004 and 2007) in the NZ Music Awards. In 2003<br />

he was made a New Zealand Arts Foundation Laureate and in 2005 was appointed an Officer<br />

of the New Zealand Order of Merit (ONZM).<br />

In 2014 Victoria University of Wellington awarded Psathas a Higher Doctorate in the degree of<br />

Doctor of Music (DMus) for the immense body of work he has contributed to his field.<br />

Latest information about the composer may be found at www.johnpsathas.com.<br />

PE073R – iv


<strong>View</strong> <strong>From</strong> <strong>Olympus</strong> (2001)<br />

I. The Furies<br />

II. To Yelasto Paithi<br />

III. Dance of the Mænads<br />

I. The Furies<br />

The Furies were avenging spirits of retributive justice whose task was to punish crimes<br />

outside the reach of human justice. Their names were Alecto, Megæra and Tisiphone. This<br />

movement contains an adapted transcription of a fragment of improvised playing by one<br />

of my favourite Greek violinists, Stathis Koukoularis. It appears as a solo for violin after<br />

rehearsal letter D.<br />

II. To Yelasto Paithi (The Smiling Child)<br />

This is the closest I’ve come to expressing – in a way not possible <strong>with</strong> the spoken or written<br />

word – the feelings inspired by my precious children, Emanuel and Zoe. In this movement is<br />

also caught the summer I spent working on the concerto at my parents’ house just outside<br />

the village of Nea Michaniona – a house perched on a cliff which looks down on the Aegean<br />

and up to Mount <strong>Olympus</strong>.<br />

III. Dance of the Mænads<br />

Draped in the skins of fawns, crowned <strong>with</strong> wreaths of ivy and carrying the thyrsos – a<br />

staff wound round <strong>with</strong> ivy leaves and topped <strong>with</strong> a pine cone – the Mænads roamed the<br />

mountains and woods, seeking to assimilate the potency of the beasts that dwelled there<br />

and celebrating their god Dionysos <strong>with</strong> song, music and dance. The human spirit demands<br />

Dionysiac ecstasy; to those who accept it, the experience offers spiritual power. For those<br />

who repress the natural force <strong>with</strong>in themselves, or refuse it to others, it is transformed into<br />

destruction, both of the innocent and the guilty. When possessed by Dionysos, the Mænads<br />

became savage and brutal. They plunged into a frenzied dance, obtaining an intoxicating<br />

high and a mystical ecstasy that gave them unknown powers, making them the match of the<br />

bravest hero.<br />

PE073R – v


Fragment, a duet for vibraphone and piano which is thematically related to movement II,<br />

may be performed as an encore to the concerto at the discretion of the soloists. This work is<br />

also available separately from the publishers (PE076).<br />

<strong>View</strong> <strong>From</strong> <strong>Olympus</strong> is dedicated <strong>with</strong> the utmost love and gratitude to my wife and children,<br />

my parents and my sister.<br />

John Psathas, 2001<br />

The composition of <strong>View</strong> <strong>From</strong> <strong>Olympus</strong> was funded as original research by Victoria<br />

University of Wellington, New Zealand, and completed during the composer’s sabbatical<br />

leave in 2000, which was taken in the northern Greek village of Nea Michaniona. This edition<br />

of the work has been prepared to allow for a soli performance <strong>with</strong> a backing track. It was<br />

brought about by a request from Dame Evelyn Glennie and Philip Smith for performance at<br />

the BBC Proms 2015. It includes the solo piano and solo percussion parts <strong>with</strong> a digital audio<br />

download featuring a MIDI realisation of the orchestral score by David Downes. A studio<br />

recording featuring Pedro Carneiro (perc.) and Michael Houstoun (pno) is available for<br />

download (Rattle Records RAT-D015).<br />

The composer acknowledges his gratitude to percussionist Petros Kourtis for introducing him<br />

to the world of Greek percussion styles and playing techniques.<br />

<strong>View</strong> <strong>From</strong> <strong>Olympus</strong> was commissioned by percussionist Evelyn Glennie, and first<br />

performed by her and Philip Smith (piano), <strong>with</strong> the Hallé Orchestra conducted by Mark<br />

Elder at Bridgewater Hall, Manchester, on 26 July 2002. The occasion was the Royal Gala<br />

Finale Concert of the ‘Pulse’ International Festival of Rhythm, during the Manchester<br />

Commonwealth Games. The present <strong>version</strong> was premiered by Glennie and Smith at the BBC<br />

Proms 2015 at Cadogan Hall, London, United Kingdom, on 10 August 2015.<br />

<strong>View</strong> <strong>From</strong> <strong>Olympus</strong> was the recipient of the SOUNZ (Centre for New Zealand Music)<br />

Contemporary Award at the 2002 APRA Silver Scroll Awards.<br />

PE073R – vi


C<br />

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Performance notes<br />

Solo Percussion<br />

Legend:<br />

Simtak<br />

C C<br />

C<br />

$<br />

#<br />

low med. high<br />

# #<br />

Y<br />

Steel Drums<br />

Y<br />

Y<br />

$<br />

Drum Station – drums<br />

C<br />

kick<br />

drum<br />

$<br />

ì<br />

C C C C C C C C<br />

Drum Station – cymbals<br />

foot-closed foot-open<br />

hi-hat<br />

í<br />

4 toms 4 octobans<br />

í ì ì ì ì<br />

open trash splash<br />

cymbals<br />

crash china crash<br />

Wind chime station<br />

$ C<br />

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À<br />

C<br />

à C À C Ã<br />

C<br />

wind chimes<br />

mid-range wash<br />

mark tree<br />

high trill bell tree<br />

open closed<br />

triangle<br />

open closed<br />

finger cymbal<br />

• All instruments: no amplification is to be used<br />

• Marimba: 5-octave instrument<br />

• Vibraphone: motor off throughout<br />

• Dulcimer: santouri<br />

• Cymbals: a cluster of small splash cymbals are required<br />

• Finger cymbals: bottom half must be fixed<br />

• Steel drums: if unavailable, the part may be played on the marimba<br />

• Wind chimes: outdoor-style, suspended, <strong>with</strong> long decay. A minimum of two sets<br />

is required, <strong>with</strong> a possible third set positioned near the steel drums for the end of<br />

movement I.<br />

Solo Piano<br />

• The instrument must be amplified for the duration of movements I and III, and the<br />

amplification should be reduced for movement II. It is not desirable to have two speakers<br />

at the edge of the stage amplifying the piano – a single medium-sized speaker should<br />

be placed under or near the piano, facing the audience. The need for foldback will be<br />

determined by the acoustic conditions of each performance.<br />

PE073R – vii


Tempi<br />

• At the request of Evelyn Glennie, several minor adjustments were made to tempi in the<br />

preparation of this soli <strong>version</strong>. Listed below are the differences in this edition compared<br />

to the orchestral publication (PE073). These changes are not significant and shouldn’t be<br />

of concern if moving between this publication and orchestral <strong>version</strong>.<br />

• Movement I:<br />

m178 = allargando<br />

m179 = 119<br />

m208 = 124<br />

• Movement II:<br />

m1 = 57<br />

m28 = rit.<br />

m29 = a tempo<br />

• Movement III:<br />

m157 = poco rit.<br />

m160 = allargando<br />

m161 = 140<br />

m182 = poco accel.<br />

m190 = 144<br />

m246 = 146<br />

<strong>Digital</strong> <strong>Audio</strong><br />

• Multiple files <strong>with</strong>in folders are provided in the digital file download. Each movement<br />

is a separate track as the length of time between movements is at the discretion of the<br />

percussion soloist. Movement I has a 6 click count in, movement II has 3 click count in,<br />

and movement III has a 3 click count in.<br />

• Performance has a separate audio click track for the duration of each movement. This<br />

requires software capable of playing multiple audio files to multiple outputs as the click<br />

should only be heard by the performers through headphones or in-ear-monitors.<br />

• Rehearsal+MIDI contains rehearsal mixes <strong>with</strong> a MIDI realization of the piano soloist part,<br />

the percussion soloist part, or both. These audio files are for rehearsal use only and should<br />

not be used for performance in the absence of a second soloist. For convenience the audio<br />

PE073R – viii


click tracks are also included in this folder.<br />

• Also provided are MIDI template files for each movement complete <strong>with</strong> tempi, time<br />

signatures and rehearsal marks ready to be opened by a digital audio workstation (DAW)<br />

and have any of the audio files lined up against it. The MIDI file also contains a MIDI click<br />

if the performers wish to use their own click sample or adjust subdivisions differently<br />

from the supplied audio click.<br />

• All audio files for each movement are the same duration and have the same start position<br />

so it is not necessary to use the supplied MIDI file as a template if your software does not<br />

support it. Any of the audio files for a single movement can be set up together in a DAW<br />

to create the accompaniment desired by the players. This includes but is not limited to:<br />

balance between click and orchestra backing, panning of click and orchestra, or different<br />

mixes for each soloist.<br />

<strong>Digital</strong> Download<br />

• The digital audio files may be downloaded using the Download Coupon attached to the<br />

rear of this publication from our website at no extra cost.<br />

• To download the files follow the instructions in the <strong>Digital</strong> File Download coupon in the<br />

sleeve.<br />

• The coupon will provide a code for one download only.<br />

• If the coupon is missing or the coupon code has already been redeemed, please contact<br />

the Publisher at support@promethean-editions.com or submit a technical support case on<br />

our website (www.promethean-editions.com).<br />

• The audio files are supplied in the WAV audio format for maximum compatibility <strong>with</strong> all<br />

devices.<br />

PE073R – ix


Download Contents<br />

Performance<br />

[01] PE073R_I_Click [7:36]<br />

[02] PE073R_I_Orch [7:36]<br />

[03] PE073R_II_Click [7:16]<br />

[04] PE073R_II_Orch [7:16]<br />

[05] PE073R_III_Click [5:52]<br />

[06] PE073R_III_Orch [5:52]<br />

MIDI Templates<br />

[07] PE073R_I_MIDI<br />

[08] PE073R_II_MIDI<br />

[09] PE073R_III_MIDI<br />

Mvt I Rehearsal<br />

[10] PE073R_I_Click [7:36]<br />

[11] PE073R_I_Orch+Perc [7:36]<br />

[12] PE073R_I_Orch+Piano [7:36]<br />

[13] PE073R_I_Orch+Piano+Perc [7:36]<br />

Mvt II Rehearsal<br />

[14] PE073R_II_Click [7:16]<br />

[15] PE073R_II_Orch+Perc [7:16]<br />

[16] PE073R_II_Orch+Piano [7:16]<br />

[17] PE073R_II_Orch+Piano+Perc [7:16]<br />

Mvt III Rehearsal<br />

[18] PE073R_III_Click [5:52]<br />

[19] PE073R_III_Orch+Perc [5:52]<br />

[20] PE073R_III_Orch+Piano [5:52]<br />

[21] PE073R_III_Orch+Piano+Perc [5:52]<br />

John Psathas<br />

<strong>View</strong> <strong>From</strong> <strong>Olympus</strong><br />

Double Concerto for Percussion, Piano and Orchestra<br />

DIGITAL FILE DOWNLOAD<br />

www.promethean-editions.com<br />

PE073RDC<br />

PE073RDC<br />

The Download File contains the following:<br />

Performance<br />

[01] PE073R_I_Click [7:36]<br />

[02] PE073R_I_Orch [7:36]<br />

[03] PE073R_II_Click [7:16]<br />

[04] PE073R_II_Orch [7:16]<br />

[05] PE073R_III_Click [5:52]<br />

[06] PE073R_III_Orch [5:52]<br />

MIDI Templates<br />

[07] PE073R_I_MIDI<br />

[08] PE073R_II_MIDI<br />

[09] PE073R_III_MIDI<br />

Mvt I Rehearsal<br />

[10] PE073R_I_Click [7:36]<br />

[11] PE073R_I_Orch+Perc [7:36]<br />

[12] PE073R_I_Orch+Piano [7:36]<br />

[13] PE073R_I_Orch+Piano+Perc [7:36]<br />

Mvt II Rehearsal<br />

[14] PE073R_II_Click [7:16]<br />

[15] PE073R_II_Orch+Perc [7:16]<br />

[16] PE073R_II_Orch+Piano [7:16]<br />

[17] PE073R_II_Orch+Piano+Perc [7:16]<br />

Mvt III Rehearsal<br />

[18] PE073R_III_Click [5:52]<br />

[19] PE073R_III_Orch+Perc [5:52]<br />

[20] PE073R_III_Orch+Piano [5:52]<br />

[21] PE073R_III_Orch+Piano+Perc [5:52]<br />

Download file size: 1.17GB<br />

Uncompressed size: 1.65GB<br />

© 2015 John Psathas<br />

PE073R – x


John Psathas<br />

<strong>View</strong> <strong>From</strong> <strong>Olympus</strong><br />

Double Concerto for Percussion, Piano and Orchestra<br />

(<strong>Soli</strong> Version <strong>with</strong> <strong>Digital</strong> <strong>Audio</strong>)<br />

Solo Piano<br />

PROMETHEAN EDITIONS<br />

WELLINGTON


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This edition © 2016 Promethean Editions Limited<br />

PE073R – Solo Piano – 1<br />

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ISMN: 979-0-67452-238-0


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