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Buyan

by John Psathas | Timpani and Digital Audio. The variety of playing techniques in Buyan demonstrate the subtleties offered—yet often overlooked—by the timpani. The player must navigate syncopated grooves in compound time, simmering roll and glissandi techniques, and playing with fingers. Most challenging of all, though, is the extensive pedalling required to articulate Buyan’s melodic material.

by John Psathas | Timpani and Digital Audio. The variety of playing techniques in Buyan demonstrate the subtleties offered—yet often overlooked—by the timpani. The player must navigate syncopated grooves in compound time, simmering roll and glissandi techniques, and playing with fingers. Most challenging of all, though, is the extensive pedalling required to articulate Buyan’s melodic material.

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PROMETHEAN EDITIONS<br />

JOHN PSATHAS<br />

<strong>Buyan</strong><br />

Timpani and Digital Audio


John Psathas<br />

<strong>Buyan</strong><br />

Timpani and Digital Audio<br />

PROMETHEAN EDITIONS<br />

WELLINGTON


<strong>Buyan</strong> (PE189), for Timpani and Digital Audio by John Psathas<br />

(2018), dedicated to Diana Loomer <br />

© Ioannis Psathas 2018<br />

Published exclusively by Promethean Editions Limited<br />

First edition © 2018 Promethean Editions Limited<br />

Series Editor: Ross Hendy<br />

Editor: Ben Woods<br />

ISBN: 978-1-77660-909-3 (print)<br />

ISBN: 978-1-77660-189-9 (ebook)<br />

ISMN: 979-0-67452-286-1<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 without permission in writing from the Publisher.


John Psathas (1966)<br />

John Psathas is one of New Zealand’s most frequently performed composers and has been<br />

described by fellow composer Christos Hatzis as one of the three most important living<br />

composers of the Greek Diaspora. Psathas’ output has spanned high-energy chamber and<br />

orchestral works, film scores and multi-disciplinary works, with strong focus on large-scale<br />

collaborative projects in recent years.<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. He then undertook further<br />

studies with composer Jacqueline Fontyn in Belgium before returning to New Zealand. Early<br />

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

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

championed by percussionist Dame Evelyn Glennie.<br />

International acclaim continued to accumulate for Psathas following the August 2000<br />

premiere of his saxophone concerto Omnifenix by legendary jazz saxophonist Michael<br />

Brecker. The growing popularity of his Drum Dances for drum kit and piano established<br />

Psathas as an exceptional writer for percussion. Psathas also came to embrace writing for<br />

large forces; evidenced by the much heralded View From Olympus, a double concerto for<br />

percussion, piano and orchestra. Since its premiere, View From Olympus has gone on to be<br />

performed by many orchestras around the world. His piano concerto Three Psalms followed<br />

in 2004. In 2008 Chamber Music New Zealand commissioned Psathas to write a string quartet,<br />

A Cool Wind, for the Takács Quartet. All the while, Psathas continued to write formidable<br />

and exciting works for percussion, evidenced by Djinn, a concerto for solo marimba and<br />

chamber orchestra, and One Study One Summary for marimba, junk percussion and digital<br />

audio, which has become a popular standard among the repertoire of modern works for solo<br />

percussion and reflects a period in which Psathas explored the world of electronica.<br />

Psathas has always embraced writing for large ensembles, and this has intensified since the<br />

PE189 – iii


turn of the century. He was selected to score much of the opening ceremony of the Athens<br />

2004 Olympic Games, which led to a proliferation of large-scale projects, collaborating with<br />

artists from dozens of musical traditions. Much of his work since 2010 has overt social and<br />

historical commentary at its core. Psathas handled the orchestral arrangements for the Elect<br />

the Dead Symphony, featuring Armenian-American rock musician Serj Tankian. The album<br />

reached No.2 on the Billboard Classical Album Chart. Psathas wrote the original score for<br />

the feature film White Lies, described as a depiction of the head-on clash of beliefs and the<br />

nature of identity in early New Zealand European settler society. Between Zero and One is<br />

inspired by ancient and modern rhythms, and brings musicians from around the world into<br />

the concert space via interactive projection, transforming and challenging the traditional<br />

experience of fixed-location, temporally-contained performance. Psathas collaborated with<br />

Tankian once again for the song 100 Years, which is featured in the soundtrack to the film<br />

1915, an unflinching exploration and remembrance of the 1915 Armenian Genocide. Most<br />

recently, Psathas co-produced and wrote music for the epic experimental film project No<br />

Man’s Land—a project conceived to overtly challenge the accepted handling of World War I<br />

commemorations—and involved filming and integrating 150 musicians from more than 25<br />

different countries, including Oum El Ghait (Morocco), Meeta Pandit (India), Bijan Chemirani<br />

(Iran/France), Marta Sebestyen (Hungary), Vagelis Karipis (Greece), Refugees of Rap (Syria),<br />

and Derya Turkan and Saddredin Ozcimi (Turkey).<br />

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

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

awarded three Classical Album of the Year awards (2000, 2004 and 2007) in the NZ Music<br />

Awards. In 2003 he was made a New Zealand Arts Foundation Laureate and in 2005 was<br />

appointed an Officer of the New Zealand Order of Merit (ONZM). He taught composition<br />

at the New Zealand School of Music (Victoria University of Wellington) receiving the title<br />

of Professor in Composition in 2011. In 2014, Victoria University of Wellington conferred<br />

Psathas the degree of Doctor of Music (DMus), a higher doctorate in recognition for the<br />

immense body of work he has contributed to his field. Psathas stepped down from his<br />

teaching role at the end of 2018 and has been awarded the title of Emeritus Professor.<br />

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

PE189 – iv


<strong>Buyan</strong> (2018)<br />

<strong>Buyan</strong> is a rewarding workout, testing the timpanist’s proficiency in various techniques.<br />

Across its six minutes, the player must navigate syncopated grooves in compound time,<br />

simmering roll and glissandi techniques, and playing with fingers. Most challenging of all,<br />

though, is the extensive pedalling required to articulate the melodic material. <strong>Buyan</strong> moves<br />

briskly, its timpani line often skipping across the surface of the accompanying backing track’s<br />

dark and cinematic electronica. Indeed, the backing track evokes the mystery, intrigue and<br />

exoticism of the fabled island that names the work, rising and falling in intensity like the<br />

tides that are so integral to the island’s magic. The variety of playing techniques in <strong>Buyan</strong><br />

demonstrate the subtleties offered—yet often overlooked—by the timpani.<br />

The composer writes:<br />

In Slavic mythology, <strong>Buyan</strong> is described as a mysterious island in the ocean with the<br />

ability to appear and disappear using tides. Three brothers—Northern, Western, and<br />

Eastern Winds—live there, and also the Zoryas solar goddesses who are daughters of the<br />

solar god Dazhbog. Koshcei the Deathless keeps his soul hidden there, secreted inside a<br />

needle placed inside an egg buried in a mystical tree. Legends call the island the source of<br />

all weather, created there and sent forth into the world by the god Perun.<br />

<strong>Buyan</strong> was commissioned by Diana Loomer as part of her Doctoral studies to explore and<br />

expand the repertoire of melodic writing for timpani through The Melodic Timpani Project. The<br />

premiere performance was given by Diana Loomer at the Bates Recital Hall, Austin, Texas,<br />

USA, on 10 March 2018.<br />

Diana Loomer writes:<br />

The first encounter that I had with John’s music was learning an excerpt from his timpani<br />

concerto Planet Damnation for an audition in 2010. As challenging as it was, I became<br />

intrigued by his powerful, yet melodic usage of timpani. He had built a rhythmic structure<br />

PE189 – v


that supported melodic lines, but never got in the way of them. I realised John had an<br />

understanding of how to make timpani sing. The pedalling required was extremely<br />

challenging, and I loved that. It was exhilarating and I craved more of it, which led me to<br />

eventually learning the entire concerto.<br />

Once I started to look for other new works to play, I found that the repertoire for<br />

timpani with advanced pedalling is quite limited, and that we haven’t even come close<br />

to exploiting its melodic potential. This is what eventually led to my Melodic Timpani<br />

Project, in which I asked composers to explore this potential and see what is possible.<br />

My instructions were: “Do not write a timpani solo. Write music as you would for any<br />

other instrument, and my challenge is to figure out how to play it on timpani”. Being the<br />

inspiration for the whole idea, John was the first person I asked to write for the project.<br />

If you have ever played any of John’s music, you know that he doesn’t take it easy on<br />

the performer. After studying one of the early drafts of <strong>Buyan</strong>, I asked John to add more<br />

pedalling. Being aware of his reputation for writing extremely challenging music, John<br />

was both stunned and amused, revealing that I was the first person to ever ask him to<br />

make a piece more difficult. In hindsight that was probably a dangerous request as <strong>Buyan</strong>’s<br />

difficulty level then skyrocketed.<br />

Some advice to future performers: Be mentally engaged the whole time. Don’t depend<br />

solely on muscle memory as there is no time to react and recover. Your pedal motions<br />

should be quick and precise, and your physical movement around the drums should never<br />

distract from the music. Be vigilant in releasing unnecessary tension from your technique,<br />

otherwise it will slow you down. Performing <strong>Buyan</strong> is invigorating from start to finish.<br />

Enjoy the journey, and don’t forget to breathe.<br />

<strong>Buyan</strong> is very representative of the potential of timpani in a melodic context and I am<br />

beyond thrilled with the outcome. I am honoured to have a part in this, knowing how<br />

much of an impact this piece will have on the future of melodic timpani.<br />

Performance notes<br />

• Drum requirements: 5–6 timpani spanning two octaves from low C to high C.<br />

• In the section starting m.135, it is suggested that a second 32” timpano is used solely for<br />

the low C. If this is not available then use a bass drum instead.<br />

PE189 – vi


• Balanced action pedals are recommended as tuning changes occur rapidly throughout.<br />

• Quick pedalling motion during melodic passages is required to avoid glissandi between<br />

pitches (except where glissandi are specified). Overall, the pedalling should not distract<br />

from the performance of the work.<br />

Digital Audio<br />

There are a few options available for the digital audio component of this work:<br />

1. Performance DryMix: This is the recommended track for most situations. It has no<br />

added reverb (apart from a few essential exceptions), and will match the non-amplified<br />

dry, non-reverbed sound of acoustic timpani in a recital space. Using this track will<br />

result in the most natural blend between pre-recorded elements and the live timpani.<br />

2. Performance Reverb: This reverb-only track can be mixed with the DryMix track as<br />

needed to add a controllable amount of reverb to the digital audio component. This<br />

track cannot be used by itself and must be used in conjunction with the DryMix track<br />

by using a digital audio workstation (DAW) software to play both tracks simultaneously.<br />

This is an option for extremely dry acoustic situations where some reverb may be<br />

needed for the digital audio. Having the reverb separated allows for variable degrees of<br />

wetness for a range of situations.<br />

3. Alternate Performance Mix: In cases where the timpani are amplified and reverb is<br />

added to the amplified timpani, this track is fully mixed with reverb to match. This<br />

option is intended for larger-scale, louder performances.<br />

4. Click: The performance tracks above are intended to provide the timpanist with all<br />

the audio information required to perform without a click track. But in cases where an<br />

in-ear click track is necessary it is provided here. There are no additional count-in bars<br />

as the timpanist does not begin playing immediately. A playback solution with multiple<br />

outputs would be required to use this click track with one of the performance mixes.<br />

5. Reference Mix: A reference track including a MIDI timpani performance. This is not to<br />

be used in performance.<br />

The digital audio was mixed by John Neill at Park Road Post Productions.<br />

PE189 – vii


Digital 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 Digital 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 the<br />

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 with all<br />

devices.<br />

Download Contents<br />

The download files contains the following:<br />

[1] PE189 Performance DryMix [6:19]<br />

[2] PE189 Performance Reverb [6:19]<br />

[3] PE189 Alternate Performance Mix [6:19]<br />

[4] PE189 Click [6:19]<br />

[5] PE189 Reference Mix [6:19]<br />

John Psathas<br />

<strong>Buyan</strong><br />

Timpani and Digital Audio<br />

Download file size: 406 MB<br />

DIGITAL FILE DOWNLOAD<br />

www.promethean-editions.com<br />

PE189DC<br />

PE189DC<br />

The Download File contains the following:<br />

01 Performance DryMix [6:19]<br />

02 Performance Reverb [6:19]<br />

03 Alternate Performance Mix [6:19]<br />

04 Click [6:19]<br />

05 Reference Mix [6:19]<br />

Total file size<br />

516.4 MB<br />

© 2018 Ioannis Psathas<br />

PE189 – viii


John Psathas<br />

<strong>Buyan</strong><br />

Timpani and Digital Audio<br />

PE189 – 1


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This edition © 2018 Promethean Editions Limited PE189 – 2<br />

ISMN: 979-0-67452-286-1


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PE189 – 3


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PE189 – 7


PROMETHEAN EDITIONS

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