Abhisheka for string orchestra (Preview)

PROMETHEAN EDITIONS 

JOHN PSATHAS 

Abhisheka 

String Orchestra

JOHN PSATHAS 

Abhisheka 

String Orchestra 

PROMETHEAN EDITIONS 

WELLINGTON

Abhisheka (PE175), for String Orchestra by John Psathas 

(1996/2008) 

© John Psathas 1996/2008 

Published exclusively by Promethean Editions Limited 

First edition © 2012 Promethean Editions Limited (201505) 

Series Editor: Ross Hendy 

Editor: Jared Commerer 

ISBN: 978-1-877564-75-8 (print) 

ISBN: 978-1-77660-175-2 (ebook) 

ISMN: 979-0-67452-153-6 

Promethean Editions Limited 

PO Box 10-143 

Wellington 

NEW ZEALAND 

http://www.promethean-editions.com 

No part of this publication may be reproduced in any form or by 

any means without permission in writing from the Publisher. 

PE175 – ii

John Psathas (1966) 

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

in the repertoire of such high profile musicians as Evelyn Glennie, Michael Brecker, Pedro 

Carneiro, Michael Houstoun, Joshua Redman, Federico Mondelci, the Takács Quartet, the 

Netherlands New Blazers Ensemble, the Hallé Orchestra and others, he has established an 

international profile and is receiving regular commission offers from outside New Zealand. 

Psathas grew up in Taumaranui and then Napier, and left high school early to study 

composition and piano at Victoria University of Wellington. Psathas studied further with 

composer Jacqueline Fontyn in Belgium before returning to New Zealand, where he has since 

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

of commissions. 

Early success came in 1991 with Matre’s Dance, a maximum-energy duet for percussion and 

piano that has since made Psathas’ name internationally known through having been taken 

up and championed by percussionist Evelyn Glennie. This work and Drum Dances are now 

standard repertoire for percussionists throughout the world. 

In August 2000, the premiere of his saxophone concerto, Omnifenix, by legendary jazz 

saxophonist Michael Brecker in Bolgna, Italy, brought international acclaim; further 

prominent performances of his works have included the 2001 Klangspuren Schwaz Festival 

of Contemporary Music in Austria; Psyzygysm, performed by Pedro Carneiro with Strike and 

Stroma in the 2002 New Zealand Festival; the premiere of View From Olympus at the 2002 

Royal Gala Concert in Manchester, and the premiere of Orpheus in Rarohenga in November 

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

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

pianist Stephen Gosling first performed Psathas’ piano concerto, Three Psalms, with the New 

Zealand Symphony Orchestra, who commissioned the work for pianist Michael Houstoun. 

Saxophonist Federico Mondelci commissioned Psathas to write his second saxophone 

PE175 – iii

concerto, Zahara, which he first performed with the New Zealand Symphony Orchestra, 

conducted by David Atherton, at the Michael Fowler Centre, Wellington, New Zealand on 

22 September 2006. In 2008, Chamber Music New Zealand commissioned Psathas to write 

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

performance in the Auckland Town Hall, Auckland, New Zealand on 23 July 2008. 

Psathas’ recent career highlights include the creation of key ceremonial music for the 

2004 Athens Olympic Games and more recently Zeibekiko, an entire programme of music 

celebrating the heritage of Greek music from antiquity and the present day. Zeibekiko was 

commissioned by the Eduard van Beinum Foundation at the request of the Nederlands 

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

Festival (UK) and the 2006 New Zealand International Festival of the Arts. 

Psathas’ inclination to work in a collaborative capacity with artists from a wide range of 

musical genres and backgrounds has resulted in projects such as Elect the Dead Symphony 

with Serj Tankian, and Pounamu with New Zealand roots musician Warren Maxwell. In 2011, 

Psathas produced his first film score for the feature-film, Good for Nothing, and further film 

music followed with White Lies in 2013. Psathas’ involvement with Booktrack—a company 

focused on developing synchronised soundtracks for eBooks—saw the opportunity to write 

music for the Salman Rushdie novel, In the South. 

Psathas has received a number of awards and honours, including twice winning the SOUNZ 

Contemporary APRA Silver Scroll Award (2002 and 2004) for individual works and taking 

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

he was made a New Zealand Arts Foundation Laureate and in 2005 was appointed an Officer 

of the New Zealand Order of Merit (ONZM). 

In 2014 Victoria University of Wellington awarded Psathas a Higher Doctorate in the degree of 

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

Latest information about the composer may be found at www.johnpsathas.com. 

PE175 – iv

Abhisheka (1996/2008 ) 

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 

the 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 intervals of our tempered chromatic scale. 

John Psathas 

The string orchestra arrangement of Abhisheka was premiered by the Auckland Chamber 

Orchestra at the Auckland Town Hall, New Zealand on 28 September, 2008. 

Performance notes 

This score features quarter tone notation. Whilst standard accidentals are placed in the usual 

manner, to apply throughout the entire measure in which they appear, quarter-tone accidentals 

are placed before every note to which they apply. 

s – raise note three-quarters of a tone 

# – raise note half a tone 

ß – raise note quarter of a tone 

ƒ – lower note quarter of a tone 

b – lower note half a tone 

F – lower note three-quarters of a tone 

• All glissandi last for the duration of the note on which they begin, and unless specifically 

indicated otherwise, no bow change is intended after a glissando. 

PE175 – v

• During long-held chords, bow changes should occur asynchronously and imperceptibly. 

Likewise, in the solo passages (indicated by dotted slurs), bow changes should be as 

discreet as possible. At some points in the score, suggestions for these imperceptible bow 

changes are given in brackets. 

• In the passage beginning at m.75, the hairpin dynamics are intended to indicate an even 

crescendo and diminuendo, with the peaks of the crescendi gradually increasing in intensity. 

• The original version of Abhisheka (PE028) requires the instruments to be close-miked 

(not to increase the volume of the ensemble, but to enable the addition of artificial reverb 

of about 4 seconds), with the loudspeakers positioned as close as possible to the ensemble 

to facilitate maximum blend. It is suggested – though not essential – that the same 

specifications are applied to the string orchestra arrangement. 

PE175 – vi

! 

! 

Ì 

ABHISHEKA 

ARRANGED FOR STRING ORCHESTRA 

John Psathas 

John Psathas 

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C= 60 

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Abhisheka © 1996/2008 John Psathas 

This Edition © 2012 Promethean Editions Limited PE175 ISMN: 979-0-67452-153-6

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PE175 – 3

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PE175 – 4

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PE175 – 5 PE175 – 5

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PE175 – 7

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>C 

C 

C 

>C 

C 

C 

C 

C 

C 

C 

? 

B 

Vn. I 

[ 

106 

! Q Q 

Vn. II ! Q Q 

Solo 

Va. 

( ) 

molto legato 

W 

G 

W C C > C 

G 

C C C 

G 

C C C 

G 

G 

C C C 

G 

G 

C C C 

G 

G 

C C< C > 

G 

C C C 

G 

W C C W C 

G 

Va. 

" Q Q 

ß 

ß 

ß 

O 

Vc. 

] 

# Q Q 

Vn. I 

[ 

108 

! Q Q Q Q Q Q 

Vn. II ! Q Q Q Q Q Q 

Solo 

Va. 

O 

ppp 

C O 

C ß C 

ß 

O 

O 

ß 

ƒ B 

B X A 

A ß A 

Va. 

" Q Q Q Q Q Q 

Vc. 

] 

# Q Q Q Q Q Q 

Vn. I 

Solo 

Va. 

[ 

] 

114 

div. 

come prima* 

! R 

ƒƒ B 

AA AA AA 

mp 

F 

div. 

come prima* 

Vn. II ! R 

ƒ ƒ AAA A A A 

F 

mp 

(tutti) 

B A A A 

Va. 

" 

Vc. 

R 

mp 

ß B A A A 

F 

# R ƒ ƒ B B 

div. 

come prima* 

F 

*see note on p.1 of score 

mp 

? 

AAAA AA 

AAA A A A 

A A A ? F 

A A A ? F 

AAAA A A A A A ? A 

mp 

F 

F 

F 

PE175 – 9

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