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PROMETHEAN EDITIONS<br />

John Psathas<br />

<strong>Planet</strong> <strong>Damnation</strong><br />

Timpani and Orchestra<br />

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


John Psathas<br />

<strong>Planet</strong> <strong>Damnation</strong><br />

Timpani and Orchestra<br />

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

PROMETHEAN EDITIONS<br />

WELLINGTON


<strong>Planet</strong> <strong>Damnation</strong> (PE172), for Timpani and Orchestra by John<br />

Psathas (2007) (Solo <strong>Version</strong> with Digital Audio) dedicated to<br />

Laurence Reese<br />

© John Psathas 2007<br />

Published exclusively by Promethean Editions Limited<br />

First edition © 2012 Promethean Editions Limited (201604)<br />

Series Editor: Ross Hendy<br />

Editor: Jared Commerer<br />

ISBN: 978-1-877564-72-7 (print)<br />

ISBN: 978-1-77660-172-1 (ebook)<br />

ISMN: 979-0-67452-140-6<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.<br />

PE172 – 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 with<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 with 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 with Strike and<br />

Stroma in the 2002 New Zealand Festival; the premiere of View From Olympus 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, with 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 />

PE172 – iii


concerto, Zahara, which he first performed with 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 with artists from a wide range of<br />

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

with Serj Tankian, and Pounamu with 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 with White Lies in 2013. Psathas’ involvement with 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 />

PE172 – iv


<strong>Planet</strong> <strong>Damnation</strong> (2007)<br />

<strong>Planet</strong> <strong>Damnation</strong> was originally conceived as a work for solo timpani and orchestra. This<br />

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

includes the solo timpani part with digital audio featuring a MIDI realisation of the orchestral<br />

score compiled by the composer. The digital audio also features audio tracks comprised of<br />

various mixes and tempi which are intended for rehearsal purposes only.<br />

Allured by the potential of the timpani to facilitate both rhythmically elaborate and<br />

melodically expressive writing, Psathas exhausts the entire spectrum of the instrument in<br />

this work for timpani and orchestra. <strong>Planet</strong> <strong>Damnation</strong> refers to a chapter in Robert Fisk’s,<br />

The Great War for Civilisation, the influence of which can be heard in the subtle references<br />

to martial music throughout the work. By elaborating on the intricate timpani parts of his<br />

previous concerti (particularly Three Psalms (PE085) for piano and orchestra, and Zahara<br />

for saxophone and orchestra), Psathas’ aim in allowing the timpani to “find their melodic<br />

voice” is realised. An unrelenting upward trajectory is propelled by the increase in rhythmic<br />

complexity evident between the timpani and orchestra, which only dissipates in the closing<br />

moments of the work. However, this drop in dynamic force is only an ostensible evanescence<br />

due to the tension created between rising chromatic figures in the wind instruments and the<br />

harmonically static motif given to the timpani, thereby aligning with Psathas’ omni-climactic<br />

intent.<br />

<strong>Planet</strong> <strong>Damnation</strong> was commissioned by the New Zealand Symphony Orchestra and is<br />

dedicated to timpani virtuoso Laurence Reese.<br />

The composer writes:<br />

Writing for the timpani in a solo role made it possible to create a piece that was dynamic<br />

and full of powerful energy. After all, the timpani is one of the very few instruments which<br />

is not in danger of being drowned out by the orchestra. So, although the work is short, it is<br />

very intense much of the time. I was keen to create something that felt massive, and almost<br />

PE172 – v


overwhelming. There is nothing in the repertoire for timpani that is as challenging for the<br />

performer as this work.<br />

Performance notes<br />

• Drum requirements: 5 drums (highest drum fixed at C).<br />

• Suggested drum indications have been included throughout. However, tuning and<br />

sticking indications have been intentionally omitted from the score in order to allow the<br />

performer to develop their own unique ‘choreography’ of the work.<br />

• Slurs indicate no re-striking of the drum.<br />

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<br />

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

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

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

devices.<br />

PE172 – vi


Download Contents<br />

The download files contains the following:<br />

[1] Reference mix – timpani (L) & orchestra (R) [09:49]<br />

[2] Reference mix – click (L) & orchestra (R) [09:49]<br />

[3] Reference mix – timpani (L) & click (R) [09:49]<br />

[4] Rehearsal mix Π= 110 [11:14]<br />

[5] Rehearsal mix Π= 114 [10:51]<br />

[6] Rehearsal mix Π= 120 [10:18]<br />

[7] Performance mix Π= 126 [09:49]<br />

John Psathas<br />

<strong>Planet</strong> <strong>Damnation</strong><br />

Timpani and Orchestra<br />

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

Download file size: 856MB<br />

DIGITAL FILE DOWNLOAD<br />

www.promethean-editions.com<br />

PE172DC<br />

PE172DC<br />

The Download File contains the following:<br />

[1] Reference mix – timp. (L) & orchestra (R) [9:49]<br />

[2] Reference mix – click (L) & orchestra (R) [9:49]<br />

[3] Reference mix – timp. (L) & click (R) [9:49]<br />

[4] Rehearsal mix Π= 110 [11:14]<br />

[5] Rehearsal mix Π= 114 [10:51]<br />

[6] Rehearsal mix Π= 120 [10:18]<br />

[7] Performance mix Π= 126 [9:49]<br />

Total Duration [71:39]<br />

Download file size<br />

856 MB<br />

© 2007 John Psathas<br />

PE172 – vii


PE172 – viii


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<strong>Planet</strong> <strong>Damnation</strong> © 2007 John Psathas<br />

<strong>Planet</strong><br />

This Edition<br />

<strong>Damnation</strong><br />

© 2012<br />

©<br />

Promethean<br />

2007 John<br />

Editions<br />

Psathas<br />

Limited PE172 – 1<br />

ISMN: 979-0-67452-140-6<br />

This Edition © 2012 Promethean Editions<br />

PE172 – 1<br />

ISMN: XXXXXXXXXX


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PE172 – 3 PE172 – 3


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PE172 – 4 PE172 – 4


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PE172 – 5 PE172 – 5


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PE172 – 6 PE172 – 6


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