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View from Olympus (Preview)

by John Psathas | Double Concerto for Percussion, Piano and Orchestra Commissioned by percussionist Dame Evelyn Glennie, View From Olympus (2001) is one of Psathas’s landmark works. This award-winning double concerto takes listeners on a journey through the world of Greek percussion styles and playing techniques. Its three movements feature an adapted transcription of improvised Greek violin music, a tender tribute to the composer’s children, and a depiction of the legendary Mænads celebrating their god Dionysos with song, music and dance.

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

Commissioned by percussionist Dame Evelyn Glennie, View From Olympus (2001) is one of Psathas’s landmark works. This award-winning double concerto takes listeners on a journey through the world of Greek percussion styles and playing techniques. Its three movements feature an adapted transcription of improvised Greek violin music, a tender tribute to the composer’s children, and a depiction of the legendary Mænads celebrating their god Dionysos with song, music and dance.

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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


John Psathas<br />

<strong>View</strong> <strong>from</strong> <strong>Olympus</strong><br />

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

Study Score<br />

PROMETHEAN EDITIONS<br />

WELLINGTON


<strong>View</strong> <strong>from</strong> <strong>Olympus</strong> (PE073), for Double Concerto for Percussion,<br />

Piano and Orchestra by John Psathas (2001).<br />

© John Psathas 2001<br />

Published exclusively by Promethean Editions Limited<br />

First edition © 2003 Promethean Editions Limited (201504)<br />

Series Editor: Ross Hendy<br />

Editor: Thomas Liggett<br />

ISBN: 978-1-877218-73-6 (print)<br />

ISBN: 978-1-77660-073-1 (ebook)<br />

ISMN: 979-0-67452-042-3<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 <strong>from</strong> the Publisher.<br />

PE073 – 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 <strong>from</strong> 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 <strong>View</strong> From <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 <strong>from</strong><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 />

PE073 – 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 <strong>from</strong> 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 <strong>from</strong> 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 />

PE073 – 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 with 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 with wreaths of ivy and carrying the thyrsos – a<br />

staff wound round with ivy leaves and topped with 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 with 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 within 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 />

PE073 – 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<br />

is printed in the soloists’ parts, and the score and part are also available separately <strong>from</strong> the<br />

publishers (PE076).<br />

<strong>View</strong> From <strong>Olympus</strong> is dedicated with 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 leave<br />

in 2000, which was taken in the northern Greek village of Nea Michaniona.<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), with 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.<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 />

Performance notes<br />

Orchestral Percussion<br />

• All instruments may be shared between Percussion 1 and 2<br />

• Cymbals: all crashes must be hard throughout<br />

• Vibraphone: motor off throughout<br />

Harp<br />

• The instrument should be positioned near the piano, both to ensure audibility and to<br />

better effect rhythmic synchronisation of the two instruments<br />

PE073 – vi


C<br />

C<br />

C<br />

C<br />

C<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 crash<br />

cymbals<br />

china crash<br />

Wind chime station<br />

$ C<br />

C C C C<br />

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 />

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

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

• Vibraphone: motor off throughout<br />

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

is required, with possibly a 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 />

Double Basses<br />

• Instruments require low-C extensions<br />

Conductor<br />

• It is the composer’s intention that the conductor should play cow bell in movement I and<br />

PE073 – vii


finger cymbal (approximate pitch D 6 ) in movement II – at these points the conductor<br />

becomes a member of the concertino group at the front of the stage. In case the conductor<br />

prefers not to play these parts, the passages are cued into the orchestral percussion parts.<br />

Instrumentation<br />

Piccolo<br />

2 Flutes (Flute 2 doubling piccolo)<br />

2 Oboes<br />

2 Clarinets in BÏ (Clarinet 1 doubling clarinet in EÏ)<br />

2 Bassoons<br />

4 Horns in F<br />

3 Trumpets in BÏ<br />

2 Trombones<br />

Bass Trombone<br />

Tuba<br />

Timpani (4 drums)<br />

Percussion 1 (1 or 2 players): triangle, snare drum, mark tree, glockenspiel, tubular bells,<br />

marimba (4.3-octave instrument), cow bell, vibraphone, cymbals (splash, medium crash, china<br />

crash), bass drum, tambourine (mounted and played with sticks), 3 high tom toms (different<br />

pitches)<br />

Percussion 2 (1 or 2 players): glockenspiel, triangle, tubular bells, cymbals (splash, medium<br />

crash, china crash), marimba (4.3-octave instrument), bass drum, tam-tam (large), finger<br />

cymbals (approximate pitch D 6 ), vibraphone<br />

Harp<br />

Solo Percussion: vibraphone, marimba (5-octave instrument), simtak, dulcimer (santouri),<br />

bass steel drums, wind chimes (2 or 3 sets), bell tree, mark tree, triangle, finger cymbals, drum<br />

station (4 octobans, 4 tom toms, cymbals (trash, splash, medium crash, china crash and a cluster<br />

of smallest-possible splash cymbals), hi-hat)<br />

Solo Piano<br />

Strings<br />

Transposed score<br />

PE073 – viii


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VIEW FROM OLYMPUS<br />

John Psathas<br />

= 124<br />

Piccolo<br />

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4 G<br />

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f.t.<br />

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Flute 2 ! 2 4<br />

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Oboe 1<br />

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Oboe 2 4<br />

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Y C Y C<br />

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Y C Y C<br />

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Clarinet 2 in B ∫<br />

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# 2 Q 4<br />

4 Q Q<br />

Trombone 1<br />

Trombone 2<br />

Bass Trombone<br />

Tuba<br />

Timpani<br />

Percussion 1<br />

# 2 4<br />

Q 4 4<br />

Q Q<br />

1 2 3 4<br />

# 2 Q 4<br />

4 Q Q<br />

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Y C<br />

$ 2 4<br />

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Percussion 2 $ 2 4<br />

Q 4 4<br />

Q Q<br />

! 2 4 T S S<br />

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4 Harp<br />

f<br />

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# 2 4<br />

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Vibraphone motor off<br />

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C C C C Y<br />

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–! 4 T S S<br />

C R ! C Y C C Y C Y C Y C<br />

–! Y C Y C Y C Y C C Y C<br />

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

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

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p<br />

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Q<br />

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Violin I<br />

! 2 Y<br />

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Y T C T Y C C<br />

Y . Y C.<br />

Violin II (divisi)<br />

f<br />

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4 Double Bass<br />

THE FURIES<br />

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<strong>View</strong> From <strong>Olympus</strong> © 2001 John Psathas<br />

This edition © 2003 Promethean Editions Ltd<br />

PE073 – 1<br />

ISMN: 979-0-67452-042-3


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h<br />

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h<br />

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h<br />

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Y Y X<br />

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Y C > Y C C > C Y C > Y C Y C > X C C C<br />

X C T C Y C C C T Y C<br />

> > > ><br />

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molto<br />

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h<br />

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PE073 – 8


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2 4<br />

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2 T<br />

4 4<br />

3<br />

PE073 – 9


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cresc.<br />

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PE073 – 15


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sim.<br />

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roll accelerating<br />

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W C C C C C<br />

f<br />

C C C C C<br />

W<br />

KNH<br />

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ppp<br />

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

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D.B.<br />

# Y A<br />

f<br />

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sub.<br />

sub.<br />

ÇAÇ A<br />

PE073 – 16


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con sord.<br />

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h<br />

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sim.<br />

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

mf<br />

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PE073 – 17


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(Glsp.)<br />

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(T. Bells)<br />

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Q Q Q<br />

f ><br />

Hp.<br />

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Vn. I !<br />

Vn. II !<br />

A A A A<br />

A A A A<br />

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Vc.<br />

# A A A A<br />

F<br />

F<br />

F<br />

D.B.<br />

# Ç A Ç A Ç A Ç A<br />

F<br />

PE073 – 18


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Hn. 1<br />

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Tpt. 1<br />

Tpt. 2 ! Q Q Q Q Q<br />

Tpt. 3 ! Q Q Q Q Q<br />

Trb. 1<br />

# Q Q Q Q Q<br />

Perc. 1<br />

W<br />

Triangle<br />

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Q<br />

mf<br />

p<br />

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gentle, precise<br />

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poco NON SOLO<br />

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C O C T C<br />

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pp gentle, precise<br />

! Q Q Q Q<br />

senza d<br />

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! Q Q Q R<br />

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pp sempre<br />

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" Q Q Q Q Q<br />

Vc.<br />

# A<br />

pp sempre<br />

A A A A<br />

D.B.<br />

# Q Q Q Q Q<br />

PE073 – 19


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ppp<br />

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Hn. 4 ! Q Q Q # W W A<br />

ppp<br />

Trb. 1<br />

# Q Q Q Q<br />

Trb. 2<br />

# Q Q Q Q<br />

Perc. 1<br />

(Tgl.)<br />

$ Q Q Q R S C<br />

run metal rod<br />

Crash cymbal<br />

ì >ì<br />

<strong>from</strong> bell to edge<br />

Perc. 2 ! Q $ R<br />

S<br />

Q Q<br />

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W C<br />

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G<br />

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

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pp<br />

accompanying violin solo<br />

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

> > G<br />

possibile<br />

C C C<br />

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C C C<br />

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pp possibile<br />

Vn. solo ! Q S<br />

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(div.)<br />

! B B<br />

pp sempre<br />

wide vibrato<br />

ff<br />

rhapsodically, heavily<br />

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A A A A A<br />

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pp<br />

sempre<br />

PE073 – 20


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93<br />

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pp A A A A A<br />

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pp A A A A A<br />

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senza sord.<br />

ppp<br />

A A B<br />

pp<br />

Trb. 2<br />

# Q Q Q R<br />

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ppp<br />

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$ Q Q Q Q<br />

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ì<br />

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g<br />

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pp sempre<br />

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# A A A A<br />

D.B.<br />

# A A A A A A A A<br />

PE073 – 21


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97<br />

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Hn. 4<br />

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Tpt. 1<br />

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Trb. 1<br />

Trb. 2<br />

B.Trb.<br />

" Q Q<br />

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pp<br />

F<br />

# Q Q Q Q<br />

Perc. 1<br />

$ Q Q Q Q<br />

!<br />

Perc. 2 $ Q Q Q<br />

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___É<br />

F<br />

mf<br />

W<br />

W C<br />

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Hp.<br />

poco cresc.<br />

# Q Q Q Q<br />

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G<br />

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

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G<br />

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G<br />

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# A A A A<br />

D.B.<br />

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PE073 – 22


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sub.<br />

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" A ><br />

f sub.<br />

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f sub.<br />

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PE073 – 24<br />

* may be played on marimba<br />

if steel drums unavailable


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PE073 – 26


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PE073 – 27


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PE073 – 28


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C<br />

C<br />

C<br />

d<br />