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PROMETHEAN EDITIONS<br />
JOHN PSATHAS<br />
<strong>Abhisheka</strong><br />
String Quartet
John Psathas<br />
<strong>Abhisheka</strong><br />
String Quartet<br />
PROMETHEAN EDITIONS<br />
WELLINGTON
<strong>Abhisheka</strong> (PE028), for String Quartet by John Psathas (1998)<br />
© John Psathas 1998<br />
Published exclusively by Promethean Editions Limited<br />
First edition © 2000 Promethean Editions Limited (201508)<br />
Series Editor: Ross Hendy<br />
Editor: Thomas Liggett<br />
ISBN: 978-1-872218-28-6 (print)<br />
ISBN: 978-1-77660-028-1 (ebook)<br />
ISMN: 979-0-67452-046-1 (score)<br />
ISMN: 979-0-67452-047-8 (parts)<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 />
PE028 – 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 />
PE028 – 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 />
PE028 – iv
<strong>Abhisheka</strong> (1998)<br />
Psathas’ highly exotic and intriguing <strong>Abhisheka</strong> embraces the suspension of time, with the<br />
only sense of rhythm or pulse coming from periodic chordal swells whose pitches are often<br />
solely comprised of quarter-tones. This harmonic material becomes blurred by slow glissandi,<br />
creating dizzying harmonic hues. The temporal space between these swells gradually<br />
contracts and expands , and is filled with sensual solo lines rich with flickering microtonal<br />
inflections.<br />
The composer writes:<br />
Drafted immediately after reading a book by the Buddhist guru Chögyam Trungpa,<br />
<strong>Abhisheka</strong> was my first ever attempt at writing music with space in it. Until this piece,<br />
practically everything I had written was ultra-caffeinated, fast, full of notes, and murder<br />
on the performers. But having been (albeit temporarily) inspired by the great truths and<br />
peace in Trungpa’s writing, I found myself navigating slower passages of musical time,<br />
as well as exploring the microcosm of inner space between the even intervals of our<br />
tempered chromatic scale.<br />
“The sanskrit equivalent to ‘initiation’ is abhisheka, which means ‘anointment’ or ‘to<br />
sprinkle or pour’. And if there is pouring, there must be a vessel into which the pouring<br />
can fall. So at last we might really give up all these complications and just allow some<br />
space, just give in. This is the moment when abhisheka – sprinkling and pouring – really<br />
takes place, because we are open and really giving up the whole attempt to do anything,<br />
giving up all the busyness and overcrowding. Finally, we have been forced to really stop<br />
properly, which is quite a rare occurrence for us.” 1<br />
An arrangement of <strong>Abhisheka</strong> for string orchestra (PE175) is also available.<br />
1 Cutting Through Spiritual Materialism by Chögyam Trungpa<br />
PE028 – v
<strong>Abhisheka</strong> received its premiere performance from the New Zealand String Quartet in Nelson,<br />
New Zealand on 23 August 1998. A recording of the New Zealand String Quartet performing<br />
<strong>Abhisheka</strong> appears on the Rattle Records album Rhythm Spike (RAT D-008), which was<br />
produced by the composer.<br />
Performance notes<br />
• Wherever possible, all four instruments should be close-miked, not to increase the<br />
volume of the ensemble, but to enable the addition of artificial reverb. (c.4 seconds). The<br />
loudspeakers should be as close as possible to the ensemble to facilitate maximum blend.<br />
• All glissandi last for the duration of the note on which they begin, and unless specifically<br />
indicated otherwise, no bow change is intended after a glissando.<br />
• During long-held chords, bow changes should occur asynchronously and imperceptibly.<br />
Likewise, in the solo passages (indicated by dotted slurs), bow changes should be as<br />
discreet as possible. At some points in the score, suggestions for these imperceptible bow<br />
changes are given in brackets.<br />
• In the passage beginning at measure 75, the hairpin dynamics are intended to indicate<br />
an even crescendo and diminuendo, with the peaks of the crescendi gradually increasing in<br />
intensity.<br />
Quarter tone notation<br />
s<br />
W<br />
ß<br />
ƒ<br />
Y<br />
F<br />
– raise note three-quarters of a tone<br />
– raise note half a tone<br />
– raise note quarter of a tone<br />
– lower note quarter of a tone<br />
– lower note half a tone<br />
– lower note three-quarters of a tone<br />
• Whilst standard accidentals are placed in the usual manner, to apply throughout the entire<br />
measure in which they appear, quarter-tone accidentals are placed before every note to<br />
which they apply.<br />
• As a further aid to clarity, in the individual parts the intervals of double-stopped chords<br />
are annotated in shorthand (M2 = major 2nd, m6 = minor 6th, P4 = perfect 4th, etc.).<br />
PE028 – vi
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<strong>Abhisheka</strong><br />
John Psathas <br />
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( = )<br />
" X A<br />
W<br />
p<br />
# A<br />
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very gradual crescendo<br />
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con vibrato<br />
A A A<br />
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dim.<br />
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dim.<br />
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dim.<br />
A<br />
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A<br />
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A<br />
A<br />
(molto sul tasto)<br />
B<br />
R<br />
B<br />
F<br />
(molto sul tasto)<br />
O<br />
(molto sul tasto)<br />
A<br />
A<br />
S<br />
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12<br />
( )<br />
sul tasto<br />
distantly and very freely<br />
Y C<br />
p<br />
G<br />
F O<br />
B C<br />
molto legato<br />
F<br />
quasi<br />
C O<br />
C < Y C C Y C<br />
ƒ<br />
O<br />
sim.<br />
X<br />
C<br />
G<br />
F O C A<br />
? F<br />
! Q Q Q Q<br />
" Q Q Q Q<br />
# Q Q Q Q<br />
<strong>Abhisheka</strong> © 1998 John Psathas<br />
This edition © 2000 Promethean Editions Limited PE028 PE028 – 1 – 1<br />
ISMN: 979-0-67452-046-1
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very gradual crescendo<br />
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ord.<br />
ß B<br />
ƒ B<br />
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gradually move to<br />
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(molto sul tasto)<br />
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Q Q<br />
X A<br />
Y<br />
sul tasto<br />
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distantly and very freely<br />
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molto legato<br />
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(molto sul tasto)<br />
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Y C O<br />
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mp<br />
sempre legato<br />
(ord.)<br />
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# R<br />
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sempre legato<br />
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mp<br />
sempre legato<br />
B<br />
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Y CO<br />
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C<br />
W CO C<br />
X CO<br />
F h<br />
ƒ A<br />
mp<br />
ƒ B<br />
ƒ B<br />
mp<br />
ƒ B<br />
mp<br />
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ß<br />
B<br />
mp<br />
F<br />
R<br />
F<br />
R<br />
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BO<br />
pp<br />
ƒ C<br />
ƒ C<br />
C C C X BO<br />
F<br />
ƒ C<br />
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ß C<br />
F<br />
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p<br />
X B<br />
X B<br />
p<br />
W B<br />
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p<br />
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p<br />
S<br />
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!<br />
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sul pont.<br />
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ppp<br />
sul A, sul pont.<br />
A A A A<br />
ƒ B A A A A<br />
ppp<br />
" Q R<br />
!<br />
X<br />
C<br />
ƒ C<br />
sul pont.<br />
F<br />
molto legato<br />
X<br />
C<br />
ppp<br />
ƒ C<br />
# Q Q Q<br />
X<br />
C<br />
ƒ C<br />
sul D, sul tasto<br />
X<br />
C<br />
ƒ C<br />
X<br />
C<br />
ƒ C<br />
X<br />
C<br />
ƒ C<br />
A< distantly and very freely B B<br />
F<br />
molto legato<br />
X<br />
C<br />
ƒ C<br />
PE028 – 3 PE028 – 3
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C<br />
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B<br />
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Y O<br />
A B C C<br />
O<br />
ß C<br />
B A<br />
h<br />
X<br />
ƒ<br />
Y<br />
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ß<br />
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=<br />
C<br />
mp<br />
W C C C<br />
I<br />
ƒ C C X B<br />
(<br />
C < )<br />
C C C C C C W C<br />
G<br />
C C C ƒ B=<br />
X<br />
( < )<br />
W C C C C C C C<br />
I<br />
C ƒ C =<br />
52<br />
A B Y B<br />
A B B<br />
C C ƒ B<br />
A B ß B<br />
X<br />
ß<br />
X<br />
ƒ<br />
X<br />
ƒ<br />
Y<br />
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Y<br />
ƒ<br />
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Y<br />
ß<br />
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ß<br />
Y<br />
O<br />
RF F O<br />
Y < C C<br />
Y C<br />
Y<br />
G G<br />
Y C C C C C C C C C<br />
ƒ B<br />
<<br />
X<br />
56<br />
W B<br />
B B<br />
B B ƒ A<br />
X<br />
ƒ<br />
W<br />
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W<br />
ƒ<br />
W<br />
ß<br />
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G<br />
Y<br />
C C C<br />
G<br />
G<br />
Y C C ><br />
C C C<br />
G<br />
G<br />
C C C ><br />
C C C<br />
G<br />
G<br />
C C C<br />
G<br />
C C C<br />
><br />
Y<br />
G<br />
=<br />
F C O<br />
B Y C<br />
<<br />
PE028 – 4 PE028 – 4
[<br />
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[<br />
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!<br />
!<br />
!<br />
!<br />
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C<br />
B<br />
C<br />
C<br />
C<br />
,<br />
A<br />
C<br />
C<br />
C<br />
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PE028 – 5
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PE028 – 7<br />
PE028 – 7<br />
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*See note at m. 1<br />
PE028 PE028 – 10 – 10
PROMETHEAN EDITIONS