Abhisheka (Preview)

PROMETHEAN EDITIONS 

JOHN PSATHAS 

Abhisheka 

String Quartet

John Psathas 


String Quartet 

PROMETHEAN EDITIONS 

WELLINGTON

Abhisheka (PE028), for String Quartet by John Psathas (1998) 

© John Psathas 1998 

Published exclusively by Promethean Editions Limited 

First edition © 2000 Promethean Editions Limited (201508) 

Series Editor: Ross Hendy 

Editor: Thomas Liggett 

ISBN: 978-1-872218-28-6 (print) 

ISBN: 978-1-77660-028-1 (ebook) 

ISMN: 979-0-67452-046-1 (score) 

ISMN: 979-0-67452-047-8 (parts) 

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. 

PE028 – 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 

PE028 – 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. 

PE028 – iv

Abhisheka (1998) 

Psathas’ highly exotic and intriguing Abhisheka embraces the suspension of time, with the 

only sense of rhythm or pulse coming from periodic chordal swells whose pitches are often 

solely comprised of quarter-tones. This harmonic material becomes blurred by slow glissandi, 

creating dizzying harmonic hues. The temporal space between these swells gradually 

contracts and expands , and is filled with sensual solo lines rich with flickering microtonal 

inflections. 

The composer writes: 

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 the even intervals of our 

tempered chromatic scale. 

“The sanskrit equivalent to ‘initiation’ is abhisheka, which means ‘anointment’ or ‘to 

sprinkle or pour’. And if there is pouring, there must be a vessel into which the pouring 

can fall. So at last we might really give up all these complications and just allow some 

space, just give in. This is the moment when abhisheka – sprinkling and pouring – really 

takes place, because we are open and really giving up the whole attempt to do anything, 

giving up all the busyness and overcrowding. Finally, we have been forced to really stop 

properly, which is quite a rare occurrence for us.” 1 

An arrangement of Abhisheka for string orchestra (PE175) is also available. 

1 Cutting Through Spiritual Materialism by Chögyam Trungpa 

PE028 – v

Abhisheka received its premiere performance from the New Zealand String Quartet in Nelson, 

New Zealand on 23 August 1998. A recording of the New Zealand String Quartet performing 

Abhisheka appears on the Rattle Records album Rhythm Spike (RAT D-008), which was 

produced by the composer. 

Performance notes 

• Wherever possible, all four instruments should be close-miked, not to increase the 

volume of the ensemble, but to enable the addition of artificial reverb. (c.4 seconds). The 

loudspeakers should be as close as possible to the ensemble to facilitate maximum blend. 

• 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. 

• 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 measure 75, the hairpin dynamics are intended to indicate 

an even crescendo and diminuendo, with the peaks of the crescendi gradually increasing in 

intensity. 

Quarter tone notation 

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– raise note three-quarters of a tone 

– raise note half a tone 

– raise note quarter of a tone 

– lower note quarter of a tone 

– lower note half a tone 

– lower note three-quarters of a tone 

• 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. 

• As a further aid to clarity, in the individual parts the intervals of double-stopped chords 

are annotated in shorthand (M2 = major 2nd, m6 = minor 6th, P4 = perfect 4th, etc.). 

PE028 – vi

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Abhisheka © 1998 John Psathas 

This edition © 2000 Promethean Editions Limited PE028 PE028 – 1 – 1 

ISMN: 979-0-67452-046-1

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C C C 

G 

C 

G 

C C C 

G 

G 

C C C >< 

G 

C C C 

G 

W C C W C 

G 

ß 

ß 

ß 

O 

# Q Q 

108 

! Q Q Q Q Q Q 

! Q Q Q Q Q Q 

O 

ppp 

C O 

C ß C 

ß 

O 

O 

ß 

ƒ B 

B X A 

A ß A 

# Q Q Q Q Q Q 

114 

come prima* 

! R 

ƒ ß B 

F 

come prima* 

AAA A A A 

mp 

! R 

ƒ ƒ 

AAA A A A 

F 

mp 

B B A A A 

come prima* 

# R ƒƒ 

B B 

F 

mp 

? 

AAA A A A 

AAA A A A 

A A A ? F 

AAAA A A A A A ? A 

mp 

F 

F 

F 

*See note at m. 1 

PE028 PE028 – 10 – 10

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