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The Mega4 Meta4

by Christos Hatzis | Viola and Digital Audio

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CHRISTOS HATZIS

The Mega4 Meta4

Viola and Digital Audio

Facsimile Performance Set

PROMETHEAN EDITIONS

WELLINGTON


.....


CHRISTOS HATZIS

The Mega4 Meta4

Viola and Digital Audio

Facsimile Performance Set

Score version January 1990

The Mega4 Meta4, for viola and tape, was commissioned by Douglas

Perry with funding support from the Ontario Arts Council. The premiere

performance was given by Douglas Perry (va) at The Music Gallery, Toronto,

Canada on 7 December 1991.

PEF/CH/MM

© 1990 Promethean Editions Limited

PO Box 10-143

Wellington

NEW ZEALAND

www.prometheaneditions.com

+64 4 473 5033


The Mega4 Meta4 was commissioned by violist Douglas Perry with a grant from

the Ontario Arts Council. It is the fifth and final piece of Earthrise, a pentalogy of

electroacoustic works. With the exception of the opening pentatonic theme, The

Mega4 Meta4 is constructed entirely from quoted material (mainly from the four

earlier pieces of Earthrise and from Albinoni’s Adagio in G minor for Organ and

Strings.) The quoted material is used as a starting point and, once stated, it is

developed, repeated and juxtaposed on top of other, sometimes non-compatible

material in such a way that the overall effect is that of dynamic pluralism and

constant motion in opposite directions. The Mega4 Meta4 brings all the aesthetic

and technical concerns of the earlier pieces to their logical conclusion. To a

considerably greater extent than the other four works of Earthrise, it is a

‘dependent’ composition; not so much because it is not musically and dramatically

self-contained, but because the development of its thematic and motivic ideas

assume particular significance when seen against the background of how these

same ideas were treated in the previous pieces. As in the other pieces of Earthrise,

the musical material plays equally significant roles on two different plains—the

purely musical and the symbolic. Even during its most outwardly mundane

moments, the music has an inner cryptic identity. The choice of cheap ‘street’

material for example, and the conscious effort to realize the unexplored and often

overlooked potential hidden within it, is to me, symbolically the musical analogue

of the biblical quotation “the stone which was rejected by the architects has

become a cornerstone.” The chronological and geographic eclecticism, the

transcendental union of heterogeneous materials, and my entire ‘grass-roots’

approach to composition, are outward manifestations of deeper religious and

philosophical convictions about our world and our role in it. ‘Heavy’ as all this

may sound, the music itself is anything but. Throughout Earthrise there is a sense

of ‘lightness’ which permeates every aspect of the composition. Religious





symbolism and humour exist side-by-side in a mutually exclusive, yet

complementary partnership. The Mega4 Meta4 takes its name from my second

computer, an Atari Mega4 ST which I purchased a few days before embarking on

the composition of the piece.

In 2004 a new version of The Mega4 Meta4 for viola and orchestra was created

under the title Rebirth at the request of Canadian violist Steven Dann and

premiered by Steven at the Scotia Festival of Music 2007 in Halifax, Nova Scotia.


Quickly bend the note upwards or downwards to the

upper or lower neighbour note and immediately

return to the original pitch.

Gradual transformation between naturale and sul

ponticello.

Meno mosso, a tempo and piu mosso.


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Tape part plays an out-of-tempo rhythmic pattern.





























































Out-of tempo rhythmic pattern.












Copyright © 1990, 1997 Christos Hatzis (SOCAN)

All rights reserved


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Spectral gliss., out-of-tempo rhythmic pattern.











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Make the preceeding note shorter and the last note longer to accomodate this shift.











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