The Mega4 Meta4

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

Out-of-tempo rhythmic pattern
Bow pressure
Spectral gliss., out-of-tempo rhythmic pattern.
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Out-of-tempo rhythmic pattern
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Out-of-tempo rhythmic pattern
Out-of-tempo rhythmic pattern

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Play this entire passage one thirty-second note ahead of the beat.
Make the preceeding note shorter and the last note longer to accomodate this shift.
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Make the preceeding note shorter and the last note longer to accomodate this shift.
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