Firestarters 4

FIRESTARTERS 4 

Six Piano Recital Pieces 

for many hands and one piano 

Katy Abbott 

Gareth Farr 

Chris Gendall 

Christos Hatzis 

Gao Ping 

John Psathas


Piano Recital Pieces 

for Many Hands and 

One Piano

Firestarters 4 (PE097), Six Piano Recital Pieces for Many Hands and One Piano 

Dua Lagu © Promethean Editions Limited 1993 

Eternity’s Heartbeat © Promethean Editions Limited 2008 

Fragment © John Psathas 2001 

Great and Small © Chris Gendall 2009 

谷应 (I) (Movement I from Valley Echoes) © Gao Ping 2009 

Sapphire Shimmer, Silica Slide © Katy Abbott 2005 

Published exclusively by Promethean Editions Limited (201506) 

This edition © 2010 Promethean Editions Limited 

Series Editor: Ross Hendy 

Editor: Rae de Lisle 

Music Editor: Jared Commerer 

ISBN 978-1-877218-98-9 (print) 

ISBN 978-1-77660-097-7 (ebook) 

ISMN 979-0-67452-122-2 

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. 

Firestarters 4 was published with funding support from Creative 

New Zealand, the Arts Council of New Zealand Toi Aotearoa.


Piano Recital Pieces 

for Many Hands and 

One Piano 

Katy Abbott 

Sapphire Shimmer, Silica Slide ........ 4 


Eternity's Heartbeat ................ 13 

Gareth Farr 

Dua Lagu ...................... 18 

Chris Gendall 

Great and Small ................... 33 

John Psathas 

Fragment .......................... 41 

Gao Ping 

谷应 (I from Valley Echoes) .......... 46 

Notes. ..................................... 57

PE097 – 4

A 

A 

d 

C 

B 

B 

B 

C 

C 

R 

S 

C 

C 

C 

B 

B 

B 

B 

C 

S 

T 

g 

C 

C 

R 

T 

S 

S 

g 

C 

B 

B 

B 

B 

B 

C 

C 

C 

A 

C 

C 

S 

C 

C 

B 

B 

B 

B 

B 

B 

B 

B 

g 

C 

B 

B 

B 

B 

B 

B 

B 

B 

B 

B 

B 

B 

C 

S 

R 

B 

A 

C 

C 

C 

B 

B 

B 

C 

g 

C 

C 

S 

B 

g 

C 

C 

B 

S 

Q 

C 

C 

C 

B 

C 

SAPPHIRE SHIMMER, SILICA 

SLIDE 

Katy Abbott 

8 

15 

With magic = 120 

! 4 p 

! 4 4 

5 

Y 

2 

Y 3 

Y 

C A A 

Y 

C C 

Q Q 

C Y C Y C S 4 

3 Q Q 4 Q 

# 44 Q Q Q Q 4 

3 Q Q 

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4 # 44 Q Q Q Q 4 

3 Q Q 4 Y 

eva 

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Y O O Y O 

! Q Q Y 

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4 

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4 

3 

mp 

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4 

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mp 

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Y 

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Sapphire Shimmer, Silica Slide © 2004 Katy Abbott 

This Edition © 2010 Promethean Editions Limited PE097 – 5 

ISMN 979-0-67452-122-2

S 

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h 

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Y C 

Y C C 

C Y C C C C Y C C 

C Y C CY 

CY 

C A 

C 

f 

pp 

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C Y C C C Y C Y C C C C C sub. CY 

C Y 

5 2 

# C YC 

BB Y BO 

YY CCC CCC 

C 

B O 

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Q 

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f 

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mf 

Y B B Y A 

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C 

C 

C 

C 

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! 

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Y 1 C 

2 C CY C C C C C C C C C C C B 

C Y C 

! Y C Y C 

C 

Q Q 

3 1 5 

f 

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p 

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½ 

29 

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CY 

C 

1 

C 

C C C C C C C C C C C 

C C C C C C C CY 

C 

C C 

C C C C C Y C C CY C C C C C C C C C C C 

pp sub. 

mf 

A C C C C C C C C CY 

C 

C C 

# BO 

Y C 

mp 

# Q C 

1 

CY C C C C C C C C C C C C 1 C Y 3 C C 1 C 3 C Y C 

1 

C C C C C C C CY C C C C 

1 

C 

Y C C C 

1 

C 

Y 

C 

C 

C 

PE097 – 6

C 

C 

C 

C 

C 

C 

C 

S 

C 

C 

R 

C 

> 

C 

S 

S 

C 

h 

C 

C 

R 

C 

h 

C 

C 

C 

32 

! 

! C 

5 

C5 

Y C C C C C C C C C C C Y C C C > Y C > C C C C > 2> C Y 3 C> 

1 

2 

3 

1 

C 

C C C 

C Y C 

C C 

f 

O 

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C C C > C C C > C C C C C C 

> C C C 

C C C C 

# Y 4 C C Y C C4 

C C C S C. 

Y . S Ċ Ċ 

Q 

f 

# S 

Y 

Q 

C C Y C C 

1 

C C C. C . C. C . 

4 

C 

1 

35 

! 

Y > C C C C C C C > C C C C 

C C C C Y C > C C C C C C C C C C C C C C C C C Y > CC C C C C C C Y C C C C C C C C 

pp sub. f 

p f 

! Q Q 

C O C O C C 

C C C 

# Q Q Q R T C 

# Q Q Q Q 

pp 

39 

! 

p 

mf 

! Q C1 

2 

C 

Y C C C C C C C C C C C C 

p 

C C C C C C C C Y C C C A 

C C C C C Y C 

f 

# C 

2 

Y C C C C C C C C C C C A C Y C C C C C C C C C C C 

mf 

f 

# Q Q C 

1 

C C C C C C C C Y C 

C C 

PE097 – 7

C 

C 

C 

C 

C 

C 

C 

C 

B 

C 

C 

C 

C 

B 

C 

C 

T 

R 

C 

C 

C 

h 

C 

C 

C 

C 

T 

C 

C 

C 

C 

C 

C 

h 

C 

C 

42 

! 

! 

C5 

C Y C C C1 3C 

Y C 

1 

Y 

1 

C C Y C 

Y 5 C C C Y C C4 

C 5 

C C C Y C C C > Y C > C C C C > C > 

Y 

1 

C C Y C 

1 

C C C 

3 

# C Y C C C C C C C C C C C C Y C C C C C C C C C C C S Ċ 

# C C C C C C C C C Y C C C C C C C C C C C C Y C C C S 

ff 

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ff 

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Y C 

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C. C . 

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C. C . 

45 

! 

! 

Y 3 > C 

C C > C C C > C C C C C C C > C C C C 

pp sub. 

C C C C C O 

Y C > C C C C C C > C C C C C C C C C 

f 

Y > CC C C C C C > C C 

pp 

f 

C C C B 

sub. 

pp sub. 

C C C 

# T C 

C C C C C C T C C C C C C C 

pp sub. 

f pp sub. mp 

# Q Q 

C Y Y 

mf 

pp sub. 

48 

C C C C Y C > C C CC C C Y C > C C CC C C Y C > C C CC C C C > C C CC C > C C CC Y C > C C CCC > C C CC C > C C CC C > C C CC 

! 2 4 

4 f 

p sub. 

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C C S 4 

4 

C C S C C C C C C C C C C C C 

# A 

2 Q 4 

4 Q Q 

# Q 2 4 

Q 4 4 C 

with resolve 

Y 

Y 

2 1 

C B 

Y 

Y 

2 1 

2 

PE097 – 8

C 

C 

g 

C 

C 

g 

C 

C 

C 

C 

B 

C 

B 

C 

h 

h 

C 

C 

h 

C 

h 

g 

C 

C 

h 

g 

C 

C 

C 

C 

C 

C 

C 

C 

h 

C 

C 

B 

B 

C 

C 

B 

C 

C 

C 

C 

C 

h 

CCC>C 

C 

h 

g 

C 

C 

g 

C 

BBB 

B 

B 

B 

C 

C 

C 

h 

S 

S 

h 

B 

h 

C 

h 

h 

CC 

g 

C 

C 

g 

C 

B 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

T 

C 

C 

h 

C 

h 

g 

C 

h 

52 

Y > C C C C C C > C C C C C > C C C C C > C C C C C > 

C C Y C C CC Y 

! 4 

3 4 ff 

C C C C Y C 

! Y C C C C Y C C B 4 

3 4 BB Y C Y C C B C BB 

5 

2 

1 

Y C C C C 

Y 

p 

with sparkling beauty 

Y 

Y 

# Q Q 3 4 

Q 4 4 

Q 

ff 

# 

Y O 

Y 

4 

3 4 1 3 

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A 

A 

56 

! 

Y C C Y C 

C C 

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C C 

Y C 5 2 

1 

Y CC 

C 

C 

4 

C 

3 

C Y C 

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Y 

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Y 

Y 

O 

C Y C 

Y 

Y 

Y 

O 

C Y C 

Y 

Y 

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# Q Q Q Q 

with sparkling beauty 

pp Y O 

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# S 

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60 

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Y 

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Y 4 CCC 

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C C C 

C Y C 

Y C C Y C 

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Y C C 

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Y C C Y C 

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C C C Y B O 

C Y C 

pp 

C C S R 

Y CC 

mp 

Y C B A g 

Y 

Y 

C C C 

Y 

C C 

C 

PE097 – 9

S 

R 

R 

R 

64 

! 

C Y C 

B 

Y 

C 

C C 

Y 

BO 

B 

T h C Y C 

Y 

C 

C 

Y 

CY 

Y 

C 

C 

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Y C 

C C 

C 

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1 

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CY 3 C C Y C 

C 

Y C 

Y 

C 

# g 

Y C 

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h C Y C 

h C 

gY 

C C 

Y C 

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h C 

g 

C 

Y 

O C 

h C Y C 

h C 

g 

Y C 

Y C 

Y C 

C 

h C 

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C Y C 

C BO 

BO 

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Y C 

C A 

C Y CY 

C 

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h C Y CY 

C 

g 

X C 

Y 

C 

X 

A 

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Y C 

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h C Y CO 

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f 

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C A R 

A 

S Y B 

B 

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Y 

A 

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A 

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BO 

½ 

75 

Y CY C C B CO 

2 

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! C 

Q 

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Y C 

Y C B CO 

g 

Y C 

Y B C Y C C B A 

# Q Q Q Q Q 

C Y C 

Y C 

Y C 

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C S 

C 

# Q 

A A A A 

PE097 – 10

C 

A 

C 

C 

C 

C 

C 

C 

C 

T 

C 

C 

S 

C 

S 

C 

R 

C 

C 

C 

C 

C 

80 

! 

Y 

C C C 

Y C C C C C C C C C C C B 

with growing intensity 

Y 

! Q Y Y 

Q Q 

f 

# Q Q Q C Y C C C C C C C C C C C 

f 

# Q Q Q Q 

84 

! 

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Y C C C C C C C C C C C C C C C C C Y C C C C C C C C C C C Y C 

C C C C C C C C C Y C C C A C 

C C 

Y C C C C C C C C C C C 

# B O 

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h C 

C Y C C C C C C C C C C C C2 

C1 

Y 3 3 

C C C C 

Y 

# Q C C C C C C C C C Y C C C C 

1 

Y C C C 

1 

Y 

87 

! 

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C C C C C C C C C Y C C C C Y C C C > Y C > C C C C > C > Y C > 

Y C C C C C C C C C C C C O 

h C 

O 

C C C > C C C > C C CC C C > C C C 

gradual legato 

h C C C C C 

# Y 4 C C Y C C4 

C C C S Ċ Y C. S Ċ Ċ 

Q 

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Y 

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1 

C C C. C. C. C. 

4 

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1 

PE097 – 11

S 

S 

S 

R 

90 

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C C C C C C 

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# Q Q 

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! 

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p 

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C CO 

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# 

# 

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BO 

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Y C 

mf 

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pp 

ppp pppp 

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A A A C 

R 

PE097 – 12

BB 

B 

S 

o 

TU 

B 

T 

T 

TU 

S 

B 

T 

B 

TU 

T 

o 

R 

T 

B 

TU 

T 

T 

ETERNITY’S HEARTBEAT 


4 

C = 48 

! W C C C C C CO 

C C C C C CO 

W c R U 

TU 

TU 

C C C C C C 

TU 

G 

! W mp 

W C c C C C C C OO C U 

C C C C C C OO 

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C C R T O C C C CY 

C C C CW 

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C C W C X C 

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2 

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Eternity's Heartbeat © 2008 Promethean Editions 


ISMN 979-0-67452-122-2

o 

C 

C 

B 

B 

S 

C 

B 

C 

C 

C 

TU 

B 

C 

C 

C 

C 

C 

C 

C 

C 

C 

CCC 

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C 

C 

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C 

g 

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CCC 

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CC 

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CCC 

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CC 

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CCC 

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! W W 

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C C C C 

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C C C C C 

U T 

C C C C C 

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2 1 

C C C C C C C CC CC C 

G G 

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C C 

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# W W C C C 

# 

C C C C 

Y 

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# W W Q B 

C C 

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1 

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B 

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Y C 4C 

C C C C C 

J 

13 

! W W Y 2 

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! W W Y C 

# W Y C W 

# W W 

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1 3C 

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C C C C 

J 

G 

crescendo poco a poco 

C C C C 

J 

C C C C C 

J 

crescendo poco a poco 

X 

C 

C 

X 

Y C G CC 

C C C X 

G 

G 

C C X C 

T C C C C 

J 

C C C C C C C C C C C 

J J 

B 

B 

U T 

1 

C C C C X 3 C C C C C C C 

G 

C C B T C 

3 

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C X C 

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C Y C C C C C 

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C C C C C 

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15 

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! W W 

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ff p 

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ff 

Wp 2 

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X 

Y C Y C C C W X X C X C C W W 

{ev`} 

4 

PE097 – 14

# 

g 

g 

g 

g 

h 

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accelerando 

a tempo 

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gi 

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PE097 – 15

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C 

g 

C 

g 

CC 

>-C 

C 

C 

C 

C 

C 

h 

C 

h 

C 

h 

h 

T 

C 

C 

S 

C 

C 

C 

C 

! 

C 

C 

C 

B 

C 

B 

C 

C 

C 

C 

CCC>C 

C 

C 

g 

C 

C-> 

C 

C 

C 

CC 

C 

C 

C 

C 

C 

T 

T 

C 

C 

C 

CCC 

h 

CCC 

h 

h 

C 

h 

>- 

CC 

CC 

C 

C 

CCCC 

CCC 

C 

CCC 

C 

C 

C 

C 

> 

C 

h 

> 

h 

C 

C 

C 

C 

h 

h 

h 

C 

h 

>C 

C 

C 

C 

C 

C 

C 

C 

23 

! 

Y - . 

CCC-. 

C-O C C O 

C C Y C CC 

! C - C - C C 

p 

Y . . C-C O Y 

# R 

O 

T h 

eva 

B B R S C 

W C C > C C 

C 

>C 

Y > C C X C 

Y C C 

>C 

Y C C 

f 

R S C Y C C 

CC 

>C 

Y > C - 2 

CCC C C 

ff 

C>C 

>-C 

f 

C C 2 

C Y C C 

C C 

C C 

C Y C 

1 

C 

3 

C C C 

C C 

W C C C 

ff 

W C C > C 

C C 

W C C 

C C W C C 

5 

26 

! 

28 

! 

# C 

{eva} 

CC C O 

CC O 

1 3 

C C Y C 

1 

{eva} 

C CCOO 

ff 

CCOO 

# C 

>C 

2 

Y 

1 

C1 

C 

3 

2 CCU 

T C Y 

U U T 

C 

4 

Y 

W 

5 

-> 2 

ff 

Y C 

Y 

Y 

G 

mp 

ff 

mp 

X 

eva 

W C S S Y C 

f 

W C S S Y C 

C C Y C 

C C 

Y 

W C C C W C 

C 

G 

Y 

YYY 

CC 

f 

g 

Y > 

eva 

C C S S W C 

C 

Y -C 

> 

mp 

f 

C C C S S W C CC 

G 

T S C Y C 

2G 

Y 

1 

C 

5 

p 

Y 1 

C C Y C 

Y C 

Y 4 

C 

Y C 

Y C - 

U T 

C C C C 

Y C C 

Y 2 C C Y C 

W 

W 

Y C C 

Y CC 

X C C 

Y C C Y C 

C 

CCC 

Y CC 

5C 

C C X C 

C2 

C C 

W CC 

C 

h 

W CC 

C 

h 

W 

5 

X C C W 1 C 

W 

W 

ff 

W 

W -C 

> 

CCC 

Y 

J 

C 

4 

W C 

C5 

1C 

W 

J 

1C 

5C 

C C C 

C CC 

C C C C C C C C 

C Y C C C C C C C C C 

G 

C C 

W 

G 

C C 

W 

4 

WW -C 

W W CC 

W -C 

WW CC 

C 

2 

W 

W 

1 

3 

W 

X 

1 

W 

W 

W 

4 

PE097 – 16

! 

# 

! 

! 

! 

! 

B 

B 

C 

C 

C 

TU 

C 

C 

C 

C 

C 

C 

C 

~ 

~ 

C 

C 

C 

C 

C 

C 

C 

C 

CC 

C 

> 

C 

C 

T 

C 

C 

h 

C 

h 

T 

T 

TU 

CC 

C 

h 

C 

h 

C 

T 

T 

C 

! 

C 

h 

C 

C 

C 

T 

B 

C 

C 

C 

T 

C 

h 

C 

T 

C 

# 

C 

T 

C 

- 

C 

C 

C 

-C 

C 

CC 

C 

B 

g 

C 

B 

C 

C 

C 

T 

~ 

C 

T 

C 

h 

C 

g 

C 

30 

! 

{eva} 

CC CCOO 

CCO 

C O 

W 

mp 

W 

W 

W 

W 

W 

W C - . 

W 

C-. 

C 

p 

W CC-. C - . 

O 

CCC W C 

C- CC 

O C-O C C C C C C - C 

! W C W C> 

X 

1 

W 

3 

C W C 

C 

2 

C 

3 

W C C > V C 

W 

1 

W 

X 

C 

4 

W C 

g 

ff - C 

W g 

W 

p 

W 

C T W O S T g 

W 

pp 

W 

W 

W O 

W R T W C 

W 

32 

! 

molto rall. 

{eva} 

W 

W 

= 44 

Y 

Y Y C C Y C 

U 

W 

T 

C 

? 

C C C C O 

W C S U 

pp 

R W W S U C 

C C C C C OO C TU 

U T 

C C C C C OO 

C C C C 

O 

Y 

C 

Y C C 

CC 

p 

? 

Y 

Y 

C 

W W 

# W W 

W Y C 

S S¯ 

o 

CCC 

C C C C 

BB C C B B 

B 

35 

! 

rall. 

eva 

W C C C C CCOO 

W C C C C C O # 

W W S U T 

C C C C O CCO 

U T 

U T 

ppp 

C C C C CC 

O 

W W C # 

C C S 

C A 

O 

ev` 

ppp 

# W W C 

C O 

C C A 

C- 

-A 

ev` 

C C C C CC O BB A ? 

BB 

O 

Ā 

? 

A 

A 

Ā 

PE097 – 17

C 

AA 

C 

C 

C 

A 

Q 

C 

C 

S 

C 

g 

C 

g 

C 

AA 

S 

g 

C 

C 

C 

g 

C 

C 

C 

C 

DUA LAGU 

Gareth Farr 

! 4 4 

Lagu Bali 

= 112 

Q Q Q Q Q 

! 4 4 

Q Q Q Q Q 

! 4 W C C 

C C C W C C C C 

C C C C g 

C O W C C C W C C C 

C C C 

mf 

4 legato 

# 4 Q Q Q Q Q 

# 4 4 

Q Q Q Q Q 

mp 

# 4 Q Q Q Q 

X 

ev` 

6 

4 

W 

! : 

mp 

! : W 2 

C 

5 

2C 

C 4C 

4 1 2 

C C C 

C C C C 

C C C C 

W C C C C C C C C W C C C C C C C C W C C C C C C C C W C 


C C C C C C C 

C C C C C C C 

(R.H. legato only) 

! : 

W C C 

C C C W C C C C 

C C C 

g 

C 

C O W C C C W C C C 

C C C C 

C W C C 

C 

mf 

# : S Ċ Ċ S Ċ Ċ S Ċ Ċ T Ċ T Ċ S Ċ Ċ S Ċ Ċ S Ċ Ċ T Ċ T Ċ S Ċ Ċ S Ċ Ċ 

h h h h 

# : Q Q Q 

B 

B 

mp 

# : A 

ev` 

A A 

A 

A 

Dua Lagu © 1994 Promethean Editions Limited 


ISMN 979-0-67452-122-2 

A 

A

# 

# 

S 

AA 

A 

A 

B 

h 

h 

AA 

S 

B 

h 

h 

S 

B 

h 

h 

h 

S 

AA 

B 

h 

h 

S 

AA 

B 

h 

h 

11 

! 

! 

W C C C C C C C C W C C C C C C C C W C 


C C C C 

T S 

C C C C T S 

h 

W C C C C C C C C W C 

pp 


C C C C C C C 

C C C C C C C 

! 

C W C C C g 

C C C g g 

C O W C C C C C W C C C C 

p 

C C C W C C C C C W C C C C C C 

# S Ċ Ċ T Ċ T Ċ S Ċ Ċ S Ċ Ċ S Ċ Ċ T Ċ T Ċ S Ċ Ċ S Ċ Ċ S Ċ Ċ T Ċ T Ċ 

# Q Q 

C 

C 

pp 

C 

{ev`} 

A 

A 

A A 

A 

A 

16 

! 

! 

W C C C C C C C C W C C C C C C C C W C C C C C C C C W C C C C C C C C W C 

W C C C C C C C C W C C C C C C C C W C C C C C C C C W C C C C C C C C W C 

C C C C C C C 

C C C C C C C 

! C O 

g 

C W C C C 

g 

C W C 

# S Ċ Ċ S Ċ Ċ S Ċ Ċ T 

g 

C C C C C C W C C C C C W C C C C C C C O 

Ċ T 

Ċ S Ċ Ċ S Ċ Ċ S Ċ Ċ T 

Ċ T 

g 

C W C C C 

Ċ S Ċ Ċ S Ċ Ċ 

# Q Q Q 

C 

C 

{ev`} 

A 

A 

A 

A 

PE097 – 19

# 

S 

AA 

B 

g 

h 

h 

T 

h 

S 

h 

B 

T 

h 

h 

T 

S 

S 

S 

S 

B 

h 

h 

21 

! 

! 

W C 

W C 

C C C C 

h T S 

C C C C T S 

h 

W 

C 

C C C C C C C 


mp 


C C C C C C C 

C C C C C C C 

! g 

C W C C C C C C C W C C C C C W C C C g 

C C C g g 

C O W C C C C C W C C C C C C 

mf 

# S C . Ċ T Ċ T Ċ S Ċ Ċ S Ċ Ċ S Ċ Ċ T Ċ T Ċ S Ċ Ċ S Ċ Ċ S Ċ Ċ T Ċ T Ċ 

# Q Q 

C 

C 

mp 

{ev`} 

A 

A 

A A 

A 

A 

A A 

C 

26 

W C^O 

! Q 

CCO 

C O 

CCC 

C^ CCC 

C CCC 

C^ CCC 

C 

Q Q : 

f 

! Q Q Q W CC^O 

CCO 

CC^ 

C CCC 

C CC^ 

C CCC 

C : 

! C 

: 

W C C C C C 

g 

C CW 

C C C TU 

R 

C C C 

4 CW 

C C 

3 C C C C C C C C C C C C 

1 

1 

f 

3 

# S Ċ Ċ S Ċ Ċ S Ċ Ċ T Ċ T Ċ U C T C T C T C TU 

U C T C S R : 

hj hj hj 

# Q Q Q Q : 

# Q Q Q : 

A 

A 

{ev`} 

PE097 – 20

# 

# 

AA 

A 

h 

h 

A 

AA 

B 

S 

AA 

A 

AA 

AA 

A 

A 

S 

S 

T 

T 

T 

T 

h 

h 

h 

h 

30 

eva 

C CW C C C C C C 

! : 

C CW C C C C C C C CW C C C C C C C CW C C C C C C C CW 

C 

p 

! : C CW C C C C C C C CW C C C C C C C CW C C C C C C C CW C C C C C C C CW 

C 

1 

! : A 

mp 

5 

# : A 

2 4 

W C 

C B 

4 

W 

C 

C 

W C C 

W 4 C 

C 

O B C C W C C C C C 

W C C 

W 2 C B O C 

C 

W C C C C C C 

C 

W C 

C W C 

C 

C 

C C C C C 

C C C C C 

C 

C 

C 

C 

# : A 

p 

# : A 

ev` 

A A W A 

A 

A 

A 

A 

35 

! 

{eva} 

C CW C C C C C C C CW C C C C C C C CW C C C C C C C CW C C C C C C C CW 

C 

C C C C C C C 

! 

! 

g 

C 

g 

C 

W 

W 


C 

CO 

CO 

C C C C 

C C W C 

C C C C A S C C W C 

C C 

W C 

CC W C 

O B C C C 

O B C C C 

C C C C C C C 

C 

C 

C 

C 

# W A 

A A 

{ev`} 

A 

A 

A 

A 

PE097 – 21

# 

# 

S 

AA 

A 

A 

A 

B 

AA 

S 

B 

B 

S 

T 

AA 

h 

h 

B 

h 

h 

40 

accelerando poco a poco 

{eva} 


C C C C C C 

! : 

cresc. poco a poco 

! C CW C C C C C C C CW 

C C C C C C CW C C C C C C C CW C C C C C C C CW 

C C C C C C 

C : 

W C C C C B W C C C C C C C 

! T h : 

C CW C C C C C C C CW C C C C C C C CW 

C C C C C C 


W C 

# C C C B W C 

T 

C 

h 

C C C C C C CW C C C C : 

C C C CW C C C C C C C CW 

C C C C C C 

# W A : Q S 

Q 

C 

# : 

{ev`} 

A 

A 


A A 

A 

A 

45 

! 

! 

{eva} 


C 


C 

C C C C C C C 

C C C C C C C 

T h 

T h 

C CW 

C 

Ċ 

C T S 

C CW 

C Ċ 

C 

h T S 

! 

C CW C C C C C C C CW C C C C C C C CW C C C C C C C CW C C C C C C T 


C 

C C C C C C C 

C CW 

C 

Ċ 

C T S 

C CW 

C Ċ 

C 

h T S 

# Q Q 

C 

C 

C 

{ev`} 

A 

A 

A A 

A 

A 

PE097 – 22

# 

# 

h 

R 

A 

A 

S 

R 

R 

A 

S 

h 

A 

R 

h 

50 

! : 

B = 88 

{eva} 

W 4 2C C C C C C 

T T h T 

f 

! : TW 2 4 

C C T C T C C 

h 

W C C C C C 

T T h T 

TW C C T C T C C 

h 

W C C C C C 

T T h T 

C C C C C 

C 

T W C C C C C T h T 

TW C C T C T C C S C C C C TW C C T C T C C 

h h 

! : C C C 

T C C h T 

C C C C 

h T C C h T 

C C C C 

h T C C h T 

C C C C C C C C C 

h T C C h T 

C 

h 

f 

# : C C C T C C T C C C C T C C T C C C C T C C T C C C C C C C C C T C C T C 

h h h h h h h h 

# : R 

f 

# : 

X A A A 

{ev`} 

X BB X 

B B 

B XX B 

YY A 

X A A A 

ev` 

X BB X 

B B 

B XX B 

YY A X A A A 

ev` 

XX BB 

55! 

T W {eva} 

C C C C C T h T 

! TW C C T 

! 


C T C C TW C C T 

h 

C C C 

T C C C C 

T C C 

h h T C C C C 

T C. 

h h 

. 

C 

Ċ 

C 

Ċ 

C 


p 

C T C C S Ċ C 

Ċ C 

Ċ C TW C C T C T C C 

C 


TW C C T 

C T C C C 

p 

C C C 

T C C T C C C C 

T C C T C C Ċ Ċ Ċ C C C C C C 

T C C T C C C C 

T C C T C 

h h h h h h h h 

Ċ 

C 

Ċ 

C 

C C T h 

C C C C C T h 

C 

C C C T h 

C C C C C T h 

C 

B B 

B XX B 

X BB X 

B B 

B XX B 

X BB X 

B B 

B XX B 

# A Y A Y A A X A 

ev` 

YY A X A A A 

ev` 

YY A 

PE097 – 23

# 

# 

S 

B 

A 

B 

h 

B 

B 

, 

, 

B 

A 

S 

B 

B 

R 

B 

B 

A 

B 

B 

R 

B 

R 

R 

60! 

T W {eva} 

C C C C C T h T 

C C C C C 

C 


W C C C C C 

T T h T 

W C C C C C 

T T h T 

! TW C C T 

! 

C T C C S C C C C TW C C T C T C C 

h 


h 


h 

C C T h 

C C C C C T h 

C C C 

C C 

C C 

C C 

C C 

C C C T h 

C C C C C T h 

C C C C T h 

C C C C C T h 

C C C C T h 

C C C C C T h 

C 

C C T h 

C C C C C T h 

C C C 

C C 

C C 

C C 

C C 

C C C T h 

C C C C C T h 

C C C C T h 

C C C C C T h 

C C C C T h 

C C C C C T h 

C 

# R 

X B X 

XX B 

X B X 

XX B 

XX B 

X A 

A A 

ev` 

YY A X A A A 

ev` 

YY A 

X A A A 

ev` 

65 

{eva} 

accelerando 

C C 

, 

C 

C CW C C C C ! : Q 

C eva 

C C CW C C C C C C C CW C 

> 

C 

f p sub. mf 

f 

ff 

! S C C C : C CW C C C C C C C CW C C C C C C C CW C C C C C C C CW 

C C > R 

C 

C 

C 

C 

! : 

C 

f 

p C C C C C C C 

sub. 

# C 

C 

C 

C : Q 

C mf C C C C C C C C Cf C C C C C C C C C C C C> 

ff 

C C C C C C C R 

C 

C C C C C C C C C C C C> 

C 

# : Q Q Q Q 

XX B 

pick up gong beater in left hand (optional) 

# YY A : Q Q Q Q 

PE097 – 24

B 

B 

B 

B 

B 

B 

B 

h 

h 

B 

B 

B 

B 

B 

B 

B 

B 

B 

B 

B 

B 

B 

B 

B 

h 

B 

B 

B 

B 

B 

B 

B 

B 

70 

eva 

Y C 

Y C 

! : 

ff 

! : 

C 

C 

3C 

Y 2 C 

C 

C 

X 1C 

C 

C 

Y C C C C Y C C C Y C C C 

Y C C C C Y C C C Y C C C 

Y C 

3 C Y C 

X C 

Y C 

eva 

4C 

C 

2 C C C C C C C C 

! : T CC CW 

C C ff 

# : B 

W 3 B 

B 

C CW 

C 

W B 

1 

C CW 

C 

C C T 

W 

g 

C CW 

C 

B B 

C CW 

C 

C C 

T 

W 

C CW 

C 

W 

C CW 

C 

C C T 

W 

g 

C CW 

C 

# : B B 

ff 

ev` 

# : É 

GONG (optional) 

B 

B 

B 

B 

B 

B 

É É É É É É É 

B 

B 

B 

B 

B 

B 

B 

B 

74 

{eva} 

rall. over 4 repeats 

Y C C C Y C C C Y C C C Y C C C 

Y C C C Y C C C x4 Y C C C Y C C C x4 

! : : : 

{eva} 

C C C C C C C C C C C C C C C C C C C C 

! : : : 

mf dim. over 4 repeats 

! T 

: : : 

C CW 

C C C CW 

C C CW 

C C T 

g 

x4 

C CW 

C 

C 

mf C T 

W C C g 

T 

C C C C CW 

C C g 

C C C 

# W 

W 

dim. over 4 repeats 

W : : W W W : 

x4 

# : : : 

mf 

# 

{ev`} 

dim. over 4 repeats 

: : Q Q : 

É É É É 

x4 

x4 

PE097 – 25

A 

A 

S 

AA 

B 

h 

h 

S 

A 

A 

g 

S 

AA 

B 

g 

h 

h 

78 

C =112 

W C C C C C C C C W C C C C C C C C W C C C C C C C C W C C C C C C C C x3 

! : : 

p 

! : W 2 C C C C C C C C W C C C C C C C C W C C C C C C C C W C C C C C C C C : 

! : : 

C W C C C C C W C C C C C C g 

C O W C C C C C W C C C C C C 

mp 

# : S Ċ Ċ S Ċ Ċ S Ċ Ċ T Ċ T Ċ S Ċ Ċ S Ċ Ċ S Ċ Ċ T Ċ T Ċ : 

# : Q Q : 

C 

C 

p 

# : A 

: 

A 

ev` 

x3 

x3 

82 

! 


C C C C C C C 

! 


C C C C C C C 

! S R Q # W CW 

C W CW 

C 

C 

pp 

# Q Q 

W CW 

CW 

CW 

C ! W CW 

CW 1 B 

# Q Q Q Q 

# Q Q 

pp 

W 

W 

d 

4 

A 

A 

3 

2 

PE097 – 26

86 

! 

! 

W C C C C C C C C W C C C C C C C C W C C C C C C C C 

W C C C C C C C C W C C C C C C C C W C C C C C C C C 

# Q W C 

W C 

W 

C 

W 

C 

! Q S # 

W C 

W C 

W C 

W C 

! 

W C 

W C 

W B 

# Q Q Q 

# 

A 

A 

W A 

W A 

A 

A 

89 

! 


molto rallentando 

C C C C C C C 

W C C C C C C C C A 

! 

W C C C C C C C C W C C C C C C C C W C C C C C C C C A 

# Q W C W C W C W C 

Q 

! Q # 

S 

W C W C W C W C 

! W C W B 

Q 

W C 

# Q Q Q Q 

# 

A 

A 

W A 

A A 

W A 

A A 

PE097 – 27

# 

# 

C 

C 

Q 

C 

C 

A 

A 

C 

Q 

C 

A 

A 

C 

! 4 4 

! 4 4 

Lagu Java 

= 116 

! 4 S 4C 

eva 

p 

Q Q C 

C C C C 

C C C C 

1 4 

mp 

# 4 Q Q S 

4C 

2 

C 

C C C C 

C C C C 

C C C 

C C C 

2C 

C C 4 

C C C 

4C 

C C 2 

C C C 

C C C 

C C C 

C C C C C 

C C C C C 

2C 

1C 

4C 

4C 

1C 

2C 



3 

1 

4 

2C 

C C C C C C 

1 

4 2 

C C C C C C C 

# 4 4 

Q Q 

# 4 4 

Q Q 

A 

p 

A A A 

ev` 

6 

! 

{eva} 

C C C C C C C C C C 

3 2C 

C C C C C C C C C C C 3C 

C C C 4C 

C C 

poco rall. 

4 

! C C C C C C C C C C C C C 5C 

C C C C C C C C C 1 

C C C C C C C C C C 1 

C C C C C C C 

4 C 

2C 

1C 

4C 

! 

2C 

# Q Q 

C C 

3 C C C C C C C C C C C 

5 

C 

3 

C C C 

1 

C 

C 

4 

2 

4 

1 

1C 

2 

C C C S R R C 

4C 

R 

1C 

C 

5 

C 

4 

C 

B C C 

B C C 

{ev`} 

A A B B 

A A B B 

PE097 – 28

# 

# 

# 

# 

A 

R 

S 

A 

A 

11 

! 

! 

! S 

a tempo 

{eva} 

W 4 1 

C C CW C C C C C W C C C C C C C C W C C C C C C C C CW C C C C C C C C C 

# W C 

C C CW C C C C C W C C C C C C C C W C C C C C C C C CW C C C C C C C CW 4 

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W C 

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4 C C W 4 C 

C CW C C C C C C W C 

C C W C C C C C 

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W C C C C W C C C C C C C C 

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PE097 – 29

# 

# 

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C C X C C C C C C C C C C C C C 

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C C C C C C C C C C C C C C C C 

C C C C C C C C C C C C C C C C 

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C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C 

C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C 

C 

1 C 

3C 

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# C C 2 C C C C C C 1 C C 

3 C 

2 C C C 

C C C C C 3 C C C C C C C C C C C 

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PE097 – 30

# 

# 

# 

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C C C C C C C C 3 C C C C 4 C C C 4 C C 

C C C C 1 C C C C C C C 1 C C C C C C C C 3C 

C C C C C C C C C C C C C C C C 1 C C C C C C C 1 C C C C C 

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! C C C C C C C C 

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C C CW C C C C C C C C C C C C C W C C C C C C C C C C C C C C C C C C CW 

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C C C C C C C C C C C C 

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PE097 – 31

# 

# 

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W C C C C C C C C C C C C C C C C C C 

W C C C C C C C C C C C C C C C C CW 

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PE097 – 32

d 

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Great and Small © 2009 Chris Gendall 


ISMN 979-0-67452-122-2

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ISMN 979-0-67452-122-2

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VALLEY ECHOES (I) 

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Valley Echoes I © 2009 Gao Ping 


ISMN 979-0-67452-122-2

# 

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PE097 – 47

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{eva} 

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C 

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PE097 – 50

# 

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47 

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PE097 – 51

# 

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with huge sonority 

f ff G ff 

# 

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poco accel. 

a tempo 

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PE097 – 52

S 

C 

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61 

{eva} 

C W C W W C X C W 

! 4 

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> . C. C C S S R 

C. C. 

! 4 

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4 

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PE097 – 56


Piano Works for Four or More Hands 

and piano teacher, who encouraged me musically and is like 

my second grandmother. 

Sapphire Shimmer, Silica Slide (2005) 

Katy Abbott (1971) 

Katy Abbott studied composition with Brenton Broadstock and 

Linda Kouvaras at the University of Melbourne, Australia and 

her work has been performed in both Australia and overseas. 

Abbott’s music draws on diverse influences. She has a talent for 

highlighting the musical and poignant moments in daily human 

life. Her compositions also explore the concept of home and a 

sense of place. Her substantial body of work includes orchestra, 

chamber and vocal pieces. Abbott has won several awards and 

spent time as Composer-in-Residence with Orchestras Australia, 

Sydney Youth Orchestra and University of Tasmania. Katy 

Abbott lives in Melbourne, and holds an artist space at beautiful 

Abbotsford Convent, Victoria, Australia. As well as freelance composition, 

she teaches post-graduate composition at the University 

of Melbourne. 

Sapphire Shimmer, Silica Slide is a descriptive work full of contrasts. 

It alternates between the morning stillness of the beach 

and the intrusion of the sounds of the four-wheel drive motorbikes 

as they slide in and out of the sand dunes. The opening 

page conveys the gentle lapping of the waves and the sun 

shining on the waters, and should be played without percussiveness, 

using a floating touch. The syncopated rhythms intrude, 

suggesting the adrenaline felt by the riders as the bikes slide 

around unexpected corners. These energetic sections should be 

played with a dynamic, incessant rhythm and a firm clear sound. 

Although pedal marks are not dictated, performers should add 

touches of pedal for resonance as long as they do not obscure 

the rhythmic clarity. Dynamic and mood changes are abrupt and 

need careful attention. The opening stillness is again present 

in the melody at m.53, and m.63, and the variation of dynamic 

between the two players should be noted. The end should die 

away imperceptibly – the ride has finished but the scene remains 

unchanged. 

The composer writes: 

Sapphire Shimmer, Silica Slide was written in response to a 

gift I received. The gift was given to me by my husband, to 

go on a morning sand dune safari, riding four-wheel drive 

motorbikes in the mountainous dunes near Nelson Bay, 

New South Wales, Australia. Although terrifying at first, 

it was magnificent. The coast was spectacular; huge white 

dangerous dunes and the sparkling ocean. We were told we 

had to ride exactly in the path of the leader or risk being 

fatally surprised by a dune that could collapse or avalanche. 

We rode as we were told and the exhilaration coupled with 

the beauty made for a wonderful morning. The bikes were 

noisy but the stillness of the ocean and sand was magic. This 

piece is dedicated to Mavis Shannon, my childhood neighbour 

Dua Lagu (1993) 

Gareth Farr (1968) 

Gareth Farr was born in Wellington, New Zealand, and is a 

freelance composer and percussionist. He studied composition, 

orchestration and electronic music at the University of Auckland 

and Victoria University of Wellington. He undertook further study 

at the Eastman School of Music in Rochester, New York, where 

his teachers included Samuel Adler and Christopher Rouse. The 

inclusion of his works in four events at the 1996 New Zealand 

International Festival of the Arts inaugurated his career as a 

dedicated freelance composer. Since then, Farr’s music has been 

heard at, or especially commissioned for high-profile events, and 

he has composed scores for ballet, theatre, musical theatre and 

television. In 2006 Farr was made an Officer of the New Zealand 

Order of Merit, for his services to music and entertainment. Farr’s 

music is particularly influenced by his extensive study of percussion, 

both Western and non-Western. Rhythmic elements of his 

compositions can be linked to the complex and exciting rhythms 

of Rarotongan log drum ensembles, Balinese gamelan and other 

percussion music of the Pacific Rim. 

In both movements of Dua Lagu Player 2 has the melody, and this 

should sing out above the other parts. In ‘Lagu Bali’ there are several 

sudden changes in dynamics with a dramatic drop to piano 

in m.66. The comma in the score provides a moment of absolute 

silence to prepare for the subito piano. To maximise this effect, 

in the instance where the optional gong part is being performed, 

Players 1 and 2 should begin playing at m.66 before Player 3 picks 

up the gong beater. Check the metronome markings carefully: 

first play mm.40-42 at q = 112 and then play mm.50-52 at h = 88 

so that you can work out how much to increase the speed. The 

following accelerando builds to quite a frenzy before gradually 

subsiding back to the original tempo. ‘Lagu Java’ has a similar 

challenge. The tempo reached at m.23 is exactly half the opening 

speed, meaning that the pacing of the semiquavers at m.23 will 

be identical to that of the opening quavers. A useful rehearsal 

technique is to rehearse omitting mm.19-22 in order to establish 

the relationship between the tempos. Then play from mm.15-23 

to find a logical way to pace the rallentando so that the correct 

tempo is reached at m.23. 


Dua Lagu is inspired by the gamelan music of two Indonesian 

islands – Bali and Java. The gamelan is a large orchestra 

comprised almost entirely of percussion instruments made of 

bronze, and makes a beautiful shimmering flowing sound. 

The music is usually written in one of two modes – pelog and 

slendro. The pelog mode is similar to a natural minor scale 

with a flattened 2nd degree. In Java it is a seven note mode, 

and in Bali, they usually leave out the fourth and seventh 

PE097 – 57

degrees. Slendro is a pentatonic mode, with intervals similar 

to the black notes on the piano. ‘Lagu Bali’ uses a subset 

of the pelog mode, which is commonly used in beleganjur 

procession music (scale degrees 2, 3, 5 & 6). ‘Lagu Java’ is 

based on the slendro and pelog modes. It moves between the 

two, beginning with slendro, changing to pelog at m.11, back 

to slendro at m.22, and finally settling on pelog, at m.31. In 

‘Lagu Java’, slendro and pelog are transposed so that they 

sound like E minor and E major - thus making each transition 

to pelog sound like a ‘Tierce de Picardie’. 

Great and Small (2009) 

Chris Gendall (1980) 

Chris Gendall was born in Hamilton, New Zealand and began 

to develop as a composer in 1999 while studying at Victoria 

University of Wellington and more recently completed a 

Doctorate of Musical Arts at Cornell University in New York state. 

His influences include the art music of the twentieth century, as 

well as jazz and funk. Gendall has won several awards, including 

the 2008 SOUNZ Contemporary Award for his work Wax Lyrical 

and in 2010 was appointed as the Creative New Zealand / Jack 

C Richards Composer in Residence at the New Zealand School of 

Music. 

Great and Small is rhythmically complex and needs careful initial 

learning. Each player should rehearse their part with the metronome 

starting at a slow tempo (such as one crotchet per second) 

to accurately execute the time values of each bar. When beginning 

rehearsal together, again it would be advisable to begin 

under tempo in order to establish which notes need to be played 

together. Once learnt, the concept of gesture is important, and 

the individual note rhythms should not intrude. Dynamics are 

clearly notated and should be exaggerated to show the direction 

of each gesture. Pedal is used to create harmonic colour and to 

contrast this with the dry staccato figures, which should be played 

with a crisp, clear finger articulation. The climax of the piece is at 

m.54 when both players need decisive rhythm and sound. After 

one further outburst at m.64 the music dies away and then vanishes. 


Great and Small is a study of the transition between machine 

and animal – where mechanical activity becomes organic. 

Performing this piece requires an ongoing, shared awareness 

of pulse and time between players, in order to shift in and 

out of synchronicity. 

Eternity’s Heartbeat (2008) 

Christos Hatzis (1953) 

Christos Hatzis is well known in Canada and internationally. 

Covering a vast range of styles and genres, his works have been 

recorded, performed and broadcast throughout the world. Hatzis 

was born in Volos, Greece, and his early music study took place 

at the Hellenic Conservatory of Greece in his home town. He continued 

his studies in the United States, where he earned degrees 

from Eastman School of Music, New York State, and SUNY at 

Buffalo, New York. In 1982 he moved to Toronto, Canada, having 

decided that the country’s multiculturalism was more suited to his 

own ethos. He joined the faculty of the University of Toronto in 

1995. In addition to composing and teaching, Hatzis has written 

extensively about composition and contemporary music. 

This romantic piece, Eternity’s Heartbeat, has a slow nostalgic 

melody which should be played with a rich cantabile tone. The 

melody passes freely between players and must always project 

above the texture. The accompanying figures need a crystalline 

sound, weaving around the melody and never overshadowing it. 

Pedalling should be freely used to enhance the warmth of the 

music. The harmonic intensity should accumulate as the piece 

ascends chromatically from m.17, until it reaches the climax at 

m.29 in Gs major and then subsides through mm.30-32. The molto 

ritardando in m.32 needs a great deal of time and space in order 

to give the returning B minor melody due pathos. 


Eternity’s Heartbeat is the title of a song for soprano and 

piano which was written for inclusion in Tongues of Fire, 

my percussion concerto commissioned by the Scotia Festival 

of Music for percussionists Beverley Johnston and Evelyn 

Glennie. After the completion of the work, Evelyn asked me 

for a number of versions of the song for various instrumental 

combinations (marimba and piano, piano [four hands], solo 

marimba and solo piano) that she could perform as “encores” 

after a performance of the concerto, or in recital. This version 

for piano (four hands) was written in response to her request. 

谷应 (I) (Movement I from Valley Echoes) (2009) 

Gao Ping (1970) 

Composer and pianist Gao Ping was born in the city of Chengdu 

in the Sichuan Province of China. His father, Gao Wei-jie, is a 

well-known composer and teacher who formed the first new 

music society in China, the Society for Exploration of New Music, 

in 1983. Gao Ping grew up during China’s transformation from a 

collective to a market economy. This transitional phase between 

old and new has left traces in his music. The Beijing-based musicologist 

Li Xi-An has referred to Gao Ping as a representative 

member of the “sixth generation” of artists, following “the fifth 

generation” which included arts such as Tan Dun, and the filmmaker 

Zhang Yimo. In demand as a composer and pianist, he has 

received commissions and performances from many prominent 

performers, chamber groups and orchestras in New Zealand, his 

home country of China, and around the world, and his Night 

Alley for solo piano was performed as the obligatory work for 

PE097 – 58

the 4th China International Piano Competition in 2007. Dr. Gao 

lecturers composition at the School of Music at the Canterbury 

University in Christchurch, New Zealand. 

谷应 (I) (Movement I from Valley Echoes) is a sonically colourful 

piece where variations in sonorities are all important. The opening 

repeated figures each carry a diminuendo, and should be 

played without completely lifting the repeated notes to create 

the impression of a rebound, or a vibrating string. These sounds 

form the background for the syncopated rhythms; they should 

emerge out of the texture as if played on another instrument. 

The work becomes brighter as the repeated note figures are left 

behind and expressive melodic figures build in intensity to m.58, 

which is in 5/8. In m.59 the repeated note figures return but this 

time with intensity. The final section combines the repeated notes 

with the remnants of the melody, gradually weakening to an 

atmospheric ending. 

intimate legato sound. Careful imperceptible pedal changes are 

necessary so as not to interrupt the continuity of sound in the 

repeated chords. This meditative, atmospheric piece should never 

be hurried, conveying a feeling of space and timelessness. 


Fragment was written to commemorate the occasion of the 

retirement of my first piano teacher, Peter Williams. It is a 

simple and tranquil meditation in which gently pulsing chords 

provide hushed support to a delicate melody. At the time it 

was written, I was engaged in writing my double concerto for 

percussion, piano and orchestra, View From Olympus. In terms 

of mood and material, Fragment is related to the second 

movement of that work. 


谷应应 (I) (Movement I from Valley Echoes) tries to evoke the 

feeling of spaciousness that one experiences in mountainous 

places. Melodies rise and fall like mist with distant echoes, 

which answer us like the voice of nature. The work belongs 

to a series of my works which are inspired by mountains. Also 

included in this series is The Mountain, for two pianos, and 

Questioning the Mountain, for violin and piano. 

Fragment (2001) 

John Psathas (1966) 

John Psathas is one of New Zealand’s most frequently performed 

composers. Of Greek heritage, he grew up in New Zealand, 

leaving high school early to study composition and piano performance 

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. In August 2000, the premiere of his 

saxophone concerto, Omnifenix, by legendary jazz saxophonist 

Michael Brecker in Bolgna, Italy, brought international acclaim. 

Psathas’ career highlights include writing key ceremonial music 

for the 2004 Athens Olympic Games and Zeibekiko, an entire 

programme of music celebrating the heritage of Greek music 

from antiquity and the present day. 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). 

Fragment should be played with great subtlety of colour. Chords 

need delicate balancing and voicing so that the harmonies are 

clear. Melodic interjections should be gently played with an 

PE097 – 59


The Mike Nock 

Piano Collection

Firestarters 4

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