All Music

100 Seconds from Midnight (2020) is percussion quartet commissioned by Architek Percussion and dedicated to its members at the time; Ben Reimer, Noam Bierstone, Ben Duinker, and Alessandro Valiante. Comprised of three movements - Genesis, Anthems, and 100 Seconds from Midnight - the work describes a journey through time, mirroring the evolution and looming downfall of our civilisation. Beginning with Genesis, and providing a musical exploration of the birth and development of our world, this movement lays the groundwork, painting a picture of the world's creation through percussion effects. In the second movement, Anthems, the power of martial rhythmic patterns (created with transformed audio excerpts from the Russian, American, and Chinese national anthems) evoke an ironic sense of power, and glory. The triumphant echoes are imbued with a subtle sense of foreboding. 

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The final movement, 100 Seconds from Midnight, symbolises a turning point, embodying the urgency and looming dread encapsulated in the metaphor of the Doomsday Clock, the symbol of global catastrophe. The rapid, propulsive grooves and the haunting resonance of the vibraphone evoke the sense of being on a runaway train, the path humanity currently treads. It offers a reflection on the societal and environmental challenges we face, delivering a thought-provoking message about our collective responsibility. The piece requires a diverse range of percussive instruments, including the drum set, snare drum, Scots snare, dohl, bass drum, pulli, triangle, metal objects, finger cymbal, vibraphone, and marimba. Each player's role is integral to the piece, creating a polyrhythmic weave that resonates with the urgency and complexity of the themes conveyed in the music. 

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Underscoring the impending 'civilizational crisis' referenced by Noam Chomsky and the vital need for change, the percussive elements and emotive rhythmic patterns encourage us to consider the kind of world we want to live in. In its entirety, 100 Seconds from Midnight offers an intense exploration of humanity's current journey.

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100 Years (2014) is a commemorative video co-composed with longtime friend and collaborator Serj Tankian. The work is a somber commemoration to honor the Armenian, Greek and Assyrian victims of the first genocide of the 20th century. It is dedicated to all those fighting for truth, recognition and justice for this and all subsequent genocides

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Please note that the video does contain some graphic and sensitive archival images.

OurSpace, the interactive visitor experience at the Museum of New Zealand Te Papa Tongarewa, received international recognition, winning the UNESCO World Summit Award for eContent and Creativity, and featured cutting-edge technology and user-generated content alongside the museum's exhibits. I was commissioned by Gibson Group to develop an algorithm that created dynamically shifting musical textures in response to user engagement with an interactive wall.  I composed three unique musical landscapes for the project - Ambient, Ethnic, and Techno - and invited other New Zealand composers to contribute their own compositions. Our collaborative efforts resulted in nearly a dozen distinct musical environments that ebbed and flowed based on user interaction.

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4BY4 brings together four multi-percussionists, playing different pods of instruments, into one tribally energetic jam session that pushes the players to the edge of musical and physical possibility. Everybody has a kick drum, which solidifies the underlying pulse and cements the parts of each player as they're playing their own polyrhythmic grooves.

This musical supplication is inspired partly by the playing of world-renowned duduk player Djivan Gasparyan. It is a plea for a balm, a cool wind, to ease anguish and torment.

A Cool Wind (2007) is a stirring string quartet originally composed in 2007 and later revised in 2013. Commissioned by Chamber Music New Zealand, A Cool Wind (2007) captures the essence of the duduk's voice through the string quartet, enveloping listeners in a world of overlapping inner parts, where melodies and harmonies intertwine, mirroring the intricate complexities of human emotion. The title itself refers to the supplicative nature of the composition, as the music unfolds like a heartfelt prayer seeking a balm, a soothing and cooling wind to alleviate suffering. When collaborating with master folk musicians in Greece, I am deeply moved by their dedication to emulating the human voice in their performances. Regardless of the instrument they played, these musicians seek to eliminate the barriers between impulse and sound, striving to express themselves spontaneously and authentically. It is this concept that lies at the heart of A Cool Wind. The performance of A Cool Wind by the esteemed Takacs Quartet at its world premiere was a momentous occasion that showcased the profound beauty and power of the composition. The quartet's masterful interpretation captured the essence of the piece, bringing to life its emotional depth and sensitivity. Through the delicate interplay of the four string instruments, the Takacs Quartet breathed life into every note, allowing the music to resonate with the audience's souls. The strings sang with a profound yearning, echoing the emotional contours of the human voice and invoking a sense of empathy and catharsis. "A Cool Wind" is a testament to Psathas' ability to create music that transcends boundaries and touches the very core of human experience. It serves as a reminder of the transformative power of art, offering solace, healing, and a respite from the trials of life. By immersing oneself in the world of A Cool Wind, listeners embark on a profound journey of introspection and emotional connection

Abhisheka is a profoundly introspective and captivating string quartet that has since been adapted for string orchestra, viola quartet, and wind ensemble. Standing apart from my typically energetic and densely notated works, it invites listeners into a slower-paced and more contemplative musical landscape. The inspiration came from reading a book by the Buddhist guru Chögyam Trungpa. The Sanskrit word "abhisheka" translates to "anointment" or "to sprinkle or pour." In the context of this composition, it represents a moment of initiation or a spiritual awakening, where one is open and willing to give up busyness and overcrowding, allowing space and peace to permeate. The work explores the concept of space in music, infusing the composition with moments of silence and slower passages that provide an opportunity for reflection and inner contemplation. The use of quarter-tones adds an intriguing and unusual sound to the piece, further enhancing its emotive impact. Within the composition, each instrument in the string quartet has its moment to shine, with extended solo passages for the violins, cello, and viola. Against a backdrop of hushed chords, the melodies intertwine and unfold, creating a sense of depth and serenity. The composition builds towards an energetic climax, unexpected in its intensity, before the viola takes its turn, further enriching the sonic tapestry. The piece resonates with both beauty and profound meaning. The New Zealand String Quartet gave a striking first performance in Nelson, New Zealand, on August 23, 1998. Their interpretation captures the essence of its introspective nature, drawing listeners into a world of quiet contemplation and musical eloquence. Through the interplay of the four string instruments, the New Zealand String Quartet invites audiences to embark on a transformative journey, exploring the nuances of Abhisheka and experiencing the power of music to convey profound emotions and spiritual depth. Its unique blend of tranquility and complexity offers a rare opportunity for introspection and self-discovery, reminding us of the transformative power of art and the beauty that lies within silence and space.

Abhisheka (1996) is an introspective string quartet that has since been adapted for string orchestra, viola quartet, and wind ensemble. Standing apart from my typically energetic and densely notated works, it invites listeners into a slower-paced and more contemplative musical landscape. The inspiration came from reading a book by the Buddhist guru Chögyam Trungpa. The Sanskrit word "abhisheka" translates to "anointment" or "to sprinkle or pour." In the context of this composition, it represents a moment of initiation or a spiritual awakening, where one is open and willing to give up busyness and overcrowding, allowing space and peace to permeate. The work explores the concept of space in music, infusing the composition with moments of silence and slower passages that provide an opportunity for reflection and inner contemplation. The use of quarter-tones adds an intriguing and unusual sound to the piece, further enhancing its emotive impact. Within the composition, each instrument in the string quartet has its moment to shine, with extended solo passages for the violins, cello, and viola. Against a backdrop of hushed chords, the melodies intertwine and unfold, creating a sense of depth and serenity. The composition builds towards an energetic climax, unexpected in its intensity, before the viola takes its turn, further enriching the sonic tapestry. The piece resonates with both beauty and profound meaning. The New Zealand String Quartet gave a striking first performance in Nelson, New Zealand, on August 23, 1998. Their interpretation captures the essence of its introspective nature, drawing listeners into a world of quiet contemplation and musical eloquence. Through the interplay of the four string instruments, the New Zealand String Quartet invites audiences to embark on a transformative journey, exploring the nuances of Abhisheka (1996) and experiencing the power of music to convey profound emotions and spiritual depth. Its unique blend of tranquility and complexity offers a rare opportunity for introspection and self-discovery, reminding us of the transformative power of art and the beauty that lies within silence and space.

Abhisheka (1996) is an introspective string quartet that has since been adapted for string orchestra, viola quartet, and wind ensemble. Standing apart from my typically energetic and densely notated works, it invites listeners into a slower-paced and more contemplative musical landscape. The inspiration came from reading a book by the Buddhist guru Chögyam Trungpa. The Sanskrit word "abhisheka" translates to "anointment" or "to sprinkle or pour." In the context of this composition, it represents a moment of initiation or a spiritual awakening, where one is open and willing to give up busyness and overcrowding, allowing space and peace to permeate. The work explores the concept of space in music, infusing the composition with moments of silence and slower passages that provide an opportunity for reflection and inner contemplation. The use of quarter-tones adds an intriguing and unusual sound to the piece, further enhancing its emotive impact. Within the composition, each instrument in the string quartet has its moment to shine, with extended solo passages for the violins, cello, and viola. Against a backdrop of hushed chords, the melodies intertwine and unfold, creating a sense of depth and serenity. The composition builds towards an energetic climax, unexpected in its intensity, before the viola takes its turn, further enriching the sonic tapestry. The piece resonates with both beauty and profound meaning. The New Zealand String Quartet gave a striking first performance in Nelson, New Zealand, on August 23, 1998. Their interpretation captures the essence of its introspective nature, drawing listeners into a world of quiet contemplation and musical eloquence. Through the interplay of the four string instruments, the New Zealand String Quartet invites audiences to embark on a transformative journey, exploring the nuances of Abhisheka and experiencing the power of music to convey profound emotions and spiritual depth. Its unique blend of tranquility and complexity offers a rare opportunity for introspection and self-discovery, reminding us of the transformative power of art and the beauty that lies within silence and space.

Abhisheka is a profoundly introspective and captivating string quartet that has since been adapted for string orchestra, viola quartet, and wind ensemble. Standing apart from my typically energetic and densely notated works, it invites listeners into a slower-paced and more contemplative musical landscape. The inspiration came from reading a book by the Buddhist guru Chögyam Trungpa. The Sanskrit word "abhisheka" translates to "anointment" or "to sprinkle or pour." In the context of this composition, it represents a moment of initiation or a spiritual awakening, where one is open and willing to give up busyness and overcrowding, allowing space and peace to permeate. The work explores the concept of space in music, infusing the composition with moments of silence and slower passages that provide an opportunity for reflection and inner contemplation. The use of quarter-tones adds an intriguing and unusual sound to the piece, further enhancing its emotive impact. Within the composition, each instrument in the string quartet has its moment to shine, with extended solo passages for the violins, cello, and viola. Against a backdrop of hushed chords, the melodies intertwine and unfold, creating a sense of depth and serenity. The composition builds towards an energetic climax, unexpected in its intensity, before the viola takes its turn, further enriching the sonic tapestry. The piece resonates with both beauty and profound meaning. The New Zealand String Quartet gave a striking first performance in Nelson, New Zealand, on August 23, 1998. Their interpretation captures the essence of its introspective nature, drawing listeners into a world of quiet contemplation and musical eloquence. Through the interplay of the four string instruments, the New Zealand String Quartet invites audiences to embark on a transformative journey, exploring the nuances of Abhisheka and experiencing the power of music to convey profound emotions and spiritual depth. Its unique blend of tranquility and complexity offers a rare opportunity for introspection and self-discovery, reminding us of the transformative power of art and the beauty that lies within silence and space.

Aegean, arranged here for percussion ensemble by Omar Carmenates, is the second of two companion works written for piano trio (PE181) the other being Corybas (PE179) The works were commissioned by Ian Graham as a birthday gift for his wife Agi Lehar-Graham ( the original manuscript adds a little wordplay to the work’s title, spelling Aegean as Agi-Ian), and in grateful recognition of the New Zealand Chamber Soloists (NZCS) Piano Trio – Katherine Austin, Lara Hall and James Tennant.

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Short and elegant, Aegean is perfect for trios wishing to add a dose of romance to a concert programme. The work is inspired in part by the view from my parents’ house, which overlooks the Aegean Sea. My substantial body of relentlessly high-energy works might lead one to assume that, in the case of Aegean the sea is visualised at its most stormy and tumultuous, the work being pushed forward with tempo surges depicting accelerated ocean currents. Instead, we are presented with a scene in which a calm sea gently rises and falls – the piano’s odd-metered and softly articulated rhythmic figure evokes the irregular movements of the ocean’s surface, while passages that add repeated two-note semiquaver patterns in its upper staff mirror the glistening of sunlight on the water’s rippling contours. The peacefulness of Aegean is reinforced by the poise in the string writing that decorates the work’s unhurried journey. The violin and cello rhythmically intertwine, with softly expressive solo passages emerging throughout. The registral arc of the violin peaks with a series of sustained high notes, underpinned by harmonic lifts courtesy of the cello and gently rippling piano. The work becomes bathed in warmth, like the sun emerging from behind a cloud, sending light to play once again on the Aegean’s undulating surface. The strings finally merge into rhythmic unison, sharing the idyllic melodic statement that concludes the work.

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Aegean is the second of two companion works written for piano trio (PE181) the other being Corybas (PE179) The works were commissioned by Ian Graham as a birthday gift for his wife Agi Lehar-Graham ( the original manuscript adds a little wordplay to the work’s title, spelling Aegean as Agi-Ian), and in grateful recognition of the New Zealand Chamber Soloists (NZCS) Piano Trio – Katherine Austin, Lara Hall and James Tennant.

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Short and elegant, Aegean is perfect for trios wishing to add a dose of romance to a concert programme. The work is inspired in part by the view from my parents’ house, which overlooks the Aegean Sea. My substantial body of relentlessly high-energy works might lead one to assume that, in the case of Aegean the sea is visualised at its most stormy and tumultuous, the work being pushed forward with tempo surges depicting accelerated ocean currents. Instead, we are presented with a scene in which a calm sea gently rises and falls – the piano’s odd-metered and softly articulated rhythmic figure evokes the irregular movements of the ocean’s surface, while passages that add repeated two-note semiquaver patterns in its upper staff mirror the glistening of sunlight on the water’s rippling contours. The peacefulness of Aegean is reinforced by the poise in the string writing that decorates the work’s unhurried journey. The violin and cello rhythmically intertwine, with softly expressive solo passages emerging throughout. The registral arc of the violin peaks with a series of sustained high notes, underpinned by harmonic lifts courtesy of the cello and gently rippling piano. The work becomes bathed in warmth, like the sun emerging from behind a cloud, sending light to play once again on the Aegean’s undulating surface. The strings finally merge into rhythmic unison, sharing the idyllic melodic statement that concludes the work.

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Here are some notes I compiled from various presentations…..

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‍SECRECY

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Pleasure to be able to talk about this because the process was shrouded in so much secrecy that not many people know what I did. I’m going to talk a bit then show you some dvd footage of the cues I was involved in.

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HOW I GOT THE GIG

• Unknown job interview with George Koumendakis.
• Phone call‍
• unlike what you’d imagine I didn’t immediately accept – ‍
• Freeing up the time – Stuart McCutcheon (then VC of VUW) was very supportive. Arts Laureate timing.
• Decision made with Carla. Knew it would be disruptive, but I’d be supported at home.
• Chance meeting with David Hirschfelder

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1ST TRIP TO GREECE

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Before I could travel - formidable confidentiality contract. (toward the end it became a real challenge keeping my involvement out of the media).

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I asked was it because I was Greek? No – not parochial; they wanted an international sound.

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Their research; several years. Cupboard of short list materials – 600 composers. In this cupboard was my Te Papa fanfare.

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As they revealed their vision I was blown away by their daring and creativity. E.g. DJ Tiesto for the entrance of the athletes = party atmosphere.

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Ceremonies divided into two elements: protocol and creative. Protocol segments are the obligatory sections in the ceremony – the things that must formally take place, such as the raising of the national and Olympics flags, the swearing of the oaths, the arrival and placing of the Olympic Flame etc. Often the protocol sections have been pretty tedious, but this creative team had the ambition to make the protocol segments as powerful and satisfying as the creative segments.

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Originally disappointing but then I realized I was to be involved with the strongest symbols associated with the Games. The most important and meaningful moments.

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They got a feel for my sense of what was being celebrated. Greece’s recent history – 1st and 2nd WW, Civil war, military dictatorship – it is really the last 30 years that the general population have experienced a sense of ownership and control over Greece’s cultural and historical direction. Given this historical context it was essential that I felt (not merely understood) the importance of the statement being made for Greece and it’s history.

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Many trips to Greece in the next year. Sometimes just for 2 or 3 days.

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THE PROCESS

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Came back and worked until the very last minute. So close to the wire that they were recording the music for the closing ceremony after the opening ceremony had occurred.

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The time pressure was phenomenal and just kept getting tighter and tighter. I began working on this material in late 2003 – about 9 months out from the Opening Ceremony. At the Sydney 2000 games the music had been composed and recorded 9 months out!      

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Even though it didn’t seem it at the time, in retrospect, the work itself i.e. realizing the vision through music, was not so difficult. I was very fortunate to be working with a great musical director;

• An excellent composer in his own right
• A great communicator
• Excellent manager of the project

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Overall vision was to paint with broad, bold strokes. No fancy stuff. Musically this translated to more Dorian style of melody (not much melisma or melodic decoration). It was a challenge doing things in the time available as the vision kept evolving right up to the last minute.

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24-HOUR TURNAROUND

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You’d think being on the other side of the planet would be a handicap but in fact….

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I-work- they-sleep / I-sleep-they-provide-feedback

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IN CLOSING

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Most important outcomes:

• I was part of and contributed to a Grand Experience
• I didn’t let them down – I validated their decision to choose me.

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More details about each cue can be found below

avenoir - n. the desire that memory could flow backward

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Commissioned by and dedicated to Corey Hamm

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We take it for granted that life moves forward. But you move as a rower moves, facing backwards: you can see where you’ve been, but not where you’re going. And your boat is steered by a younger version of you. It’s hard not to wonder what life would be like facing the other way…

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Baw My Barne is an intricate and intriguing setting of a medieval lullaby, which may be performed either by a group of eight solo voices or by a larger choir with a solo soprano. Written for SSAATTBB, this short work features Middle English, set with complex harmonies and angular intervals, which makes for a unique blend of old and new that could feature in any professional vocal or choral concert.

What happens in the universe’s downtime? What would we humans do if we knew none of our gods were watching? Maybe we’d spend all our time just trying to find each other ... or maybe we’d release ourselves into an ecstatic frenzy...

Between Zero and One

is a music and visual performance on an epic scale – a new percussion work written by internationally acclaimed New Zealand/Greek composer John Psathas and performed by Wellington’s Strike Percussion.

Beginning and ending with a Big Bang, expect wild instrumentation, complex rhythms, moments of delicacy and warmth together with Strike’s signature charm.

Real time projection by Australian multi-media artist Tim Gruchy turns the space into a work of art. Also featuring additional compositions from David Downes and Jack Hooker plus guest musicians.

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Programme

Arvo Pärt Silouan's Song
John Psathas, Oum, Kyriakos Tapakis Ahlan wa Sahlan

Interval

Rimsky-Korsakov Sheherezade

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We offer an expression of peace and unity through music.

Haere mai and ahlan wa sahlan to a very special concert. Tomark the 5th anniversary of the Christchurch terror attacks, we present aunique collaboration promoting peace and unity through music.

Conducted by Fawzi Haimor, featuring powerful Moroccan vocalist OUM and oud virtuoso Kyriakos Tapakis, we offer a program of Arvo Pärt, a new work from Aotearoa New Zealand composer John Psathas, and RimskyKorsakov.

Psathas’ Ahlan wa Sahlan, composed incollaboration with OUM and Tapakis, uses the Arabic welcome to let people know they are in a place where they belong. Finding inspiration in a quote promotingpeace, love and forgiveness from Mosque attack survivor Farid Ahmed’smemoir Husna's Story, Psathas, OUM and Tapakis have fused together musical styles from Eastern and Western cultures in Ahlan wa Sahlan.

This work was created with guidance from The Central IqraTrust and Muslim communities from across Aotearoa New Zealand.

The Orchestra also plays Arvo Pärt’s spiritual and meditative work Silouan’s Song.

Beyond Words is a symphonic expression of peace and unity. Let us take you on this journey beyond borders and beyond words. 

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Additional Programming Options

OUM arr. Tom McLeod Daba
Kyriakos Tapakis arr. Tom McLeod Mantilatos

Buyan is a rewarding workout, testing the timpanist's proficiency in various techniques. Across its six minutes, the player must navigate syncopated grooves in compound time, simmering roll and glissandi techniques, and playing with fingers. Most challenging of all, though, is the extensive pedalling required to articulate the melodic material. Buyan moves briskly, its timpani line often skipping across the surface of the accompanying backing track's dark and cinematic electronica. Indeed, the backing track evokes the mystery, intrigue and exoticism of the fabled island that names the work, rising and falling in intensity like the tides that are so integral to the island's magic. The variety of playing techniques in Buyan demonstrate the subtleties offered-yet often overlooked-by the timpani.

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Calenture, commissioned by Double Edge (Edmund Niemann and Nurit Tilles) consists of four distinct movements that combine the techniques of contemporary classical piano with those found in rock and jazz electric guitar playing. Through this fusion, the music delves into the expressive possibilities of the electric guitar and piano duo, exploring both impressionistic tones and compelling rhythms, as they seamlessly blend together through immersive sonic motifs. The first movement draws listeners in with a mesmerizing blend of soft harmonics resonating from within the piano, intertwining with the mellow tones of half-muted guitar pitches. The instruments' rhythmic and tonal similarities create an enigmatic and captivating atmosphere. As the movement progresses, fluttering piano gestures in the mid-register intertwine with ethereal guitar harmonics, further expanding the sonic landscape. In the second movement, one of the pianists switches to hand percussion, providing a rhythmic foundation for fragmented jazz-inspired phrases from the other musicians. The interplay of syncopated piano chords adds depth and energy to the piece. As we transition to the third movement, the piano's relentless rhythms anchor the composition, while the guitar introduces polyrhythmic chordal stabs before soaring into its upper register. Here, the guitar emits bending, sustained moans and haunting squeals, adding a layer of intensity to the ensemble. The fourth movement gracefully unfolds atop a gentle, harmonically static piano accompaniment. Amidst this tranquil backdrop, the other pianist punctuates the arc-like structure with concise statements. Meanwhile, the guitar seamlessly integrates with a series of sustained pitches, heightening the movement's profound sense of tension and darkness. Calenture explores the expressive possibilities of the piano and electric guitar duo, showcasing the duo's technical prowess and their ability to create a unique and captivating musical experience.

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Call of the Wild is inspired by the last three generations of my family: all travellers and nomads.

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Every one of my grandparents and great-grandparents were survivors of the forced marches instigated by the exchange of populations between Greece and Turkey in the early 1920s. After resettling in Greece and enduring a second world war - followed immediately by an equally brutal civil war – their children (my parents) travelled unimaginably far away from that endless devastation and upheaval. From Athens and Thessaloniki, to Taumarunui.

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Growing up in small-town New Zealand, experiencing daily, normalized xenophobia and racism, as well as religious mistreatment, my sister and I understood at an early age what it meant to be tramontane (from the other side of the mountains); outsiders. Luckily, this experience empowered us to overcome; it energized us to fight for what we needed in life. The third movement of Call of the Wild is a depiction of taking that nomadic gypsy impulse and energy further, even into space one day ...

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The first movement is inspired by my mother, who always seemed to be on the verge of breaking out into a kind of greatness. Her long, slow decline into the fog of slowly forgetting is wholly outweighed in our memories by her positive, irresistible love of life.

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The second movement is inspired by my father, who lost his own father while still in the womb. Adopted out to a relative, and growing up an outsider to even his closest family, he demonstrated from the youngest age a staggering force of will to be independent, strong for others, and inflexible in his principles of decency and fairness. The price of living thus, especially in ones twilight years, can be devastating.

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With such continuous migration in our family's most recent century, is it any wonder our children are now hearing the call of the wild and talking of living abroad? Once the momentum starts, like a ball rolling downhill, it's near impossible to stop.

I was approached by The Nudge (Iraia Whakamoe, James Coyle, and Ryan Prebble) to add some layers to this  beautiful song. I ended up approaching it sideways bringing in some middle eastern strings, bass clarinet, etc. As I write this it’s 2020 and the song - although completed - is not yet released……….

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Originally the second movement of my guitar duo Muisca, this is an arrangement for solo piano and is performed by Jian Liu on the Atoll album “Sarajevo” here (track 7):

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Cloud Folk was written at the invitation of Michael Burritt for the Eastman Percussion Ensemble. It was the recipient of the 2017 John Beck Composition Prize with the generous support of Ann Carol and Paul S. Goldberg, The Eastman School of Music Percussion Department, Michael Burritt, Kathleen Holt and Stephen Lurie, Ruth and Bill Cahn.

The Cloud Folk are (imaginary) visitors to earth, invisibly parked in our upper atmosphere, observing 21st century human behavior. I’d imagined an arrival driven by optimism, intense curiosity, and excitement; followed quickly by incomprehension, shock, and the hastiest possible departure (back into a wondrous universe teeming with life). With no contact made, in fact avoided at all costs, we were never aware we’d been visited. The music loosely follows this narrative.

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Connectome embarks on a captivating journey of musical exploration that delves into the intricate neural connections within the human brain. Just as a comprehensive map reveals the intricate wiring of the brain, this composition offers three distinct reflections on the potential futures that the mind's intricate network may lead us to.

In Part 1 - "Pashupatastra (From the Mahabharata)," we draw inspiration from an ancient tale. Arjuna seeks the sacred and formidable weapon, Pashupatastra, which possesses the power to vanquish both man and god. However, he is warned of its uncontrollable nature—the weapon cannot be discarded, returned, or reversed once unleashed. Echoing the spirit of a New Orleans funeral's second line, we contemplate whether we, as humans, have become the ultimate weapon, potentially aiming destruction upon ourselves. Could this be our own funeral march, accompanied by a recognizable yet fragmented melody?

Part 2 - "Farewell to the Flesh," an elegy, contemplates the prospect of achieving complete scans of our neural connections, creating accurate and comprehensive connectomes within our brains and nervous systems. This increasing likelihood raises profound questions about the transition to digital consciousness after death—an immortal existence. Yet, amidst this transformation, we ponder the mourning of our physical, sensual selves. Will emotions still resonate within us as code? Will a well-crafted joke evoke genuine laughter? Can we experience the senses of touch, taste, smell, and hearing? And as digital beings, will our very essence be subject to editing, replication, or the merging of human and artificial intelligence?

In Part 3 - "Rom in Space," we venture further into the future of space travel, imagining a time when all individuals have the freedom to traverse the cosmos. Picture a vibrant community of gypsies and nomads, filling the stars with their energy and creativity. This vision invites us to consider the boundless possibilities and the collective spirit that humanity, and perhaps even our connectomes, could bring to the uncharted realms of outer space.

"Connectome" offers a thought-provoking musical odyssey, exploring the intricate pathways of the human mind and the potential futures that lie within. Through evocative melodies and profound reflections, we invite you to contemplate the intertwined nature of our neural connections and the extraordinary possibilities that may await us on this extraordinary journey of self-discovery and cosmic exploration.

Arranged here for percussion ensemble by Omar Carmenates, Corybas, a dynamic, willful, and playful paino trio was commissioned by Ian Graham as a birthday gift for his wife Agi Lehar-Graham, and in grateful recognition of the New Zealand Chamber Soloists (NZCS) Piano Trio – Katherine Austin, Lara Hall and James Tennant. It's in stark contrast to the calmer, more serene, Aegean its companion work which can be thought of as its postlude. As a composer, it was an intriguing situation to consider the influence of the work being a gift. So, I reached out to Ian for a reference point and discovered Aggie's interest in the Corybas flower. The name originates from the helmet-shaped flowers, resembling the headgear worn by the dancers of Corybas in Ancient Greece. The lively odd-metered rhythmic patterns in Corybas echo the vibrant movements of the dancers in Eastern European traditions, capturing their spirit and energy An exciting aspect of writing Corybas was getting my head around a particular dance groove found in Macedonia, which is in 17/8 time but divided into measures of 7/8, 6/8, and 4/8. It’s a fantastic groove but it takes some work to internalise it. I had to play with this groove in a way that would keep performers from going crazy because of the amount of variation and syncopation on top the 17/8 meter, otherwise the material would be stressful and unsatisfying to play instead of exciting. I’m very happy about Corybas because I think I got the balance right in this respect. Once performers internalise the underlying meter I see a transformation take place and they love to play it. Later on I found out the name of Ian and Aggies boat was called Corybas, so there is some kind of connection

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Corybas, a dynamic, willful, and playful paino trio was commissioned by Ian Graham as a birthday gift for his wife Agi Lehar-Graham, and in grateful recognition of the New Zealand Chamber Soloists (NZCS) Piano Trio – Katherine Austin, Lara Hall and James Tennant. It's in stark contrast to the calmer, more serene, Aegean its companion work which can be thought of as its postlude. As a composer, it was an intriguing situation to consider the influence of the work being a gift. So, I reached out to Ian for a reference point and discovered Aggie's interest in the Corybas flower. The name originates from the helmet-shaped flowers, resembling the headgear worn by the dancers of Corybas in Ancient Greece. The lively odd-metered rhythmic patterns in Corybas echo the vibrant movements of the dancers in Eastern European traditions, capturing their spirit and energy An exciting aspect of writing Corybas was getting my head around a particular dance groove found in Macedonia, which is in 17/8 time but divided into measures of 7/8, 6/8, and 4/8. It’s a fantastic groove but it takes some work to internalise it. I had to play with this groove in a way that would keep performers from going crazy because of the amount of variation and syncopation on top the 17/8 meter, otherwise the material would be stressful and unsatisfying to play instead of exciting. I’m very happy about Corybas because I think I got the balance right in this respect. Once performers internalise the underlying meter I see a transformation take place and they love to play it. Later on I found out the name of Ian and Aggies boat was called Corybas, so there is some kind of connection

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Arranged here for Saxophone, Cello, and Piano, Corybas, a dynamic, willful, and playful paino trio was commissioned by Ian Graham as a birthday gift for his wife Agi Lehar-Graham, and in grateful recognition of the New Zealand Chamber Soloists (NZCS) Piano Trio – Katherine Austin, Lara Hall and James Tennant. It's in stark contrast to the calmer, more serene, Aegean its companion work which can be thought of as its postlude. As a composer, it was an intriguing situation to consider the influence of the work being a gift. So, I reached out to Ian for a reference point and discovered Aggie's interest in the Corybas flower. The name originates from the helmet-shaped flowers, resembling the headgear worn by the dancers of Corybas in Ancient Greece. The lively odd-metered rhythmic patterns in Corybas echo the vibrant movements of the dancers in Eastern European traditions, capturing their spirit and energy An exciting aspect of writing Corybas was getting my head around a particular dance groove found in Macedonia, which is in 17/8 time but divided into measures of 7/8, 6/8, and 4/8. It’s a fantastic groove but it takes some work to internalise it. I had to play with this groove in a way that would keep performers from going crazy because of the amount of variation and syncopation on top the 17/8 meter, otherwise the material would be stressful and unsatisfying to play instead of exciting. I’m very happy about Corybas because I think I got the balance right in this respect. Once performers internalise the underlying meter I see a transformation take place and they love to play it. Later on I found out the name of Ian and Aggies boat was called Corybas, so there is some kind of connection

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CubaSonic, an outdoor, multisite extravaganza of Brass, Percussion and Digital Audio, featured 500 musicians spanning 3 inner city blocks of Wellington's famous Cuba Street as part of the 2021 CubaDupa Festival. Originally conceived in 2018 and set to premiere in 2019, the piece's significance transformed unexpectedly amidst the backdrop of the global lockdowns caused by the Covid-19 pandemic. The inspiration for CubaSonic came from the vibrant atmosphere of CubaDupa, an annual festival that unfolds along one of Wellington's longest inner-city street. The festival's diverse program and spatial layout sparked the idea of presenting and experiencing music in a truly unique way. The evolving landscape of CubaDupa, with its sprawling yet condensed festival site, opened up endless possibilities for musical exploration. With a focus on space and immersion, CubaSonic weaves its musical ideas throughout the three blocks of Cuba Street with ensembles and speakers remaining stationary, whilst the musical material flowed, creating a sonic environment that enveloped the audience. Juxtaposing ensembles and utilizing call and response techniques, the composition highlighted the vast distances between performers, enhancing the immersive experience. CubaSonic's grand scale and epic nature perfectly suited the outdoor setting, amplifying the impact of percussion, brass, wind, and amplified instruments over the expansive distances. While delays and cancellations resulted in numerous rewrites and a lack of a single representative score, the composition brought together an impressive list of participating ensembles. It also represented a great feeling of togetherness at a time where massed gatherings of this nature seemed to be a thing of the past.

The music on Diálogos is a conversation between the precise complexities and dynamics of compositions by John Psathas and the intuitive processes of collective improvisation.With influences as diverse as new classical, contemporary jazz, world, and drum’n’bass, Diálogos pushes the boundaries of generic idioms. The music has a wide dynamic and emotional range, rich in colour and texture.“Diálogos is a revelation. I don’t know what the language is that properly describes what the guys are doing, but they’re somehow creating new works. This isn’t ‘arranging’ or ‘adapting’, I feel it’s better described as continuing the composing process.” — John Psathas Chris Mason-Battley (sax)Sam Giles (bass) David Lines (piano) Stephen Thomas (drums) Produced by CMB Group and Steve Garden Recorded by Steve Garden Cover photography by Eudald Rota Design by UnkleFranc Printing by Studio Q

Djinn originally a concerto for marimba and chamber orchestra, was written for and inspired by percussionist Pedro Carneiro and has sinced been arranged for solo marimba and digital audio, marimba and percussion ensemble, and marimba and traditional Chinese instruments. This is an early example of collective commissioning with three of New Zealand's regional orchestra's contributing to the process with funding provided by Creative New Zealand. Orchestra Wellington - who drove the commission and the project - the Auckland Philharmonia, and the Christchurch Symphony Orchestra each performed the work as part of its premiere season in April 2010 with Marc Taddei at the baton for all three performances. Inspired by the mystical concept of the djinn, or genie, Djinn embarks on a musical exploration of profound themes and mythical tales. Divided into three distinct movements, the concerto unfolds like a transformative journey through the realms of Pandora, the labyrinth, and the ethereal realm of dreams.

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Djinn originally a concerto for marimba and chamber orchestra, was written for and inspired by percussionist Pedro Carneiro and has sinced been arranged for solo marimba and digital audio, marimba and percussion ensemble, and marimba and traditional Chinese instruments. This is an early example of collective commissioning with three of New Zealand's regional orchestra's contributing to the process with funding provided by Creative New Zealand. Orchestra Wellington - who drove the commission and the project - the Auckland Philharmonia, and the Christchurch Symphony Orchestra each performed the work as part of its premiere season in April 2010 with Marc Taddei at the baton for all three performances. Inspired by the mystical concept of the djinn, or genie, Djinn embarks on a musical exploration of profound themes and mythical tales. Divided into three distinct movements, the concerto unfolds like a transformative journey through the realms of Pandora, the labyrinth, and the ethereal realm of dreams.

Djinn originally a concerto for marimba and chamber orchestra, was written for and inspired by percussionist Pedro Carneiro and has sinced been arranged for solo marimba and digital audio, marimba and percussion ensemble, and marimba and traditional Chinese instruments. This is an early example of collective commissioning with three of New Zealand's regional orchestra's contributing to the process with funding provided by Creative New Zealand. Orchestra Wellington - who drove the commission and the project - the Auckland Philharmonia, and the Christchurch Symphony Orchestra each performed the work as part of its premiere season in April 2010 with Marc Taddei at the baton for all three performances. Inspired by the mystical concept of the djinn, or genie, Djinn embarks on a musical exploration of profound themes and mythical tales. Divided into three distinct movements, the concerto unfolds like a transformative journey through the realms of Pandora, the labyrinth, and the ethereal realm of dreams.

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Djinn originally a concerto for marimba and chamber orchestra, was written for and inspired by percussionist Pedro Carneiro and has sinced been arranged for solo marimba and digital audio, marimba and percussion ensemble, and marimba and traditional Chinese instruments. This is an early example of collective commissioning with three of New Zealand's regional orchestra's contributing to the process with funding provided by Creative New Zealand. Orchestra Wellington - who drove the commission and the project - the Auckland Philharmonia, and the Christchurch Symphony Orchestra each performed the work as part of its premiere season in April 2010 with Marc Taddei at the baton for all three performances. Inspired by the mystical concept of the djinn, or genie, Djinn embarks on a musical exploration of profound themes and mythical tales. Divided into three distinct movements, the concerto unfolds like a transformative journey through the realms of Pandora, the labyrinth, and the ethereal realm of dreams.

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Dreams of Twilight is a two movement trio for Clarinet, Piano and Mallet Percussion (Marimba and Vibraphone). The work is commissioned by Texas A&M International University (TAMIU) Professors Abby Lloyd, Tatiana Gorbunova and Mark Boseman to whom it is also dedicated to.

Arranged here for percussion ensemble by Omar Carmenates, Drum Dances, originally ommissioned by Dame Evelyn Glennie, has become a standard for drum kit and piano repertoire. This piece was written during the launch and rise of Chick Corea’s Elektric Band, a band that also revealed the genius of Dave Weckl (along with John Patitucci, Eric Marienthal, and Frank Gambale) to the world. I was mesmerized by the interaction between drums and keyboard in the Elektric Band, and the influence of that music is evident in Drum Dances. This work is heavily influenced by jazz and rock music, particularly from the late 1980s to early 1990s. I am greatly inspired by the drumming of Dave Weckl, the very different pianistic styles of Keith Jarret and Chick Corea, and the enormous energy in the music of guitarists like Steve Vai. Each of the four dances was stimulated by a certain rhythmic interaction possible between two performers. From the chaotic first movement (which is like a game where both players attempt to force each other's cadences), to the ending of the prestissimo fourth movement (where both parts are synchronised) the two performers gradually begin working together instead of battling for priority. The second movement includes a glockenspiel part for the percussionist, and is a loosely written, stately dance. The third movement involves very tight rhythmic interaction and is driven by syncopation simultaneously occurring on several levels (i.e. from the semiquaver to the crotchet).

I would like to add that it is a great privilege to write for Evelyn Glennie and that her interest in my music has had a major positive impact on my experiences as a composer.

This work is dedicated to my wife, Carla.

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Commissioned by Dame Evelyn Glennie, Drum Dances has become a standard for drum kit and piano repertoire. This piece was written during the launch and rise of Chick Corea’s Elektric Band, a band that also revealed the genius of Dave Weckl (along with John Patitucci, Eric Marienthal, and Frank Gambale) to the world. I was mesmerized by the interaction between drums and keyboard in the Elektric Band, and the influence of that music is evident in Drum Dances. This work is heavily influenced by jazz and rock music, particularly from the late 1980s to early 1990s. I am greatly inspired by the drumming of Dave Weckl, the very different pianistic styles of Keith Jarret and Chick Corea, and the enormous energy in the music of guitarists like Steve Vai. Each of the four dances was stimulated by a certain rhythmic interaction possible between two performers. From the chaotic first movement (which is like a game where both players attempt to force each other's cadences), to the ending of the prestissimo fourth movement (where both parts are synchronised) the two performers gradually begin working together instead of battling for priority. The second movement includes a glockenspiel part for the percussionist, and is a loosely written, stately dance. The third movement involves very tight rhythmic interaction and is driven by syncopation simultaneously occurring on several levels (i.e. from the semiquaver to the crotchet).

I would like to add that it is a great privilege to write for Evelyn Glennie and that her interest in my music has had a major positive impact on my experiences as a composer.

This work is dedicated to my wife, Carla.

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Elect the Dead Symphony is a full length live album and concert from Serj Tankian, renowned frontman of System of a Down, in collaboration with myself and the Auckland Philharmonia Orchestra. I was responsible for orchestrating the 14 tracks with the Auckland Philharmonia Orchestra breathing life into this unique fusion of rock and classical. The concert presents renditions of additional previously unreleased songs, exploring fresh and unchartered musical territory. Among the repertoire, a standout studio track emerges — "Charades," now reimagined and officially released as "The Charade." Originally considered for System of a Down's album Hypnotize, this song made its debut as a live version on the Axis of Justice compilation. However, Elect the Dead Symphony showcases the very first studio recording of "The Charade," offering a definitive rendition of the captivating composition. The album's release in February 2010 solidified its status as a must-have for fans of Serj Tankian's mesmerizing musical vision. With Elect the Dead Symphony, the sonic boundaries are shattered, and the harmonious fusion of orchestral brilliance and Tankian's distinctive artistry leaves an indelible mark on the world of music.

Te Papa Fanfare was commissioned for the momentous occasion that was the grand opening of The Museum of New Zealand Te Papa Tongarewa. This fanfare, composed for four trumpets, four trombones, and four percussionists, resonated through the halls of Te Papa, marking the beginning of a new era in New Zealand's cultural landscape. It stands as a symbol of celebration and unity, embodying the spirit of the museum and its commitment to preserving and sharing the rich heritage and stories of New Zealand. With its grandeur and powerful musical presence, 'Te Papa Fanfare' serves as a testament to the enduring power of art to inspire, uplift, and connect people from all walks of life. This work would also prove to be a pivotal moment in my own life, being the spark that would lead onto my Olympic Journey.

A 7-minute standalone movement for vibraphone, small metal percussion, and saxophone quartet. Farewell to Flesh is the 2nd of 3 movements from a larger work titled Connectome which embarks on a captivating journey of musical exploration that delves into the intricate neural connections within the human brain. Just as a comprehensive map reveals the intricate wiring of the brain, this composition offers three distinct reflections on the potential futures that the mind's intricate network may lead us to.

In Part 1 - "Pashupatastra (From the Mahabharata)," we draw inspiration from an ancient tale. Arjuna seeks the sacred and formidable weapon, Pashupatastra, which possesses the power to vanquish both man and god. However, he is warned of its uncontrollable nature—the weapon cannot be discarded, returned, or reversed once unleashed. Echoing the spirit of a New Orleans funeral's second line, we contemplate whether we, as humans, have become the ultimate weapon, potentially aiming destruction upon ourselves. Could this be our own funeral march, accompanied by a recognizable yet fragmented melody?

Part 2 - "Farewell to the Flesh," an elegy, contemplates the prospect of achieving complete scans of our neural connections, creating accurate and comprehensive connectomes within our brains and nervous systems. This increasing likelihood raises profound questions about the transition to digital consciousness after death—an immortal existence. Yet, amidst this transformation, we ponder the mourning of our physical, sensual selves. Will emotions still resonate within us as code? Will a well-crafted joke evoke genuine laughter? Can we experience the senses of touch, taste, smell, and hearing? And as digital beings, will our very essence be subject to editing, replication, or the merging of human and artificial intelligence?

In Part 3 - "Rom in Space," we venture further into the future of space travel, imagining a time when all individuals have the freedom to traverse the cosmos. Picture a vibrant community of gypsies and nomads, filling the stars with their energy and creativity. This vision invites us to consider the boundless possibilities and the collective spirit that humanity, and perhaps even our connectomes, could bring to the uncharted realms of outer space.

"Connectome" offers a thought-provoking musical odyssey, exploring the intricate pathways of the human mind and the potential futures that lie within. Through evocative melodies and profound reflections, we invite you to contemplate the intertwined nature of our neural connections and the extraordinary possibilities that may await us on this extraordinary journey of self-discovery and cosmic exploration.

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Arranged here for vibraphone, small metal percussion, and string quartet, Farewell to Flesh is a 7-minute standalone movement of the percussion and sax quartet titled Connectome. Farewell to Flesh, the second and third movements of Connectome, embarks on a captivating journey of musical exploration that delves into the intricate neural connections within the human brain. Just as a comprehensive map reveals the intricate wiring of the brain, this composition offers three distinct reflections on the potential futures that the mind's intricate network may lead us to.

In Part 1 - "Pashupatastra (From the Mahabharata)," we draw inspiration from an ancient tale. Arjuna seeks the sacred and formidable weapon, Pashupatastra, which possesses the power to vanquish both man and god. However, he is warned of its uncontrollable nature—the weapon cannot be discarded, returned, or reversed once unleashed. Echoing the spirit of a New Orleans funeral's second line, we contemplate whether we, as humans, have become the ultimate weapon, potentially aiming destruction upon ourselves. Could this be our own funeral march, accompanied by a recognizable yet fragmented melody?

Part 2 - "Farewell to the Flesh," an elegy, contemplates the prospect of achieving complete scans of our neural connections, creating accurate and comprehensive connectomes within our brains and nervous systems. This increasing likelihood raises profound questions about the transition to digital consciousness after death—an immortal existence. Yet, amidst this transformation, we ponder the mourning of our physical, sensual selves. Will emotions still resonate within us as code? Will a well-crafted joke evoke genuine laughter? Can we experience the senses of touch, taste, smell, and hearing? And as digital beings, will our very essence be subject to editing, replication, or the merging of human and artificial intelligence?

In Part 3 - "Rom in Space," we venture further into the future of space travel, imagining a time when all individuals have the freedom to traverse the cosmos. Picture a vibrant community of gypsies and nomads, filling the stars with their energy and creativity. This vision invites us to consider the boundless possibilities and the collective spirit that humanity, and perhaps even our connectomes, could bring to the uncharted realms of outer space.

"Connectome" offers a thought-provoking musical odyssey, exploring the intricate pathways of the human mind and the potential futures that lie within. Through evocative melodies and profound reflections, we invite you to contemplate the intertwined nature of our neural connections and the extraordinary possibilities that may await us on this extraordinary journey of self-discovery and cosmic exploration.

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In 2009, Lumina Productions submitted a proposal to the Smash Palace Fund Selection Panel for Phase One of its project Faustroll.  The project is intended to result in a dramatic production – a theatrical odyssey through some fundamental concepts in modern physics.  The show has a number of levels:

1. the story of Faustroll and his companions, as they undergo a series of adventures and journey from one island to another;
2. spectacular displays of light, water and strange phenomena, that lead us to question what we see, while we share in the fun and excitement;
3. an insight into our understanding of the fundamental nature the universe that has been developed through the 20th century.

Two performances of a pilot presentation of The Extraordinary Adventures of Doctor Faustroll and His Search for the Luminiferous Aether, were given at Stage A at Stone Street Studios in Miramar on 4 March 2010.

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Four Ancient Greek Songs was originally a part of Zeibekiko, conceived as a programme celebrating the heritage of Greek music from antiquity and the present day. Zeibekiko includes music composed by Manos Achalinotopoulos, Christos Hatzis, Vagelis Karypis and John Psathas. This four song extract was arranged for Auckland Chamber Orchestra.

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Arranged here for Vibraphone and Marimba by percussionist Jeremy Fitzsimons, this work was originally composed as a piano duet to commemorate the occasion of the retirement of my  first piano teacher, Peter Williams, and appropriately is one of the few of my earlier works suitable for performance by young players. It is a simple and tranquil meditation in which gently pulsing chords provide hushed support to a delicate melody. At the time of its composition, I was engaged in writing my double concerto for percussion, piano and orchestra, View from Olympus (PE073), and in mood and musical material, Fragment is related to the second movement of that work. It has also been arranged for Vibraphone and Piano, and Solo Piano by New Zealand pianist Dan Poynton.

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This work was originally composed as a piano duet to commemorate the occasion of the retirement of my  first piano teacher, Peter Williams, and appropriately is one of the few of my earlier works suitable for performance by young players. It is a simple and tranquil meditation in which gently pulsing chords provide hushed support to a delicate melody. At the time of its composition, I was engaged in writing my double concerto for percussion, piano and orchestra, View from Olympus (PE073), and in mood and musical material, Fragment is related to the second movement of that work. It has since been arranged for Vibraphone and Piano, Vibraphone and Marimba by percussionist Jeremy Fitzsimons, and Solo Piano by New Zealand pianist Dan Poynton.

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Arranged here for Vibraphone and Piano, this work was originally composed as a piano duet to commemorate the occasion of the retirement of my  first piano teacher, Peter Williams, and appropriately is one of the few of my earlier works suitable for performance by young players. It is a simple and tranquil meditation in which gently pulsing chords provide hushed support to a delicate melody. At the time of its composition, I was engaged in writing my double concerto for percussion, piano and orchestra, View from Olympus (PE073), and in mood and musical material, Fragment is related to the second movement of that work. It has also been arranged for Vibraphone and Marimba by percussionist Jeremy Fitzsimons and Solo Piano by New Zealand pianist Dan Poynton.

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Arranged here for Solo Piano by New Zealand pianist Dan Poynton, this work was originally composed as a piano duet to commemorate the occasion of the retirement of my  first piano teacher, Peter Williams, and appropriately is one of the few of my earlier works suitable for performance by young players. It is a simple and tranquil meditation in which gently pulsing chords provide hushed support to a delicate melody. At the time of its composition, I was engaged in writing my double concerto for percussion, piano and orchestra, View from Olympus (PE073), and in mood and musical material, Fragment is related to the second movement of that work. It has also been arranged for Vibraphone and Marimba by percussionist Jeremy Fitzsimons and Piano and Vibraphone.

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John Psathas' second solo release was voted Classical Album of the Year at the 2004 Vodafone New Zealand Music Awards. This album features his Piano Quintet (2000), a work reflecting the influences of Pärt, Schnittke, Body, Bach and the music of the Greek Islands. Also in this collection, works for piano and percussion including a new recording of Matre's Dance which has been played around the world by Evelyn Glennie."Psathas writes music that is very much of now; it's beautiful, fashionable, successful.. This is a CD you cannot possibly afford to be without" - Rod Biss, Sunday Star Times.

Created in the late 80’s/early 90’s. This song (one of 5 created for my Honors portfolio) was the first ever collaboration between myself and David Downes!

Galileo Meets Copernicus is a collaborative work that brings together the visionary choreography of Tarek Assam and many of the works that defined my early career. This multidimensional composition takes the audience on a captivating journey through a fusion of movement and sound. Each piece of music intricately weaves together with the choreography, creating a mesmerizing tapestry of emotions and narratives. From the fiery intensity of "Inferno (from Three Psalms)" to the rhythmic complexity of "Drum Dances mvmt 2," and the ethereal beauty of "Motet," the music of Galileo Meets Copernicus serves as a vital force that drives the momentum and expression of the dance. The works, performed by esteemed musicians such as Michael Houstoun, Stephen Gosling, and the New Zealand Symphony Orchestra under the baton of Marc Taddei, showcase a rich and diverse sonic palette that enhances the visual storytelling on stage. The spectacle extends beyond music and dance, with Lukas Noll's set and costume design, Manfred Wende's lighting, and Christian Steingbock's dramaturgy adding layers of visual and conceptual depth to the performance. Through the intricate interplay of movement, music, set, lighting, and dramaturgy, Galileo Meets Copernicus invites the audience to explore profound themes and ideas, transcending the boundaries of space and time. Its premiere on October 8, 2011, at the prestigious GroBes Haus in Berlin marked a significant moment in the intersection of music, dance, and theatrical artistry. With a talented ensemble of dancers, including Alaina Flores, Clementine Herveux, Sydney Minton Green, and Christopher Basile, among others, the performance came to life, embodying the spirit and brilliance of the visionary minds it celebrates—Galileo and Copernicus.

Through the synergy of music, movement, and theatrical elements, Galileo Meets Copernicus immerses audiences in an unforgettable sensory experience that celebrates the beauty of human expression and the boundless possibilities of artistic collaboration.

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This production not only offers an impressive overview of the musical and technical skills of drummer Fabian Ziegler, but also makes clear where the musical focus lies. This new recording contains works by Steve Reich, John Psathas and Iannis Xenakis and he is accompanied by Akvile Sileikaite and Benjamin Engelie on Piano, with Luca Staffelbach on vibraphone. The title of the album Gods, Rhythms, Human came about through the recorded works, in which thematic echoes of ancient and modern Greece come to life again and again.

Good for Nothing marks a significant milestone in my career as it is my first-ever feature film score (talk about being dropped in the deep end!). This immersive Western film, directed by Mike Wallis, provided me with a unique opportunity to delve into the world of cinematic storytelling through music. Working closely with the talented team of producers, director, and actors, including Mike Wallis and Inge Rademeyer who are now lifelong friends, I embarked on an exhilarating creative journey that left an indelible mark on my artistic path.

Set in the American West, Good for Nothing follows the compelling story of Isabella Montgomery, a refined English woman forced to journey to her uncle's ranch following the death of her father. However, her life takes an unexpected turn when she is kidnapped by an outlaw during the escort. Though faced with peril and danger, Isabella's resilience shines through as she navigates the treacherous landscape of the Wild West. My score sought to capture the essence of this gripping narrative, evoking the rugged beauty and raw emotions inherent in the Western genre. From the sweeping vistas to the intense moments of tension and the delicate blossoming of a forbidden love, the music served as a powerful companion, heightening the film's impact and immersing the audience in its world. Good for Nothing garnered critical acclaim and recognition, with the film and director Mike Wallis earning a place in Leonard Maltin's esteemed list of 'Fifty Notable Debut Features of the Past Twenty Years' in his best-selling book, Leonard Maltin's Movie Guide. The film's premiere at the Santa Barbara Film Festival in January 29 2011, marked a significant moment, introducing audiences to a captivating blend of Western grit and cinematic artistry. As the story unfolds, the complexities of the characters and their relationships are brought to life, thanks in part to the evocative score. The dynamic interplay between light and dark, love and violence, and honor and betrayal provided me with a rich tapestry of emotions to translate into music. Each cue served as a sonic thread, weaving together the fabric of this enthralling tale. Good for Nothing invites viewers to embark on an immersive journey, transcending time and place. It is a testament to the power of collaboration and the combined efforts of the cast, crew, and musicians.

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Sebastian Doyle's short film based on Fantasia's Sorcerer's Apprentice (with a NZ spin). I created a 'raga' of sorts then reworked Paul Dukas' original score The Sorcerer's Apprentice - this time for sitar, tablas, and orchestra! The orchestra in this soundtrack is the Victoria Univeristy of Wellington Orchestra, conducted by Peter Walls. Violin solo, - Douglas Beilman. Percussion - Duncan Rae. Sitar, synths and other percussion (as well as studio engineering and general creativity) - David Downes.

This work for solo violin is expressive and virtuosic. Gyftiko, which translates as “gypsy-like”, was commissioned for the 2011 Michael Hill International Violin Competition. The first prize winner was Russian violinist Sergey Malov, who has since performed Gyftiko on tour in New Zealand. The work was written for performers to express individual style as well as demonstrate technical command of the violin. It has an improvisatory quality with exciting technical features including: portamenti, fast rhythmic and melismatic lines, left-hand pizzicato and double-stops.

(Apparently….) “Gyftiko reveals Psathas’ unique musical voice. He brings together influences from Eastern Europe Greece and the Middle-East. Much is packed into this five-minute work for solo violin. It is perfect for players at the top of their game who want to exhilarate audiences with virtuosic flare.”

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Halo is duet for cello and piano (and subtle, subliminal audio) commissioned by Ian Graham and Agi Lehar-Graham for Katherine Austin and James Tennant. Incorporating subtle and subliminal audio elements, the first movement, titled "Red Halo," creates an atmospheric soundscape where the resonance of the piano intertwines with electronic textures. This serves as a mesmerizing backdrop for the cello, allowing it to deliver moody and improvisation-like statements that evoke a range of emotions. As the music progresses into the second movement, "Stacia," the piano takes on a flowing ostinato, providing a foundation for the cello to express itself through melodic lines that sing with grace. Throughout this movement, subtle shifts in texture and mood unfold, enhancing the depth and complexity of the composition. The final movement, "Angelus," intensifies the sonic journey with a manic energy. Dissonant chords collide with bursts of frenzied melodicism, creating a climactic and exhilarating finale. This movement explores the extremes of musical expression, engaging the listener with its powerful dynamics and intricate interplay between piano and cello.

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Originally a duet for cello and piano (and subtle, subliminal audio) and arranged here for piano and percussion, Halo was commissioned by Ian Graham and Agi Lehar-Graham for Katherine Austin and James Tennant. Incorporating subtle and subliminal audio elements, the first movement, titled "Red Halo," creates an atmospheric soundscape where the resonance of the piano intertwines with electronic textures. This serves as a mesmerizing backdrop for the cello, allowing it to deliver moody and improvisation-like statements that evoke a range of emotions. As the music progresses into the second movement, "Stacia," the piano takes on a flowing ostinato, providing a foundation for the cello to express itself through melodic lines that sing with grace. Throughout this movement, subtle shifts in texture and mood unfold, enhancing the depth and complexity of the composition. The final movement, "Angelus," intensifies the sonic journey with a manic energy. Dissonant chords collide with bursts of frenzied melodicism, creating a climactic and exhilarating finale. This movement explores the extremes of musical expression, engaging the listener with its powerful dynamics and intricate interplay between piano and cello.

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Ronny Ferella (drum set) and Adam Page (saxophone). I supplied two pages of ideas and they did everything else.

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Happy Tachyons, commissioned by Dame Evelyn Glennie, pushes the boundaries of technical prowess for the percussionist. Written with exuberance and high spirits, this vibrant work showcases the interplay between the twinkling, bright vibraphone and the resonant depths of the marimba. It demands the percussionist to navigate passages that require simultaneous performance on both instruments, creating a captivating and dynamic musical experience. Throughout Happy Tachyons, melodic bursts from the vibraphone alternate with the rich, woody tones of the marimba, creating contrasting textures and captivating melodies. The percussive lines, executed with flair, skate incessantly over a heavily syncopated piano accompaniment, adding an energetic and rhythmic drive to the composition. I composed Happy Tachyons as my wife Carla and I were eagerly anticipating the arrival of our first child, Emanuel. The joyous and spirited nature of this piece reflects the anticipation and excitement surrounding his impending birth, infusing the music with a sense of celebration and anticipation.

A recording of Happy Tachyons, performed by Jeremy Fitzsimons on percussion and Stephen Gosling on piano, is available on the Trust Records CD Fragments (MMT2047). It captures the technical virtuosity and vibrant energy that define this composition, showcasing the remarkable abilities of the performers.

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The Harvest, is a co-composition between Adam Page and myself comprised of two suites. The Harvest Suite features Adam on solo tenor saxophone played through various looping pedals and effects, while Like Picking Fruit is a duet with James Brown on guitar. Adam demonstrates his virtuosity on the tenor saxophone, utilizing looping pedals and effects to create mesmerizing layers of sound. Both suites are a deft, and at times near-invisible blending of composition and improvisation, and together they produce an album of rare honesty.  "I spent our studio time in awe of James and Adam. Listening to them go into those remote unchartered territories during the recording of Like Picking Fruit was something I'll never forget. They'd come out of the studio with a look in their eyes like explorers returning from months in the wilderness. And what a unique piece it is, rich and ingenious, fearless and uncompromising, but mostly, phenomenally musical.

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BEST CLASSICAL ALBUM finalist 2011 | Available to DOWNLOAD or as a PRINT-ON-DEMAND CD

Helix was inspired by an eclectic range of musical interests and takes the listener on a millennia-leaping journey from the ancient Mediterranean to a hazy Indonesian sunset via a frenzied 18th-century Italian dance and dub-step beats from present-day South East London.

Featuring Donald Nicolson (piano), NZ String Quartet, and NZTrio

Production by John Psathas, Recorded by Steve Garden, Edited and mixed by John Psathas and Steve Garden, Photography by Keith Hill, Design by UnkleFranc

All music published by Promethean Editions

The project was recorded with support from Victoria University New Zealand School of Music

Helix a paino trio commissioned by the New Zealand Trio (Justine Cormack, Ashley Brown, Sarah Watkins) with funding from the University of Auckland, was inspired by an eclectic range of musical interests and takes the listener on a millennia-leaping journey from the ancient Mediterranean to a hazy Indonesian sunset via a frenzied 18th-century Italian dance and dub-step beats from present-day South East London. I went to quite a far place in terms of rhythm with Helix, but not necessarily in terms of time signatures and cross rhythms. Prior to writing Helix, I had been transcribing a lot of folk music from countries such as Bulgaria, Greece, Turkey and Egypt because I really wanted to understand what it is that makes the soloist’s lines so amazing – what is the magic there? One of the things I figured out through transcription is that these expressive melodies that have sensuality and human earthiness about them tend to accelerate going into the centre of a phrase and slow down when coming out of it. I have applied this playing style in Helix

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An innovative e-book scoring collaboration with Salman Rushdie.

Irirangi (a meditation) for Flute, Taonga Pūoro and Tape was commissioned by and dedicated to Bridget Douglas and Alistair Fraser.

In Williams Dictionary, under Irirangi, is a quotation originally obtained from Elsdon Best “Mehemea ka waiata tatou ki roto I irirangi tena (If we are singing in the house and a voice is heard singing outside, a spirit-voice, that is Irirangi).” "Te Rangi Hirta remarked casually that the people when singing together often thought they heard a floating voice, or spirit voice singing with them; they called it Irirangi. It was a chance remark but I remembered it when, at Whareponga, I first heard, as it were, a faint voice sounding above the voices of the women singing. I asked Hon. A.T. Ngata wha was present, if the faint voice, to which I drew attention, was what they called Irirangi; he said, Yes; and soon one of the women who also must have heard it, raised her pitch and sang the same note as the faint voice.” (Johannes Anderson) "So too in instrumental music is Irirangi (or rangirua) sought after. My sense is that a range of whistling, multi phonic, drone and overtone sounds were the ones being looked for in this important area of instrument-playing." (Richard Nunns) Thanks to Grant Finlay at naturesounds.co.nz (opening and closing Aroha Island Crickets) Tim Prebble (rain), David Downes (birds), and Dave Whitehead (Pureora dawn chorus).

The bird recordings in this piece are symbolic and functional in a number of ways. In a number of places I found recordings that contribute to the sense of seeking within the piece. In the opening and the ending there are foregrounded bird calls (E natural) surrounded by more distant calls (almost memories of birds) on very faint F#’s. Given the piece is in G, and a lot of the flute's part is around the F and F natural, there is an underlying ‘aspiration' throughout most of the piece of trying to reach home (G) - I equate this, symbolically, to trying to break through the veil between the netherworld/afterlife and the one we live in. This is why I’ve included the word Meditation in the title. I’ve tried to evoke the sense of sitting and listening to the natural world and reaching out from within to hear the hidden voices around us. I've tried to blur the boundaries between the two performers. I was encouraged when Bridget and Alistair both responded with a comment about not being sure who was doing what in the demo recording. For example, after the Taonga Puoro has moved from the stones to the Putorino; the flautist continues playing a busy multi-phonic, which has sonic artefacts that are reminiscent of the stones. It feels like the stones are still being played, or that some of the voice of the stones has entered the flute. I find these moments unique and powerful.

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Island Songs originally written for clarinet, violoncello, and piano, consists of three movements inspired by various Greek dance styles and was commissioned by the Kandinsky Ensemble. Rather than aiming to directly represent these dance forms, I intended Island Songs to reflect my personal response to the inherent energy they possess. In 1999, upon the request of the Ogen Trio, I created an alternate arrangement of Island Songs for piano trio (PE075) which was my first ever piano trio. The first movement involves a number of styles and reflects what I perceive as the latent energy in much of this music — although here this energy only surfaces from time to time. The second is a reaction to the great strength of the zeibekiko dance, which is in 9/4 time, and often extremely slow. While not cast in the same time frame as a true zeibekiko, this movement does dwell upon the uncertainty of the downbeat and the intensely focused emotional content of this dance. The third movement is much in the style of the sirto dance, whose energy is always lively and unfailingly contagious.

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Island Songs originally written for clarinet, violoncello, and piano, consists of three movements inspired by various Greek dance styles and was commissioned by the Kandinsky Ensemble. Rather than aiming to directly represent these dance forms, I intended Island Songs to reflect my personal response to the inherent energy they possess. In 1999, upon the request of the Ogen Trio, I created an alternate arrangement of Island Songs for piano trio (PE075) which was my first ever piano trio. The first movement involves a number of styles and reflects what I perceive as the latent energy in much of this music — although here this energy only surfaces from time to time. The second is a reaction to the great strength of the zeibekiko dance, which is in 9/4 time, and often extremely slow. While not cast in the same time frame as a true zeibekiko, this movement does dwell upon the uncertainty of the downbeat and the intensely focused emotional content of this dance. The third movement is much in the style of the sirto dance, whose energy is always lively and unfailingly contagious.

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The It's Already Tomorrow project was curated and produced by John Psathas and Jack Hooker, funded through Creative New Zealand’s COVID-19 Arts Continuity Grant. Our many thanks to them for making this project possible. All tracks mixed at Surgery Studios by Lee Prebble, except ‘Sappho’, mixed by Matthew Gunn Mastered by Brad Boatright at Audiosiege. Cover Artwork by Daniel Blackball.

Originally a great test for advanced pianists, Jettatura is a moto perpetuo, and another example of a high-energy work arranged here for percussion duo by Omar Carmenates

For a country that is home to me in so many ways, Greece has not been so kind to this particular absent son. Practically every journey I have made there has left me with a permanent reminder of some unpleasant and often bizarre experience. From donkey bites to the groin, to motorbike accidents on the island of Santorini, to a protracted, salmonella-induced weight loss that would have made Jenny Craig’s eyes water, it is not surprising that members of my family there began to imagine I had fallen under the influence of someone’s evil eye.

An expedition to Greece in 1998 brought an unprecedented onslaught of bad luck, this time involving my wife and son. My dear, concerned, sister went to the village-expert in such matters to discover if I was inflicted with the evil eye (also known as mal occhio, or jettatura). Jettatura is the ancient belief that the gaze of strangers casts unwanted magic into the lives of the innocent . The belief is that a person — otherwise not malefic in any way — can harm you, your children, your livestock, merely by looking at them with envy and praising them. The soothsayer, when checking my aura by long distance (these days such matters can of course, be conducted over the phone via free-call numbers), gasped, went silent, and declared I was so heavily and completely hexed that my halo was utterly opaque.

In Greece there is a talisman one can wear, or place in a car, house, or shop, which protects against the evil eye (in some countries, one must protect oneself against false compliments by spitting on the person who proffers the compliment). This talisman is in the form of a glass blue eye, a ‘good eye’. Jettatura, written upon returning from Greece, is my talisman, my good eye.

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A great test for advanced pianists, Jettatura is a moto perpetuo, and another example of a high-energy work. Requiring heavy and impassioned fingering, Jettatura is shot through with defiance and aggression. The left hand insists with a stream of ostinatos while the right hand flies almost incautiously over the keys, stretching to the piano’s upper register.

For a country that is home to me in so many ways, Greece has not been so kind to this particular absent son. Practically every journey I have made there has left me with a permanent reminder of some unpleasant and often bizarre experience. From donkey bites to the groin, to motorbike accidents on the island of Santorini, to a protracted, salmonella-induced weight loss that would have made Jenny Craig’s eyes water, it is not surprising that members of my family there began to imagine I had fallen under the influence of someone’s evil eye.

An expedition to Greece in 1998 brought an unprecedented onslaught of bad luck, this time involving my wife and son. My dear, concerned, sister went to the village-expert in such matters to discover if I was inflicted with the evil eye (also known as mal occhio, or jettatura). Jettatura is the ancient belief that the gaze of strangers casts unwanted magic into the lives of the innocent . The belief is that a person — otherwise not malefic in any way — can harm you, your children, your livestock, merely by looking at them with envy and praising them. The soothsayer, when checking my aura by long distance (these days such matters can of course, be conducted over the phone via free-call numbers), gasped, went silent, and declared I was so heavily and completely hexed that my halo was utterly opaque.

In Greece there is a talisman one can wear, or place in a car, house, or shop, which protects against the evil eye (in some countries, one must protect oneself against false compliments by spitting on the person who proffers the compliment). This talisman is in the form of a glass blue eye, a ‘good eye’. Jettatura, written upon returning from Greece, is my talisman, my good eye.

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Jupiter and Venus is a modest musical reflection on the cosmic forces embodied in the Juno-Jupiter-Venus (or Hera-Zeus-Aphrodite) love/power triangle, with its energies forever oscillating between stability, power and passion.

The infamous love triangle originates from ancient mythology and has been a rich source of provocative artistic depictions. Zeus is traditionally represented by planet Jupiter. Zeus and Hera (associated with the protection of marriage, childbirth and life in general) became the king and the queen of Olympus and ruled all other Olympian gods.

Venus (or Aphrodite in ancient Greek culture) embodies the principles of beauty, passion and attraction through desire, and holds the keys to passion, beauty and the principle of human creativity in the broadest meaning.

During my first ever experience of the night sky above Lake Tekapo (in the South Island of New Zealand) I was inspired by what was dubbed a celestial “kiss,” in which Jupiter and Venus appeared to nearly touch after drawing magically closer to each other in the night sky throughout February.

Kartsigar a string quartet commissioned by the Wellington Chamber Music Society with financial support from Creative New Zealand explores the rich traditions of Greek music, drawing from the improvisatory nature of taximi and the virtuosity of master musicians such as Manos and Vagelis. Through the fusion of these elements and the unique language of the string quartet, Psathas creates a captivating musical experience that showcases the expressive possibilities of the ensemble.

Koolish Zein is an orchestra-less concerto written for  Michael Burritt. In place of the symphony orchestra is a percussion quartet and a track of richly layered audio. The soloist is the  storyteller from start to finish, navigating an ever-changing terrain of dynamic textures and grooves. The three parts of Koolish Zein each look to evoke resonances of an imagined future. Her Alchemy emerges from women’s voices transformed digitally within the software Alchemy. London Busking 2149 imagines what it might be like busking at Trafalgar Square some 125 years from now, evoked with the sound of flying vehicles coming and going, the loose quality of the music, and a duet with a passing robotic improvisor. The up-tempo Trimetrical Hub (an anagram of Michael Burritt) begins in a Macedonian dance rhythm of 17/8 (4+6+7) and eventually transforms into a high-spirited groove inspired by a 6/8 Moroccan wedding dance.

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Kyoto, premiered by the Ju Percussion Group in Taiwan City on May 20, 2011, was commissioned by the group for the Taipei International Percussion Convention. Departing from my earlier intense and physically demanding percussion compositions, such as Drum Dances and Etude from One Study One Summary, Kyoto shares stylistic similarities with his marimba concerto Djinn. The piece maintains a constant rhythmic semiquaver pulse that drives the momentum, transitioning through varying time signatures and punctuated by moments of silence that give rise to shifts in harmonic content. Two contrasting ideas, rhythmically driven melodic lines and vibraphone arpeggios, alternate before converging in a climactic moment. The title of the work is inspired by a 1976 improvisation by pianist Keith Jarrett recorded in Kyoto, which served as a transformative catalyst for my journey as a composer.

Leviathan was commissioned as part of the Beethoven Pastoral Project. This initiative by the UN Climate Change and BTHVN2020, was dedicated to promoting action on climate change and the environment during the 250th anniversary year of Beethoven’s birth. The Declaration was formally launched on 5 June 2020, which is the UN World Environment Day. It was presented to the world’s governments by the Secretary-General of the United Nations later that year. The declaration includes the following statement: “We, musicians, artists and creatives of planet Earth, offer our artistic and musical creativity, and our own actions, as signs of our determination to be part of the solutions to current planetary challenges. We want to inspire and be part of that change. We stand with humanity and with Nature.”

LEARN MORE ABOUT THE DECLARATION HERE

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One of the great collaborations of my journey. Kia Kaha Warren, Joe, Rick, and Tom.

Little Bushman

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Luminous was one of the “Fanfares for a New Millennium” commissioned by the Auckland Philharmonia from 11 New Zealand composers in 1998.

A reviewer at the premiere performance wrote: “This is music suspended in space, existing for its texture only. It locks a continuous event in stillness by eliminating attack and abrupt change. Rhythm and melody are eliminated and replaced by long and sustained chord shifts achieved through clever dovetailing of single notes, tone colours and dynamics.”

When I was invited to write a fanfare for the new millennium I inevitably found myself considering the last 1000 years. For me, the single most striking feature of human history during the last millennium has been the increase in travel and the settling in foreign lands of smaller and smaller groups. In the distant past, an entire race of people would slowly traverse one continent. Today, an individual, in the space of a few days, is able to completely uproot from their homeland and settle in a country on the other side of the world.

A friend of mine, Pan, moved to New Zealand from China. For her, the pressure to integrate two very different sets of beliefs proved ultimately overwhelming. This work is dedicated to her memory.

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MANTIS: the music of Drew Menzies
2014 JAZZ ALBUM OF THE YEAR finalist

While these recordings are by no means definitive, they are an example of the openness of Drew’s writing, and a fine expression of the respect and enthusiasm with which his music is regarded by the assembled musicians and arrangers. Reuben’s vision for this project was so infectious that each collaborator was willing to freely support the project, and the results speak for themselves – warm, lucid, generous performances, captured and presented with great affection and skill.

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This high-energy piece for percussion and piano is the work that launched my international career, thanks to Evelyn Glennie championing the piece and performing it hundreds of times around the world in the 1990's. It was first played by her in the Michael Fowler Centre in Wellington with pianist Philip Smith at the 1992 NZ International Festival of the Arts.

Matre's Dance was commissioned by Jack Body and originally premiered by David Guerin and Bruce McKinnon in the Adam Concert Room at Victoria University of Wellington. The first recording of the work is on the inaugural Rattle Records album Different Tracks. Matre's Dance is also one of the only pieces of mine that I've actually played. You can see a low-res video of me and percussionist Murray Hickman, performing the work in 1994: part 1, part 2.

There are many recordings of the piece now, including Evelyn Glennie's Drumming and Greatest Hits. My favourite recording so far is with Stephen Gosling and Jeremy Fitzsimmons.

The title actually confuses two characters in the Frank Herbert Dune series. When writing the program note I was thinking of the Honored Matre's in the 5th and 6th books of the series, whereas the dance I remembered from the books was actually danced by the character Sheena;

Slowly, not wanting to arouse the prostrate priests, Sheeana began the shuffling, unrhythmic movements of the dance. As the remembered music grew within her, she unclasped her hands and swung her arms wide. Her feet lifted high in the stately movements. Her body turned, slowly at first and then more swiftly as the dance ecstasy increased. Her long brown hair whipped around her face. The priests excluded from their attention all except the child. Not the slightest quickly repeatable rhythm entered her movements. There was rhythm but it was an admirably long beat, at least a hundred steps apart. She kept it up while the sun lifted higher and higher. It was almost noon before she fell exhausted to the sand.

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Arranged here for solo percussion and mallet quartet by Omar Carmenates, this high-energy piece originally for percussion and piano is the work that launched my international career, thanks to Evelyn Glennie championing the piece and performing it hundreds of times around the world in the 1990's. It was first played by her in the Michael Fowler Centre in Wellington with pianist Philip Smith at the 1992 NZ International Festival of the Arts.

Matre's Dance was commissioned by Jack Body and originally premiered by David Guerin and Bruce McKinnon in the Adam Concert Room at Victoria University of Wellington. The first recording of the work is on the inaugural Rattle Records album Different Tracks. Matre's Dance is also one of the only pieces of mine that I've actually played. You can see a low-res video of me and percussionist Murray Hickman, performing the work in 1994: part 1, part 2.

There are many recordings of the piece now, including Evelyn Glennie's Drumming and Greatest Hits. My favourite recording so far is with Stephen Gosling and Jeremy Fitzsimmons.

The title actually confuses two characters in the Frank Herbert Dune series. When writing the program note I was thinking of the Honored Matre's in the 5th and 6th books of the series, whereas the dance I remembered from the books was actually danced by the character Sheena;

Slowly, not wanting to arouse the prostrate priests, Sheeana began the shuffling, unrhythmic movements of the dance. As the remembered music grew within her, she unclasped her hands and swung her arms wide. Her feet lifted high in the stately movements. Her body turned, slowly at first and then more swiftly as the dance ecstasy increased. Her long brown hair whipped around her face. The priests excluded from their attention all except the child. Not the slightest quickly repeatable rhythm entered her movements. There was rhythm but it was an admirably long beat, at least a hundred steps apart. She kept it up while the sun lifted higher and higher. It was almost noon before she fell exhausted to the sand.

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Mentacide, commissioned by Shaun Tilburg and published by Pocket Publications, is for solo snare drum(s) and digital audio, with the accompanying text drawing inspiration from Henry Giroux's 'The Violence of Organized Forgetting: Thinking Beyond America's Disimagination Machine.'

The score and performance audio is available here: Mentacide Score

A performance video (by David Downes) is also available. This spells out (literally) the words that are being generated in the digital audio. The video is available for download form the store on this website here: MENTACIDE PERFORMANCE VIDEO

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Motet was commisioned by the 1998 New Zealand International Festival of the Arts with financial support from Creative New Zealand. It was first performed by Michael Houstoun and Diedre Irons at St Andrew’s on the Terrace, Wellington, New Zealand, on 19 March 1998. It is a 15-minute single-movement work for piano duo (1 piano 4-hands). The material ranges from quasi-freely notated sections to tightly scored driving rhythmic passages. It’s a workout for the players and requires both dreamy lyricism and propulsive dynamic playing

For enquiries about performance materials for this work, contact me: john@jpsathas.com

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Commissioned by Jane Curry with funding from Creative New Zealand, Muisca is a guitar duet consisting of three movements: Soledad, Chia, and El Dorado. Drawing inspiration from the rich mythology and history of the Muisca people of Colombia, each movement explores different aspects of their culture, from the mystical initiation rituals of the chieftains in Soledad to the worship of the goddess Chía in Chia, and finally, the legendary tale of El Dorado, the fabled city of gold.

Originally a guitar duet commissioned by Jane Curry with funding from Creative New Zealand, Muisca arranged here for percussion duo consists of three movements: Soledad, Chia, and El Dorado. Drawing inspiration from the rich mythology and history of the Muisca people of Colombia, each movement explores different aspects of their culture, from the mystical initiation rituals of the chieftains in Soledad to the worship of the goddess Chía in Chia, and finally, the legendary tale of El Dorado, the fabled city of gold.

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