LEVIATHAN on CD
$40.00
Buy“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. - John Psathas
“Over a decade ago, I attended the world premiere of John’s marimba concerto "Djinn" by Pedro Carneiro with Orchestra Wellington. The memory remains vivid, and I was honoured when invited to perform this wonderful work.
The journey of performing this piece has been such an exciting and deeply rewarding experience. Despite the complexity at first glance, scrutinising John’s meticulously notated score has been a fascinating exploration, both musically and technically, just like I have experienced playing his other works.
Collaborating with John, such a generous and inspiring person, has undoubtedly been a highlight. It is always fascinating observing his creative processes and interacting with his musical genius.” - Yoshiko Tsuruta, 2024
“Our planet is in a very bad way and it seems we can't wait to get to the 'finish line'. The opening movement – Hightailin' to Hell - evokes the human race’s out-of-control race to disaster. There is almost a party-like atmosphere, as if we are dancing at the end of the world.
The junk percussion featured in this concerto, as well as the plastic, and the use of water as percussion, is highlighting the idea of sustainability, pollution, and recycling. There is both a negative and a positive statement being made in the use of these found materials. The third movement – Soon We’ll All Walk on Water - arranges the orchestra around a performance on a single plastic water bottle. This innocuous item, produced, consumed and discarded, in quantities of hundreds of millions every day, is used in the concerto as a vehicle to ominously express the madness of polluting our world with so much plastic.
The Final Brook connects directly with Beethoven’s Pastorale Symphony - specifically the ‘Scene by a Brook’ movement… At the end of this movement as the soloist is playing water percussion I was imagining Beethoven by a brook, letting his guard down and having fun himself. Ultimately though, this movement is asking a question - what would Beethoven, such a lover of nature, think if he walked through our woods and countryside today? What level of shock, horror, and heartbreak would he experience? And what music would he write in response to it?
As much as it can be, [the] final movement is about hope; hope for change, to turn things around, to be triggered by the evolutionary pressure that has inspired our survival all this time. But now we need a much more educated hope. We need strength and intelligence in our action. Being passive, and simply wishing for things to be better, will achieve nothing. So, the positivism in this closing movement (true to the spirit of Beethoven) is one of strength and purpose. Of steel, and drums, and momentum and drive. And the duet the soloist has with the solo violin is like a prayer, pleading for another chance. Then more steel and determination….” - John Psathas
“I fell in love with John’s music when I came across his phenomenal work View from Olympus for percussion, piano, and orchestra. John came all the way from New Zealand to Germany to witness my performance of this work and I was very excited to meet him in person. Since then, he became one of my favourite composers, as well as my mentor and friend.
Given the fact that John is not a percussionist, his ability to write for multi-percussion is remarkable.
Whenever we meet, we instantly dive into deep talk about the path of life and music. There are few people I know that are as humorous as full of wisdom. In his music I can feel a kind of core of energy that feels like it transports me to John’s deep connection with his roots in Greece, a magical place full of deep history. And yet John’s music is never biased. I think any citizen of our planet can ease into his music because John’s approach to composing is so human and connected to the path of life and his love for all cultures.” - Alexej Gerassimez, 2024
“The Double Percussion Concerto, titled The All-Seeing Sky, was written for and dedicated to percussionists Fabian Ziegler and Luca Staffelbach. The concerto was co-commissioned by Orchestra Wellington and the Christchurch Symphony Orchestra in New Zealand, as well as the City Light Symphony Orchestra in Lucerne, Switzerland. In contrast to the grandiose fireworks-driven percussion concertos of recent times, I intentionally scored this work for a Mozart-sized orchestra, emphasizing a more intimate approach. The solo parts are limited to the marimba (soloist 1) and vibraphone (soloist 2).
Consisting of three movements, the concerto takes inspiration from various interconnected concepts. The phrase "The All-Seeing Sky" alludes to both the pervasive surveillance of the modern era and the notion of God as an omnipresent entity documented throughout history. The first two movements draw inspiration from Gustave Doré's captivating illustrations of Dante's Divine Comedy. "The Portals of Dis" evokes the inner realization of being ferried across the river Styx, arriving at the gates of Dis with a grand fanfare. The musical language of this movement carries echoes of antiquity, particularly ancient Greece. Having traversed the levels of hell, as depicted in Dante's Inferno, the travelers find the hidden road leading back to "The Upper World," symbolizing our bright and familiar reality. However, the unsettled ending of this movement suggests that our present world bears a resemblance to the imagined hell.
The role of the two soloists in the concerto is fluid and versatile. They alternate between virtuosic unison passages and treating their instruments as a unified "meta-instrument." They act as driving forces at times, equal partners with the orchestra at others, and even assume a background role of accompanying the orchestra, providing a warm and loving minimalist underpinning in the final moments of the second movement.” - John Psathas
“Fabian’s relationship with John Psathas is truly special. Together, John and Fabian have collaborated on numerous projects, including many new works addressing current and significant themes of modern society. The double-concerto "The All-Seeing Sky," which we had the privilege to premiere as a duo was a highlight among many of these collaborations.
John Psathas is no ordinary composer; in his compositions, he consistently reflects on socially relevant topics, giving his music a truly special depth. "The All-Seeing Sky" draws inspiration from several interconnected extramusical themes, including Dante's Inferno and the pervasive surveillance of modern times. As soloists we play a special role, transitioning between the infernal journey and soaring heights as protagonists. The emotionally captivating music takes not only us and the orchestra but also the concert audience on a fascinating journey.
Once again, John demonstrates his unique composition style for percussion in his double-concerto. Although it may initially feel like an infernal journey for the soloists at their first glance into the score, with John's intricate compositional language for percussion and orchestra, the concertante flight is assured. "The All-Seeing Sky" is a significant addition to the percussion concert repertoire, destined to grace many concert stages in the future.” - Fabian Ziegler and Luca Staffelbach, 2024
“Call of the Wild is inspired by the last three generations of my family: all travellers and nomads.
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.
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...” - John Psathas
“Collaboration is the jewel in the crown for many artists, but often consists of an intensely connected experience between artists for a few days or weeks who then go their separate ways. When a friendship evolves from these intense periods, it's like skipping the ‘small talk’ and taking a deep dive into the true essence of who we are as human beings, creating a lifelong bond formed when our hearts and minds are most open. This is how it played out in the Psathas/Page partnership.
A lifelong connection was forged while spending time at John’s house co-writing 'The Harvest Suite'. Nearly ten years later, John proposed writing a new tenor saxophone concerto… for me! I jumped (or was that bomb-dived?!) at the chance. What followed was an exciting exchange of ideas, recordings of demos and improvisations, and a deep sense of something monumental being made.
When John sent me the draft score for ‘Call of The Wild’ I was overwhelmed and completely in awe of what he’d created. He meticulously captured the essence of me as an improviser while still etching his musical signature into every bar. I knew instantly that this piece would be with me for the rest of my life, becoming a part of me, shaping and influencing me; much like my relationship with the incredible human that is John Psathas.” - Adam Page, 2024
Adam Page plays D'Addario Select Jazz Reeds
