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Buyan

  • Text
  • Audio
  • Timpani
  • Psathas
by John Psathas | Timpani and Digital Audio. The variety of playing techniques in Buyan demonstrate the subtleties offered—yet often overlooked—by the timpani. 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 Buyan’s melodic material.

Buyan

Buyan (PE189), for Timpani and Digital Audio by John Psathas (2018), dedicated to Diana Loomer  © Ioannis Psathas 2018 Published exclusively by Promethean Editions Limited First edition © 2018 Promethean Editions Limited Series Editor: Ross Hendy Editor: Ben Woods ISBN: 978-1-77660-909-3 (print) ISBN: 978-1-77660-189-9 (ebook) ISMN: 979-0-67452-286-1 Promethean Editions Limited PO Box 10-143 Wellington NEW ZEALAND http://www.promethean-editions.com No part of this publication may be reproduced in any form or by any means without permission in writing from the Publisher.

John Psathas (1966) John Psathas is one of New Zealand’s most frequently performed composers and has been described by fellow composer Christos Hatzis as one of the three most important living composers of the Greek Diaspora. Psathas’ output has spanned high-energy chamber and orchestral works, film scores and multi-disciplinary works, with strong focus on large-scale collaborative projects in recent years. Psathas grew up in Taumaranui and then Napier, and left high school early to study composition and piano at Victoria University of Wellington. He then undertook further studies with composer Jacqueline Fontyn in Belgium before returning to New Zealand. Early success came in 1991 with Matre’s Dance, a maximum-energy duet for percussion and piano that has since made Psathas’ name internationally known through having been taken up and championed by percussionist Dame Evelyn Glennie. International acclaim continued to accumulate for Psathas following the August 2000 premiere of his saxophone concerto Omnifenix by legendary jazz saxophonist Michael Brecker. The growing popularity of his Drum Dances for drum kit and piano established Psathas as an exceptional writer for percussion. Psathas also came to embrace writing for large forces; evidenced by the much heralded View From Olympus, a double concerto for percussion, piano and orchestra. Since its premiere, View From Olympus has gone on to be performed by many orchestras around the world. His piano concerto Three Psalms followed in 2004. In 2008 Chamber Music New Zealand commissioned Psathas to write a string quartet, A Cool Wind, for the Takács Quartet. All the while, Psathas continued to write formidable and exciting works for percussion, evidenced by Djinn, a concerto for solo marimba and chamber orchestra, and One Study One Summary for marimba, junk percussion and digital audio, which has become a popular standard among the repertoire of modern works for solo percussion and reflects a period in which Psathas explored the world of electronica. Psathas has always embraced writing for large ensembles, and this has intensified since the PE189 – iii

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