Corybas

Arranged here for percussion ensemble by Omar Carmenates, Corybas is the first of two companion works Psathas wrote for piano trio, the other being Aegean, which Psathas has described as a postlude to Corybas. Psathas describes Corybas as dynamic, willful, playful, in contrast to the calmer, more serene, Aegean. The rhythmic foundation of Corybas is based on an odd-metered pattern found in some forms of Eastern European dance music.

Corybas is the first of two companion works Psathas wrote for piano trio, the other being Aegean, which Psathas has described as a postlude to Corybas. The works were 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. - Publisher Notes

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. - John Psathas

With each of the works on this recording, I had to make a decision at the outset of the arranging process of whether to do a faithful note-for-note reproduction of the work, simply transferred to percussion instruments, or to change or add to the work in a way that made the transfer to percussion instruments easier and feel more natural. Immediately upon starting Corybas, I knew that its infectious rhythmic energy and unique groove would immediately lend itself to the addition of non-pitched percussion instruments. Right around this time as well, John had just written a great percussion quintet entitled Kyoto that has a very involved part for toms and cymbals. I used the feel and rhythmic language of that particular part as a starting point for a new percussion part for Corybas while adding other small effects and sounds as well. - Omar Carmenates