NEWSLETTER
2017 09 01

 

Dear friends and colleagues,

It has been almost a year since my last newsletter. Those who follow my news on Facebook and Tweeter get constant updates but this list hasn’t. So this newsletter is both a prospective and a retrospective look at important events of the year 2017.

Past Highlights:

Several orchestral performances in Canada and abroad starting with the world premiere performance of my 40-minute-long (still work-in-progress) SYN-PHONIA (Migration Patterns) for Arabic vocalist, Inuit throat singer, large orchestra and SurrounSound audio. Maryem Hassan Tollar, Arabic vocalist; Tiffany Ayalik, Inuit throat singer; the Winnipeg Symphony Orchestra under the direction of Alexander Mickelthwate. Opening concert of the 2017 Winnipeg New Music Festival. Centennial Concert Hall, Winnipeg, MB.


My most highlighted work has been The Isle is Full of Noises, for full orchestra. I has had very successful performances by the Toronto Symphony Orchestra under Andrey Boreyko last April, by the Warsaw Philharmonic Orchestra under Boreyko in May and by the National Symphony Orchestra of Greece (ERT) under Alexandre Myrat in June. Upcoming performances by the University of Toronto Symphony Orchestra in October and by the Sounthern Netherlands Philharmonic in February (details below). You can view the YouTube video by the TSO (one of TSO’s best trending videos this summer) here:
https://youtu.be/ElWfhmn3Bas  

 

 

The other orchestral work that is recently receiving attention is my percussion concerto Tongues of Fire. It had its European premiere in May by percussionist Fabian Ziegler and the Sinfonisches Blasorchester Helvetia Rüti-Tann under Thomas Trachsel, as part of an all-Hatzis concert at the Zurich University of the Arts in Switzerland. You can watch the YouTube video of the entire concerto here: https://youtu.be/q5rLBq9bt9s

  

The Zurich concert also included the performance of Nocturno, the second movement of Modulations 1, my quartet for four keyboard percussion instruments, performed by the Zurich-based Colores Quartet. You can watch the YouTube video here: https://www.youtube.com/watch?time_continue=11&v=dazM-THBq4c

The other big piece of news, is that as of this year, my music will be available through Editions Peters out of New York for North American distribution while Promethean Editions will still manage the distribution to the rest of the world. North American orchestras, ensembles and soloists will find it much easier to access the music instead of waiting for it to be shipped from New Zealand.
This is just a small sampling of the close to over eighty events that have taken place since the beginning of 2017. For more information, go to www.hatzis.com and click on “What’s New.”

 

Upcoming Highlights:

This concert season is starting with a bang—in Switzerland and Spain!

On September 23, Tongues of Fire will be performed again by the same performers as last May at the Highlights concert of the Zurich University of the Arts. The concert will also include my popular solo composition In The Fire of Conflict also performed by Fabian Ziegler. I will be visiting Zurich again to listen to these wonderful performers.

Immediately after Zurich I will be flying to Spain to hear two performances of my 40-minute-long Everlasting Light for five octave marimba, countertenor, tenor, baritone SATB choir and crystal glasses. Composed as a funeral mass and based on Latin and Greek liturgical texts, it will form the centerpiece of two concerts commemorating eighty years from the bombing of Gernica, the first on September 28 at the Guggenheim Museum in Bilbao (Frank Gehry’s architectural masterpiece) and on September 30 at the Reina Sofia Museum in Madrid which hosts Pablo Picasso’s masterpiece Guernica commemorating the same event. 



The performers for these concerts are the celebrated Spanish marimbist Conrado Moya and the Coral de Bilbao under the direction of Enrique Azurza. The national and international attention to this upcoming event is huge and has constantly occupied the Spanish and some international press since the press conference in July.

 On October 6, I will be back home for yet another performance of The Isle is Full of Noises, this time by our University of Toronto Symphony Orchestra under the direction of Uri Mayer. This is the first time our orchestra will perform one of my works so I am very much looking forward to working with our maestro and students in preparing it for performance.

Thunder Drum, an orchestral work which premiered in October 2016 by the Thunder Bay Symphony Orchestra under the direction of Arthur Post will have two performances this fall, on October 21 by the Victoria Symphony under the direction of Bill Linwood and on November 18 by the Saskatoon Symphony Orchestra under the direction of Eric Paetkau.

Pyrrichean Dances, my double concerto for viola, percussion and string orchestra will be performed by violist Neocles Nicolaides, percussionist Marinos Tranoudakis and the Thessaloniki State Symphony Orchestra under Alexandre Myrat on November 24.

November is a busy month. On November 28, The English Chamber Choir under the direction of Guy Protheroe will perform my large choral work De Angelis based on music and poetry by Hildegard of Bingen at the Temple Church in London. UK.

Looking ahead to 2018, The Isle is Full of Noises will have yet another European performance by the newly-formed South Netherlands Philharmonic under the direction of Dmitri Liss. Maestro Liss has already programmed this work with his other orchestra, the Ural Philharmonic opening the 2015 Eurasia Festival with this work.

Before I close this newsletter, I would like to alert you to yet another beautiful YouTube video of my music, this one by the wonderful Molinari Quartet performing my String Quartet No. 1 (The Awakening). Click here: https://youtu.be/ZKAhvZOsIr8

For more information about all the reported concerts this year around the world please go to www.hatzis.com and click on “What’s New”. I am looking forward to seeing some of you at these events.

Best wishes,

Christos

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(reviews of EVERLASTING LIGHT)

As far as I was concerned, this 40-minute piece was the whole program and it's surprising we haven't heard more about this masterpiece...
there was nothing to lead one to expect a piece of music that turned out to be so ravishingly beautiful...
Its movement is slow, some of the harmonies are very close and the feeling of ambience is indescribable...
The music has, in fact, a potent sense of otherworldliness and an immense quiet dignity . . .
and there isn't a moment in it that feels calculated or anything less than sincerely felt.
Echoes of it followed me all the way home. . . As already said, it could have been the whole concert...
But everything was forgivable for the unforgettable Everlasting Light.

Lloyd Dykk, The Vancouver Sun (Canada)

 

..A major feat of composition...that wonderfully symbolized the durability of sacred music.
Geoff Chapman, The Toronto Star

 

 

Everlasting Light (1999), a Greek Orthodox Requiem service, is a profoundly meaningful experience....
The work opens with a startlingly beautiful setting of the Latin 'Requiem Aeternam'
following the first seven overtones of the harmonic series in linear form—
this unfolding of the "chord of nature" acts as a refrain. The music is written with assured contrapuntal skill . . .
the final repetitions exhorting everlasting peace are truly unforgettable.
The great harmonica virtuoso, Larry Adler, apparently requested that this work be heard at his funeral—
I would imagine the piece will attract substantial additional attention with this release.
 
Allen Gimbel. AMERICAN RECORD GUIDE.