In North America you
can order Christos Hatzis’s music
through Edition Peters
In the Fire of Conflict
Fabian Ziegler, marimba
Steven Henry, rap
Eliyah Reichen, video production
Felix Reyes, marimba
Four/Ten Media, video production
For a complete list of all reported concert and other events
involving Christos’ music that have taken place before the current year please click HERE
or on PAST, CURRENT & UPCOMING EVENTS on the left-hand-side menu.
Performances of smaller solo or chamber works of which
we are not notified by the performers or presenters
may not be listed.
January 14, 6:00 PM.Fertility Rites. Marek Czajka, marimba. Academy of Music (aMus), Gdansk. Poland.
January 15, 8:00 PM. Modulations 1. TorQ percussion quartet. The Jeffrey Concert Series. Wolf Performance Hall, 251 Dundas St., London, ON.
January 16, 7:30 PM. String Quartet No. 1 (The Awakening). Continum ensemble. Stegi Concert Hall, Onasis Foundation, Athens, Greece.
January 18, 5:00 PM. The Mega4 Meta4. Ryan Davis, viola. Temerty Theatre, Royal Conservatory of Music, 21C Festival. Toronto.ON.
January 19, 7:30 PM. String Quartet No. 4 (The Suffering). The Penderecki String Quartet. University of Toronto New Music Festival, Walter Hall, Faculty of Music, University of Toronto, Toronto, ON.
January 24. Official release of the "Sarah Slean CD" on Centrediscs (NAXOS). Sarah Slean, vocalist; Symphony Nova Scotia under the direction of Berhanrd Gueller. The CD consists of the song cycles Lamento (music & lyrics by Hatzis) and Ecstasy (music by Hatzis, lyrics by Slean). The CD climbed to No. 6 position on the Classical iTunes list.
February 7. Arctic Dreams. Hannah Donnely, flute; Sean Millman, vibraphone. Black Box Theatre, New York University, New York, NY.
February 13, 7:30 PM. In the Fire of Conflict. Katarzyna Mycka, marimba. Part of PULSE 2020. Konservatoriets koncertsal (Radioyset), Frederiksberg, Denmark.
February 15, 8:00 PM. Modulations. Torq Percussion Quartet. The Jeffery Concerts, Grand Theatre, London, ON.
March 7 to 22. In the Fire of Conflict. Fabian Ziegler, marimba. (in concert with Nexus Wind Quintet).
March 7, 8:00 PM. Postremise Churc, Chur, Switzerland.
March 8, 11:00 AM. Uri Theater, Altdorf, Altdorf, Switzerland.
March 19, 8:00 PM. Wasserkirche, Zurich, Switzerland.
March 21, 8:00 PM. Hunenberg, ref. Church, Hunenberg, Switzerland.
March 22, 11:00 AM. Neubad Luzern, Lucerne, Switzerland.
March 28, 7:30 PM. "Despair" from Lamento. Sarah Slean, vocalist; London Symphonia the direction of Scott Good. The program also includes an orchestral arrangement by Hatzis of Sarah Slean's "Parasol" for vocalist, solo violin and orchestra. Metropolitan United Church, London, ON.
April 2, 1:30 PM. Arctic Dreams. Susan Hoeppner, flute; Beverley Johnston, marimba Vignettes. Marc Djokic, violin; Beverley Johnston, marimba. "Beverley Johnston & Friends." Music in the Afternoon. Walter Hall, Faculty of Music, University of Toronto. Toronto, ON.
April 5, 3:00 PM. Coming To. Marc Djokic, violin; Valerie Dueck, piano. Syrinx Concerts, Heliconian Hall, 35 Hazelton Ave. Toronto.
May 31, 3:00 PM. Odd World. Architek Percussion. Melodica concert. BCA Music Series St. John's United Church, 32 Park Street, Brockville, ON.
June 8, 7:30 PM. Old Photographs. The NZ Trio (Amalia Hall, violin; Ashley Brown, cello; somi Kim, piano). Expressions Arts and Entertainment Centre, Wellington, New Zealand..
June 19, 8:30 PM. Old Photographs. The NZ Trio. Classical Expressions in association with Chamber Music New Zealand. Whirinaki Arts & entertainment Centre, Whirinaki, New Zealand.
June 8, 7:00 PM. String Quartet No. 2 (The Gathering). The Esposito Quartet. The Dundalk Gaol. Carrickmacross Road, Dundalk, CO. Louth, Ireland.
July3, 7:00 PM. Face To Face. William Hobbs, piano. Epirous Chamber Music Festival 2020. Presented by Chamber Music Hellas. Church of Panaghia Parigoritissa, Arta, Greece.
2019 (August - December)
August 4, 5:00 PM. In the Fire of Conflict. Paul Ebert. marimba. St. Bartholomew’s Church Stadelschwarzach
97357 Stadelschwarzach, Bavaria Germany.
Agust 4. Dystopia. Olga Rykov, violin. Symphony In The Barn. Glencolton Farms, Durham, ON.
August 17. Quantum Transitions (European Premiere). Colores Trio (percussion: Matthias Kessler, Luca Staffelbach and Fabian Ziegler). Altishofen (CH).
August 24. Quantum Transitions (European Premiere). Colores Trio (percussion: Matthias Kessler, Luca Staffelbach and Fabian Ziegler). Kammermusiktage Bergkirche Büsingen (CH).
August 24. Zeitgeist. The Microcosmos Quartet, the Echea Quartet and the Kessler Academy String Orchestrta. Music on the Main. Pyatta Hall (VSO School of Music), 843 Seymour Street, Vancouver, BC.
September 27, 7:00 PM. In the Fire of Conflict. Katarzyna Mycka, marimba. Geistliche Musik. Stifskirche, Stuttgart, Germany.
October 10, 7:30 PM. Winter Solstice. Damian Rivers-Moore, French horn. Thunder Bay Symphony Orchestra under the direction of Paul Haas. House Singature Concert 1, 321 Hilldale Road, Thunder Bay, ON.
October 10, 6:00 PM. Equivoque. Elżbieta Rosińska, accordion. Erasmus Days, 2019. Music Academy Stanisław Moniuszko, Gdansk, Poland.
October 11 & 12, 8:00 PM. Going Home Star: Truth and Reconciliatiom. Royal Winnipeg Ballet. State Auditorium, Guanajuato Convention Center, Guanajuato, Mexico.
October 15, 8:00 PM. Going Home Star: Truth and Reconciliatiom. Royal Winnipeg Ballet. 47th International Cervantino Festival. National Auditorium, Mexico City, Mexico.
October 19 – November 1. Vignettes. Marc Djokic, violin; Beverley Johnston, marimba. “Bev & Marc” Debut Atlantic Tour.
October 19, 7:30 PM. Immaculata Hall, St.FX, Antigonish, NS
October 20, 7:30 PM. Festival Theatre, Wolfville, NS
October 21, 7:00 PM. Festival Theatre, Wolfville, NS Joyce Arts Centre, Tatamagouche, NS
October 27, 4:00 PM. Cecilia’s Retreat, Mahone Bay, NS
October 29, 7:30 PM. Église St-Joachim, Bertrand, NB
October 30, 7:30 PM. Memorial Hall, UNB, Fredericton, NB
November 1, 7:30 PM. King’s Theatre, Annapolis Royal, NS
October 21 - 25. Hatzis will be in residence as guest composer at the Akademia Muzyczna im. Stanislawa Moniuski (aMuz) in Gdansk, Poland. The residency will include lectures, presentations, and a concert of Hatzis’s music on October 24. Gdansk, Poland.
October 22, 1:00 PM. Lecture: "The Sound of the Other: The Music of Diversity and Its Message to a World of Intolerance."
October 23, 1:30 PM. Lecture-presentation of Norbert Palej's music for the aMuz composition students.
October 24, 1:00 PM. Presentation of Hatzis music for accordion to the aMuz accordion students.
October 24, 6:00 PM. Concert of the music of Christos Hatzis. Concert program:
Equivoque. Elżbieta Rosińska, accordion.
Fertility Rites, Marek Czajka, marimba.
In the Fire of Conflict. Pablo Mor Lillo, marimba.
Phosphorus. Vito Muževi, marimba.
Haikus. Magdalena Niedbała, soprano; Virginia Alcarria de la Fuente, marimba.
Through A Glass Darkly. Piotr Słopecki, piano.
November 1, 7:00 PM. Preview performance of Face To Face. Konstantine Valianatos, piano. PepsiCo Recital Hall. School of Music. Texas Christian University, Fort Worth, TX.
November 2, 8:30 PM. World Premiere of Face To Face. Konstantine Valianatos, piano. Paul Hall, Lincoln Center, New York, NY.
November 2, 8:30 PM. Fertility Rites. Carlota Caceres, marimba. Teatro Cavallerizza, Vuiale Antonio Allegri, Reggio Emilia RE, Italy.
November 3, 2:30 PM. Old Photographs. The Elixir Ensemble: Oxana Ossptchouk, violin; Scott McKnight, cello; Kathleen Solose, piano. Emmanuels Anglican Church, 609 Dufferin Avenue, Saskatoon, SK.
November 5. Through A Glass Darkly. William Hobbs, piano. Consulate General of Greece, 69 East 79th Street, New York, NY.
November 6, 6:00 PM. Fertility Rites. Irina Radelescu, marimba. The Garden of Delights. Classroom of the Union of Composers and Musicologists of Romania - Cantacuzino Palace).Meridian Festival, Institute Cultural Roman, Bucharest, Romania.
November 15, 7:30 PM. Atonement. Yegor Dyachkov, cello; Jean Saulnier, piano. ArtSpring Theatre, Salt Spring Island, BC.
November 15. Fertility Rites. Nick Fox, marimba. Bryan Recital Hall, Bowling Green State University, Bowling Green, KY.
November 21, 6:00 PM. Fertility Rite. Hyeji Bak, marimba. Finalist recital at the Geneva International Music Competition. Victoria Hall, Geneva, Switzerland.
November 23, 12:00 PM. Anaktoria. (From Three Songs on Poems by Sappho). Jaqueline Woodley, soprano; Peter Stoll, clarinet; Alex Toskov, viola; Samuel Bisson, cello; Narmina Afandiyeva, piano, under the direction of Norbert Palej. "DAWN: A collaborative project dedicated to the Oneness of Humankind." Meridian Arts Centre (formerlyToronto Centre for the Arts). 5040 Yonge Street, North York, ON.
November 27, 6:00 PM. Haikus. Magdalena Niedbala, soprano; Virginia Alcarria de la Fuente, marimba. Akademia Muzyczna im. Stanislawa Moniuski (aMuz), Gdansk, Poland.
December 3.Arctic Dreams. Hannah Donnely, flute; Sean Millman, vibraphone. Black Box Theatre, New York University, New York, NY.
December 10. Haikus. Magdalena Niedbala, soprano; Virginia Alcarria de la Fuente, marimba. II Ogólnopolska Studencka Konferencja Artystyczno-Naukowa „GRAMY RAZEM 2019.” Akademia Muzyczna im. Stanislawa Moniuski (aMuz), Gdansk, Poland.
December 14, American premiere of Rebirth. Steven Dann, viola; The Dr. Shirley Linzy Young Artists Orchestra of Las Vegas under the direction of Yunior Lopez. Windmill Library Performing Arts Center, Las Vegas, Nevada.
December 15, 5:00 PM, In the Fire of Conflict. Fabian Ziegler, marimba. Evengelische Kirche. Gachnang, Switzerland.
(for more reviews, write-ups and comments click HERE or on COMMENTS on the left-hand-side menu).
Christos Hatzis (born in 1953) is moving from his status as "one of Canada’s leading composers" toward broad international recognition. If Constantinople (2000), for mezzo-soprano, Arabic vocalist, string trio, and digital audio, becomes widely distributed and known, it should be an important landmark bringing him attention on the international scene. Hatzis is an eclectic, who effortlessly draws on the resources of contemporary compositional techniques; the music of his native Greece, especially that of the Orthodox Church; popular music; and a variety of folk traditions, in what he describes as "cultural counterpoint." In the diversity of traditions he commingles or juxtaposes, the composer he most closely resembles is Osvaldo Golijov (whose Pasión Según San Marcos was premiered the same year as Constantinople). Constantinople, the city that was defined by the convergence of a variety of cultures, is an apt topic for a composition characterized by the sometimes abrasive, sometimes harmonious convergence of musical styles. The piece is complex in its psychology -- there are no simple, predictable resolutions -- and in its multilayered structures (what Hatzis calls its "semantic density"), but it’s not aurally difficult. Its sumptuous abundance of ideas, and the ingenious and inspired ways in which they are related, overlay its depth with a brilliant, attractive surface. Hatzis constantly astonishes his listeners by confounding expectations with rhythmic, melodic, and textural surprises, but there are plenty of anchors to keep the listener engaged: repetition of melodies or patterns, familiar harmonic languages, and folk-like dance structures. And he writes gorgeous, sensual vocal lines and idiomatic, dramatically charged instrumental parts. The Gryphon Trio and vocalists Patricia O’Callaghan and Maryem Hassan Tollar deliver gripping, urgent, and beautifully nuanced performances. Hatzis conceived of the pieces as chamber music to be staged, with surround sound audio, and the extensive use of videos, lighting effects, and chorography. The audio component captured on the CD offers a limited picture of the piece, and the listener can only imagine its impact when performed with all of the elements it was created to incorporate. Analekta’s sound is clean, spacious, and realistic. AllMusic review by Stephen Eddins. http://www.allmusic.com/album/christos-hatzis-constantinople-mw0001853902
A modern Canadian composer attends the première of a work to hear its last performance.” This bon mot by the distinguished Calgary musician Quenten Doolittle has become proverbial. Yet there are exceptions to the rule — and Toronto’s Christos Hatzis is one of them. To say that Hatzis is a successful composer would be a grave understatement. The “contemporary Canadian master,” as The New Yorker described him, was born in Greece, spent some years in the U.S. where he received his academic training, and then became Canadian by choice. Beginning in the late 1970s, Hatzis has slowly but surely built a tremendous career. With a string of recordings on EMI, Sony, Naxos, CBC Records and other first-rate labels, often successfully competing in sales with pop albums, his presence on the international classical stage is now comparable to that of Philip Glass, Henryk Mikołaj Górecki, Arvo Pärt, Krzysztof Penderecki, or Steve Reich. The man already is a Canadian icon and an international cultural institution. Despite his success, the composer oozes modesty and restraint. “I call myself an imitator,” he is quick to confess, “but not in the conventional sense of the word. When I say I’m an imitator, I refer to Him who guides me and maps out creative decisions for me.... As a musician and a human being, I feel that I must follow my conductor’s cue. Maybe I’m old-fashioned, but what I think much art lacks most these days is spirituality.” Spirituality permeates practically every one of Hatzis’ compositions, including his groundbreaking multimedia masterpiece, Constantinople, for which he received a Juno. The newest one, Mirage? for percussion and chamber orchestra, which has its Edmonton première on Sept. 20, follows the same path. Hatzis explains its origins: “The piece, a percussion concerto, was commissioned by CBC for the Scottish virtuosa Dame Evelyn Glennie — also known in the pop world for her collaborations with Björk and Bobby McFerrin — and the Manitoba Chamber Orchestra led by the truly fantastic Anne Manson, for their Western Canadian tour, which is now in progress. The music deals with the modern societies’ blatantly materialistic obsessions and temptations. I see a connection between the years preceding the present crisis and the ‘Roaring ’20s’ leading to Black Tuesday [Oct. 29, 1929] and the subsequent Great Depression. It is a sad piece, perhaps even a cry of despair, but for the modern world to survive, it is imperative to turn away from the seductive mirages of the exorbitant lifestyle.” Maestra Anne Manson speaks about Hatzis in almost poetic terms. “His sounds breathe space,” she says. “The opening build-up, with more and more light let in, is enchanting. At times, the music feels incredibly free, perhaps because it is so imbued with jazz. The piece is marvelous, and rarely have I seen a modern composition so successful with audiences. It is a veritable tour de force!” Hatzis means business. He’s currently hard at work on another big project which promises to cause a stir — a chamber opera centring on the last days of another Canadian legend, the 19th-century First Nations poet and writer Pauline Johnson. His co-writer? Some unknown author named Margaret Atwood.
Piotr Grella-Mozejko Music Feature, See Magazine (Edmonton, Canada) September 17, 2009.
As far as I was concerned, this 40-minute piece [Everlasting Light] 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...I personally found Everlasting Light very heartening because until now I’ve felt like a heathen listening to the music of Henryk Górecki and the so-called "holy minimalists" and even Arvo Pärt to an extent. This was far more beautiful than anything I’ve heard from any of them. The music has, in fact, a potent sense of otherworldliness and an immense quiet dignity. It has (grave) melody where the others supply only monastic medieval-sounding monody - frankly, monotony - 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. The Cantata Singers under conductor Eric Hannan rose magnificently to its demands, as did its subtle percussionist, Anne-Julie Caron. She was the special guest on the program and performed with a talent reminiscent of Evelyn Glennie. It was amazing how she managed five minutes, or it could have been 10, of very soft thrumming as she held down a minor third. As already said, it could have been the whole concert...But everything was forgivable for the the unforgettable Everlasting Light.
Lloyd Dykk, The Vancouver Sun (Canada) October 21, 2008 email@example.com
Dame Evelyn rocks! No stranger to VSO programming, this phenomenon of the concert stage -- a deaf percussionist who has made percussion a solo instrument in serious music -- always has something musically new to say, bringing a work specially commissioned for her mega-talent. This concert, no exception to her regular visits, had the packed-out audience -- at least metaphorically speaking --both gasping for breath and bopping in the aisles during Greek composer Christos Hatzis’ sprawling, deeply emotional Tongues of Fire for Percussion and Orchestra. The work’s title sets its moment and concern: the flames that descended upon the Apostles on Pentecost, but rather than being celebratory, the work explores anguish and crisis, and in an intense second movement inner tranquility. That proves unsustainable but goes deep, as large-scale effects give way to almost unbearable lyrical intensity. Dame Evelyn was, as ever, on the top of her game, from the rapid-fire explosions of sound of primal character to coaxing out the infinitely small nuances of the vibraphone to goose-bump raising effect. Visceral and cerebral by turns, the work set up almost relentless challenges for soloist and orchestra. A self-conscious tour de force, Hatzis’ composition could have been mere gimmickry but turned out to be profoundly moving both in its inventiveness and ideas. Maesto Tovey urged out a committed and thrilling reading of this piece not for the faint-of-heart, with the VSO delivering every bit as impassioned a performance as that delivered by its soloist-phenomenon. J. H. Stape, REVIEWVANCOUVER.COM (Canada).
There’s something ariel-like about watching the Scottish percussionist extraordinaire Evelyn Glennie fly around her battery of drums on the stage barefoot in front of an orchestra....On Saturday she premiered a concerto by a Canadian composer and a very good one, Toronto’s Christos Hatzis, whose work I’ve admired before. Called Tongues of Fire, it’s mainly for marimba and orchestra but involves far more than marimba, only some of the other instruments being the vibraphone and cloud gongs. Cloud - that lovely word - describes an atmospheric work of moods that range from the dynamically thunderous and sharp to the seductively impressionistic and vague. The work is sensationally beautiful, all four movements, but especially the second, which begins with a sensuous, mysterious pop song sung by a soprano to a piano before it becomes the basis for the movement proper. It was as interesting to watch as to hear. When did you last hear a duel between a solo violin (the excellent Joan Blackman) and a bass drum in which every note was clear? This admirably approachable concerto is subtly crafted, fully integrating the percussion part with the orchestral part and the rhythms are fascinating with all the sexy ostinatos, the bones of rhythm. Even by Vancouver Symphony standards, the playing was exceptional and the house looked full. Lloyd Dykk, CANADA.COM, May 25, 2008; THE VANCOUVER SUN, May 28, 2008.
Glennie has played in Calgary and never fails to impress. Not only she is gifted technically, but her playing is exceptionally musical, encompassing the most amazing nuances of tone and rhythm. She had a full workout in the solo part of the concerto [Tongues of Fire], a virtuoso work in four titled movements that together make up a reflection on the idea of Pentecost, especially the sense of turbulence that surrounded the period just before Christ ascended to heavens. The music itself is unfailingly colourful in an idiom that broadly speaking might be called "neo-tonal". More specifically, the harmonic palate and melodic style resembled a cross between Anton Bruckner and Andrew Lloyd-Webber, the short, fragmentary melodies having a churchy sound, but presented with all the subtlety and refinement associated with Phantom of the Opera and other works of that ilk. The immediacy of the effect was unmistakable, especially given the compelling performance by Glennie, and there was much to admire in the clever handling of mixed rhythms, largely assigned to the orchestra. As a virtuoso vehicle for Glennie or another virtuoso percussionist, the work is likely to have many performances. Hatzis was on hand for the performance, graciously acknowledging the obvious effort that has gone into the preparation and delivery of the work. Kenneth DeLong, THE CALGARY HERALD (Canada), May 31, 2008.
To provide a present-day climax to the program, Tafelmusik commissioned a new choral work - From the Song of Songs - by the Greek-Canadian composer Christos Hatzis, which had its premiere Thursday, and which the composer calls "an offering and prayer for peace in the Middle East."...The main solo singers were equally splendid...Tenor Muller’s handsome and perfectly used voice transformed itself effortlessly for the several styles it had to adopt, quite astonishingly in the melismatic Eastern idiom it needed in the Hatzis. His duet with the wonderful Maryem Tollar in the middle movement of that work was a highlight of the evening. Tollar’s singing was extraordinarily strange and poignant in the context of the Tafelmusik forces, and flawlessly modest and haunting...The Hatzis cantata must be counted a triumph, easily the best thing of his I’ve heard, with a vivid opening movement, a slow movement (My Beloved Is Mine) straight out of the elevated manner of Bach (with a theme perhaps too close to that of the closing chorus of the St. Matthew Passion) and a final movement that starts rather scattily but pulls itself together for a splendid finish. And what a lucky composer Hatzis was to have a first performance of this calibre. Ken Winters, THE GLOBE AND MAIL (Canada), March 8, 2008.