Leviathan Orchestra Wellington & Marc Taddei

• 1 The All-Seeing Sky: I. The Portals of Dis 06:27
• 2 The All-Seeing Sky: II. The Upper World 07:21
• 3 The All-Seeing Sky: III. The All-Seeing Sky 08:12
• 4 Call of the Wild: I. She Stands at the Edge of the Incomprehensible 11:45
• 5 Call of the Wild: II. He Can Worship It Without Believing It 06:17
• 6 Call of the Wild: III. Tramontane 06:42
• 7 Leviathan: I. Hightailin' to Hell 07:32
• 8 Leviathan: II. The Final Brook 08:28
• 9 Leviathan: III. Soon We'll All Walk on Water 03:21
• 10 Leviathan: IV. A Falcon, a Storm, or a Great Song? 07:47
• 11 Djinn: I. Pandora 03:01
• 12 Djinn: II. Labyrinth 08:35
• 13 Djinn: III. Outdreaming the Genie 09:09
• Total Runtime 01:34:37

Info for Leviathan

4 modern concertos, spectacularly recorded in a production supervised by the composer. Psathas presents four new compositions, for marimba, tenor sax and percussion, with an emphasis on rhythm and colour. This is genre defying modern music, magnificently played by Orchestra Wellington under Marc Taddei and an international cast of soloists.

At Orchestra Wellington, we have recently witnessed the incredible power of targeted philanthropy through the completion of our latest recording project, “Leviathan,” featuring the music of John Psathas. This ambitious project, which has culminated in a double album recording, was made possible by a generous bequest from the Margaret Doucas Trust. This experience has underscored how focused financial support can profoundly influence the growth and direction of cultural endeavors.

The Impact of the “Leviathan” Project

“Leviathan” is more than just a recording; it is a cultural milestone for New Zealand. John Psathas, our nation’s most internationally acclaimed composer, has had a long-standing association with Orchestra Wellington. This project not only documents this collaboration but also sets a new benchmark for classical music production in the country. With the highest budget for a classical album produced in New Zealand in over two decades, the quality of the recording is evident in every aspect.

The recording features first-ever recordings of Psathas’ masterpieces, brought to life by our orchestra and distinguished international soloists. The design and production quality of the physical media are world-class, ensuring that the project not only sounds exceptional but also presents itself as a significant artistic artifact. This achievement showcases the orchestra’s high standards and reflects positively on New Zealand’s classical performance culture.

The Role of Targeted Philanthropy

The Margaret Doucas Trust’s bequest exemplifies the impact that targeted philanthropy can have on cultural projects. Unlike general donations, targeted funds are allocated for specific purposes, allowing donors to support initiatives that align closely with their values and vision for cultural growth. In the case of “Leviathan,” the bequest enabled us to embark on a five-year journey, transforming a visionary project into reality.

The Broader Impact

Targeted philanthropy, like the bequest from the Margaret Doucas Trust, has broader implications beyond the immediate project. It provides a vote of confidence in the recipient organization, highlighting the importance of sustained support for the arts. This kind of philanthropy inspires others to see the potential of their contributions, encouraging a culture of giving that can sustain and grow artistic endeavors.

The success of the “Leviathan” project is a testament to what can be achieved when vision and support align. It underscores the importance of philanthropy in nurturing the arts and demonstrates how specific, focused donations can lead to extraordinary outcomes. The legacy of the Margaret Doucas Trust will not only be remembered through this recording but also through the inspiration it provides to future benefactors.

Conclusion

As we celebrate the completion of “Leviathan,” we are deeply grateful to the Margaret Doucas Trust for their visionary support. This project is a shining example of how targeted philanthropy can transform the cultural landscape, creating lasting impacts that resonate far beyond the initial investment. We hope this story inspires others to consider the immense potential of their contributions and to support the arts in ways that foster growth, innovation, and excellence.

“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

Yoshiko Tsuruta, marimba, percussion
Fabian Ziegler, percussion
Luca Staffelbach, percussion
Orchestra Wellington
Marc Taddei, conductor

Yoshiko Tsuruta
Starting at the age of 9, Yoshiko Tsuruta learned Marimba privately from Yukiko Sano in Japan. After relocating to New Zealand in 2004, she graduated from the New Zealand School of Music in Wellington in music performance in 2010, having studied under Bruce McKinnon, Laurence Reese, Bud Jones and Jeremy Fitzsimons. She moved to Austria in 2010 and has completed her Master’s Degree (1st Class) at the Anton Bruckner Privatuniversität in Linz. There she studied marimba with Bogdan Bacanu and percussion with Leonhard Schmidinger.

Yoshiko has won several prizes both in Japan and New Zealand, including the 1st prizes in both the New Zealand School of Music Concerto Competition and the New Zealand National Concerto Competition, and the Brass/Percussion Prize in Gisborne Competition. She reached the semi-final of the International Marimba Competition in Salzburg in 2012. Most recently, she received the 2nd prize and all the extra prizes at the International Australian Marimba Competition in 2016.

As a soloist, Yoshiko has performed marimba concertos with many orchestras. In 2018, she world-premiered the new marimba concerto by Gareth Farr and most recently, she recorded the marimba concerto "Djinn" by John Psathas with Orchestra Wellington in 2021.

She also appears in orchestras, such as New Zealand Symphony Orchestra, Auckland Philharmonia Orchestra and Orchestra Wellington.

Since returning from Europe Yoshiko endeavours to promote classical percussion in New Zealand, especially the marimba. As one of the very few dedicated “marimbists” in the country, she gives solo performances as well as chamber music with various artists. In 2016 and 2019, she successfully toured throughout the county for Chamber Music New Zealand.

Her repertoire includes new commissions from various composers and her own arrangements, with which she explores the expressive possibilities of the marimba beyond the stereotype as a percussion instrument.

Yoshiko teaches and gives master classes/workshops on different occasions. She was invited as an adjudicator for the National Brass Band Championships for the percussion solo/ensemble section in 2013 and 2019, and for the NZCT Chamber Music Contest in 2019.

Marc Taddei
Celebrated for his “magnificent contribution as Music Director” by The Press, lauded as “a real interpreter of boldly romantic inclinations” by the Dominion Post and singled out for his “intensity, commitment and attention to detail” by the Capital times, conductor Marc Taddei is the Music Director of Orchestra Wellington in New Zealand, and the Vallejo Symphony Orchestra in the United States. His zest for creating engaging, erudite and innovative programmes, combined with his close audience connection has won for him an unsurpassed public following and continuing critical acclaim.

Marc frequently conducts every professional orchestra in New Zealand. He regularly works with the national ballet and opera companies and the International Festival of the Arts. Outside of New Zealand, Marc is routinely re-invited to guest conduct the major Australian orchestras and returns every year to conduct in the United States. He made his debut with the New York City Ballet in late 2012 and was immediately invited to conduct a full season the following year. Recent debuts include performances with the Hong Kong Philharmonic, Hong Kong Sinfonietta, and the Xiamen Symphony Orchestra in China.

Continually noted for his interpretations, Middle C said of a recent performance, “…here was a performance that recalled for me the astonishment and excitement I felt when I first heard the work in my teens.” Similarly, City Voice (Wellington) wrote, “Here in our midst we have a conductor who is young, charismatic, and is able to communicate his emotions and visions of these great works to an orchestra, so that they can reach out and touch an audience like very few can actually do.”

His work in Vallejo and Wellington follows a highly successful tenure as music director of the Christchurch Symphony. The Christchurch Press praised Taddei at the conclusion of his directorship as, “the orchestra’s music director, whose energy, exuberance, drive and vision proved beyond all doubt that music is an essential feature of daily life in a 21st century city.” Recently, Wellington’s Dominion Post wrote, “Marc Taddei and his Wellington players have become a great success story in a short time. Taddei’s programming is imaginative, his demeanor infectious and his skill have seen a distinct increase in playing standards.” Classical Sonoma commented on Marc’s “commanding conducting” during his first performance with the Vallejo Symphony.

Marc Taddei has conducted the Queensland, Sydney, Melbourne,Tasmanian,Canberra, Adelaide and West Australian Symphony Orchestras, Orchestra Victoria, the New Zealand Symphony Orchestra, the Auckland Philharmonia, the City Chamber Orchestra of Hong Kong, the Hong Kong Sinfonietta, and the Silesian State Opera in the Czech Republic. In the United States, he has conducted the Richmond Symphony, the Louisiana Philharmonic, the Oregon, Fort Worth and New Haven Symphony Orchestras, the Eugene and Springfield Symphony Orchestras, and the Southwest Florida Symphony. He has also conducted for the New York City Ballet, San Francisco Ballet, Opera New Zealand, the Hong Kong Ballet, the Royal New Zealand Ballet and has been a frequent presence at the New Zealand International Festival of the Arts. His performance with the Louisiana Philharmonic was nominated for best Contemporary Classical Performance of the year at the 12th annual Tribute to the Classical Arts in New Orleans.

Marc has worked with such diverse artists as Dame Kiri Te Kanawa, Anne Sofie von Otter, Cecile Licad, Julian Lloyd Webber, Simon O’Neill, Ilya Gringolts, Jennifer Koh, Horacio Gutiérrez. Joanna MacGregor, Jonathan Lemalu, Joshua Redman, Diana Krall, Art Garfunkel, Kenny Rogers, Bret McKenzie, Taika Waititi, Jermaine Clement and the contemporary music ensemble, Eighth Blackbird among many others.

Marc is an advocate and supporter of contemporary art composers. He has established three different and concurrent composer in residence positions with Orchestra Wellington, has recorded numerous works for commercial release and has both served on selection panels and conducted numerous readings for workshops with the Auckland Philharmonia and New Zealand Symphony Orchestra. The NZ Listener stated, “Marc Taddei is to Christchurch what Sir William Glock was to the BBC Proms. His innovations this year alone surpass those of the Christchurch Symphony’s entire history before he arrived as its music director four years ago.”

Marc’s impressive discography includes over thirty recordings on the Sony, BMG, Koch, Columbia, ABC Classics, Trust, ASV, Universal, Rattle, Atoll, Concordance, and Kiwi Pacific labels, and many of his discs are featured in streaming audio on the Naxos music library web site. Recent recording activity includes the soundtrack on Waxwork Records to the Legendary Pictures production of “Krampus”, and a recording of Beethoven’s first and third symphonies on the Concordance label.

Marc’s successes as a recording artist are informed by his work in the industry as a conductor, soloist, orchestral musician and as a producer. His release of British viola concertos with Helen Callus and the New Zealand Symphony Orchestra received rave reviews in Gramophone, Classic FM, and Strad magazines and Music Web International and Classic FM listed the CD as recording of the month. The American Record guide said of his Berlioz Harold in Italy/Bartok Viola Concerto CD that “this is one of the best Harolds you’ll find anywhere, and the Bartok will appeal to anyone dissatisfied by previous editions of the score.”

His Rattle CD, “View From Olympus” was awarded Classical Album of the Year in 2007 at the Vodafone New Zealand Music Awards and spent an unprecedented nine months at #1 in the classical music charts. It was specially featured by Jim Svejda on KUSC-FM in the United States, and on his nationally syndicated programme, The Record Shelf. Marc’s SONY recording with the Christchurch Symphony went double platinum in 2004. More recently his Atoll CD, “Holocaust Requiem” won the 2012 Pizzicato Magazine (Luxembourg) Supersonic Award. Other special recognition for his recordings includes publications as diverse as Sequenza 21, American Record Guide, Strad Magazine and Music.Dish.com (Editor’s Pick).

Marc has conducted for Hollywood and international movie productions including Krampus, King Kong, Under the Mountain, No.2, and Dean Spanley. He also conducted the soundtrack to Britain’s Channel 4 film, “Wagner’s Ring”, which won the prestigious Prix de Basle Special Jury Award for the “most outstanding contribution to European culture in television”.

He has conducted for television producers such as C4 productions in the UK and New Zealand, FOX Television, TVNZ and TV3 in New Zealand. Marc’s appearances on television have included live performances with Dame Kiri Te Kanawa, Young Musician of the Year, Last Night of the Proms, and a children’s television special entitled “Baby Proms” which introduces preschool children and their caregivers to the joys of the orchestra.

A special televised performance of Vaughn Williams Symphony Antarctica featuring Sir Edmund Hillary as narrator was broadcast live via satellite to Scott Base in the Antarctic in a world first in 2005.

Marc conducted the NZSO in music for the innovative software package “Booktrack”, which featured music of John Psathas accompanying Salman Rushdie’s short story, “In the South”.

An advocate of new media in performance, and extra-musical collaboration as a means of enriching the artistic experience, Marc has worked with many of New Zealand’s finest composers and visual artists in groundbreaking orchestral and visual collaborations that have energized audiences. One such collaboration, entitled Southern Journeys, was released by Natural History New Zealand as a DVD.

Marc is a graduate of the Juilliard School in Manhattan, where he received both bachelors and masters degrees before moving to New Zealand. He divides his time between San Fransisco, Wellington and beautiful Wanaka, New Zealand.

Ioannis (John) Psathas
was born in Wellington New Zealand July 3rd, 1966. From genre-crossing projects with jazz legends Michael Brecker and Joshua Redman, to an e-book scoring collaboration with Salman Rushdie, from a recording session with the Grand Mufti in Paris's Grand Mosque, to a Billboard classical-chart-topping album with System of a Down front man Serj Tankian, Psathas's musical journey weaves through myriad of genres, and has moved concert audiences in more than 50 countries on all 7 continents (even Antarctica). His music emerges from a dazzling 21st century backdrop, where dynamic collaboration with creative masters from all corners of the physical and artistic globe result in outcomes that are visionary, moving, and inspired.

Early collaborations included working with luminaries like Sir Mark Elder, Kristjan Jarvi, the Takacs Quartet, Lara St. John, the Netherlands Blazers Ensemble, Evelyn Glennie, Edo de Wart, Joanna MacGregor, Pedro Carneiro, the Halle Orchestra, The New Zealand Symphony Orchestra, the Strasbourg Philharmonic Orchestra, the BBC Scottish Symphony Orchestra, and many more. Then followed a period of intense creative exploration in the worlds of electronica and jazz, and a series of mega-projects (such as scoring much of the opening ceremony of the Athens 2004 Olympic Games). All of which has led to an explosion of first-hand collaborations with artists from dozens of musical traditions spanning Asia, Europe, North and South America, Africa, and Australasia.

John is now developing projects that integrate the many strands of this creative journey. Much of his recent work has social and historical commentary at its core. Recently, the epic and experimental No Man’s Land project challenged the accepted handling of WWI commemoration. No Man's Land involved filming and integrating 150 musicians from more than 25 different countries, including Oum El Ghait (Morocco), Meeta Pandit (India), Bijan Chemirani (Iran/France), Marta Sebestyen (Hungary), Vagelis Karipis (Greece), Refugees of Rap (Syria), Derya Turkan and Saddredin Ozcimi (Turkey) and many more.

Booklet for Leviathan