Kioulaphides - Idillio symphonico(world premiere)

Πορνογραφία / Αλέξης Βάκης στο Κόκκινο

Matteo Cesari (flute)

Tremplin de la création - Philharmonie de Paris 12/03/2022


“Le comte est donc si vain et si peu raisonnable ! Ose-t-il croire encor son crime pardonnable ?’”
Pierre Corneille, Le Cid.
Cette phrase de Don Fernand qui ouvre la scène VI de l’acte II tisse la trame de cette œuvre pour flûte solo.
Reprenant le principe du vers alexandrin, l’interprète développe divers modèles répétitifs et récursifs qui interrompent inopinément sa forme constante.
Ces modèles, caractérisés par une rythmicité idiomatique, renforcent une structure mécanique qui se rétrécit progressivement.
Toute la pièce serpente autour de cette idée maîtresse et le geste instrumental est progressivement lié à la parole humaine.

Scène VI (2014 / revised version 2022)

Κατσούλης- Ηχοκύματα Lakehead Canada (Live)

Bach to Basics - ΕΝΩΔΟΝ 2014 (Berlin Orchestra) 2

for ensemble (8 musicians: flute, clarinet, percussion, piano violin, viola, violoncello and double bass).
Theatro Aneton, Ensemble dissonART/Edo Micic, THESSALONIKI, 03-5-2007.

EpiEnteka III

Finally, my Second String quartet is here completed. Written for the Diotima quartet, it was performed on February 2, 2016 at York.


Programme note 

The Second String Quartet is a three-movement composition based primarily on texture transformation. In order for this to be achieved, several approaches are demonstrated, including harmonic permutation, melodic patterns, fluctuation of dynamics and extended playing techniques. 

The first movement is characterized by chord progressions, whereas the major textural characteristic of the second movement is timbre transformation on a sustained pitch (D). Throughout the movement the performers execute transmissions between bow positions and also different levels of bow pressure. Texture transformation results from the plethoric vertical juxtaposition of bow techniques against a background of fluctuating dynamics.

 Whereas timbre sonorities are the major structural components of the second movement, in the third movement the burden of development is carried primarily by overlapping melodic patterns, interrupted periodically by sff attacks and the sustained pitches of the opening. The patterns comprise individual melodic lines which coincide vertically in specific points throughout the movement. The alteration between individual lines and their convergence demonstrates thinning-thickening texture transformation. 

The two last movements come as a conclusion. The modest character of the fourth movement ends up in a severe, yet still uptight overeaction prepairing the listener for the wilder character of the fifth and final movement.

String Quartet No2 (2016)

“Love shattered my mind, like a storm in an oak forest on the mountainside.”«Έρος δ’ ετίναξέ μοι φρένας, ως άνεμος κατ’ όρος δρυσίν εμπέτων.» Sappho  (V, 47 Lobel – Page) (2005), This is the moto for the work which was a commission by the Thomas Tamvakos Greek Composers Archive. The power of love as Sappho poetically saw it and the composer musically hear it thousand years later. In a mystic and romantic-expressionistic as well mood “Eros” is based in a dialectical juxtaposition between the ancient Greek spirit and the contemporary musical  thinking. The short citations of the famous Orestes stasimo  from the Euripidian trilogy which recurs periodically works as a sacred voice from the past that leads the composer through the centuries and motivates his creativity.   
The work has been performed twice in 2006: by Dimitris Magriotis at “Philippos Nakas” Concert Hall, Athens and by Olga Articopoulou at “EXPO ATHENS” Concert Hall, in the “Anthousa String Festival” receiving a honoured distinction.
In its version for viola solo (2010), it has been performed by Andrea Hemmenway in Composer's Portrait, organized by the "Greek Composers Union" at "Hellenic Conservatory" in Marousi in 2010 and in her personal recital at "Vryssaki Hall", Athens Plaka, the same year.
Score available in: 
http://www.sheetmusicplus.com/title/eros-for-cello-solo-digital-sheet-music/20451707
http://www.musicaneo.com/sheetmusic/sm-288623_eros.html#288623

Eros For Cello Solo, Dimitris Magriotis  (Athens, Nakas Live , 2006)

Scherzo fantastico, by Boris Papandopulo (1906-1991).
Performed by pianist Nicholas Phillips
www.nicholasphillips.net

Bach to Basics - ΕΝΩΔΟΝ 2014 (Berlin Orchestra) 2

sgotsis

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