Type: Lecture
Language: Greek
Year of Publication: 1991
Description:
On 7 August 1991, Yorgos Sicilianos delivered a lecture titled “Modern Music in Greece Today: My Personal Musical Journey and Some Thoughts on Modern Music at the End of the 20th Century.” In this comprehensive talk, Sicilianos explored the history and evolution of contemporary music in Greece, beginning in the early 1920s with the pioneering works of Dimitris Mitropoulos, who integrated twelve-tone elements into his compositions. He highlighted Mitropoulos’ piece for violin and piano, “Ostinata,” as a notable example.
Sicilianos then discussed the contributions of Nikos Skalkottas, a prolific yet underappreciated composer during his time, who created around 150 works that are now internationally acclaimed. He pointed out the diverse group of Greek composers from the 1950s onwards, each following their unique paths while contributing to the richness of contemporary music with innovative harmonic, melodic, and rhythmic structures.
Special attention was given to Giannis Christou, whose tragic and untimely death left his promising oeuvre incomplete. Christou’s work, characterized by a blend of philosophical inquiry and modern musical language, was compared to that of Olivier Messiaen.
Sicilianos also reflected on his musical journey, which spanned over five decades. He described his early phase, influenced by Byzantine chant and Greek folk music, and how a visit to Mount Athos in 1951 inspired his symphonic work Apocalypse of the Fifth Seal. However, he soon felt constrained by these influences and turned towards the twelve-tone technique and serialism, inspired by composers like Schoenberg and Boulez. His works from the 1950s to the 1980s, such as Concerto for Orchestra and Variations on Four Rhythmic Themes, exemplify his evolving style and innovative use of space and sound.
He shared his experiences composing for theatre, especially ancient Greek tragedy, and how this led him to explore the relationship between speech and music. His piece Epiklesis, based on Aeschylus’ “Persians,” and other works like Parabole and Episodes II, incorporated electronic and concrete music elements.
Sicilianos discussed his third period of musical creation, saying, “In 1980, with the composition Mellichomeide for soprano and 11 performers on texts by Sappho in the original ancient Greek, my musical journey entered a new, third phase.”
Towards the end of his lecture, Sicilianos pondered the future of contemporary music, emphasizing its role as a means of communication and expression. He argued that while the nature of humanity remains constant, the needs and realities of each era differ, shaping the music of the time. He asserted that contemporary music is a natural progression from previous traditions, and its acceptance will be judged by time.
Sicilianos concluded by stressing the importance of humility and the artist’s duty to connect with people, making them feel free and empowered through art. He called for a balance between innovation and accessibility, ensuring that contemporary music remains a vibrant and integral part of cultural expression.
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Work Page |
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1 |
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YSC40 |
Apocalypse of the 5th Seal |
Overture |
7 |
3332-4331, Timpani, Cymbals, Bass Drum, Strings |
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2 |
 |
YSC46 |
Concerto for Orchestra |
12 |
2222-4331, Timpani, Bass Drum, Cymbals, Triangle, Strings |
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3 |
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YSC47 |
String Quartet No. 2 |
13 |
String Quartet (Violin I, Violin II, Viola, and Cello) |
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4 |
 |
YSC63 |
Variations on 4 Rhythmic Themes |
24 |
2222-4330, 2 Harps, Celesta, Percussion (5 Performers: Timpani, Xylophone, Vibraphone, Glockenspiel, Cymbals, Snare Drum, Triangle, Woodblock, Tambourine, Bass Snare Drum, Bass Drum, Clapper, Tamtam, 3 Tom-Tom: Low, Mid, and High, Bongos), Strings |
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5 |
 |
YSC66 |
Perspectives |
26 |
3344-6341, Timpani, Celesta, 2 Harps, Percussion (4 Performers: Xylophone, Vibraphone, Keyboard Glockenspiel, Metallophone, Tubular Bells in Bb, G, Db and D, 3 Suspended Cymbals: large, medium and small, Suspended Cymbal, Cymbals, Snare Drum, Bass Snare Drum without Snares, Tambourine, Bass Drum, Triangle, Clapper, Gong, 3 Toms, 2 Congas, Woodblock, 5 Temple Blocks, Claves), Strings (14, 12, 10, 8, 8) |
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6 |
 |
YSC70 |
Epiklesis (II) |
for Narrator, male-choir, four women's voices and twelve performers. Original text from Aeschelus' tragedy "Persians" |
29B |
2 Horns, 3 Trombones, 3 Pianos (3rd Piano can be upright), Glockenspiel, Harp, Percussion (3 Performers: Xylophone, Tubular Bells, Vibraphone, 3 Large Suspended Cymbals, Piccolo Snare Drum, Bass Snare without Snares, Bass Drum, Large Tamtam), Choir (7 Tenors, 7 Basses, 4 Sopranos), Narrator |
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7 |
 |
YSC71 |
Episodes ΙΙ |
for mixed choir, tape and three performers |
30 |
2 Choirs, Piano, Double Bass, Percussion (3 Suspended Cymbals – large, medium, and small, Large Tam-Tam, Small Tamtam, Flexatone, 5 Temple Blocks, Woodblock, Bass Tom, Bells, Tubular Bells, Crotales, Timpani, Xylophone, Vibraphone, Maracas, Claves), Tape |
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8 |
 |
YSC73 |
Etudes Compositionnelles |
for Piano |
32 |
Piano |
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9 |
 |
YSC75 |
Parable |
a choreographic picture |
34 |
Piccolo, Flute, Tuba, Percussion I and II (Triangle, 3 Suspended Cymbals large, medium and small, Cymbals, Crotales, large Tam-Tam, 2 Gongs, large and small, Vibraphone, Glockenspiel, Xylophone, Marimba, Tubular Bells, Claves, 2 Woodblocks, 5 Temple Blocks, Maracas, Tambourine, Bass Snare Drum without Snares, Bass Drum, Timpani 28″ & 25″), Tape (recorded at Ecole Normale Centre for Music Research), Choir (without words) |
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10 |
 |
YSC76 |
Parable |
Ballet |
34A |
4443-4331, Timpani, Percussion (Celesta, Glockenspiel, Xylophone, Crotales, Tubular Bells, Snare Drum, Tambourine, Bass Drum, Claves, 5 Temple Blocks, 2 Woodblocks, Triangle, Maracas, Cymbals, Tam-Tam, Gong), Harp, Strings (16, 14, 12, 10, 8), Choir |
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11 |
 |
YSC79 |
Six Songs |
for Single Voice and Piano |
37 |
Voice and Piano |
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12 |
 |
YSC82 |
Antiphona |
for Brass, Timpani and Strings |
40 |
4 Horns in F, 4 Trumpets in C, Trumpet in D, 3 Trombones, Tuba, Timpani I and II (28′ & 25′), Strings |
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13 |
|
YSC84 |
The Fire |
Musical Drama in One Act, with Prologue and Seven Scenes. Text by Maro Papadimitriou, theatrical adaptation by Yorgo Sicilianos. |
42 |
2222 – 4231, Celesta, Timpani, Percussion (3 Performers: Glockenspiel, Xylophone, Triangle, Clapper, Suspended Cymbal, Cymbals, Large Gong, 5 Temple Blocks, Woodblock, Snare Drum, Snare Drum without Snares, Bass Drum, Maracas, Flexatone), Strings, Characters: Man (baritone), Woman (mezzo-soprano), Old Beggar (tenor), Jester (tenor), Wiseman (baritone), Oracle (bass), High Priest (bass), Crowd (mixed choir), Men (tenors and basses or baritones and basses), Dancers, Offstage voices (four male and one female voice). |
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14 |
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YSC85 |
The Lady in the Moonlight |
a dramatic scene. |
43 |
2211-2100, Timpani, Percussion (Xylophone, Glockenspiel, Crotale, Cymbals, Cymbal struck with Sticks, Tam-Tam, Triangle, Tambourine, Snare Drum), Harp, Strings, Characters: The Woman (contralto), The Young Man (Actor – figurant) |
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15 |
 |
YSC86 |
Mellichomeide |
for Soprano and eleven instruments. Text in poems by Sappho and a dedication to Sappho by Alcaeus. |
44 |
Piccolo, Alto Flute in G, Oboe, Cor Anglais, Clarinet, Bass Clarinet, Mandolin, Guitar, Harp, Violin, Cello, Soprano. |
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16 |
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YSC89 |
Cassandra |
a Tragic Cantata on the Original Text from Aeschylus's Tragedy "Agamemnon" (ver. 1072-1329) for Mezzo-Soprano, Bass, Mixed Choir and Orchestra |
47 |
4444 – 6431, Timpani, Percussion (2 Performers: Glockenspiel, Xylophone, Vibraphone, Crotales, Cymbals, Large Tam-Tam, Small and Large Cowbell, Triangle, Snare Drum, Bass Drum), Harp, Strings, Mezzo-soprano, Bass, Mixed Choir |
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17 |
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YSC94 |
Concerto |
for Violin and Orchestra |
51 |
3232-4220, Harp, 4 Timpani, Percussion (Xylophone, Glockenspiel, Cymbals, Tam-Tam, Triangle, Snare Drum, Bass Drum), Strings |
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18 |
 |
YSC95 |
Concerto |
for Piano and Orchestra |
52 |
1111-1110, Timpani, Strings |
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19 |
 |
YSC96 |
String Quartet No. 5 |
53 |
String Quartet (Violin I, Violin II, Viola, and Cello) |