My Music of the Last Fifteen Years (1952-1967)

Description:

In this lecture,  Yorgos Sicilianos reflects on his musical journey over the past fifteen years, addressing the audience at the Athens Technological Institute on 11 January 1967. He acknowledges the challenge of discussing his own work, noting that an artist’s creations should ideally speak for themselves. However, he aims to offer insight into the problems and difficulties faced by an artist who persists in creating what is often seen as a luxury in a society preoccupied with more pressing issues.

Early Influences and Shifts

Sicilianos reminisces about his early belief that music, even when it transcends functional art to become a standalone entity, should still maintain a social mission and be a testament to its time and creator. Influenced by the idea of universality without sacrificing national identity, he initially embraced the integration of folk elements into art music. However, works like Prelude and Dance, despite positive reception, left him disillusioned. This led him to explore the intersection of Greek folk songs and Byzantine ecclesiastical music.

Significant Works and Evolution

One pivotal moment was the creation of The Apocalypse of the Fifth Seal in 1951, inspired by El Greco’s painting. Performed in 1952, this work, with its Byzantine melody and Shostakovich-like harmony, seemed to offer a solution to his artistic struggles. However, Sicilianos soon realized that this approach was insufficient for his evolving vision.

In 1954, Sicilianos composed the Concerto for Orchestra, moving towards a more international style, which drew comments about the influence of twelve-tone techniques. His subsequent Second String Quartet continued in this vein. A significant period in the United States introduced him to Dimitri Mitropoulos, who encouraged the completion of his First Symphony, a work that further delved into twelve-tone techniques.

Theatre Music and Further Exploration

Sicilianos’ engagement with theatre music, including works for Euripides’ tragedies and ballet, marked another phase of his career. Notably, his ballet The Bacchantes No. 1 underwent transformations, demonstrating his growing interest in orchestral colour and texture.

Towards a New Musical Language

The period following the First Symphony was one of intense experimentation and self-reflection. Works such as the Third String Quartet and its orchestral version, Synthesis, exemplified his exploration of twelve-tone serialism. The Concerto for Cello and Orchestra and the Variations on Four Rhythmic Themes marked further attempts to break free from traditional forms and embrace new structural approaches.

Later Works and Contemporary Thoughts

Sicilianos’ later compositions, like the Stasimon B” from Euripides’ “Iphigenia in Tauris,” showcased his integration of ancient Greek texts and modern musical techniques. His Perspectives, for large orchestra, explored the spatial distribution of sound, reflecting his ongoing quest for innovative expressions.

Sicilianos concludes with reflections on the state of contemporary music, highlighting its paradoxical relationship with romanticism and its search for new forms of expression. He acknowledges the transitional nature of modern art, suggesting that its current struggle reflects broader existential anxieties.

In sum, Yorgos Sicilianos’ lecture provides a deep dive into his artistic evolution, marked by a relentless pursuit of new musical languages and expressions, rooted in both national identity and universal aspirations.