Type: Programme Notes
Language: Greek
Year of Publication: 1973
Description:
The initial idea for composing Parable came from the music I wrote for Euripides’ Medea for the National Theatre of Northern Greece.
My goal was (as was the case with ancient Greek tragedy) the absolute union of music and movement, as the element of tragic speech is entirely absent in Parable. This union resulted in the creation of a choreographic image as abstract as the music expressing it.
However, it should be noted: abstract dance does not mean, in my view, movement that becomes an end in itself. Just as the music of a Bach fugue or a Mozart symphony, although abstract, is still charged with expressive elements, which the listener is free to interpret in any expressive or conceptual manner that best suits them.
This is precisely what I aimed to achieve with Parable: the creation of auditory and kinetic symbols that the audience can interpret according to their temperament or even their psychological state at the moment of reception. And this, without Parable as a choreographic image having any relation to Medea, neither in terms of myth nor expressive content.
-This is a near-verbatim translation of Sicilianos’s Greek text.
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Work Page |
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1 |
 |
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) |