Tracks / Songs by Music Publisher: SXISMA Editions - Page 2
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THRENOS
Artist: Katerina Stamatelos
Composer: Katerina Stamatelos
Copyright: 1997 SXISMA EDITIONS
Publisher: SXISMA EDITIONS
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Threnos, op. 7 is a composition for soprano coloratura, flute (both alto flute and piccolo flute), and electronic tape (1997).
Lyrics: excerpts from "Antigone" by Sophocles.
Duration: 8 minutes.
Threnos is a setting of the lament in Sophocles’ tragedy “Antigone” as the heroine is about to enter her death chamber.
The foreshadowing of Antigone’s tragic destiny by the Chorus evoked in me a sense of irrationality which I have tried to capture by using Karin Laine’s voice to produce an electronic Chorus. Parallel to this Chorus, I have produced a group (on tape) of female mourners using voice samples.
The flute represents the Siren’s song while the percussive sounds represent the cult of Dionysus, the god of unreasoning forces.
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String Quartet No.1-IV
Artist: Katerina Stamatelos
Composer: Katerina Stamatelos
Copyright: 1999 SXISMA EDITIONS
Publisher: SXISMA EDITIONS
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I solved the issue by using two methods:
1. a fifth 'theme' that represented the Nile, the ever-present 'character' of the tetralogy: the use of this extra theme remained constant throughout the entire composition, yet it moved slowly but steadily.
2. the use of 'sections' that inter-connected with each other by rules of the golden mean: this gave the whole the unity I was looking for.
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String Quartet No.1-III
Artist: Katerina Stamatelos
Composer: Katerina Stamatelos
Copyright: 1999 SXISMA EDITIONS
Publisher: SXISMA EDITIONS
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The entire composition is set in four movements, following the four books by Durrell: I have used four basic themes, each one representing a character of the tetralogy. All four themes participate in each movement however, one of them is always predominant, according to the movement in sequence.
The main challenge for me was to create a work that would hold together with almost the same strength as Durrell's tetralogy: for this though, I had to make a structure both strong enough (to hold such a long work without 'falling apart') and fluid enough (to allow 'liveliness' within time unfolding).
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String Quartet No.1-II
Artist: Katerina Stamatelos
Composer: Katerina Stamatelos
Copyright: 1999 SXISMA EDITIONS
Publisher: SXISMA EDITIONS
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String Quartet No.1 was composed at the University of Iowa in 1999 and, a year later, my composition professor (David Gompper) proposed it as my Masters Thesis.
My first string quartet was inspired by a masterpiece of literature, The Alexandria Quartet by Lawrence Durrell. I was mostly intrigued by the fact that the four books of the novel are structured around a central axis, as Durrell himself mentions in his notes: this idea influenced the structure of my composition to a great extend.
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String Quartet No.1-I
Artist: Katerina Stamatelos
Composer: Katerina Stamatelos
Copyright: 1999 SXISMA EDITIONS
Publisher: SXISMA EDITIONS
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STRING QUARTET, No.1, op.12 (1999).
Duration: 23 minutes.
Premiere information: Miki Yuasa, violin I; Stephen Shepherd, violin II; Sarah Prahl, viola; James Ellis, violoncello; James Mothersbaugh, conductor.
Composers’ Workshop Concert, Clapp Recital Hall, The University of Iowa School of Music, Iowa City, IA, February 21, 1999.
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ORACLE
Artist: Katerina Stamatelos
Composer: Katerina Stamatelos
Copyright: 1998 SXISMA EDITIONS
Publisher: SXISMA EDITIONS
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Composed for mezzo-soprano and ensemble (1998).
Poetry: Katerina Stamatelos.
Duration: 9 minutes.
Composition commissioned by: Katherine Eberle.
Words and Music Concert, Clapp Recital Hall, The University of Iowa School of Music, Iowa City, IA, April 19, 1998.
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Nocturn No.1
Artist: Katerina Stamatelos
Composer: Katerina Stamatelos
Copyright: 1996 SXISMA EDITIONS
Publisher: SXISMA EDITIONS
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Composed for violoncello and piano (1996).
Duration: 6 minutes.
Composition commissioned by: James Ellis.
"During the early centuries of Christianity, its adherents were often forced to hold night assemblies, or Vigils-Vigil services consist primarily of prayers, scripture readings, and singing of psalms. The central portion of the Vigil, celebrated in the last hours of the night, was later called Nocturn." (Richard H Hoppin, Medieval Music).
My violoncello-piano Nocturn No.1 is the "Vigil" of a Twentieth-century Christian: prayer and nightmare.
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Metamorfa I
Artist: Katerina Stamatelos
Composer: Katerina Stamatelos
Copyright: 2005 SXISMA EDITIONS
Publisher: SXISMA EDITIONS
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METAMORFA I, op. 16: composed for solo bassoon (2005).
Duration: 5 minutes.
Composition commissioned by: Benjamin Coelho.
The title of this composition is a "created" word (the Greek language carries in itself the capability/plasticity for creating endless new words, simply by combining/recombining its "roots").
"Meta" (meaning 'after' or 'beyond') is combined here with the root "morfa" deriving from the noun "morfe" (=form). The result of this new word is the "new" meaning of Forms-Beyond, an interesting title for compositions resulting from manipulations of model-forms!
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Abyss II
Artist: Katerina Stamatelos
Composer: Katerina Stamatelos
Copyright: 1999 SXISMA EDITIONS
Publisher: SXISMA EDITIONS
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Songs And Prayers Of The Abyss is based on four poems written (in Greek) by the composer in Thessaloniki, Greece, between 1994 and 1996. The composer writes: "It took me some time to realize that these poems belonged together thematically."
The main figure of the work is a woman who is seeking knowledge of the sacred. These poems of meditation represent the phases of her apocalyptic journey. Each song expresses her confidence in the knowledge she already holds: the knowledge of truth and beauty. However, each "song" is followed by an "abyss" that challenges her beliefs and shakes her confidence. With each confrontation her horror grows.
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