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| Comments & Critics about the music of Kyriakos Sfetsas |
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| Articles, Comments, Critics and Bibliography about Kyriakos Sfetsas ...although the earlier works, such as Docimologie (Paris 1969), are more reminiscent of Pousseur in their sensitive instrumentation and the clear harmonic relationships between isolated sounds. Giorgos Leotsakos, in GROVE The New Grove Dictionary of Music and Musicians ...His return (1975) to Greece coincided with a bewildering expansion of his musical vocabulary, in works such as Diafanies Moussikis Kontsertou ('Concert Music Slides', 1977), wich now embraced tonal and modal as well as atonal melody, elaborate developmental alongside improvisational writing, elements of Greek folksong and neo-Byzantine church music, and allusions to jazz and rock music. His attemts to link these apparently incompatible musical gestures were not altogether without succes, though they occasionally led to somewhat overblown musical proportions, for instance in the hourlong To fos tis kaktou ('Cactus Light' 1980-83). With works rich in musical and dramatic character, including Ichissi parontos mellontos ('Sounding of Present and Future', 1986) and Diplochromia ('Colours in double', 1988), the crisis came to an end, Sfetsas emerging as one of the most stimulating figures active in Greece at the end of the century. Giorgos Leotsakos, in GROVE The New Grove Dictionary of Music and Musicians |
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