|Steel Stylianou: Composition, Sound design, Tonal Poetry....
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EDEN - (2018)
Soprano, Mezzo Soprano, Alto, Tenor, Baritone & Bass - a capella - ca. 7´
Stadt - Land - Flüß
City - country - river
Tonalised soundscapes for human voices...
OSMOIDS - 2018
Klavier, Violine & Violoncello - 14´
ARHEA - 2016
Duo für Klavier & Flöte - 7´
ONILEX GAMMA 2 - 2016
Elektronik - 21´55´´
ONILEX ALPHA - 2016
ELEKTRONIK - 10´
NIGHTFALLS DECAY - 2016
6 Sänger - ca. 5´
2 Alt, 2 Tenor, 1 Bariton, 1 Bass
RAYZER - (2014)
String quartet, - ca.7´
UA - Berlin August 2018
Neo Quartet Danzig (Poland)
RAYZER - RAZOR - RAISER
Raising and rising above the common cry of debasement.
when the times seem to be dominated by divisive tendencies that seek to cut out what unites, it should be clear that these tendencies are what need to be cut out. A fine discerning within of that which divides can be dealt with individually which can then act as a leavening and influence the whole, just as the disease of division is infecting those who think there might be personal advantage by destroying that which makes them part of the whole.
TORZA - (2014)
6 track Electronic - 11´55´´
(& Stereo version)
Electronic - 31´18´´
Statict Torrent - (2014)
Electronic - 17´52´´
L A T I O N_E (2014)
Electronic - 12´
Lambeth Walk on Park Ave_ (2013)
L A T I O N" (2014) ca. 12´
Quintet & Electronic
for Flute, Clarinet, Violin, Violoncello, Piano & Electronic.
"H E R O" (2014) ca.10´
Duet for Flute and Clarinet.
"U R L A" (2013) ca 18´
For small orchestra 2 fl., 2 ob. ,2 cl., 2 bn., 2 F.hrn., 2 C.trmpt,
1 Timp/perc.,& string section vl. I, vl. II, vla, vc., cbs.
"D I S C U S" (2013)
Graphic score for "ensemble" - variable performance time.
"H O R L A " IV (2013) ca.14´
Quintet for Flute, Oboe, Clarinet, Bassoon & Horn in F.
" R H E A" V (2013)
Piano duo (2 pianos & pianists) ca. 7´´
Graphic Score.... postcard size...
variable length of performance time; some seconds - infinity...
originally for Flute, Piano, Violin, Viola & Percussion...but...
for any/all instrument/s including electronic (interpretations).
"A L U R A" (2013)
Recorder quartet (4 recorders Blockföte) - 15´´
"S H O C K M O D E" (2013)
Sextet - ca. 3´
Oboe, Saxophone, 2 percussion, Piano, Contrabass.
Viola solo ca. 10´
Violin, Violoncello & Electronic 3´33´´
Premier - Tulsa living arts project USA July 2014 - Portico Dans Theatre Festival
"FRAGLITE EPSILON" (2013)
Septet: Flute, Bb Clarinet, Percussion (1 player), Piano, Viola, Violoncello, Live Electronic and Electronic playback. ca. 5´.
MUSICAPOI experimental music workshop, Cagliari Italy.
"BROKEN TIME-RODS" (2013)
Electronic/Electroacousic - ca. 6´
2-track - Front Left, Front Right.
Musica Viva 2013 Portugal.
"O M E G A _G." (2013)
For Flute, Violin, Clarinet & Cello - ca. 9´30´´
"E C H O ONE ZERO" (2013)
For Alto voice & electronics - ca. 7´
Seoul International Computer Music Festival 2013
"E C H O ONE ZERO" - electronic part only (6´15´´)
ISSTC (2013) - ISSTA
"S M A S H" (2013)
Ensemble work for Flute, Viola, Cello & Piano - ca. 7´
Finalist William Mathias Composition Prize 2013
Bangor New Music Festival - Wales UK
"A R H I A" (2013)
For Flute, Saxophone & Piano - ca. 10´
Versimo Trio USA
"E C H O" (2012)
Soprano Cello, ca. 7´
"Φ Ο Σ"
" P H O S" (2012)
Ensemble work for Flute, Oboe, Percussion, Violin, Viola, Cello & Contrabass.
I O N (2012)
Recorder trio ca. 10´
Trio InVento Austria
" C H E L L E K" (2012)
Enboy Dance group New York
"S Y R O N I A" (2012)
Scenic work for Recorder trio, "Spoken" texts & electronics - ca. 15´
Premiere Amsterdam music conservatory May 28th 2014
Trio aXolot - Netherlands
" T I M E _S H A D O W " (2012)
Ensemble ca 10´
Alto voice, Flute, & String quartett
" R H E A -I V " (2012)
Harpsichord Solo ca. 6´
Foundation Annelie de Man (NL)
" R E C A L L " (2012)
Electronic ca. 7´
BCB (UK) radio broadcast - online
" S A R P A " (2012)
Mixed choir 8 voiced -( 2XSop. 2XAlt. 2XTen. 2XBs.)
" S H A D O W_ R U N " (2012)
Flute and String quartett
" D U D E L S A K D E M E N T I I I " (2012)
Elektronic - codeware (tweet)
computer running SuperCollider
Duration: until STOP button pushed
ICMC London 2012
" H E R A " (2012)
violin solo ca. 9´
" O M O M E N T " (2011)
string quartet & Alto singer ca. 18´
" I S O T O P " (2011)
for four percussionists 8´
Oldenburg Universität musikbibliotek
" H O R L A " (2011)
wind quintet (flute, oboe, clarinet & horn) & electronic 12´
London New Wind Festival
" S C W E E T N I N E P O I N T Z E R O " (2011)
electronic/Supercollidercode for computer - EverChangingSoundFlow-
runs until stop button is pushed/programmed
icmc 2011 - international computer music conference - Huddersfield
" H O R L A _ E " (2011)
Musica Viva Portugal
for Flute and fourteen Strings ca.15´
II Prize awarded by International Composition Competition Sofia 2011.
Premiere 21st Sept.2011 Sofia (Bulgaria)
Yavor Jelez (Flute) with the Sofia Soloists Chamber Orchestra, conducted by Plamen Djourov.
Prix Ars Electronica
Organ and Violoncello 9´30´´
finalist Saarloius Orgel Kompositionswettbewerb
Radio broadcast 31.III.2011 "Radio Libertaire Paris 89.4 FM & live internet stream
L'état des lieux
"Breaking Time-Rods" (2011)
Trombone trio (3 tenor trombones) 5´54´´
(New Trombone collective)
"KNG II" (2011)
String quartet & electronic/electroacoustic 11´
"Æschylus´s Prometheus Bound part 1" (2008-2010)
2 Tenore, 3 Baritone, 2 Bass singers
1 male speaker , 1 Female speaker,
1 Violin, 1 Harp, 2 Percussion
Live electronic & electronic/electroacoustic playback
(n.b. performance without electronic/electroacoustic also possible)
ca. 40 min.
Part 1 of 4 (or 5)
"Dharma Drums" 8´34´´
uk CD project (Bhuddas footprint)
Solo Piano 5´43´´ (2010)
elektroakoustik 1´ (2010)
for 60X60 & ICMC
selected as part of the Vermillion mix 2010
performances in the USA, Berlin, Italy...&c.
"Rhea II" (2010)
Musik for two Harps . 11 mins.
Rhea the mother of the Olympian gods, daughter of heaven and earth....
The two harps are placed as close to each other as possible concentrating the interplay and interlocking constant melodic "exchanges", resulting in one homogeneous yet spacious sound complex.
An ever flowing expression of the creative ever generative forces.
"STATIC TORRENT" (2010)
Electroacoustic - Acousmatique 18 mins.
This piece explores one micromoment of inner and outer impressions extending into an experience containing all the perceptions and views of a journey both physical and through the experiences of life as one travels ever onwards.
The outer changes of vistas and movements evoking its inner counterpart while the mind reacts subjectively and objectively with memories, impressions and perhaps of why the need to travel has arisen.
A sonic description of ever changing visual and acoustic outer impressions, sometimes uncomfortable while changing place, the overall experience blending with thoughts, expectations and memories into one long "impression", the body moves but the inner person remains (still), yet change is as a constant...
Premiere 28 August Crest (Drôme, France)
Festival FUTURA 2010 25th to 29th of August
Carnet de voyage
Violin solo, live electronics & electronic/electroacoustic "playback" (4 track),
Electroacoustic (2008) 6´0´´
"White Wet Wun"
Electroacoustic (2008) 5´32´´
"And Bells Shall Ring"
Electroacoustic (2008) 5´55´´
"Standing Black" (2008)
"White Edge Bass" (2007)
Electroakoustik. 4 mins
Dark Electrohomage to the gothic fraternity.15´32´´
"Lambda 5" (2007)
"Music for Galleries and related Spaces" (2006)
For electronically enhanced/treatment playback and live electronics. 63 mins
(contact for live performance)
"ZEDEX: a Brief History of Disco"
Graphic score for 1-??? players
originally written for ensemble "TWENTYTWENTYONE"
prem. art gallery Warsaw 2008
"Vanus" ca 8' 58'' 2004
Electroacoustic and spoken text-treatments
The human spirit expresses itself in diaphoric ways, underlying this is a particular yearning common to all, it is this particular that human endeavour in selfless activity seeks to grasp..... An exploration and comment; text as sound potential with its association and words with their potential meanings and associations.
Words from various sources but with one underlying theme running throughout... musical interludes and formantic accompaniments electronic/electroacoustic/acoustic adding complimentary coulour and texture.
The piece is not merely reflection and should one look closely into the image presented, therein will alternative images from within be perceived.
"Artemis Avatar" ca. 12 min. 2004
for Violin, Oboe, Bassoon and Violoncello
A musical reflection on the states and conditions between the ethereal and physical realms.
Underlying "ARTEMIS AVATAR" for violin, oboe, bassoon and cello, is the traditional ancient teaching also encountered within the works of Plato as well as modern theosophy which explains a hierarchical form of existence. Evolution follows as it unfolds and species´ develop physically reflecting particular mental/spiritual growth, compassion being the governing law that karma reflects.
As an analogue on human reincarnation, an imaginary journey taken by the goddess Artemis returning to earth after eons of absence is the underlying theme. The seven movements -"Through Elysia", "Shells of the dead", "Torsoi", " Lethe´s Source (no thirst)", "Bear, Lion and Wolf", "Amazon Mount" and "Temple Veil", flow one into the next without a break, marking the stages of this journey from the home of "immortals" to her particular mountain temple (physical body) on earth.
The inner states and various stages of human thought and development are reflected here, gentle pastoral-like passages turn to hectic as the resulting horrors of human activity are encountered, twilight zones - interfaces between physical and mental worlds, a juxtaposition of gentler pure noise sections and musical motifs, a necessary journey re-encountering the wilderness -the animal-like attributes of human existence-, yet within this all a quieter sanctuary of inner peace is attainable.
electracoustic 1' 00'' 2004
for 60X60 project New York
part of European selection
performances in eastern europe, Rumania, Hungary...
electracoustic 3' 50'' 2003/4
Originally written for solo instruments; based upon the I-Ching hexagram of the same name, the score was converted to a midi file where other sounds have been synthesised and used instead. The numerical values of the individual lines are used for the rhythmical building blocks and each line has a set of heptatones applied uniquely to it, the movement has an accellerando-crescendo basis which gives way to a passage of "relief.
electracoustic 5' 28'' 2003/4
An electronic piece using noise and sine waves, the frequencies are certain "Platonic numbers" converted to Herz and the waves have been formed, deformed and combined in places to produce certain effects. A short "Computer-music Etude".
"Corona" electracoustic 8' 35'' 2003
Pescara music library Italy
This one bright
Revealing the release
Emotions once obscure
Now out into the light
And by ancient invitation
Concentration then to see
That depth in peace
Be only darkened
One page one swirl
One word now understood
Surface secure arousing
From depths of ever changes
Dissolving hapless doubt.
"SPHINX" electroacoustic 20' 29'' 2004
A long enigmatic electronic work; parts of this are midi interpretations of instrumental works where three forms of synthesis (additive, FM and real analogue) are linked together to produce a "hybrid" sound, the results again combined with other sounds and used in places to form a vibrant sound-arena many other sounds have been used and juxtaposed including the human voice.
"AXIOM" ca. 16 min. 2004
For Flute, Bass Clarinett, Percussion, Actor/speaker, Ghetto Blaster & electronics.
"CIRCUMSPECTRUM LXIV" (Creatures venturing on to thin ice in moonlight)
Solo Cello (ca. 6 mins).
For Male vocal ensemble 1 counter tenor, 2 tenors & baritone (4 voices) ca.3´30´´.
Originally for Orlando consort.
(SPNM "Highly Recommended")
This piece has a fragmentary nature in part initiated also by the interesting fragments of early music kindly supplied by the Orlando Consort.
The texts used here are fragments from two spiritually orientated works, by employing discreet interpretational techniques for each their interaction blends into a new whole while simultaneously retaining their original comprehension.
Exploring the interaction of the sound of the words themselves, these are broken up into parts and re-combined within rhythmic-textural passages across the ensemble.
Following the tradition of very early sacred music, some quarter tones are included and a strict initial harmonic handling in the "tropic" sense was employed (somewhat expanded as more notes than usual are included).
All this is kept within the context of a message relevant to what a being who moves among the higher spheres might wish to convey.
Phonetic Poem English version 2002 ca. 3-7 min.
Premiere BKA Berlin, Ensemble Scram. Jan 27 2004.
"SELEWE" Laut poesie-Phonetic Poem German version 2001 ca. 3-7 min.
Premiere Theaterhaus Mitte Berlin, Ensemble Scram. May 2003.
"TOKADAS 1-4" 2001 for quartett & electronics, ca. 7 mins.
Premiere Theaterhaus Mitte Berlin, Ensemble Scram. May 2003.
"SCRAM ON IN" 2001 Electronic/electroacoustic-collage ca. 25 mins.
Premiere Theaterhaus Mitte Berlin, Ensemble Scram. May 2003.
A city-soundscape with the particular idiosyncrasies of the location itself -in this case Berlin Germany- yet, there is a familiarity present that any city dweller will readily recognise.
The musical elements are introduced gradually and only in parts and are definitive statements of identity by way of "welcome" to that particular place.
The various parts have been so assembled as to form a journey through some of the more definitive qualities of the area as experienced by normal citizens about their everyday business, highlighting aspects that will be familiar to all, the main theme for this work is the interaction between people and machines, in a sense large cities seem to have developed an unique "zoo-mechanicus" identity and the city environment itself is one vast machine consisting of the sum total of all machines and living creatures within its confines, an interdependent collective of animate, inanimate and sentient physical occurrences, with a core of consciousness.
"SENTINEL EYE" 2001/2
Quartett for Alto voice, Flute/s, Contrabass, Percussion and electronics.
ca. 22 mins.
"Sentinel eye", version for Alto , Flute, Violoncello, Percussion and electronics... Premiere Theaterhaus Mitte Berlin, Ensemble Scram. May 2003.
version for Flute, Bass Clarinett, Percussion electronics, Premiere BKA Berlin Jan. 27 2004 Ensemble SCRAM.
The sentinel is the silent watcher within all beings the part of man that sees and knows.
Whatever the personal ego may be indulging in the silent watcher sees all, and knows this is only a momentary lapse as all past lives are remembered within this aspect of being.
The silent sentinel is the ever present root of being, only interesting itself in the dealings of the personality once this begins to develop the nobler aspects of its nature.
"SOLSTICE" 2000- 2001 Electroacoustic (electronic) 25 mins.
The material for "Solstice" was gradually assimilated during the period between the winter solstice 2000 and the summer solstice 2001.This is a careful amalgam of various musical ideas and pieces written for classical and electronic instruments, that have been re-interpreted electronically, some parts were written specifically for this work and all the parts have been combined to produce a slowly changing reflection upon the gradual changes occurring within this time period. This is not without various moments where sudden occurrences not only make their presence felt but change the following events that take a direction that perhaps otherwise would have remained unexplored.
This work is a simultaneous journey within and without, relax and enjoy the ride.
"STELLAR REACHES" 2001 ca. 14 mins.
For Solo Alto and Large Orchestra
Stellar Reaches is about spaces that are not in reality existent, "Nature abhors a vacuum" there is no uninhabited point in the universe-"chaos"so-called being a set of laws about which we have yet no cognition- the life therein may be unrecognisable to common human senses but their denial is unrecognisable to common human sense, verification of the existence of "other lives" is attainable due to the simple fact that all that lives above a certain stage of development has a certain degree of consciousness, it is this shared attribute and its refined development that allows direct investigation.
As ever the choice is clear either to live and move in the isolation of denial upon various forms of filth and dirt or at least make the courageous attempt to raise by self effort one's head and accept the universe as our only true home and in no way the exclusive property of zealots of multifarious creeds or that of certain factions of our modern high priesthood of scientist, but indeed the common heritage of ALL Humankind
"STELLAR DREAMS" 2000 ca. 14 mins.
"ARGON 5" 2000 ca. 5 min.
Music for four percussionists.
"PAGES " 2000 electroacoustic 10´55´´
The general idea behind this is an interflowing soundscape with the sound types used changing within a fragmentary nature yet retaining cohesion. This piece is derived from "musicalised noise" based ideas that have been developed by analysing the harmonic content of the sounds used and by carefully applying subtle changes to these a musical relationship has been established for all the various parts used.
"MOONRAGE" 2000 for Recorder Trio (Trios en Bloc) & Electroacoustic ca. 16 min.
Premiered 17th September Trois en Bloc, Bergwerk Wismar.
Shortlisted by the SPNM for 2002/3 season.
The story so far...
Three of the wise (represented by the live instruments) had rightly foretold of the coming tragedy, the community having initially ignored their warnings and now faced with the catastrophic consequences of their scepticism reward the three with banishment.
As the piece starts the three are alone in the wilds contemplating their ignominious fate, here the inner struggle begins (their various internal turmoils represented by the electronic part), wether to use the mighty powers at their disposal to revenge themselves upon the ungrateful community which they had in good faith served. Or can they they remain true to the inner altruistic teaching to which they owe their powers and rise above the animalistic call for vengeance?
"LIYTE-TIME TRANSIT" 1999 For Wind Trio & Electronic. 17 ' 17''.
Flute/s, oboe, Clarinett & Electronic (CD).
"Liyte-Time Transit Electronic" 1999 Electronic accompaniement for Light-Time Transit Wind Trio (CD).
Premiered by Trio eVent. 13. VII. 2000. Parochialkirche Berlin.
Quotations read and recorded from the Mahatma letters to A. P. Sinnett asbasis for the piece, these have been electronically treated and various electronic musical additions have been made which are directly related to the player score.
"Sorgen Sie sich nicht; obwohl wir ""aberglaubisch an den Überbleibseln der Vergangenheit festhalten"", wird unser Wissen nicht aus dem Gesichtskreis der Menschen entschwinden.
Es ist ""das Geschenk der Götter"" und das kostbarste Relikt, das es gibt.Die Hüter des geheiligten Lichtes haben nicht so viele Zeitalter durchkreuzt, um sich nun an den Klippen des modernen Skeptizismus scheitern zu sehen. Unsere Lenker sind zu erfahrene Seeleute, als daß wir eine solche Katastrophe zu befürchten brauchten. Wir werden immer Freiwillige finden, um die ermüdeten Wachposten zu ersetzen, und die Welt, so schlecht sie auch in ihrem jetzigen Zustand einer Übergangsperiode ist, kann uns doch dann und wann mit einigen Menshen versorgen."
-Fear not, although we do "cling superstitiously to the relics of the past" our knowledge will not pass away from the sight of man. It is the "gift of the gods" and the most precious relic of all. The keepers of the sacred Light did not safely cross so many ages but to find themselves wrecked on the rocks of modern scepticism. Our pilots are too experienced sailors to allow us to fear any such disaster. We will always find volunteers to replace the tired sentries, and the world, as bad as it is in its present state of transitory period, can yet furnish us with a few men now and then. -
The harmonic material used -for this piece as for nearly all my works- is based upon Pythagorean/platonic musical theory that includes the quarter tone arranged in "modular scales" extending ten octaves.
Various rhythmical parameters have been used to create a systolic-diastolic movement within the piece which moves from intensive block-like clusters of notes to gentler suspensions.
The rhythmical interception of the electronically treated spoken words juxtaposed with slower moving textures in varied states of vibrancy blend with subtlety into the overall sound created by the wind trio whose normal playing techniques are extended to include multiphonics in myriad shades as well as phonetic articulations through the instruments without the sounding of notes.
"PURSUIT" 1999 ca. 9 min.
For wnd quintett. Flute, Oboe, Clarinett, Bassoon & Horn.
"THE PIERCING" 1999 ca. 10 min.
For Orchestra, 3332 . 4331 . Timp. 1, Perc. 1, Str.10 8 6 6 4 .
"COLLO" 1999 Music for Five.
Flute, Oboe, Horn, Violin & Violoncello. (ca. 9 mins).
"ARO" 1999 For Percussion Quartett, ca. 3 min.
"LEXO" 1998/9 Music for Quintet & Electronics
Flute,Clarinette,Percussion Violin, Violoncello & Electroacoustic [DAT/CD] ca.9 min.
"EsSLink" 1998 Electroacoustic 14 min.
"SPRECH FANG" 1998 For Ten Solo Voices ca.5 min.
(spnm Shortlist 2000/2001)
Sprech Fang is an artificial adjective literally meaning "Talk-catch/trap", ie. literally grasping what has been said (and holding this).
The text/poem "In meiner Sprache" by C. Oehlschlägel (abocab) and its implications forms the basis for an exploration of the vocal possibilities within a musical setting.
To enhance the reflection of inner associations within the work the singers are spatially arranged in discreet positions within the performing area with a variation each for on stage or in the auditorium itself, thus enhancing the "literal-phonetic" aspect of the text enabling a more intimate acoustic communication with the listener.
There has been in some parts of the work a "literal" interpretation, while in others particular resulting processes have been "allowed" or "encouraged" to arise, sometimes ensuing in a simultaneous rendering of "results", all part of the continuing compositional process.
Microtonality is an integral part of the "modalities" used (their basis lies in antique Pythagorean/Platonic musical theory) along with contemporary techniques, particular attention to vocal expressive detail has been used throughout the work.
"A FRAGMENT OF FLAME II" 1998 For String trio, ca.7 min.
"A FRAGMENT OF FLAME I" 1997 Piano solo, ca.5 min.
Prem. Nov.97 Berlin Podewil, Soloist Arndt Netzel.
"BEWAHRE (Edle Seele)" 1997
S.A.T.B. Choir, advanced semi-pro.grade, ca.5 min.
Trio For Baritone,Piano & Violin, ca.17 min.
"HU (AH-HI )" 1995 Flute/s Solo ca.12 min.
Prem. BKA Berlin Nov.95,Soloist, Rudolph Döbler.
HU2d2 1998 Electroacoustic for HU (AH-HI)
Prem. Jan. 99 (Flute/s & elec.) Berlin BKA Kirsten Reese.
"HU" is from the Kabbala, meaning "Who"(not as a question but as an unnameable) in the sense of "HU is the creator of the World", AH-HI is ancient Chinese (or something similar) from The Book of Dzyan meaning "the Conciousnesses" ie the collected aggregate of [all] conciousnesses within the universe, therefore comprising this.
In a sense if HU is a question then AH-HI is an answer.
This piece uses a numerological-mathematical system based on Hebrew letters from "The Prayer of Elijah" used mainly for rhythm : pitch parameters and a modal system from the ancient Greek "perfect system" for the harmonic structures set up using a pyramidal form as basis for interconnection.
The electronic part is based upon the resulting piece's sectional developments and as a "radical re-interpretation" of the whole.
Tuning a´ to 433.366Hz is based upon the Herz value acquired for this pitch from the frequency produced by a pipe with the length of one "cubit" (placed at d´[D3]) the ancient "traditional Sun RA tone", possible to attain with modern flutes.
"STOCHEIA" 1994 ca. 8 min.
For Eleven voices a cappella,
Wokshop/concert Neuevocalsolisten Stuttgart1996 & BBC Singers London 1997.
(spnm shortlist, BMIC library UK)
Waging Peace virtual music library.
A meditation on peace, there is no higher aim for humanity but to try and realise Truth thereby creating Peace. The text is an exceedingly condensed set of instructions as to a method for its realisation, aiming to encourage this search, even at the very least, if only by investigating the true meaning of the words therein.
When Truth is realised, then is Peace (and freedom) a reality.
Stocheia means to aim for (and/or to hit the mark).
There are four main sections in this work and these are interdependently combined to make up the whole. This interdependence is further deepened by sharing the words of the text between different voices, and by the breaking up of these words and the distribution of these parts across the performers. Thus is the individual interaction between performers within a sympathetically co-ordinated group an accentuated necessity for any sense to be established for the whole, thereby establishing a parallel within the work with that of individual members of all types of human societies, and these societies themselves as part of the greater community, who, despite their differences, however small and seemingly insignificant are not only a necessary part but also a vital prerequisite, the larger whole on whatever level, being incomplete without even its tiniest part.
Interdependence is an important aspect used throughout the piece and is further explored within the usage of the harmonic-rhythmical material.
Rhythmically there have been numerological derivations of the Greek word Stocheia - -STOCEIA - where each letter has a number and the sum total generates further numbers etc. These numbers along with certain forms of their permutation have been applied in various manners, used for the derivation of many series of notes, they have also been used at some times for the length of particular phrases and at other times for the make-up of the phrases themselves, in other instances the numbers dictate the amount or type of rest and their lengths, and at other places notes or voices sounding simultaneously at any one time.
Each voice has its own "series" where each series (flexible in the no. of notes used and including ¼ tones) is a derivation/variation of a certain basis set. During the four parts the "series" used are further developed and altered. The actual notes themselves (sounding pitches) are placed upon a sort of "pitch class framework", where certain notes can only sound at particular octave levels, this "framework" which is changed as the piece progresses, is based upon Pythagorean musical/mathematical principles which can be seen as a universal space within which the harmonic movement/life takes place.
"THOXA" 1994 ca. 9 min.
Trio for Alto, Flute/s & Contrabass,
Prem.Jan.98 Cologne,Neue Musik in Europa 6 (festival series).Krahnenbaum Co.Köln. (spnm shortlisted piece, BMIC library UK).
"FLOX" 1993 Ensemble music for nine players. (ca. 12 min.)
Workshop/concert Sep.93 ensemble recherche.
(BMIC library UK).
"M.A.I." 1993 ca. 12 min.
For Soprano & Ensemble.
Prem.Akademie der Künste Berlin, Sep. 1993.Sop.Sigune von Osten & Ensemble United Berlin.
"Fine Friends For Freedoms" 1992. Recording available
Trio for Soprano,Piano & Viola,(ca.10 min.).
Premiere:Schauspielhaus (Konzerthaus) Berlin Dec.1993. Brenda Mitchell, Soprano, P.Janosch, Piano & A.Lipka, Viola