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Founder: Len Mullenger                                    Editor in Chief:John Quinn             

b Braïla, Greece, 29 May 1922

During the first ten years of his life he became familiar with the rich folk-music of the Danube, and was influenced by the Byzantine music of the Orthodox religious rites. It was during his secondary education from 1932 that he first came into contact with western romantic music. Musically largely self-taught, he did not emerge as a composer until after 1947. He entered Athens Polytechnic with the intention of becoming an engineer. In 1941 he became secretary to various resistance groups, and for five years played a part in the armed struggle for liberation. In 1945 he was wounded and lost the sight of one eye; later he was captured and condemned to death, but managed to escape. He arrived in Paris in 1947 and took French nationality. He met there not only Honegger, Milhaud and Messiaen, but also Le Corbusier the architect, for whom he did some outstanding construction designs.

1953--1 (31-2)

Metastaseis, for orchestra of sixty-one players

1955-6 (33-4)

Pithoprakta, for orchestra of fifty players

1956-7 (34-5)

Achorripsis, for twenty-one players

1956-62 (34-40)

ST/4, for string quartet

ST/10-080762, for ten players

Morsima-Amorsima, for piano and strings

Atrées, for ten players

ST/48, for orchestra of forty-eight players

1957 (35)

Diamorphoses, electroacoustic music

1958 (36)

Concret PH, electroacoustic music

1959 (37)

Duel, game for two orchestras

Syrmos, for eighteen strings or a multiple

Analogiques A & B, for nine strings and four-channel tape

1959-62 (37-40)

Stratégie, game for two orchestras and two conductors

1960 (38)

Orient-Occident, electroacoustic music

1960-1 (38-9)

Herma, for solo piano

1962 (40)

Polla Ta Dhina, for children's chorus and orchestra

Bohor, electroacoustic music

1963-4 (41-2)

Eonta, for piano and five brass instruments

1964 (42)

Hiketides, stage music for voices and instruments

Idem, instrumental suite for brass and strings

1964-5 (42-3)

Akrata, for sixteen wind instruments

1965-6 (43-4)

Oresteia, stage music for mixed chorus and chamber ensemble

Oresteia Suite, concert version of Oresteia

Terretektorh, for orchestra of eighty-eight musicians scattered in the audience

1966 (44)

Nomos Alpha, for violoncello

1967 (45)

Polytope de Montréal, light and sound spectacle

Nuits, for twelve mixed voices a capella

Medea, stage music for male chorus and instrumental ensemble

1967-8 (45-6)

Nomos Gamma, for orchestra of ninety-eight musicians scattered in the audience

1968-9 (46-7)

Kraanerg, ballet music for four-channel tape and orchestra

1969 (47)

Anaktoria, for octet

Synaphai, for piano and orchestra

Persephassa, for six percussionists placed surrounding the audience

1969-70 (47-8)

Hibiki-Hana-Ma, twelve-channel electroacoustic music

1971 (49)

Charisma, for clarinet and violoncello

Aroura, for twelve strings or a multiple ensemble

Persepolis, light and sound spectacle

Antikhthon, ballet music for orchestra

1972 (50)

Linaia-Agon, for three brass instruments

Mikka, for solo Violin

Polytope de Cluny, electroacoustic and converted music for four-channel tape

1973 (51)

Eridanos, for orchestra

Cendrees, for mixed chorus and orchestra

Evryali, for solo piano

1974 (52)

Erikhthon, for piano and orchestra

Gmeeoorh, for organ

Noomena, for orchestra

1975 (53)

Empreintes, for orchestra

Phlegra, for eleven players

Psappha, for solo percussion

N'shima, for five instruments and two mezzo-sopranos

1976 (54)

Theraps, for solo contrabass

Khoai, for solo harpsichord

Retours-Windungen, for twelve cellists

Dmaathen, for oboe and percussion

Epeï for six players

1977 (55)

Akanthos, for nine players

Kottos, for solo cello

Hélene, for mezzo-soprano soloist, female chorus and two clarinets

Diatope, for four- or eight-track tapes

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