CLICK HERE for excerpts from a publication about my music and compositional “style”
and for excerpts from an interview about my tendency to combine music with other forms of art
CLICK HERE for a brief presentation of my course in music at the website (data-bank) ALLMUSIC, by François Couture
Excerpt from a publication about P. Theodorou’s music and compositional “style” (1993)
“… Theodorou’s works are characterized by: intense inner atmosphere, compact musical structure, great variation in both style and references, “narrative” – theatrical nuances, poetic character emerging out of the conjunction of “classical” features and modern writing.
His music, unfolding in an atmosphere of introversion and intense mood, seems to be “narrating” even when there is no plot (theatrical, poetic, etc.). This special “stage quality” is probably due to the fact that he is trying to create “spaces” through sound. “Spaces” built up dramatically and NOT in a “descriptive manner”. “Spaces” of a vague form, that consist of inner states, emotions, feelings. These “spaces” are actually inner emotional “landscapes” following one another and thus creating this sense of narrative.
Composing like that, he at first interweaves his own feelings of a certain moment to establish an emotional framework, a kind of an emotional “score” – “script”. Then, he develops sounds according to these emotional guidelines, building a music that may subjectively reflect this emotional “script”.
As a result, a sound “entity” is created along with a psychologically inner auditory – “space”, aiming to seize in its web the listener. As this inner auditory landscape is unfolding, the listener may follow its emotional development through the unfolding sequences of sound structures. Furthermore, the listener may use it as a “canvas” to experience her/his own feelings, developing a “here and now” personal process of experience.
The result of such a compositional conception is a very personal, strong and powerful sound, overwhelming because of its nature and structure and not because of its volume or loudness. And Theodorou seems to have found his own way of creating and putting together such emotional “spaces”.
The danger of getting lost in a result of just impressive “ambient” but musically meaningless sounds, is overpassed in Theodorou’s case, at first by his very dense compositional language.
But also by his almost obsessive tendency to sculpture thoroughly the musical structures. By his sense of “development” regarding his themes and motifs. By his manner of blending in multiple layers abstract and concrete sound elements.
Moreover, his works include very subtle references to styles, composers and music eras, as Theodorou likes to “visit” very effectively numerous sound atmospheres (traditional, religious, romantic, even experimental ones). But these references do not lead to a pathetic sound and style mimicry. They are assimilated in a compact and wealthy original framework of personal musical ideas, due to their deep transformations in Theodorou’s compositional personal style (and often through his special ways to use technology). Thus, playing with terms, his music, acquires through such stylistic and cautious references to composers and several music eras, an exceptional, “poetic” character …”
Excerpt from an interview (1991) with P.Theodorou about his tendency to combine music with other forms of art
“… Unfortunately, in this lifetime, it seems that I will never become a director, a choreographer, an actor. But never mind. All the same I like very much to explore these fields.
I do not always like first to finish a composition and only THEN give it to a choreographer to invest it with movement. And I do not like as well to work with an actor or a director as two strangers.
In any case, when I have enough freedom in a commission that may combine art – fields, I enjoy it very much. I have the possibility to imagine the movement or the direction of the stage action at the SAME time that I am structuring my music and, even, if the case is such, to design draftily the movement or the theatrical stage action.
In this way, having in mind not only the sound but also the stage parameters, I extend for myself the meaning of the terms “inspiration” and “composition”, as I work from the very beginning with material of multiple nature: sound, text, movement, images (see “Ars Moriendi”, and “3 dance-theatre pieces”).
Of course, for the final development of such multi dimensional art-works, I most often collaborate with artists from these specific art fields. Anyway, working like that is fascinating, as I touch my primary, profound, undifferentiated artistic and creative sensitivity. I overpass often useless boundaries in creativity. I enrich my music with other expressive languages and I have the pleasure to share unique and precious working experiences with my co-operators …”