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LSU Historical Dissertations and Theses Graduate School

1988

"Enantiodromia" by Jani Christou and an Original

Composition, "Symphony No. 1".
Aristocles Carastathis
Louisiana State University and Agricultural & Mechanical College

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 O rd er N u m b e r 8 8 1 9 9 2 7

“E n an tiod rom ia” by Jan i C hristou and an original com p osition ,

“Sym p hon y N o . 1”

Carastathis, Aristocles, D.M.A.

The Louisiana State University and Agricultural and Mechanical Col., 1988

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UMI
 ENANTIODROMIA BY JANI CHRISTOU
AND
AN ORIGINAL COMPOSITION, SYMPHONY NO. 1

A Dissertation

Submitted to the Graduate Faculty of the

Louisiana State University and
Agricultural and Mechanical College
in partial fulfillment of the
requirements for the degree of
Doctor of Musical Arts

The School of Music

by

Aristocles Carastathis
B.A., University of Northern Iowa, 1981
M.M., University of Northern Iowa, 1983
May 1988
 ACKNOWLEDGMENT

I wish to express my appreciation to my advisor Boyd

Professor Dinos Constantinides for his enthusiastic guidance

and encouragment for without them this dissertation whould

not have been possible. I also wish to thank the members

of my doctoral committee Dr. Paul Hayden, Dr. Wallace

McKenzie, Dr. Jerry Davidson, Dr. John Raush, and Dr. James
Retherford for their valuable advice and time. Finally,

this dissertation is dedicated to my loving parents John

and Catherine for their tremendous material and moral support
they have offered me during the entire length of my studies,
and made the persuit of my ambitious dreams a reality.
 TABLE OF CONTENTS

Page
Acknowledgment ................................ ii
Table of C o n t e n t s ........................... iii

List of Examples . . . . . . . . . . . . . . . . v

List of F i g u r e s ................................ vii

List of C h a r t s ................................ viii

Glossary ................................ ix

Abstract ...................................... x

PART ONE . '.................................... 1

The Late Musical Style of Jani Christou and

Analysis of the Composition Enantiodromia . . 1
I. Introduction .............................. 1

A. Jani Christou and General Aspects

of His M u s i c ........................... 1

B. Terminology and Notation as they Appear

in Christou's LateWorks ............ 6
II. Enantiodromia for orchestra .............. 11

A. I n t r o d u c t i o n ......................... 11

B. Explanation of Notational Devices . . 12

C. Analysis ................... . 22
III. S u m m a r y ................................... 58

PART T W O ......................................... 60
Symphony no. 1 in three movements............ . 60
I. Instrumentation.............................. 61

II. First M o v e m e n t ............................. 62

iii
III. Second M o v e m e n t .............................. 99

IV. Third M o v e m e n t ............................. 148

Bibliography ................................. 207

Appendix

Additional Symbol Explanation ............ 209

V i t a .............................................210

iv
 LIST OF EXAMPLES

Page
Example 1. Area Marks............................... 13

Example 2. Application of the Scatter Sign.......13

Example 3. Application of the Synchronization Sign. 13
Example 4. Application of the Stop Dead Sign. . . . 14
Example 5a. Duration Indicator of notes
with vibrato. . . . . . .............. 15
Example 5b. Duration Indicator of notes with
vibrato and dynamic fluctuation......... 15
Example 6. .Duration Indicator of fast repeated
notes................................... 16

Example 7. Duration Indicator of notes

with tremolo............................ 16
Example 8. Duration Indicator of random angular
melodic lines........................... 16
Example 9. Duration Indicator of trills............. 17

Example 10. Duration Indicator of sustained notes

with crescendo.......................... 17

Example 11. Duration Indicator of a continuous

improvisation........................... 17

Example 12. Application of general notational

specifications to selected patterns. . . 21

Example 13. Same patterns executed by different

instruments. .......... .28
Example 14. Comparison of selected patterns.......... 29

Example 15. Highly active patterns................... 31

Example 16. Pattern 12/a...................... 31

Example 17. Patterns 15/a and 15/b................... 33

Example 18. Pattern 4/a/i............................ 33

v
 page
Example 19. The note A is approached by half-steps
from above and below.................. 36

Example 20. Continuous change of cluster root. . . . 37

Example 21. Patt-cvr-n—&/a . .........................41

Example 22. Pattern 1 0 / a . ................... 42

Example 23. Unconventional playing on the piano. . . 50

Example 24. Percussive effects on string

instruments............................50

Example 25. Unusual sound effects.................. 50

vi
 LIST OF FIGURES

Page
Figure 1. Brackets.................................... 14

Figure 2. Duration Indicator....................... 15

Figure 3. Pitch Indicator of one note only.......... 18

Figure 4. Pitch Indicator of the entire range

of a cluster............................... 18

Figure 5. Pitch Indicator of the entire range

of an instrument........................... 19

Figure 6. Pitch Indicator of extreme range

in one direction only...................... 19

Figure 7. Pitch Indicator of selected notes

of a cluster............................... 19
 LIST OF CHARTS

Page
Chart 1. Dynamic Structure......................... 25
Chart 2. Cluster Root Movement..................... 38
Chart 3. Density Structure......................... 44

Chart 4. Instrumental Timbre Change............. 49

Chart 5. The five registers of Enantiodromia. . . 51

Chart 6. Alternation of narrow and wide

frequency range sections.............. 53
Chart 7. Frequency Structure....................... 55
 GLOSSARY

Anaparastasis: Re-enactment. Christou used it as a title

for 130 compositions which re-enact ancient rituals.
Enantiodromia: "Race against," or "race of opposites."

Epicycle; Title of one of Christou's compositions that

pertains to the idea of the cycle.
Meta-music: Term that implies extension of music toward
other realms of expression, as suggested by the
prefix word "meta, meaning "after or "beyond."

Metapraxis; Any action that goes beyond the normal manner

ot performance in a specific medium.
Mysterion: Mystery or ritual. Title of one of Christou's
works from 1966, for soloists, choirs, actors,
orchestra, and tape.

Oresteia: Incomplete opera by Christou basing its subject

on the story of Orestes, the son of Agamemnon, king
of Mycenae.

Patterns: Events of any action (musical or non-musical),

used by Christou as primary material for the
construction of a composition.

Praxis; Action. Christou considers praxis any action

that stays within the boundaries of normal performance
in a specific medium.

Psychoid; Pertaining to psyche (soul). The psychoid

Factor in Christou's works intensifies anyalready
border line situation to further extremes in the
same direction.
Synthetic Notation; Notation that provides information
about an effect that is a result of a collective
action of many individual parts.
 ABSTRACT

This dissertation consists of two parts: an analysis

of a composition entitled Enantiodromia by Greek composer

Jani Christou as it relates to the general musical style

of his late works, and an original composition by the author

entitled Symphony No. 1 for full orchestra.

The purpose of Part One is to familiarize the reader

with Christou's approach to composition, especially as

it is evident in his late works. This part is divided

into three chapters.

In the first chapter attention is given to the

biographical background of the composer emphasizing the

philosophical influences on his music and providing a

chronological delineation of his style periods. In the

second chapter specific terms used by the composer in his

late period are introduced and concisely defined to enable

the reader to understand the composer's compositional

techniques. The third chapter is an analysis of the work

Enantiodromia for orchestra, a representative composition

of Christou's last and most mature period. The analysis

includes an explanation of notational devices used in the

composition and focuses on events called "patterns,” which

serve as the main structural components of this work.

The analysis is based on the function of these patterns,

the dynamic and frequency range structure of the piece,

the density and rhythmic content, and the interaction of

instrumental colors.

Part Two of the dissertation is the author’s original

composition for full orchestra entitled Symphony No. 1

in three movements. The work finds its subject in the

idea of "Cultural Dependency," a situation often observed

in underpriviledged nations as they become influenced by

cultures of powerful nations. Many musical elements in

this work express particular culture-shaping ideas, such

as folklore, heroism, hope, struggle, and fear.

Compositional techniques such as sound mass, pandiatonicism,

atonality, modality, indeterminacy, pointillism, and sound

effects are used to represent the aforementioned programmatic

ideas.

Symphony No. 1 is scored for the following instruments:

1 piccolo, 2 flutes, 3 oboes, 2 clarinets, 2 bassoons,

4 french horns, 3 trumpets, 4 trombones, 1 tuba, 4

percussionists, harp, and strings.

 PART ONE

The Late Musical Style of Jani Christou

and Analysis of the Composition ENANTIODROMIA

I. Introduction

A. Jani Christou and General Aspects of His Music

Jani Christou (1926-1970) stands out as a very important

figure in the musical life of post-World War II Greece

for his immense contributions as a composer and as an

innovator of a distinct musical ideology. His pursuit

of ideas about music composition and the integrity of his

personal musical style have gained him respect in

international music arenas and have placed him among the

most important composers of his native Greece.

The purpose of this study is to acquaint the reader

with the composer's personal music idiom and to analyze

a major work entitled Enantiodromia for Orchestra. This

work clearly illustrates most of the constituents of the

composer's musical style during his last and most mature

period. Many of his compositional techniques are evident

in the work in question. Consideration is given to the

exploration of the composer's general musical language,

in particular, his distinct music vocabulary which is widely

used in all of his late compositions. The extra-musical

1
 2

factors such as his biographical background and his

philosophical tendencies, are discussed in connection with

this work. The non-traditional notation used in

Enantiodromia requires an identification of specific terms

and notational devices which are present throughout the
piece.

Jani Christou was born in a suburb of Cairo on January

8, 1926. His brother Evangelos, a renowned psychoanalyst,

had a tremendous impact on his personality and his music.

Jani Christou studied at Victoria College in Alexandria

until 1945. In 1948 he received a M.A. degree in philosophy

from King's College in Cambridge, where he studied with

Bertrand Russell and Ludwig Wittgenstein. From 1945 to

1948 he also studied composition with Hans Ferdinand Redlich

at Letchworth, and orchestration with F. Lavagnino in Rome.

Additionally, he attended two summer music courses at the

Accademia Musicale Chigiana in Siena (1948 and 1949), and

several psychology courses at the Jung Institute in Zurich.
From 1960 he lived on the Greek island of Chios, and from
about 1967 in Athens. He died in an automobile accident
on January 8, 1970.

As a result of his association with Jung, his extensive

involvment with philosophical studies, and the influence

he received from his brother, Christou became a mystic

in both his personal life and his musical creativity.
 3

Besides philosophy and psychology, other factors that played

a significant role in the development of his musical style

were the study of prehistoric cultures, supernaturalism,

eastern religion, and his concern with contemporary

technological problems. Each composition delt with a

particular philosophical problem. Only after much

introspection did the solution of such a problem yield

a new composition. Such work was then completed in a very

short period of time.

Christou's music may be divided into three periods

characterized by a continuous evolution of artistic

integrity. Although his late works are considerably

divergent stylistically from his early ones, they nonetheless

contain the same fundamental ingredients of his musical

language.

While he began composing in 1943, his first important

work was a free atonal piece titled Phoenix Music for

orchestra (1948/49), which marks the beginning of his first

period. In this early style (1948-1958) emphasis is placed

on linear polyphonic constructions using intervallic motives

of an extremely narrow range. Other major works from that

period include the First Symphony (1951), the Latin Mass

(1953), the Six Songs on Poems by T.S. Eliot (1955), and

the Second Symphony (1958).

 In his second period (1960-65), an expansion of serial

techniques appears in the form of various rhythmic ostinatos

forming compact polyphonic settings. These rhythmic

ostinatos are the first manifestation of the composer's

inclination towards what came to be the focus of his

compositional concern in later years: the "patterns."

His composition titled Patterns and Permutations for

orchestra (1960) serves as a vivid example of his

predilection for the term "pattern." Major works of the

second period also include the Toccata for piano and

orchestra (1962), music to Prometheus for chorus, orchestra

and tape, and the oratorio Tongues of Fire (1965).

Christou's third and last period is the culmination

of his musical aspirations. These aspirations were governed

by a desire to fuse music with all forms of art, philosophy,

and introspection. This period establishes his most distinct

means of musical expression, which is conveyed in the form

of events of extreme intensity controlled by philosophical,

theatrical and psychological forces. During the last years

of his compositional effort, new terms were introduced

and new notational systems were incorporated. Although

"patterns" were used in the works of the second period,

it was during the last period that they were fully

implemented. Indeed, they became the essential material

of his compositions. The "patterns" represent ideas carried

out as complex systems of events both auditory and visual.

Representative works from this period include an oratorio

for soloists, three choirs, actors, orchestra and tape

with the title Mysterion (1965/66), 130 Anaparastasis

(1965/70), Praxis for 12 (1966), Epicycle (1968),

Enantiodromia (1968) for orchestra, and an incomplete opera

titled Oresteia (see glossary).

Christou was intrigued by the idea of the cycle as

a determining factor of his musical form inasmuch as cyclical

tendencies are found in all of his late works. The general

characteristics of the cycle are established by a gradual

crescendo from silence to an enormous climax. This climax

is very often succeeded by further outbursts of sound

which are beyond toleration, only to suddenly fall to an

ineffable nothing. It is suggested that the end of a

composition may be considered as a new beginning for a

continuous, infinite cycle. Christou's preoccupation with

the idea of the cycle takes on ironic overtones when we

consider that his life both began and ended on the same

date, January 8. His cyclical forms are much like the

life cycle of Phoenix, the legendary bird that is perpetually

resurrected from its own ashes, slowly reaches great glory,

and burns itself to ashes, only to be resurrected again.

 6

Enantiodromia makes extensive use of unusual notational

devices, terms, and specific compositional techniques which

are representative of Chistou's late musical style, the

reason for the choice of this particular piece for analysis.

A concise definition of these terms, devices and techniques

is essential not only for a realistic analysis of this

work, but also for a general understanding of the composer's

music.

B. Terminology and Notation as they Appear in Christou's

Late Works

The following terms have been classified and exemplified

by Yiannis Papaioannou-1 in the leaflet of the sound recording

Jani Christou Late Works, EMI 14C063-70030, 1974. The

aforementioned source is the only one available that includes

precise information on the specific compositional techniques

of Jani Christou. It is my intention to define these terms

according to my own conception. A drastic deviation,

however, from the composer's definitions as cataloged by

Papaioannou could possibly result in a misinterpretation

of Christou's ideas.

Meta-music: The term freely interpreted means "beyond

music" or "after music." The composer's profound concern

1. Yiannis Papaioannou is a well known musicologist and

an authority on Greek contemporary music. He maintains
a music library at his home in Athens which consists of
an impressive number of scores by Greek composers.
 7

with philosophical and psychological ideas dictates an

integrated, ritualistic, broad conception of music,

incorporating other arts such as theater, poetry, film,

dance, to mention a few. In distinction from the multimedia

approach, meta-music is a "broader art synthesis that

envelops the listener-spectator from all sides, and sets

him into vibration with unusual intensity through all his

p
senses and his intuition." While multimedia can be a

combination of artistic expressions conceived and realized

at different times and even by different artists, meta­

music requires the contemporaneous creation and simultaneous

performance of all aspects of the work. The ritualistic

nature of such compositions becomes evident in performance

which encourages audience "participation" to such an extent

that the work acquires a ceremonial quality. Furthermore,

the composer does not specify an exact location for the

performance of the music. It can take place in any natural

or artificially constructed surroundings. The most important

factor in the performance of a work is the intense

ritualistic involvment of both performers and audience.

Patterns: These are any active or static system

of events, either musical or non-musical, executed by a

2. Yiannis G. Papaioannou, "Jani Christou Late Works,"

program notes of record EMI 14C063-70030, 1974.
 8

group of performers, and they serve as functional material

of a composition (much like melodies and harmonies in

conventional music). The "patterns” have their own distinct

qualities and can be either auditive, visual, psychological

or philosophical (such as movement on stage or participation

in a meditative act). The cataloging of the patterns

provided the composer with a collection of preconstructed

compositional ideas with which he could build an entire

composition. This type of material served the composer

as a shorthand technique enabling him to complete a

composition in a very limited time after its initial

conception. Although the patterns had an autonomy of their

own and they could exist independently, they were considered

inactive by Christou; they could only acquire an organic

function when they became part of a complete composition.

The development of these complex individual events, called

patterns, were used in a way similar to how melodies and

harmonies are used in a conventional composition.

Synthetic Notation: With this term the composer denotes

the use of a graphic or pictorial representation of the

music. Many of the patterns cannot be effectively notated

in traditional notational systems without becoming extremely

complicated. Other events, such as human screams, noises,

electronic sounds, cannot be conventionally notated at

all. The synthetic notation was a necessity and consisted

 9

of drawings, instructions to performers, and illustrations,

along with traditional musical markings, all following

a consistent set of general rules in a way so that performers

and conductor could instantly recognize their function.

It provided a picture of the collective overall result

of many sounds and other types of action instead of showing

the individual parts of each performer. The greatest

advantage of this system was that an entire composition

could be written down in a sketch form by the composer

in a very short time, while the realization of the final

score and the individual parts was a mere copyist's task.

It also provided the conductor with a clear macroscopic

picture of all the interacting parts as a whole in a score

of a reasonable size.

Metapraxis-Praxis: These two terms are defined in

Christou's own words: "Any action which requires its

performer to go beyond the current logic of the medium

to which he belongs is a 'metapraxis,' and it is purposefully

'non-characteristic' [of that medium]. Conversely, any

action which does conform with the current logic of that

medium is a 'praxis' as long as it is purposefully

'c h a r a c t e r i s t i c ^ For instance, a pianist who plays

the piano performs a praxis. When the pianist

3. Jani Christou, Enantiodromia, introductory notes,

J. @ W. Chester Ltd., London: 1970.
starts acting, crawling, jumping, or, in general, engages
in any activity that is unrelated to his instrument, he

performs a metapraxis. Metapraxis is a result of an

uncontrolled desire to go beyond the normal boundaries

of performing in a specific medium. For Chistou metapraxis

invariably occurred as an extention of tremendous climaxes.

Metapraxis was featured in all of his late works, and is

symbolized by the letter M . Another symbol that usually

appears in conjunction with a metapraxis is the greek letter

(psi), and it is described as a "psychoid factor." The

psychoid factor controls the psychological aspect of a

particular moment in the music. When used, it intensifies

any border line state to furtherextremes in the same

direction. For example, an already loud passage becomes

deafening when the sign '"Z: is applied to it.

 II. Enantiodromia for Orchestra

A. Introduction

In literal translation, the title means "Race against"

or "Race of opposites" from the words "Enantio" meaning

against or opposite, and the word "Dromia" meaning race.

The composer himself relates the title to Heraclitus' concept

of the play of opposites, that is "a constant transformation

of opposites in an eternal flux--in a sense that any

condition and its opposite are the same, only at different

stages of oscillation.

Enantiodromia is scored for 2 piccolos, 4 flutes,

3 oboes, 3 clarinets, 4 horns, 4 trumpets, 4 trombones,

1 tuba, 8 first violins, 8 second violins, 8 third violins,

8 violas, 8 cellos, 6 double basses, 1 amplified grand

piano, and 2 sets of percussion with three performers each,

plus an amplified "explosive section" of three performers

operating large amplified percussion instruments. It was

completed in 1968 and premiered on February 18, 1969, in

Oakland, California, by the Oakland Symphony Orchestra,

conducted by Gerhard Samuel. The approximate length of

the piece is fifteen minutes.

4. Ibid.
11
 12

B. Explanation of Notational Devices

Enantiodromia is primarily based on recurring events

called ’’patterns" each with its own distinct characteristics.

The patterns are numbered in the score and are presented

in a space-time synthetic notation. Although at first

this type of notation may appear difficult to interpret,

it does provide quite detailed information about the manner

of execution for a particular event. One only needs to

know the general specifications of a pattern such as entry

point, pitch, duration, dynamic level, and a pictorial

representation of the desired result in order to get an

accurate grasp of its notation. All the characteristics

of an event are indicated on the score by the use of a

number of symbols and signs. The general characteristics

of the symbols and signs are explained and labeled in the

score according to Christou's specifications. They fall

into the following categories:

1. Traffic Signs:

They determine the organization and movement of both

individual and collective forces. There are four such

signs:

a. Area Mark: Indicates the beginning and the

duration of an area. It is the equivalent of a cue aiding

the conductor.
 13

5"

011ar
if.

Ex.l Area Marks.

b. Scatter Sign: Indicates that each member of

the group performing the same pattern takes liberties in
its execution in such a way that an overall effect of

constantly shifting random relationships is created.

lMrr<i«

v//,;/•

Ex. 2 Application of the Scatter Sign.

c. Synchronization Sign: Indicates that all

members of the group performing the same pattern synchronize
their playing.

M/a/i

vfCtlli

Ex. 3 Application of the Synchronization Sign.

 14

d. Stop Dead Sign: f Indicates that the performing

group or the individual performer must achieve a complete
and abrupt stop without any residual sound.

8"
69

•Ex. 4 Application of the Stop Dead Sign.

2. Continuity Signs;

These signs provide information about the "unfolding" of

a pattern, whether it is repeated, permutated or unchanged.

There are two such signs in Enantiodromia:

a. Brackets: They enclose an event and they are followed

by a "duration indicator."

Vim 2 |
tvl-HTTU
I

Fig. 1. Brackets,
b. Duration Indicators: They are horizontal lines
of any thickness. They express duration in seconds and
 15

they may be combined with either repeated or non-repeated

patterns.

Fig. 2. Duration Indicators.

There are several variations of duration indicators, and

they are presented pictorially. They have a general

horizontal direction from left to right and may be

categorized as follows:

i. Sustained note with vibrato.

l*»rr.W»l

Ex. 5a. Duration indicator of a note

with vibrato.

r
Ex. 5b. Duration indicator of a note
with vibrato and dynamic fluctuation.
 16

ii. Fast repeated notes, such as tremolo in the strings

or flutter-tongue in the woodwinds.

i*snm\ I

Ex. 6. Duration indicator of fast repeated notes.

iii. Tremolo with changing pitches.

XI£\ 9" EH B"
& 4TT.4la\

^
fiftt

Ex. 7. Duration indicator of notes with tremolo.

iv. An erratic line of changing pitches.

M
15"'
n.y
i»m»/a\ %
\ID5" HD

U l ________

Ex. 8. Duration indicator of random

angular melodic lines.
 17

v. A trill.

fa™B/a\^
—-2 — ..--i
«
----- - ---- — «— — --- .— ---- --- --- ---- -
£= ... ---- *— - """ fr~‘— * - ---- i--- ±1-.;--::—
*
.- — k ---- 1■ — <y..■■■*■ - frr.r.Tr-...... ..—
Ex. 9. Duration indicator of trills.

vi. Sustained notes with crescendo.

7f

Ex. 10. Duration indicator of sustained notes

with crescendo.

vii. Continuous improvisation

0N(
OHty

Ex. 11. Duration indicator of a continuous

improvisation.

3. Pitch Indicators:

There are also pitch indicators that are followed by various

symbols. The symbols indicate how the pitches operate

 18

in any particular pattern. The following pitch symbols

are found in the piece:

a.

Fig. 3. Pitch indicator of one note only.

The pitch indicator of figure 3 requires each player to

perform a particular pattern on only one note within the

range of the cluster indicated by the vertical sign.

b.

~ 7 P f =
or -

Fig. 4. Pitch indicator of the entire range

of a cluster.

The pitch indicator of figure 4 requires each player to

keep performing a particular pattern on the entire range

indicated by the vertical arrow.

Variations on the same principle appear in the

following forms:
 19

c. •I* •
A

Fig. 5. Pitch indicator of the entire range

of an instrument.

The pitch indicator of figure 5 requires each player to

perform a particular pattern using a very wide range,

including the outer limits of the range of the instrument,

d.

8va ■•

Fig. 6. Pitch indicator of extreme range in one

direction only.
The pitch indicator of figure 6 requires the players to

include in their playing the extreme registers of their

instruments in one direction only (high or low).

Fig. 7. Pitch indicator of selected notes

of a cluster.
 20

Figure 7 shows a pitch indicator of selected notes of a

cluster. This is a combination of a. and b.. Each player

performs a particular pattern using more than one note
of the cluster indicated by the vertical sign, but not
all of them.

The range of the piano is divided to four pitch areas

and are labeled SATB. Pictorial notation is used to indicate

the use of the hands or other objects, such as a heavy

ruler and a cup on the strings of the piano. This notation

consists of .specific drawings that show the performer how

to execute a particular pattern.

The symbol M is used to indicate the beginning

of a metapraxis. The psychoid factor {JJ is applied in

order to enhance an already intense situation to further

extremes.

By applying the general specifications of the notation

to any pattern found in Enantiodromia, one should have
a clear understanding of the desirable resulting sound.

Let us consider example 12.

1. Pattern 6/a is interpreted as follows: Each player

performs a tremolo (tremolo sign) throughout the range
between C# and E (vertical arrow) starting at random time

intervals (scatter sign) for 14 seconds (between area mark

57 and 60).
 21

2. Pattern 5/a indicates that each player will perform

throughout the range between A and D using harmonics
(diamond shapes) in short, irregularly interrupted sustained
notes (horizontal lines). The players may enter and exit

at will.

bsp |

tutmn

in0tm

Ex. 12. Application of general notational

specifications to selected patterns.

3. Pattern 5/b is a variation of 5/a . The only

characteristic that changes is that, instead of sustained

notes, the players play short repeated ones.

 22

4. Pattern 4/b/ii indicates that each player performs

only one note from the cluster E-F# (horizontal arrows)

with vibrato (wave like line).

5. Pattern 10/a indicates that each player performs

only one note from the cluster E-F# repeating as fast as

possible in groups of 2, 3, 4 and 5 notes in a scattered

fashion.

The dynamic level for all these patterns (since there

are no individual dynamics specified) comply with the "basic

dynamic" (B.D.) which appears as the lowest part on the

score.

C. Analysis

Enantiodromia was composed using patterns, which

have been described as events of any type of action of

a distinct identity. The idea of a small musical unit

(motive or cell) is not new. It appears in the music of

many twentieth-century composers, and Christou was obviously

influenced by such composers in the development of his

style. What makes Christou1s use of patterns different

is that they are not just simple musical ideas, vhich is
the case with some avant-garde music, but a complex system
of diverse types of action (musical, theatrical). The
structural analysis of the piece will be based on how thes
patterns function, evolve, combine and interact with each
other. The patterns in the analysis are viewed as primary

complete units, cells or ideas. Other important factors

to be considered in the analysis of the composition are

notation, density, cluster structure, rhythmic content,

frequency range, and instrumental color.

The piece is written in space-time notation and it

is organized- in "areas," which are numbered 1, 2, 3, and

so forth. There are 119 areas and all but area 116 have
an indicated duration expressed in seconds. The duration

of each area varies. There is a variety of unusual

notational symbols such as the psychoid factor ( (fj ) and

the symbol for the metapraxis ((

Aj )• Pictorial notation
is used to indicate movement on stage, explosive effects

and unconventional playing of the piano. Dynamics are

usually part of individual patterns. Where no dynamic

marking is specified the pattern complies with the "basic

dynamic" (B.D.) that controls the entire piece.

Enantiodromia is composed in four cycles with the

form of the piece mainly determined by its dynamics. The
first cycle starts from an extremely soft sound, almos
non-existent (area 1), which rises very slowly to a
climactic "fff" at area 62. The second cycle begins at
area 63 very quietly, much like the very beginning of the

piece. A fast crescendo follows and reaches "fff" at area

68. At area 69 the psychoid factor ( yj ) is applied to

indicate further volume increase until area 70, where the

volume level returns to the previous "fff". The music

continues at that level until area 81 which is the last

area of the second cycle. Area 82 marks the beginning

of the third cycle at an almost inaudible volume level.

A quick crescendo brings the dynamic level to "ffff" at

area 91 and this level is maintained until the end of the

cycle at area 117. At area 118 the fourth and last cycle

of the piece starts from virtual silence and never exceeds

an almost inaudible volume level. The psychoid factor

in area 119 indicates that the existing silence has to

be intensified to a silence of an even greater degree.

Chart 1 depicts the overall dynamic structure of the piec

graphically and in real-time measurements. Area marks

are shown at the beginning of each cycle and at other

important sections.

While the four cycles have a similar dynamic contour

they are not the same. Each starts with a crescendo which

reaches a climactic point but the cycles, however, have

climaxes of different intensity, and are also reached at

different speeds. The first cycle (six minutes and thirty

five seconds long) is considerably longer than any other

C y c l e I_____________________ ) t Cycle II ( C y c l e I I I ________ f T C y c l e IV

02
26

65 2': za + jo

EfP
■"1< f H fff

2 ■ 5 ^ "--- 1 •-------- 3' .o o -f-

Chart 1. Dynamic Structure.

 26

cycle. It also takes longer to build up to a climax than

any other cycle. One may see this cycle as divided in

two parts with the first part ending at area 26 after a

crescendo to "f" and decrescendo to "0". It should be

noted that an attempt to consider this as the first cycle

would be unjustified due to the fact that the climax is

neither very intense nor is it followed by an abrupt cut­

off. The crescendo and decrescendo found between areas

21 and 26 in the violas and the cellos is not a climax,

but merely a "wave" or "pulse" in anticipation of a further

climax. Another such pulse of lesser magnitude appears

between areas 10 and 12 in the same instruments.

The second cycle begins at a slightly louder dynamic

level (ppp) than the first cycle and reaches a maximum

volume level much faster. With the addition of the psychoid

factor at area 69 the volume level reaches extremes. This

point is the loudest in the entire piece and creates an

immense climax. The loud section of the second cycle lasts

more than one minute and thirty seconds, as opposed to

the loud section of the first cycle which lasts only an

instant (area 62).

The third cycle has a similar beginning to the second

cycle. Once it reaches the maximum volume level it maintains

that level for two minutes and twenty seconds, longer than

the loud section of the second cycle.

 27

The fourth cycle is an epilogue that never evolves

to a full climax. Instead, it brings the piece to an end

quite similar to the beginning of the composition. In

this manner the entire cycle of the composition is completed.

We have observed that all of the cycles have similar

beginnings but different continuations in terms of dynamics.

Furthermore, each new cycle is an expansion of the previous

cycle in both duration and intensity of the climax. The

fourth cycle does not comply with this general rule but

has its own importance by completing the entire cycle of

the piece.

Enantiodromia is based on a textural transformation

idea. The texture appears as a pitch mass which contains

both semitones and microtones. The transformation of the

texture results from the superposition and combination

of the various patterns. Some patterns may be executed

by diverse groups of instruments leading to a coloristic

transformation of the texture of the piece. For instance,

Patt.l/a is executed by all the groups of violins (areas

1, 2, 3), violas (area 49) and cellos (area 50). Also,

Patt.4/a/iii is executed by the flutes at area 24 and the

piccolos at area 66 (ex.13). The same pattern, however,

can be shared by instruments of the same family (strings,

woodwinds, brass, percussion). Other patterns are performed

exclusively by a particular group of instruments. For
example, Patt.lA appears only in the trumpets.

Ex.13. Same patterns executed by

different instruments.

Almost-all of the patterns carry a number, and pattern

with different numbers may or may not be related directly.

For example, Patt.l is entirely different from Patt.2,

but Patt.8/b and Patt.9/b (area 69) share similar forms.

In this case they use a number and a letter. If a pattern

is a further variation of another pattern which carries

a number and a letter, then a Roman numeral is added to

the pattern. Consider the comparison of the patterns of

example 14. All of the patterns have the same pitch

indicators. Patt.4/a/i and Patt.4/a/ii have the same pitch

indicators but different dynamics. Patt.4/b/i and

Patt.4/b/ii have the same pitch indicators as the previous

patterns, but they also have vibrato indicated. In addition

Patt.4/b/i involves a crescendo and decrescendo, something

that Patt.4/b/ii lacks. The origination of a particular
pattern can be easily determined simply by observing its

number, letter, and numeral.

 29

a.

<Mrr.4/a/«~
rtnj# ttrtfy
V/C'lli

C.

350

d.

»lc
aaiaiu
ViAr.

Ex. 14. Comparison of selected patterns.

The energy level of the piece is defined by the

rhythmic complexity of the various patterns. At the

beginning of the piece, a sound mass is formed only by
 30

sustained short notes at a very high pitch (Patt.l/a).

With the introduction of Patt.3/a at area 5 and Patt.5/a

at area 7, the sound mass becomes more active, since pitch

changes are also involved.

At area 15, Patt.6/a increases the energy of the

sound mass with the introduction of tremolos on various

changing pitches. When Patt.6/a is adopted by all violin

sections, the rhythmic activity of the piece increases,

especially when it appears in succession with Patt.5/b

(areas 15 to 44). With the entrance of Patt.lO/a at areas

44 and 45, the intensity of the piece is enhanced. Between

areas 49 and 62, there is a recycling of previously used

patterns, especially the ones that contain high energy.

In this section the energy level of the piece is gradually

increased to create a climax. This first climax of the

piece is reinforced by the addition of Patt.14 in the

trumpets and Patt.ll/a in the first and second violins.

At the beginning of the second cycle (area 63), the

crescendo is rapid and so is the increase of the activity

level of the patterns. Highly active patterns, such as

Patt.lO/a, Patt.5/a and Patt.6/a succeed one another in

close proximities. Area 69 is dominated by the very active

Patt.8/a, Patt.8/b, and Patt.9/a (ex. 15). The entire

orchestra plays at a deafening volume level (dictated by

the psychoid factor). Area 69 also signals the appearance

 31

of a metapraxis for the first time in the piece. It is

acted out by the conductor, who performs Patt.29 by slowly

raising his right arm to a forty-five degree angle and

then lowering it very quickly to its original position.

Every time a metapraxis takes place, the rhythmic activity

of the piece is increased. A very rhythmic Patt.l2/a (ex.

16) starts at area 70 in the violas and violoncellos, while

the first violins perform a metapraxis at area 71. At

area 76 the piece has become very active with the addition

of Patt.l6/a and even more active at area 77 with the

addition of patterns played by both percussion and brass

instruments. The rhythmic complexity culminates with all

the string players participating in a metapraxis at area

81. The metapraxis is carried out in the form of shouting

numbers. In this cycle we see a gradual escalation of

the energy of the piece illustrated by the use of active

patterns and sections of metapraxis.

wnn»i i v m |*»rr.f/n
4*0 E ■---

-mm**w*
*■ -- - — v-......— ;^ f j =

Ex. 15. Highly active patterns.

*
J
i
l
Ex. 16. Pattern 12/a.
 32

In the third cycle an explosive Patt.28 is spaced

out in equal time intervals of twenty-four seconds each,

between areas 82 and 104. Between areas 86 and 89 the

energy level increases with the massive patterns 15/a,

and 15/b (ex. 17) performed by all the string players.

The patterns 17/a and 17/b, besides being very loud and

having extremely wide range, also include strong accents

until area 95. Between areas 96 and 99, an even stronger

effect is achieved with Patt.l9/b in the trumpets, Patt.6/b

in the piano, the metapraxis in the violins (shouting),

and the explosive Patt.28. Starting at area 95 there is

a general upgrading of rhythmic complexity with the entire

orchestra executing highly active patterns. The patterns

feature steep crescendos, tremolos (Patt.22/a), fast changing

notes (Patt.26, Patt.21/a, Patt.l2/b, Patt.15/c/i, Patt.18),

all at high volume, until area 117 where a sudden cut­

off of the sound takes place. Area 116 displays the greatest

activity concentration in this cycle with the entire

orchestra being involved in a general metapraxis. The

metapraxis has the characteristics of a frantic mob movement.

The duration of this area is left to the discretion of

the conductor. The psychoid factor is used in order to

indicate an absolute lack of order in the behavior of the

performers. The rhythmic activity reaches maximum when

an accelerando takes place (circular notation) at the end

 33

of the area. This is a moment of complete panic and

emotional turmoil.

\pATT IS/a |

Ex. 17. Patterns 15/a and 15/b.

The fourth and last cycle (area 118) is very soft

and the energy level very low. The conductor has already

started a silent metapraxis (arm movement, Patt.29) at

area 117. The volume level is that of a residual sound--

a reverberation--of the instruments that just finished

their playing. The appearance of Patt.4/a/i (ex. 18) in

the third violins (area 119), which was also found at the

very beginning of the piece, enhances the completion of

a greater cycle, the entire composition. Enantiodromia

ends with fifteen seconds of silence, while the psychoid

factor is applied in order to imply a transcendental quality

to these last fifteen seconds.

V/rnJ
e

Ex. 1'8. Pattern 4/a/i.

In terms of rhythmic content, Enantiodromia follows

a clear cyclical design. The first cycle, from area 1

 3^

to area 62, is characterized by a slow rise of activity

in the patterns, The second cycle reaches a very active

level quickly (areas 63 to 81) and stays active for a limited

amount of time. The greatest amount of activity occurs

during the third cycle, and it also lasts for a longer

period of time than the second. The fourth cycle simply

never reaches any considerable amount of activity, and

could very well be considered as a new beginning for a

continuous cycle. It should be noted that the rhythmic

activity is greatly intensified by both the involvment

of a metapraxis and the application of the psychoid factor.

There are certain "melodic" (horizontal pitch

succession) implications in Enantiodromia. These are not

melodies in -a traditional sense, but rather points of

specific pitch dominance. These focal points are delivered

by either a single instrument (piccolo at areas 27 and

31), or by a group of instruments playing in unison (Patt.2).

The succession of such pitches does not really form a melodic

line, but it functions as a means of focusing a particular

cluster towards a specific pitch.

Enantiodromia is dominated by sound clusters and

microtonal effects. Although the piece cannot be analyzed

in terms of harmony and melody, there are some indications

that the movement of the clusters follows a premeditated

scheme. In contrast to the traditional means of determining

 35

the root of a vertical sonority, I chose to use the term

"root" merely to indicate the lowest note of a given cluster.

That low note defines the "pitch area" of the cluster.

The study of the "root movement" of the clusters does not

intend to portray any harmonic progression, but rather

reveal the overall pitch area structure of the piece.

Between areas 1 and 5 the root of the cluster is

E. Patt.2 focuses on the root E by the synchronized playing

of the violas. At area 8 the pitch A in Patt.5/a is exposed

as the lowest pitch of the cluster after the interruption

of all the other patterns. For a brief time (nine seconds)

the root is A until E is re-established at area 10 with

Patt.4/b/i in the cellos and violas. With the introduction

of Patt.6/a at area 15, the root of the cluster becomes

C# until area 29, where the root is again E as dictated

by Patt.3/a in the first violins and Patt.4/a/ii in the

violas. At area 35 A is the root of the cluster for twenty

seconds until area 39. It is found in the Patt.5/c in

the cellos. At area 39, Patt.6/a in the cellos establishes

C# as the root of the cluster. At area 46 the root is

E (Patt.8/c in the flutes, Patt.10/a in the first violins)

until area 70. Between areas 46 and 70, there are several

instances where other pitches have the tendency to become

roots of the clusters. For example, at area 57 C# is the

lowest note of the cluster (Patt.6/a in the first violins).

 36

At area 62, Patt.14 brings out G# as the lowest note, and

at areas 64 and 66, the A in the piano part is the lowest

note. These pitches, however, are considered secondary

to the pervading E, due to their short duration. At areas

64 and 66, the note A in the piano creates a degree of

ambiguity since it carries a very loud dynamic marking
(sffffz). Similarly, between areas 82 and 84 the pitch

A in the piano, french horns and trombones is very strong,

but it exists in the midst of an E dominance (strings,

flutes, piccolos). In these areas (64-66 and 82-84), the

root fluctuates between E and A. Furthermore, the importance

of the pitch A is enhanced by the pitches G# and Bb found

in the trumpets at area 62 (Patt.14), if we consider the

fact that they converge to the note A in the piano at

area 64 (ex. 19). This kind of approach to A by half­

steps from above and below has strong tonal implications.

At area 70 the root is C#, while beginning with area 76

and continuing through area 81 the root is obscured by
Patt.16. The pitch E, however, is still considered the

root of the cluster (Patt.9/a).

hfthand
Jlrm ^rcr/«rt
v m n « #«icr

I *

Ex. 19. The note A is approached by half-steps

from above and below.
 37

At area 82 the root is E (Patt.4/a/ii). A reference

to A is made at area 83 in the piano. At area 84 the root

of the cluster is C#, found in the strings (Patt.12/a),

until area 86 where it becomes E (Patt. 15/a). The cluster

between £# and Bb of patt.15/c/i at area 105 "resolves"

to A in the tuba at area 108 (Patt.lO/c). At area 110

the E in the tuba (Patt.lO/c) and the strings (Patt.13/a)

is the root of the cluster. At area 113 the emphasis is

placed on C (Patt.lO/c). The importance of these pitches,

however, is questioned between areas 98 and 116 because

of Patt.18 and Patt.20. These patterns indicate a succession

of pitches that cover the entire range of the double basses,

and in essence the low note changes continuously (ex. 20).

At the end of area 116 and through area 117, E becomes

important in the woodwinds (Patt.21/b, Patt.l3/c) and the

strings (Patt.9/a, Patt.4/b/ii). E also dominates the

end of the composition at area 119 in the strings (Patt.7/b

and Patt.4/a/i). Chart 2 depicts the overall cluster root

movement as it is related to the four cycles of the piece.

It is noted that roots in parentheses are very weak due

to their short duration. Therefore, their tonal impact

is minimal.

Ex. 20. Continuous change of cluster root.

 -*S_ s' 5 •' do" Jo" 20” 30" .. <35'"

CD ms tm 29 E3 m
Cycle

E (A) E cf E A Cft E (E)

_

rf t L L Z ---- --- jjr.Z..

II

E3CHI [H] [66] [75] [Ti] [J7]

Cycle

(E) (A) E (A) Cft (E) E

------------ t

to” o* to"___________u s * _____________ is* \V’ m ” it-''

III

mi m H3 Q U [ m 3 [TToj Q n ] Q 16] [us]

Cvcle

E (A) C ft E (A) (E) (C) E

________________________________________ f

45* 30tf
IV

ins] mi] no
Cvcle

: *
Chart 2. Cluster Root Movement.
 The clusters are built on pitches that follow an
almost regular design. In the first cycle (areas 1 to

62), the predominant pitches are E, C#, and A. They appear

in the following order:

E C# E A C# E

Each individual pitch area lasts a considerable amount

of time (see chart 2), with the E pitch area lasting the
longest.

In the second cycle (areas 63 to 81), the same pitches

prevail and they appear in the following order:

EA^C#""' E

In this cycle the EA pitch area lasts the longest.

In the third cycle (areas 82 to 117), the pitch areas

succeed one another at a faster rate than in any of the

previous cycles. The pitch area built on E dominates

throughout this cycle, in spite of the ambiguity that is

created between areas 86 and 113. The overall pitch area

design of the third cycle is:

 40

The fourth cycle is entirely built on the pitch area E.

E E

It is apparent that all four cycles have similar

general characteristics in terms of pitch area structure.

All cycles begin and end with a pitch area built on E.

Furthermore, the secondary pitch areas revolve around the

notes A and C#. These three pitches outline an A major

chord, while the presence of the pitch Cb signifies the

inclusion of bi-modal properties in the piece.

An overview of the pitch areas of the entire piece

indicates the following almost palindromic design:

Notably, if the ACb pitch area was absent the palindrome

would have been exact.

It is interesting that, in a composition which

undoubtably lacks tonality, there is such a strong evidence

of tonal and modal interplay. This is perhaps an indication

of the intuitive process taking place in the composer's

mind that guided Christou in his effort to fuse, practices

of the past with concerns of modern times.

 41

The density fluctuation of Enantiodromia is very

closely related to the dynamic changes of the piece. From

area 1 to area 4, the sound cluster is quite compact, but

relatively thin. It is mainly comprised of high pitch

sustained notes in the violins (Patt.1/a). Between areas

4 and 14, there is a slow gradual thickening of the sound

by the addition of Patt.2 and Patt.4/a/i. The change is

not very drastic, and the instruments involved are limited

to violins, violas and cellos. Between areas 15 and 28,

Patt.6/a in the violins (ex. 21) is prominent, and it

increases the density of the piece. At area 24 the texture

becomes thicker with the entrance of the flutes, followed

by the piccolos at area 27.

t vll+
wrgfm. I

fl
Ex. 21.
14449999999999144

Pattern 6/a.

There is a further gradual density surge with Patt.10/a

in the violins (ex. 22) at areas 44, 45, and 46. With

the addition of the flutes playing in four parts at area

46 (Patt.8/c), and the introduction of the trumpets at

area 62 (Patt.14), the density reaches a higher level.

This is the most compact area of the entire first cycle.

There is a general slow increase of the density in this

 42

cycle, and it mainly comes from the addition of instruments

and the progressive involvement of intricate rhythmic

patterns.

Ex. 22. Pattern 10/a.

The beginning of the second cycle (area 63) is thin,

but it quickly re-establishes its previous density with

the entrance of the flutes (Patt.4/a/ii) at area 65, the

piccolos (Patt.4/a/ii) at area 66, and the oboes (Patt.l/b)

at area 67. At area 69 the clarinets add thickness to

the density with Patt.l/b. With the beginning of the

metapraxis in the strings at area 70, the texture is very
thick, and becomes even thicker with the introduction

of the two percussion groups and the horns at area 77,

the trombones (Patt.lO/b) at area 78, and the trumpets
(Patt.14) at area 79. The cycle ends with the explosive

Patt.28, which represents the greatest amount of density

of this cycle. The overall density of the second cycle

involves a rapid increase of sound, and it is considerably

greater than that of the first cycle.

The third cycle of the piece, which starts at area

82, is extremely dense. The basic background sound is
 43

provided by the strings and the woodwinds, while points

of greater tension and thickness are created primarily
by the explosive section (Patt.28), and secondarily by
the brass (areas 83, 88, 91, 102, 105, 108, 116), the piano

(areas 83, 85, 103, 105, 108, 113, 116), and the percussion
groups (areas 101, 106, 108, 116). At area 90 the double
basses appear for the first time in the piece with Patt.l7/b,
and re-appear at area 99 (Patt.18), area 112 (Patt.20),

and areas 115 and 116. The end of area 116 represents
the maximum density of the composition, with the entire

orchestra playing a variety of complex patterns. An immense

climax is achieved at that point which results in a very
compact texture.

In the last cycle, starting at 118, the density is

virtually non-existent, and at 119 it is very thin. As

a whole, the third cycle of Enantiodromia is the most dense

of all.

The overall density structure of Enantiodromia can

be summarized in the following manner: The first cycle

is characterized by a thin texture which is determined

by high pitches in the strings. In the second cycle an

increase of the density results from the employment of

more active patterns and the introduction of additional

instruments (woodwinds, percussion, and brass). The third

cycle includes very dense clusters of sound and highly
 Cvcle II Cvcle 111
Activity
Polyphonic

— — irnnnriiTlTnTllillTTIT^^I
Chart 3* Density Structure.
 45

intricate rhythmic patterns. The density of the fourth

cycle is very sparse. Chart 3 is a graphic representation

of the density level of each cycle of Enantiodromia. There

is an apparent escalation of the amount of density in the

first three cycles. Additionally, the texture reaches

higher density points and in much shorter time with each

new cycle. The fourth cycle is very similar to the beginning

of the first cycle in terms of density. The textural

permutations of all cycles are reminiscent of the previously

studied dynamic contour of the piece.

Instrumental colors are used very effectively in

Enantiodromia. They operate very closely with the other

musical aspects of the piece, such as the dynamic range,

the density fluctuation, and the rhythmic content. The

choice of instruments performing at a particular time is

important in the enhancing or diminishing of all these

aspects. For the first three cycles the general instrumental

timbre layout is based on an additive procedure. In the

first cycle only a few instrumental sections are involved.

Additional instruments are present in the second cycle

and even more in the third. The fourth cycle does not
comply with the same design as it involves only one

instrumental section.

The rather sustained and quiet nature of the first

cycle is carried out by string instruments (violins, violas,
and cellos), and woodwind instruments (flutes and piccolos)
In the second cycle additional families of instruments

make their appearance, such as brass and percussion, but

the overall sound is dominated by the strings. In the

third cycle there is an overwhelming use of all instruments

including the double basses for the first time in the piece

Finally, only violins are present in the fourth cycle.

By examining the time intervals between entries of

new instrumental sections, certain observations can be

made. In the first cycle the woodwinds enter three minutes

and forty-two seconds (area 24) after the strings, and

the brass enter three minutes and fifteen seconds (area

62) after the woodwinds. The comparable length of these

two timings give the first cycle a certain degree of

symmetry. Symmetry also exists between entries of

instruments of the same family. For instance, entries

among the three violin sections, the violas, and the cellos
happen every ten to fifteen seconds (areas 1 to 24).

Similarly, the piccolos (area 27) enter fifteen seconds

after the flutes. Thus, similar instruments enter shortly

one after the other, while instruments of different familie

enter at longer time intervals. The important element of

this cycle is that the instrumental color changes take

place at a very slow rate.
 ^7

In the second cycle such timbral changes occur at

shorter time intervals. The instrumentation follows the

same additive procedure as in the first cycle. The cycle

starts with strings and piano, and woodwinds are added

after only thirty seconds (area 65). Brass enter one minute
and thirty-three seconds later (area 73). Entries among

instruments of the same section occur at time intervals

that range between two seconds (area 81-82), and twenty

seconds (area 65-66). These time intervals become shorter

closer to the end of the cycle. The number of instruments

playing increases greatly. Besides the strings, flutes,

oboes and trumpets found in the first cycle, all of the

woodwind, brass, and percussion instruments are added.

The instrumental color changes at a faster rate than in

the first cycle. In addition, the rate becomes faster

towards the end of the cycle.

The third cycle begins also with strings in its

majority, but this time the woodwinds, the brass, and the

explosive section enter quickly, in less than twenty seconds.

This addition happens considerably faster in comparison

to the beginning of any other cycle. The interaction between

all the instrumental parts here is greater than at any

other point in the piece. Between areas 82 and 91, the

instrumental color changes approximately every five to

six seconds. From area 91 to 113, the piece moves toward

 48

a gradual thickening in terms of instrumentation, and at

small time intervals (two to eight seconds). At area 116

the entire orchestra participates in a massive climax which

discloses the highest accumulation of instrumental timbres

in the piece.

The entire fourth cycle is based on a single

instrumental color (violins at area 119).

The first three cycles are handled in a similar way

in terms of instrumental color development. In the first

cycle instruments are added at a very slow rate, while

that rate becomes increasingly faster in the second and

the third cycle. In the fourth cycle the instrumental

involvement is minimal. Chart 4 shows the instrumental

timbre layout of Enantiodromia. The time lapse between

instrument entrances is expressed in seconds. Area marks
are included to indicate major points of timbral change.

A multitude of sound effects in Enantiodromia are

created by unconventional performance techniques. Special

tuning is used in some of the string instruments in order

to create microtonal effects. The technical advantage

of that tuning is that, although all players of one section

may read the same notes, the resulting sound varies in

pitch by a quarter tone, semitone, or three-quarter tone.

Other unconventional techniques include the use of the

hands and other objects (cup, ruler) to play inside the

 49

Cycle I Cycle II Cycle III Cvcle IV

□ Vn Strings ED E x p lo s io n
Strings
118 Silence
64 Pno
183 1 FI. Pno
Hrn, Trpt
■■

0
0 Via
Vc
651 FI

Picc
Ob
lass;
89 I Perc
90l D.B
119 Vn

Silence
Cl 91 0b, Cl
Hrn, Trpt
, Trb
' 0 3 Pno, Perc
m All Perc
Interchange
of colors
Trpt
24] FI o
2?| Picc FI Hrn
Perc
Trb
Tb E m All parts
:iT?n No FI, Ob
flTTI D.B.
m
All parts

11171 Picc, FI
Pno , Strings,
Explosive

^1621 Trpt

Chart 4. Instrumental Timbre Changes.

 50

piano (ex. 23), rapping and knocking on instruments (ex.

24 ), explosive effects through amplification, speech,

and other vocal sounds (ex. 25). In fact, metapraxis

invariably involves unusual sounds.

Ex. 23. Unconventional playing of the piano

Ex. 24. Percussive effects on string instruments.

\PATT. 28 |

ryrri

Ex. 25. Unusual sound effects.

Enantiodromia has a very wide frequency range. The

selective use of various registers reveals a definite

direction and formal considerations. There is a particular
 51

logical approach to the selection of the various registers

in reference to each cycle of the piece. In order to examine

such frequency variations, the entire range will be divided

into five registers. Chart 5 shows the range of each

register.

Chart 5. The five registers used in Enantiodromia.

In the first cycle the register is generally very

high. From area 1 to 35 only high notes are involved and

they occupy a narrow portion of register I. At area 15

the pitches cover the entire width of register I. At area

35 the sound reaches lower levels to include parts of

register II until area 45. At area 46 the frequency range

is limited, again, to a narrow portion of register I until

area 49. At area 50 there is a polarization of two separate

portions of the range. The one is part of register I and

the other part of register II, leaving a small gap between

them. The general frequency contour of the first cycle

can be divided in two smaller units. The first unit is

from area 1 to area 45 and the second unit from area 46

to area 62. They both have similar shapes and consist

of a high frequency pitch that spreads downward. The first

unit is four minutes and fifty seconds long, and the second

one minute and twenty-five seconds. In the first unit

the range expands after three minutes and fifty-five seconds

while in the second unit after only twenty seconds. The

first unit is approximately three times longer than the

second, but the second unit expands much faster and to

a lower register. In this cycle only registers I and II

are used.

At the beginning of the second cycle (area 63) the

register is high, but it expands quickly at area 64. It

continues to expand with sudden drops at areas 65, 70,

77, and 78 until it finally covers all five registers at

area 81. The rate of the expansion is accelerated towards

the end of the cycle. After area 70 there is also an upward

frequency range movement. Although the maximum width of

the range is briefly reached at area 81, where all registers

are covered, the majority of the cycle operates within

registers I, II and III.

The third cycle (area 82) begins with a range that

includes the entire register I and progressively expands
 53

downwards at areas 83, 84 and 85 in a short period of time

in order to cover all five registers. The range temporarily

becomes narrower (registers I and II) at areas 86 to 88

and 96 to 97, but the rest of the cycle makes extensive

use of all registers. There is an alternation of sections

involving a wide frequency range and sections involving

a narrow frequency range. The duration of each section

is variable (see chart 6). The wide range sections, which

are found at area 85, areas 89 to 95, and 98 to 117, last

five seconds, thirty-six seconds, and slightly over three

minutes respectively. The duration of each wide range

section increases exponentially as the cycle evolves.

Conversely, the narrow range sections, found between areas

82 to 84, 86 to 88, and 96 to 97, with durations of twenty-

four, nineteen, and ten seconds, respectively, become

proportionally shorter. This overall expansion of the

range coincides with the general increase of all the other

aspects of this cycle, namely the dynamics, the density,

the texture and the orchestration.

Narrow Wide Narrow Wide Narrow W ide

Chart 6. Alternation of narrow and wide

frequency range sections.
 54

The last cycle displays only very high pitches that are
all part of a small portion of register I and there is

no attempt to expand. It is rather a return or perhaps

a new undeveloped beginning. Chart 7 is a graphic

representation of the frequency range structure of

Enantiodromia.

Viewed as a whole, there is a progressive use of

all five pitch registers in Enantiodromia. The first cycle

includes registers I and II. The second cycle primarily

uses registers I, II and III, but it also includes registers

IV and V for a brief time as an anticipation of the third

cycle. All five registers are extensively used in the

third cycle. In contrast, only register I is used in the

fourth cycle.

All compositional aspects of Enantiodromia complement

each other. In the first cycle ( areas 1 to 62), the main

instrumental sound is created by the strings and is

secondarily enhanced by the flutes and the oboes towards

the middle of the cycle. Trumpets appear only briefly

at the end of the cycle. Along with the limited use of

instruments, there are only soft dynamics, and only high

frequency pitches are used. The density increases gradually

as instruments are added, and the activity of the patterns

becomes greater. The end of the cycle (area 62) marks

the highest degrees of density, dynamics, instrumentation,

Cycle I 41 Cvcle I I tl Cycle I I I ( f _C£ c le _ IV

S m

45—<1h IcWi

^ ►—*■"36~i K—2#-4?"
Chart 7. Frequency Structure,
 56

and pattern activity. The distinct characteristic of this

cycle is that change takes place at a very slow rate.

In the second cycle (areas 63 to 81) a faster rate

of change is witnessed. The crescendo is rapid and the

dynamics are louder than in the first cycle. The activity

of the patterns is incremented quickly, and the addition

of more instruments (woodwinds, brass and some percussion)

makes the texture of this cycle thicker. The frequency

range becomes wider with the progressive accumulation of

lower sounding instruments (trombones and tuba) towards

the end of the cycle. In comparison with the first cycle,

the general rate of change here is considerably faster.

The most extensive use of all instruments takes place

during the third cycle (areas 82 to 117) in such a way

that the intensification of all aspects of the piece such

as density, dynamics, frequency range, and rhythmic activity,

is inevitable. The dynamics and the frequency range reach

extremes in a much shorter period of time than in any other

cycle. The energy level is enormous due to the extensive

participation of all percussion instruments and the frequent

interchange of highly intricate patterns. This cycle is

the most dense of the entire piece.

The fourth cycle (areas 118 to the end) displays

the least amount of activity (sustained notes only), the

lowest number of instruments involved (violins only), the

 57

narrowest frequency range (high pitches only), the minimum

density, and the softest dynamics.

There is a symmetry of form in Enantiodromia. The

length of the first cycle (six minutes and thirty-five

seconds) balances out the second and third cycles together

(two minutes and thirty-six seconds, and slightly over

three minutes). The fourth cycle (one minute and thirty

seconds) serves as a reprise and is very much like the

first minute and a half of the first cycle.

The cyclical form of the piece is mostly defined

by the use of dynamics. Other aspects of the piece work

very closely together in order to reinforce such cyclical

design. All cycles display an increase of dynamics, with

a gradual intensification of the density. The density

is controlled by the fluctuation of the number of

instrumental parts involved at a particular point, and

by the rhythmic activity of the patterns. The cluster

pitch areas follow a cyclical form that coincides with

the layout of the four cycles. The frequency range gradation

also obeys the general tendencies for expansion by cycle

and takes place concurrently with all other aspects of

the composition (dynamics, density, activity level, and

instrumentation).
 III. SUMMARY

Enantiodromia is a vivid example of Jani Christou's

late and most mature compositional style. The study of

the piece suggests the composer's genuine desire to create

music of a great emotional impact. To achieve his goal

he used a number of new techniques that go beyond the

conventional line of thought in music composition. His

efforts were directed towards an integration of musical

elements and non-musical ideas as compositional aspects

of the same work. All these aspects work in agreement

with each other to define a clear form and induce intense

reaction in performers and audiences alike. Christou added

new dimensions to the art of musical composition by

introducing the patterns and by incorporating psychological

and theatrical elements in such a highly organized manner

and to such great extent. In order to express his complex

compositional ideas he devised a notational system that

is effective and consistent. The psychological and

philosophical parameters used in the piece bring forward

the introspective thinking of a composer who thought of

music not only as an artistic endeavor, but also as an

inseparable aspect of everyday living patterns.

Enantiodromia gives a clear picture of Christou's

personality as composer, philosopher, and dreamer with

58
 59

total integration of music with all forms of artistic and

intellectual expression. Its ingredients reveal sincerity,

ingenuity, and a great concern for music as a means for
expressing profound emotions.

Jani Christou's contributions to the art of composition

have been very valuable. In spite of his premature death

he has left behind him an impressive output of compositions

that not only represent him as an important composer, but

also as a great innovator. His creative work is an expansion

of music towards other forms of art, and of philosophy,

and dwells on psychological elements and personal

introspection. Although a number of techniques and ideas

which he used had been formulated by composers before him,

they had never been organized in such a way that could
be considered as a new musical language. Such a language
can very well inspire future composers in the development
of their own compositional style, and provides them with

the means to create music which includes a great deal of

gesture and drama.
 PART TWO

SYMPHONY No. /
in

Thr e e Mo v e me n t s

by Aris
Carostathis
 INSTRUMENTATION
1 Piccolo Picc
2 Flutes FI
3 Oboes (Ob3 only in first movement and off stage) Ob
2 Clarinets in B flat Cl
2 Bassoons Bn
4 French Horns (Hrn 3,k off stage in movement I, Hrn
on stage in movements II and III)
3 Trumpets in C Trp
4 Trombones Trb
1 Tuba Tb
4 Percussionists
I. Crotales
Bells
Marimba Mar
Snare Drum S.D.
Triangle Trgl

II. Timpani (D,A)to (F,C,G) Timp

Gong with bow
Tom-Toms (3 sizes)
Xylophone Xylo
Vibraphone Vib
Suspended Cymbal S.C.

III. Xylophone Xylo

Chimes
Temple Blocks (3 sizes) T.B.
Snare Drum S.D.
Suspended Cymbal S.C.
Triangle Trgl

IV. Vibraphone Vib

Bongos (3 sizes)
Tom-Toms (3 sizes)
Gong
Snare Drum S.D.
Suspended Cymbal S.C.
Triangle Trgl
Bass Drum B.D.
1 Harp H rp
Vio l i n I Vn I
Vio l i n II Vn II
Viola Via
Violoncello V.C.
Double Bass (with C extension) D.B.

Score in C
All instruments sound as written except those of normal
octave transposition.

(§) 1987 Aris Carastathis

61
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 BIBLIOGRAPHY

Becker, Gunther. "In Memoriam Jani Christou," Melos,

vol.37, May 1970, 208-209.

Bowen, Meirion. "Concerts: Contemporary (Tongues of

Fire)," Music and Musicians, vol.20, no.l
September 1971, 66.

Christou, Jani. Enantiodromia, introductory notes,

London: J. @ W. Chester Ltd., 1970.

______ . "Enantiodromia," Source Music of the Avant Garde,

vol.3, no.6, 1969, 10-32.

Crankshaw, Geoffrey. "Christou's Praxis," Music and

Musicians, vol.18, no.10, June 1970, 54.

Crichton, Roland. "Music in London: Greek Music

(Patterns and Permutations)," Musical Times,
vol.112, July 1971, 677.

Emmerson, Simon. "Six Songs to Poems by T. S. Elliot,"

Musical Times, vol.119, December 1978, 1070.

______ . "Anaparastasis III: The Pianist," Music and

Musicians, vol.26, no.2, October 1977, 52.

Finney, Ross L. "Music in Greece," Perspectives of New

Music vol.3, no.2, 1965, 169-170.

Gill, Dominic. "London Sinfonietta," Musical Times,

vol.112, July 1971, 679.

Goodwin, Noel. "Greek Gifts," Music and Musicians,

vol.19, April 1971, 12.

Gradenwitz, Peter. "Griechenland Entdeckt die Neue Musik,"

Melos, vol.34, June 1967, 218-19.

Leotsakos, George S. "Jani Christou (1926-1970), Last

Works." Deltio Kritikis Discographias, Athens,
1976, no.14-17, 328.

______ . "Jani Christou," The New Grove Dictionary of Music

and Musicians, 6th edition, Stanley Sadie, ed.
vol.4, 375, London: MacMillan Publishers Ltd., 1980.

Lewinski, Wolf E. "Moderne Junge Griechen," Musica,

vol.23, no.2, 1969, 136.

207
 208

Meyers, Rollo. "Concerts: Oxford (Toccata)," Music and

Musicians, vol.19, June 1971, 71.

Papaioannou, Yiannis G. "Jani Christou (1926-1970),"

Musical Events, vol.26, May 1971, 26.

______ . "Jani Christou Late Works," leaflet of sound

recording, EMI 14C063-70030, Athens: 1974.

Schiffer, Brigitte. "Greeks in London," Music and

Musicians, vol.24, no.6, February 1976, 51-52.

______ . "Festivals: Athens (The Strychnine Lady)," The

World of Music, vol.9, no.3, 1967, 41-42.

______ . "Griechisches Musikfest 1971," Melos, vol.38,

December. 1971, 550.

Slonimsky, Nicholas. "New Music in Greece," The Musical

Quarterly, vol.51, 1965, 226-228.

Snyder, Louis. "Tanglewood: Profound and Foolish," annual

festival of modern music, Christian Science Monitor,
vol.66, August 9, 1974, 14.

Weber, Hildegard. "Oxford: Bachfest mit Strawinsky und

Rostropowitsch," Neue Zeitschrift fur Music, vol.125,
no.9, 1964, 404-5.
 APPENDIX

Additional Symbol Explanation

Groups of multiple notes played as fast

as possible.

Sustained note with downward bending

followed by shorter notes.

Notes with an accented attack.

Explosive effect of a group of amplified

instruments.

Sound mass with continuous crescendo and

decrescendo.

Sound mass with irregularly spaced accents

of variable intensity.

Notes with continuous crescendo,

decrescendo, and vibrato.

Cluster created by playing a designated

area of the strings inside the piano.

Dynamic marking for an almost inaudible

sound.

The players are involved in a speaking act,

which is beyond the normal performance of
their instruments. This is a typical case
of metapraxis.
 VITA

Aris Carastathis was born on May 25, 1957 in Athens,

Greece. His formal music education began at the Conservatory

of Attica in Athens, where he studied classical guitar

and music theory. He has earned a Bachelor of Arts in

Music, with a major in guitar, from the University of

Northern Iowa, and a Master of Music in composition from

the University of Northern Iowa in 1983. He entered the

graduate program at Louisiana State University in 1983,

and studied with Boyd Professor Dinos Constantinides, for

the persuit of the degree Doctor of Musical Arts. His

output of compositions includes works for a variety of

media, such as solo, chamber, orchestral, electronic, and

film music. He has received, commissions from the Baton

Rouge Symphony Chamber Orchestra, the LSU New Music Ensemble,

and the LSU Computer Music Studios. His music has been

performed in many concerts, festivals and conventions in

Louisiana, New York, Iowa, Texas, and Mississippi, and

has received several public radio broadcasts. He has

conducted the Waterloo Chamber Orchestra, the University

of Northern Iowa Symphony and Chamber Orchestras, the LSU

New Music Ensemble, and various other chamber groups.

He is an elected member of the Pi Kappa Lambda National

Music Honor Society, a recipient of the 1987 National

210
 211

Collegiate Music Award and he was included in the 1987

American Hellenic Who's Who in Business and the Professions.

 D O C T O R A L E X A M I N A T I O N A N D DISSERTATION R E P O R T

Candidate: Aristocles Carastathis

Major Field: Music

Title o f Dissertation: ENANTIODROMIA BY JANI CHRISTOU AND AN ORIGINAL COMPOSITION,

SYMPHONY NO. 1

Approved:

Ma j o r Professor and C h a i r m a n

Dean of the Graduate School

EXA M IN IN G COM M ITTEE:

Date of Examination:

April 18, 1988