Becoming You (2016) [3΄30΄΄]
Two versions:
a) for piano, celesta and string orchestra
The piece was composed for the modern dance performance of Palmos dance company Dark Places. For the video of the choreography and more details about the performance and the music see section modern dance.
Premiere: Athens, Greece, 23/12/2016, Symphonopetra, dir. Iakovos Konitopoulos (without the celesta).
Two versions:
a) for piano, celesta and string orchestra
The piece was composed for the modern dance performance of Palmos dance company Dark Places. For the video of the choreography and more details about the performance and the music see section modern dance.
Premiere: Athens, Greece, 23/12/2016, Symphonopetra, dir. Iakovos Konitopoulos (without the celesta).
b) for piano solo
Premiere: Dionysis Semitekolos, Hellenic-American Union, Athens, Greece, 29/3/2018.
Buy the sheet music here
Etude (9/2013), for alto flute, clarinet, violin and double bass [30΄΄]
Premiere: Kapantzi mansion-MIET, Thessaloniki, Greece / October 14th 2013 (as part of the "Collaborative Miniature Project") / dissonArt ensemble.
Sunbeams (3/2012) [2'30'']
Two versions:
a) for violin, clarinet and piano
b) for viola, clarinet and piano
Premiere of version b): Druskininkai, Lithuania / May 19th 2012 (Druskomanija festival) / Claviola trio (Ugnė Antanavičiūtė: piano, Jurgis Juozapaitis: viola, Vytautas Giedraitis: clarinet).
For Mary [Στη Μαίρη] (4/2011), for piano solo. In memory of Mary Halary [Μαίρη Χάλαρη] [5΄30΄΄]
Premiere: May 20th 2011, Athenaeum, Athens, Greece, by the composer.
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Chemins Fermés (6-10/2003), for four violins, cello and double bass [9΄]
In memory of Iannis Xenakis.
Violins are placed around the audience.
The title makes reference to Françoise Xenakis' book Regarde, nos chemins ce sont fermés.
Premiere: the Athens Megaron / March 6th 2004 ("Workshops" concert series, where the work was awarded) / Μembers of the Camerata String Orchestra, dir. Theodore Antoniou.
The Forsaken [Η απαρνημένη] (2001), for piano solo [1΄]
A short piano piece based on a traditional song from my native island, Zakynthos.
Premiere: Zakynthos Music School Auditorium, November 19th, 2016 / Dimitris Anastopoulos [Δημήτρης Αναστόπουλος], piano.
Steve Reich / Dionysis Boukouvalas, Fantasy on a theme by Steve Reich (4/1999), for piano 6 hands [5'30'']
Inspired from the initial motif of Steve Reich's Piano Phase
Premiere: Colston Hall, Bistol, UK / April 4th 2012 / James Drinkwater, Natalie Haupt & Geoff Poole, piano.
USA Performances:
1. War Memorial Chapel of the Bob Jones University, Greenville, SC / February 6th, 2016 / Julie Carrier, Deanna Moore & Karen Wilson.
2. CWRU Dep. of music concert series, Cleveland, Ohio / April 29th 2018 / Kevin Kwock, Tyler McMaken, Ann Wang.
3. Merkin Hall, Special Music School, New York / May 22nd 2018 / Luis de Leon, Izabella Gozzo, Alice Ivashina.
4. Arthur Zankel Music Centre, Skidmore College, Saratoga Springs, New York / June 24th 2019 / Chantal Balestri, Nicole Brancato, Lesi Mei.
5. Pickman hall, Longy school of music, Bard College, Cambridge, Massachusetts / November 8th 2019 / Sarah Bob, Geoffrey Burleson, Donald Berman.
6. Frederick Loewe Theatre, New York University, Steinhardt School of Culture, Education, and Human Development, Greenwich Village, New York, NY / performers as in nr. 5
Fantasy on a theme by Steve Reich (premiere recording)
Variations 1997, for piano solo [2΄30΄΄]
Two years before I wrote the piece I had read for the first time about the 12 tone system. My first try at that was the matching pair to this piece, Variations 1995 (see below).
As in the earlier set of variations, the music has a characteristic “tonal” quality, in this case, owning to the row itself, with a succession of “A minor”, “F minor” and “C# minor” (most strikingly portrayed in the 6th variation).
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Variations 1995, for piano solo [3΄30΄΄]
When I was 16 years old I read about the 12 tone system in Ulrich Michels’ *Music Atlas*. I found this “new” system very interesting and I immediately wanted to try my hands on it. This piece was the result.
Notably, I am using almost exclusively the basic, untransposed form of the row, but achieving variety all the same. Also, the music has a characteristic “tonal” quality. There are distinctive “cadences” to be found at many places, mostly with an “E minor” and (inverted) “C major” feeling.
A matching pair to this piece is Variations 1997 (see above).
Buy the sheet music here