Kyriakides, Yannis

General: Yannis Kyriakides was born in Limassol, Cyprus in 1969, emigrated to Britain in 1975, and has been living in the Netherlands since 1992. He currently lives in Amsterdam with ...

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Testudo : for contrabass and electronics / Yannis Kyriakides

Genre: Electronische Muziek
Subgenre: Contrabas
Bezetting: db tape

Trimurti : trittico per quartetto d'archi, (1980) / Jan van Vlijmen

Genre: Kamermuziek
Subgenre: Strijkkwartet (2 violen, altviool, cello)
Bezetting: 2vl vla vc

IJs : for violin and piano, (1987), revision 1987 / Tom Riedstra

Genre: Kamermuziek
Subgenre: Viool en toetsinstrument
Bezetting: vl pf

Sinfonia: Luci nella notte : for orchestra / Andrzej Kwiecinski

Genre: Orkest
Subgenre: Orkest
Bezetting: 3fl 3ob 3cl 3fg 4h 3trp 3trb perc 2pf str



Testudo : for contrabass and electronics / Yannis Kyriakides

Uitgavenummer: 17805
Genre: Electronische Muziek
Subgenre: Contrabas
Bezetting: db tape
Bijzonderheden: [121] IP nr componist: 00178215264
Tijdsduur: 15'00"
Aantal spelers: 1
Status: volledig gedigitaliseerd (direct leverbaar)

Testudo is based on the myth of Hermes’ appropriation of the Tortoise shell in the creation of the lyre. In Sophocles’ fragmentary satyr play, Ichneutae, (The Trackers), Apollo discovers that his cattle is missing and he employs the Satyrs, lead by Silenus, to search for them. In exchange he offers them freedom from slavery. Tracking their footprints they come to a cave where they hear a sound which they have never heard before. They freeze in terror and refuse to enter the cave. The mountain nymph Cyllene explains to them that the sound is of baby Hermes tuning a ‘lyre’ an instrument he has just created using cowhide stretched over the shell of a tortoise. Since the satyrs seem to not know what ‘music’ is, this has to be explained to them.
A multichannel soundtrack which acts as the signal for the score is played through the various resonators attached to the instrument. The soundtrack is made up of sounds synthesized from tortoise recordings transformed into synthesized sound and used to animate, with the help of the player, various resonant aspects of the instrument.
The character of the piece is ferocious, primitive and playful exploring aspects of performance that bring to fore the idea of an instrument under construction, the translation of bioacoustic signals into musical signals, and ancient concepts of possession as a model of music making.

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