componist
Dr. Spiros Mazis was born in Corfu, Greece. His creative and critical thinking has always been the starting point of his compositional activity. Most of his works are based upon ...
gerelateerde werken
Two Poems of Emily Dickinson : for soprano and piano / Spiros Mazis; on lyrics by Emily Dickinson
Genre:
Vocaal
Subgenre:
Zangstem en piano
Bezetting:
zang pf
Derde symfonie : ("gamelansymfonie"), voor orkest, opus 45, 1998/1999 / Peter Schat
Genre:
Orkest
Subgenre:
Orkest
Bezetting:
pic 3fl 3ob 3cl cl-b 3fg cfg 4h 3trp 3trb gamelan 3timp mar str
Tombelène : for orchestra / Godefroid Devreese
Genre:
Orkest
Subgenre:
Orkest
Bezetting:
3fl 2ob 2cl 2fg cfg 4h 3tpt 3trb tb timp perc cel hp pf str
Symphonische klankfiguren : (Symphonie nr. 12), (1964) / Henk Badings
Genre:
Orkest
Subgenre:
Orkest
Bezetting:
pic 3fl 2ob eh 3cl cl-b 2fg cfg 4h 3trp 3trb tb timp 3perc cel hp pf str
compositie
10 Dimensions – AEB160 : for large orchestra / Spiros Mazis
Toelichting:
10 Dimensions - AEB160 is inspired by the scientific theory of the 10 dimensions. Some theories in physics, including string theory, suggest that there may be additional spatial dimensions, and certain of these theories propose that there may be a specific number of these, such as 10.
In my work, I’ve been exploring the harmonic series and the relations of the intervals among their partials, in a way that I name multi-harmonic, multi-spectral modes which take shape if we combine different harmonic series. If we bind two, three, or more harmonic series together, then new shaping of sounds takes place vertically and horizontally.
I tried to represent the ten dimensions musically by multiplying the first 16 partials of a harmonic series by 10 (16*10 = 160), and I imagined that each dimension would contain the first 16 partials. I used three harmonic series whose fundamentals are A, E and B (separated by 5ths); the letters in the title of the piece (AEB 160) indicate that there are three harmonic series, each of which contains 160 partials.
Due to the fact that it was almost impossible to perform all these micro-intervals, especially on brass instruments, I studied the brass instruments mathematically and I use logarithms to discover new fingerings by means of which the performers would be able to play the partials of harmonic series more accurately.
Regarding the overall forms, I use mathematical roots to divide the sections of the form.
Spiros Mazis