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About the work:
The composer writes: ‘The composition of Erotikos Logos spans a period of sixteen years. I set the first two poems to music in 1975 as a composition student at the Eastman School of Music. Being a student work, Erotikos Logos was never included in my list of works, and I had nearly forgotten of its existence until the spring of 1990 when a number of events corroborated in bringing this setting to mind again.
‘The turning point was a meeting with Greek popular singer Dimitra Galani during Easter that year at her new home on Mt Pelion which my brother Sotiris, an architect, had just finished building. We listened to each other's music and Dimitra expressed the wish to sing something of mine which could be suitable for her voice. I could not think of anything I already had which could serve the purpose, but when she heard a student recording of Erotikos Logos (the original instrumentation was for soprano, flute, clarinet, violoncello and harp) she was immediately attracted to it. Given the fact that it had to be rewritten for her voice, a low female voice in the countertenor register, I decided to also change the instrumentation to the present one which I feel complements better the countertenor vocal timbre. I kept the original two songs virtually unaltered, but for their instrumentation. It goes without saying that musically they are the most naïve and innocent of the set, separated as they are from the remaining three songs of the cycle by fifteen years of musical and personal growth. In retrospect I think that this gap serves the poetry well. There is a definite progression in the poetry from the innocence of the opening to the alienation and introspection of the later poems and the breaking point (if there is one at all) is about where I left off in 1975.'