more beautiful and characteristic works, is from this period.) Chronologically, his musical turn Concert Music Slides, 1977 follows his coming home (1975): melody (tonal, modal, atonal), themes, elaboration as well as improvisation, 'physical' rhythms (sometimes asymmetrical and folkish), chords contradicted by unisoni, elements or inspirations from folk music (from Greece and Eastern cultures, either traditional or elaborated through 'ethnic' schools) and Byzantine music (his Love Song is performed by a cantor), and other codes or techniques of communication (e.g. jazz, rock). However, by replacing this 'hermetic' idiom with authenticated codes of communication, the music of Sfetsas expands sometimes into great lengths, and reveals a painful loneliness and a quest for the other, in which it is difficult to distinguish between the personal and the socio-environmental factors. Behind the persistence of his writing one can guess a dramatic need for communication. Despite the ruggedness of the themes and some instances of classical 'elaboration', the three parts of his gigantic (duration: 61'46"!) piano suite Cactus Light ('80-'83) often give the impression of one lonely pianist improvising. One of the most fascinating of his latest works is Moments of a Lonesome Town: within the aloneness and inhumanity of the modern world, the quest for the other continues, with a more emphatic lyricism. So, hope still persists." External links Kyriakos Sfetsas official webpage classical composers database on Kyriakos Sfetsas Musicians Gallery on Kyriakos Sfetsas 1945 births Living people People from Amfilochia Greek film score composers Male film score composers Greek composers