works

For works published by Donemus publishing house, please click here.
For score material available in musicaneo webshop, please click here.
For other score material you can email directly the composer.
To download the list of works as a pdf file click here.

4 Estações

Original Soundtrack
2021

12 Haiku

for Soprano and Ensemble
2021

Sons da História

for 8 singers, Historic Instruments and Orchestra
2020

Ópera Real (4th Act)

for Soprano, Actors, Ensemble and Fixed Media
2020

Invictus

for Clarinet and Piano
2020

Anathema II

for Contrabass Tuba and Piano
2020

Revelations

for Choir and Ensemble
2019
audio

Itiraf

(Karsu / Andrikopoulos)
Transcription for Wind Ensemble and Voice
2019

I stare the stars that are over the ocean..

for Soprano Saxophone and Vibraphone
2019

Four Children Night Miniatures

for Flute, Violin, Violoncello and Piano
2019

Solo for Two

for two Percussionists
2018

“Once I Entered a Garden”

(Asmahan / Andrikopoulos)
Transcription for Wind Ensemble and Mediterranean traditional Instruments
2017

Σε λίγο που ο αέρας θα γίνει πιο ψυχρός…

for Ensemble
2017

Segment I

for String Quartet
2017

In Luminis

for Violoncello and Piano
2016

Tocata e Fuga: Os Dias de Mário Cláudio

Original Soundtrack
2016

Lines

for Saxophone orchestra
2016

Apneia

for Saxophone and Fixed Media
2016

3.1.1.9.5

for two Vibraphones, Crotales and two Pianos
2016

Traces

for Ensemble and Fixed Media
2015

Fechar o Tempo

Sound installation for the photography exhibition of Olívia de Silva
2015

Mau Mau Maria

Original Soundtrack
2014

Cantus II

for String Orquestra and Percussion
2014

Now, I am become Death… II

for Percussion and Electronics
2014

Now, I am become Death… I

for Violin, Fixed Media, Real time electronics and Video
2014

Nocturne 

for Soprano Saxophone, Tuba and Vibraphone
2012

21 kHz | Portraits of Crisis 

Music for film
2012

The crisis has various expressions. The financial crisis is just an expression of a more general crisis, that our society is going through. The idea of this project is to use films of the early twentieth century cinematography, where the main motto was to portray a society that somehow is not far from our current reality. Movies of filmmakers Griffith, Metzner and Van Dijk, were used for the concert today with the duo’s sound design.

Metamorfoses

Music for ballet for Violin, Bass Clarinet and Electronics
2012

Martin Sarmento | original soundtrack 

Music for the film Martin Sarmento
2012

Anathema I 

for Contra-Bass Tuba and Accordion
2011

Clamor 

for Portuguese Guitar and Electronics
2011

Nadir Afonso | original soundtrack 

Music for the film Nadir Afonso: The time does not exist
2011

Prominence 

for Piano and Electronics
2011

7 Preludes for a Silent Pianist 

Performance for Piano and Electronics
2011

Metamorphoses I 

for Ensemble
2010
SCORE SAMPLE

Shirley Valentine 

for Soprano and Harpsichord
2009

Apólogo a D. Silvana 

for 2 Trumpets, 3 Saxophones, 2 Trombones and 6 Percussionists
2008

Illuminations

for Violin, Viola, Violoncello, Piano and Percussion
2008

Gazela de la Muerte Oscura

for Mezzo Soprano, Accordion and String Quartet
2007

Gacela is a poem of Persian origin that has strict technical guidelines.
Lorca does not follow the technical form of a gacela, but by classifying a work entitled “Gacela of the Dark Death” as a love poem, he introduces a connection between love and death that will become an increasingly important theme in his work.
Minor thirds, seconds as well augmented fourths are the predominant intervals in this piece. From the formal point of view I tried to keep the line suggested from the poem it self. In this piece I tried to work as well with the lyricism and the more dark and sorrow side of the female voice. That is the main reason for my choice to keep the voice generally in a low register. The Accordion and the string quartet are becoming a mirror of the singer providing her the space to tell her story as well enforcing the obsessive and sorrowful character of the poem.
‘Gacela de la Muerte oscura’ is composed for Duo pallas & pallas and Mondriaan Quartet.

Reenquadrar

for Ensemble, Jazz Trio and Electronics
2007

Red to Black

Version for Bass Clarinet and Piano
2007

Danza del Viento 

Two Orchestrations for Nederlands Blazers Ensemble and Jordi Savall
2006

Komachi

for Female Voice and Accordion
2006

Concerto for Violoncello and Ensemble

for Violoncello and Ensemble
2006
AUDIO
SCORE SAMPLE

The ‘Concerto for Violoncello and Ensemble’ is a second step in a research that I started with my ‘Red to Black’ for Saxophone and Piano.
In this piece as well I tried to incorporate Greek traditional music elements and then using them through a modern point of view. Minor thirds, seconds as well augmented fourth are the predominant intervals in this piece.
From the formal point of view it does not have the form of a traditional concerto. It is a one movement piece that is divided formally in to 4 major sections. Another influential element during the composition of the piece is the use of material that has its source in electronic synthesized sounds.
In this piece I tried to work with the natural lyricism as well the more dark and sorrow side of the Cello. Cello Concerto is long narrative monologue that stands against an ensemble that creates the space for the narrator to tell his story.
‘Concerto for Violoncello and Ensemble’ is composed for Asko Ensemble and Doris Hochscheid with financial support from Fonds voor de Scheppende Toonkunst.
It was premiered as part of the 1st Cello Biennale/Proms of Amsterdam and performed by Asko Ensemble conducted by Stefan Ausbury and soliost Doris Hochscheid.

Red to Black

for Alto Saxophone and Piano
2005

Red to Black was composed for the Dutch Saxophone and Piano Duo Beumer en van Ham.
It was premiered in Utrecht on February 2006. Red to Black is the product of an investigation for a particular harmonic color and character with the use of as many as less expressive means. Red to Black is also my first work where I decided to use elements that have their roots in the traditional music of my birth country, Greece.

Nyx

for Orchestra
2005
SCORE SAMPLE

Nyx is the goddess and embodiment of the night. According to Hesiod in his ‘Theogony’: “From Chaos came forth Erebus and black Night Nyx; of Night were born Aether being the bright upper atmosphere and Day Hemera, whom she conceived and bore from union with Erebus her brother. Also she bore the Destinies and ruthless avenging Fates who were regarded as old women occupied in spinning. Also Night bore Nemesis Indignation to afflict mortal men, and after her, Deceit Apate and Friendship and hateful Age and hard-hearted Strife”.
Aristophanes in his “Birds” also writes about Nyx: “In the infinite bosom of Erebus, Night with black wings first produced an egg without a seed. From it, in the course of the seasons, Eros was born the desired, whose back sparkled with golden wings, Eros like swift whirlwinds”.

Des Knaben Wunderhorn

Revision of the previous arrangement
2004

The re-orchestration of Mahler’s songs from the cycle “Des Knaben Wunderhorn” started as a project commissioned from the festival “Heures Romantiques de Monthodon” and its artistic director Udo Reineman. Fourteen songs had to be reduced from their original orchestral form to a ensemble of seventeen players and further I had to orchestrate four songs from the same cycle, never orchestrated by Mahler before, from the Piano score to the same ensemble.
The total instrumentation of the ensemble is: Flute, Oboe/E. Horn, Clarinet, Bassoon, Horn in F, Trumpet in C, Piano, Harmonium, Harp, Percussion (3 players), 2 Violins, Viola, Violoncello, D. Bass.

For this re-orchestration I tried to keep as much as possible close to the original songs, following Schoenberg’s line as he did in his re-orchestration of the “Lieder Eines Fahrenden Gesellen” cycle. I added only Piano and Harmonium, instruments that are not in the original orchestration, trying to compensate for the absence of many “harmony filling” instruments that are available in the orchestra version as well as keeping the “orchestra” sound without loosing the transparency and colour diversity of Mahler’s music.
For the orchestration of the other 4 songs I worked more freely trying always to be as close as possible to the colours and the orchestration techniques that Mahler used in his music.

The songs that I re-orchestrated and their detailed instrumentation are:

– Revelge:Fl., Ob., Cl. in B, Bsn., Hrn. in F, Trp. In C, Timpani, Perc. ( Snare Drum, Cymbal, Triangle, Bass Drum, Tam-Tam), Pno., Hrm., Vln. I, Vln. II, Vla., Vlc., D.B.

– Das Irdishe leben:Fl., Ob., Cl. in B, Bsn., Hrn. in F, Trp. In C, Perc.(Cymbal), Pno., Hrm., Vln. I, Vln. II, Vla., Vlc., D.B.

– Verlor’ne Muh:Fl., Ob., Cl. in B, Bsn., Hrn. in F, Perc. (Triangle), Pno., Hrm., Vln. I, Vln. II, Vla., Vlc., D.B.

– Rheinlegendchen:Fl., Ob., Cl. in A, Bsn., Hrn. in F, Vln. I, Vln. II, Vla., Vlc., D.B.

– Der Tambourg’sell:Ob./En.Hrn., Cl in B, Bsn.,Timpani, Perc.( Field Drum, Bass Drum, Tam-Tam, Cymbal ), Pno., Hrm., Vlc., D. B.

– Der Schildwache Nachtlied:Fl., Ob., Cl. in B, Bsn., Hrn. in F, Trp. In C, Timpani, Perc. ( Snare Drum, Cymbal, Triangle, Bass Drum), Pno., Hrm., Hrp., Vln. I, Vln. II, Vla., Vlc., D.B.

– Wer hat dies Liedlein erdacht?:Fl., Ob., Cl. in B, Bsn., Hrn. in F, Perc.(triangle), Hrm., Vln. I, Vln. II, Vla., Vlc., D.B.

– Lob des hohen Verstandes:Fl., Ob., Cl in B, Bsn., Hrn. in F, Trp.in C, Pno., Vln. I, Vln. II, Vla., Vlc., D.B.

– Lied des Verflogten im Turme:Fl., Ob., Cl.in B, Bsn., Hrn. in F, Trp. in C, Timpani, Pno., Hrm., Vln. I, Vln. II, Vla., Vlc., D.B.

– Trost im Ungluck:Fl., Ob., Cl. in B, Bsn., Hrn. in F, Trp. In C, Timpani, Perc. ( Snare Drum, Triangle), Pno., Hrm., Vln. I, Vln. II, Vla., Vlc., D.B.

– Wo die schonen Trompeten blassen:n B, Hrn. in F, Trp. In C, Hrm., Vln. I, Vln. II, Vla., Vlc., D.B.

– Himmlischen Freuden:Fl., Ob./E.Hrn, Cl. in B, Bsn., Hrn. in F, Trp. In C, Timpani, Perc. ( Cymbal, Triangle, Sl. Bells), Pno., Hrm., Hrp., Vln. I, Vln. II, Vla., Vlc., D.B.

– Urlicht :Fl., Ob., Cl. in B, Bsn., Hrn. in F, Trp. In C, Pno., Hrm., Hrp., Vln. I, Vln. II, Vla., Vlc., D.B.

– Des Antonius von Padua Fischpredigt:Fl., Ob., Cl. in B, Bsn., Hrn. in F, Timpani, Perc. (Cymbal, Triangle, Tam-Tam , B. Drum), Pno., Hrm., Vln. I, Vln. II, Vla., Vlc., D.B.

The newly orchestrated songs are:


– Zu Strassbourg auf der Schanz:Fl., Ob., Cl.in B, Bsn., Hrn. in F, Perc. ( Snare Drum), Pno., Hrm., Vln. I, Vln. II, Vla., Vlc., D.B.

– Nicht Wiedersehen!:Fl., Ob., Cl.in B, Bsn., Hrn. in F, Pno., Hrm., Vln. I, Vln. II, Vla., Vlc., D.B.

– Ablosung im Sommer:Fl., Ob., Cl.in B, Bsn., Hrn. in F, Perc. ( Triangle), Pno., Hrm., Vln. I, Vln. II, Vla., Vlc., D.B.

– Selbstgefuhl.:Fl., Ob., Cl.in B, Bsn., Hrn. in F


The work already has been performed by:

– The Heures Romantiques de Monthodon Ensemble conducted by Udo Reineman,(France, 2001).
– Remix Ensemble conducted by Peter Rundel. William Dazeley, baritone and Christiane Iven, Mezzo-Soprano (Porto, Casa da Musica, 2004).
– Bodø Sinfonietta conducted by Christian von Gehren. Regine Vesterlid Strøm, Mezzo-Soprano (Bodø, Norway, 2009 ).
– Festival of Flanders (3 concerts) , Ensemble Emanon conducted by Raf de Keninck. Margriet van Reisen, Mezzo-Soprano (Ghent,Deinze,Hele Belgium, 2009).

All the scores and the performance material of the above songs (both low and high Soprano versions) have been published and are available at the Dutch publishing houseDonemus.

Cassandra’s Tales 

for Oboe/E.Horn, Clarinet, Bassoon and Tape
2004

Staal 

Ballet for four track Tape
2004

Ik 

for Clarinet Solo and Ensemble
2004

Who we really are,
Who we wish to be,
How do we present our self to the outer world?

Those are the main questions that I try to investigate with IK.
A trip of a person, breaking down all his defenses, arriving to the essence of his existence.

” Ik ” is the first part of a Music and Dance performance with the name “ADDA”, orginised from EnsembleEmanon and the Belgian choreographer Randi De Vlieghe. “Ik” has being premiered in Kortrijkse Schouwburg, in Belgium the 27 of May 2004 with Ensemble Emanon and soloist Raf De Keninck.

Shadows IIIa  

for Orchestra
2004

Cantus I  

for Percussion and Piano
2003

Shadows III

for Ensemble
2003

Shadows II 

for small Orchestra
2003

Ariadne 

for Soprano, Cello and Live Electronics
2003

Eos 

for Piano and Live Electronics
2002-2003
+ audio
+ score sample

Eos is the reflection of the first light on the morning sky. The moment that darkness is breaking, the moment that its shadows are taking shape and we, for the first time, can get a clearer view of their reality. A game between the surreal world and our way of interpretating him.
Eos shadows are the tracks of another reality, a reality that is not possible to grasp. A reality that goes over our understanding and connects us with the non-real imaginary world.
They are shadows of our past and our cultural heritage and they are morphing the way of our understanding and the answers that we give to our questions. A sum of observations that mixes with memories.
How do we perceive and interpretate this reality and events, the nature and the way that we look on them is something that I try to investigate in this work. The first ideas for this piece came while reading the book of F. Pessoa ‘The hour of the Devil’. A line: Darkness-Temptation-Magic-Destiny-Infinity, the names of the five continuous movements of the piece, formed a basic point of departure to this investigation.

3 Michelangelo Songs

Transcription of H. Wolf songs for Baritone and Piano, for Baritone, 2 Violas, 2 Celli and D. Bass
2002

Praxis Ia

for Solo Violin
2002

Bati no portao do tempo perdido

for Violin, Soprano Saxophone, Percussion, Piano and Live Electronics
2002

Z(s)and 

Music for a dance production for Stereo Tape
2002

Antiparathesis 

for Violin and orchestra
2001
SCORE SAMPLE

Antiparathesis” (Contradistinction) is a piece that I worked on the last two years of my studies.
I was always fascinated by the orchestra as a living organism and its inner dynamism. In Antiparathesis I tried more to explore these dynamics and their relationship to an external element, the solo Violin. A relationship varying through out the piece, being mainly the solo Violin an observer, sometimes commenting, agreeing and other times trying to survive the even brutal forces of the orchestra. This antithetic relationship I tried also to use in the form of the piece with sections contradicting each other, arriving to the core of the piece, the part of the solo Violin with percussion, a section that replaces the traditional Cadenza. Even with this part reminding to a Cadenza, Antiparathesis doesn’t have the form of a traditional Violin Concerto. After this section, the violin is the main character, the narrator that tells his story. But this also not for long, the orchestra takes over and the only thing that remains to the solo to survive is a scream.
Antiparathesis has been premiered in Amsterdam the 31 of May 2002 from Nederlands Ballet Orkest, conducted by Peter Rundel and soloist Hebe Mensinga.
The score and the performance material of Antiparathesis have been published and are available at the Dutch publishing houseDonemus.

Fladermuis

Transcription of the Operetta of J. Strauss “Der Fledermauss” for a music theatre production for Clarinet, Violin, Viola, D. Bass, Cymbalon, Accordion, 4 Singers and actors
2001

12 Haiku

for Soprano and Piano
2001

Des Knaben Wunderhorn

Orchestration of 4 Songs from the same Cyclus for Voice and Piano, orchestrated for Voice and Ensemble (Wind Quintet, Piano, Harmonium, 2 Percussionists and String Quintet
2001

Des Knaben Wunderhorn

Arrangement of 14 Mahler’s Songs
for Orchestra and Voice
for Voice and Ensemble (Wind Quintet, Piano, Harmonium, 2 Percussionists and String Quintet)
2001
AUDIO
SCORE SAMPLE

Nuances of Blue

for Soprano, Live Electronics and Dance
2000

Praxis III

for Bassoon and Piano
2000
SCORE SAMPLE

Praxis III is a part of a series of works for different ensembles with the name Praxis.
Praxis III is a 16 minutes work for Bassoon and Piano, consisted from eight smaller continuous parts. The different parts of Praxis III are based on various poems of C. Baudelaire from his collection ‘Les fleurs du mal’. There is a clear try to connect the literal context and atmosphere created in the poetry of Baudelaire with the music.
The work was commissioned and dedicated to Duo Palmos.

Praxis II

for Tape
1999

Praxis I

for solo Clarinet
1998

Gia Piangi nel Dolore

Arrangement for double wind Quintet of a madrigal of Gessualdo di Venoce
1998

De Profundis

for Piano, Organ, Percussion and Mixed Choir
1997

Tango for five

Music for theatre for 2 Violins, D. Bass, Piano, Harpsichord
1997

Versus Volante

for Ensemble (Fl., Ob., Cl.in B., Bsn., Hrn.in F, Trmp.in B, Trmbn., Piano, Perc.,2 Violins, Viola, Cello, D. Bass)
1996

String Quartet

1996

Solo

Mirolóï 

for Flute 

2022

Apneia

for Saxophone and Fixed Media
2016

Now, I am become Death… II

for Percussion and Electronics
2014

Now, I am become Death… I

for Violin, Fixed Media, Real time electronics and Video
2014

Eos 

for Piano and Live Electronics
2002-2003

Praxis Ia

for Solo Violin
2002

Praxis I

for solo Clarinet
1998

Duos – Trios

Invictus 

for Clarinet and Piano 

2020

Anathema II

for Contra-bass Tuba and Piano 

2020 

I stare the stars that are over the ocean..

for Soprano Saxophone and Vibraphone
2019

Solo for Two

for two Percussionists
2018

In Luminis

for Violoncello and Piano
2016

Nocturne 

for Soprano Saxophone, Tuba and Vibraphone
2012

Metamorfoses

Music for ballet for Violin, Bass Clarinet and Electronics
2012

Anathema I 

for Contra-Bass Tuba and Accordion
2011

Clamor 

for Portuguese Guitar and Electronics
2011

Prominence 

for Piano and Electronics
2011

Red to Black

Version for Bass Clarinet and Piano
2007

Red to Black

for Alto Saxophone and Piano
2005

Cassandra’s Tales

 for Oboe/E.Horn, Clarinet, Bassoon and Tape
2004

Cantus I  

for Percussion and Piano
2003

Praxis III

for Bassoon and Piano
2000

String Quartet

Segment I

for String Quartet
2017

String Quartet

1996

Ensemble

“Once I Entered a Garden”

(Asmahan / Andrikopoulos)
Transcription for Wind Ensemble and Mediterranean traditional Instruments
2017

Σε λίγο που ο αέρας θα γίνει πιο ψυχρός…

for Narrator and Ensemble
2017

Traces

for Ensemble and Fixed Media
2015

Metamorphoses I 

for Ensemble
2010

Concerto for Violoncello and Ensemble

for Violoncello and Ensemble
2006

Ik 

for Clarinet Solo and Ensemble
2004

Shadows III

for Ensemble
2003

Versus Volante

for Ensemble (Fl., Ob., Cl.in B., Bsn., Hrn.in F, Trmp.in B, Trbn., Piano, Perc.,2 Violins, Viola, Cello, D. Bass)
1996

Other Ensemble

Four Children Night Miniatures

for Flute, Violin, Violoncello and Piano
2019

Lines

for Saxophone orchestra
2016

3.1.1.9.5

for two Vibraphones, Crotales and two Pianos
2016

Apólogo a D. Silvana

for 2 Trumpets,3 Saxophones, 2 Trombones and 6 Percussionists
2008

Illuminations

for Violin, Viola, Violoncello, Piano and Percussion
2008

Gazela de la Muerte Oscura

for Mezzo Soprano, Accordion and String Quartet
2007

Reenquadrar

for Ensemble, Jazz Trio and Electronics
2007

Danza del Viento 

Two Orchestrations for Nederlands Blazers Ensemble and Jordi Savall
2006

Fladermuis

Transcription of the Operetta of J. Strauss “Der Fledermauss” for a music theatre production for Clarinet, Violin, Viola, D. Bass, Cymbalon, Accordion, 4 Singers and actors
2001

Bati no portao do tempo perdido

for Violin, Soprano Saxophone, Percussion, Piano and Live Electronics
2002

Gia Piangi nel Dolore

Arrangement for double wind Quintet of a madrigal of Gessualdo di Venoce
1998

Tango for five

Music for theatre | for 2 Violins, D. Bass, Piano, Harpsichord
1997

Orchestra

Nyx

for Orchestra
2005

Shadows IIIa  

for Orchestra
2004

Shadows II 

for small Orchestra
2003

Cantus II

for String Orchestra and Percussion
2014

Antiparathesis

for Violin and orchestra
2001

Voice and Piano | Voice and Ensemble

12 Haiku

for Soprano and Ensemble
Revision 2021

Ópera Real (4th Act)

for Soprano, Actors, Ensemble and Fixed Media 

2020

Sons da História 

for 8 singers, Historic Instruments and Orchestra 

2020

Revelations

for Choir and Ensemble
2019

Itiraf

(Karsu / Andrikopoulos)
Transcription for Voice and Wind Ensemble
2019

Shirley Valentine 

for Soprano and Harpsichord
2009

Komachi

for Female Voice and Accordion
2006

12 Haiku

for Soprano and Piano
2001

Des Knaben Wunderhorn

Orchestration of 4 Songs from the same Cycle for Voice and Piano, orchestrated for Voice and Ensemble (Wind Quintet, Piano, Harmonium, 2 Percussionists and String Quintet
2001

Des Knaben Wunderhorn

Arrangement of 14 Mahler’s Songs
for Orchestra and Voice
for Voice and Ensemble (Wind Quintet, Piano, Harmonium, 2 Percussionists and String Quintet)
2001

Nuances of Blue

for Soprano, Live Electronics and Dance
2000

Ariadne

for Soprano, Cello and Live Electronics
2003

3 Michelangelo Songs

Transcription of H. Wolf songs for Baritone and Piano, for Baritone, 2 Violas, 2 Celli and D. Bass
2002

De Profundis

for Piano, Organ, Percussion and Mixed Choir
1997

Film Scores

4 Estações

Film-score
2021

Tocata e Fuga: Os Dias de Mário Cláudio

Film-score
2016

Mau Mau Maria

Film-score
2014

21 kHz | Portraits of Crisis

Music for film
2012

Martin Sarmento | original soundtrack 

Music for the film Martin Sarmento
2012

Nadir Afonso | original soundtrack

Music for the film Nadir Afonso: The time does not exist
2011

Electroacoustic

Fechar o Tempo

Sound installation for the photography exhibition of Olívia de Silva
2015

7 Preludes for a Silent Pianist 

Performance for Piano and Electronics
2011


Staal 

Ballet for four track Tape
2004

Z(s)and 

Music for a dance production for Stereo Tape
2002


Praxis II

for Tape
1999