Mikis Theodorakis' Symphony No. 4, "Of the Choral Odes" is a setting of the "Eumenides" by Aeschylus and "The Phoenician Women" by Euripides, joined together in a massive work that conveys classical Greek tragedy through the form of a modern choral symphony. In his liner notes,
Theodorakis suggests that, because the term symphony is derived from Greek, it is best left to a Greek to define it; and he points out that his conception of a symphony is analogous to a wall painting. From this, it can be gathered that conventional western sonata form is not a concern for him, and that this long, two-part work derives its tension and power from its ancient Greek texts, and follows its own logic rather than abstract rules. There's no denying the force and directness of
Theodorakis' music, which has power in its dark scoring, austere counterpoint, massed unisons, and immense orchestral sonorities; the live 1987 performance by contralto Kiki Morphoniou, soprano Aleka Drakopoulou, cellist Dana Chatzigeorgiou, and the Athens Symphonic Orchestra and Choir, directed by Lukas Karytinos, brings this strength across, despite some ragged playing in spots and the general noisiness of the concert venue. Yet the music proceeds from one section to the next without much differentiation of mood, change of coloration, or variance of texture, and the heavy declamatory tone of the work obviates almost all other expressions. Admirers of
Theodorakis' orchestral music will take this work seriously, and appreciate his commitment to his nation's culture. But others less sympathetic to his aims may find this brooding composition difficult to digest for its somber subject matter, hard to like for its severe orchestration, and tough to sit through for its exceptional duration.