My music does, first and foremost, express my own concerns, which I try to approach
‘psychoanalytically’ and share with others, since only music, being a means of communication
through sound messages, could convey them in its own special way.

As my target audience I regard those educated in (or at least familiar) with western ‘classical’
music, the recent idioms also included. When composing, I try to determine and organise the
impressions, even the effects the music may have upon human mood and psyche. This is done on
clearly musical grounds, but also on extramusical ones, such as psychological, aesthetic, esoteric,
rhetorical and semiotic. I could state that, as far I am concerned, music is a vehicle towards
knowledge, self-discovery and communication.

It is often proposed that music is an international, in other words, a natural language, having the
power to carry different kinds of messages, impressions, emotions, pictures, etc. I believe that the
influence of a piece of music on the human psyche is directly connected with its musical kind and
its quality.

Based on all the above, my compositional aims include the use of music in order to draw forth
instincts, impressions and feelings, and lead to spiritual experiences which our everyday life may
lack, as if it were an exercise aimed to keep our soul fit.

I often try to convey musical or general messages, such as the following: the furthering of our
reconciliation with the world of instincts and some primal human form of human expression; the
lifting of prejudice against certain aesthetic choices and combinations; the power of upsetting and
histrionics; the supplementation of psychic energy through music.

I am also interested in expressing through music new impressions and experiences, or expressing
familiar ones in a new way, using new musical means, thus hoping to broaden human perception
and mostly mine. Among these experiences are: dramaticism, lyricism, contemplation, melancholy,
elation, brutality, spirituality, religiousness, tragicality, humour, weakness, dynamism, fury,
calmness, confusion, equanimity, anger, nostalgia, agony, rituality, simplicity, hesitation, ecstasy, etc.

What ‘Greekness’ there is in my work happens to dwell mainly on the plane of aura and ‘ethos’ in
the ancient Greek sense.

According to my personal taste, I freely use ideas, elements and techniques from various music
styles, including: Polymodality, Extended Tonality, ‘Neo-Baroque’, Neoclassicism, Neoromanticism,   Micropolyphony, Polyrhythmicality,Total Chromaticism, Microtonalism, Mass-formed Music, Aleatoricism,  Electronic Music, Postmondernism, Musical Theatricality, etc.
So, my music has been characterized as moving in the wide field of polystylistic eclecticism, with a personal emotional and spiritual character. Finally, I try to make my music clear, functional and useful, combining compositional perfection with communicational clarity.

Despite my efforts and whatever general impressions an audience may have of a piece of music, I
do not overlook the fact that every listener approaches a musical piece of work in a personal way.