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During the composition of "Strophes" (2003), in which the architectonic features of a high-tech factory influenced various parameters of the work such as the production of sounds, Marios Joannou Elia developed the concept of polymediality. This involved two dimensions: the work-immanent compositional dimension and polymediality in the process of staging. The prefix poly denotes a qualitative paradigm shift; not a quantitative much, but a qualitative, polyaesthetic more. Written between 2007 and 2010 as a commentary focused on his opera "Die Jagd" (2008) and the orchestral piece "Akanthai" (2009), this book illuminates Elia's concept of polymediality and, by providing a wealth of examples, how literary sources become an inherent polymedial element of his music. At the same time, the commentary elucidates a series of fundamental aspects of the music, including the model of imitative interaction, the concept of permanent fleetingness, the concept of polyaesthestics, and the question of musico-literary intermediality.
About the author
Marios Joannou Elia (geb. 1978) studierte Komposition bei Adriana Hölszky am Salzburger Mozarteum und Musikwissenschaft bei Dieter Torkewitz an der Universität für Musik und darstellende Kunst Wien. Promotion an der University of Southampton (2010). Über 70 Kompositionen, darunter die Oper "Die Jagd" (Staatsoper Stuttgart, 2008) und die großbesetzen Open-Air Konzerte "Autosymphonic" (2010-11) für 290 Musiker und "Ulmer Oratorium" für über 400 Musiker (2013-14). Renommierte Auszeichnungen, darunter die Lutoslawski- und Serocki-Preise in Warschau, den Edison Denisov-Preis in Moskau, den BMW-Preis der Musica Viva in München und FAMABs Gold Apple für die beste innovative Kulturveranstaltung Deutschlands (2012). Dozent an diversen Universitäten, u. a. in Salzburg, Leipzig und Seoul. Künstlerischer Leiter u. a. der Europäischen Kulturhauptstadt Zyperns.
