Theodorakis was so impressed with the power of the text of "State of Siege" that he frequently subordinates the melody to the word.
The device that he used so effectively in Romiossini, the liturgical-style recitative on a single pitch, is greatly extended. Listening to the Greek you are aware that the rhythmic grouping of notes correspond to natural syllable stress, that you are being told a story in a musical framework rather like the recitative sections of a classical opera. The majestic F minor melody with begins the section is referred to as a punctuation of the text, a unifying thread of melody reinforcing the concentrated suffering of the narrator.
The association of melody and word is precise without preciousness. (...)
The second section of State of Siege opens with a dream-like image, which takes us briefly outside the horror of the cell walls. (...) The melody is appropriately lyric, a swelling D minor theme which seems to demand a full string section of an orchestra to do it justice.
Speaking of the use of traditional musical elements in his compositions, Theodorakis said, 'I consider the third part of State of Siege as one of my most advanced achievements in the field of creative assimilation of our musical heritage'.
Theodorakis usual melodic devices are immediately identifiable in this final section of State of Siege, and his choice of thematic inspiration, the Byzantine hymn 'Life in the Tomb' is perfectly suited to the black world of Marina's verse.
These opening lyrics of the section are set for mixed choir, singing in unison. The religious association of the melodic material is reinforced by the growing optimism of the rapid, complex rhythm. (...)
Marina may despair, but we sense the tomb of her prison cell is a temporary resting place, that there is a throbbing energy stored in her anger which will not be wasted in death. The poet herself reaches out for life, for the only possible source of strength - the generation which will follow her.
The thought strikes her as a revelation, and Theodorakis underlines the change of mood with a change of tempo to andante and a sudden leap of a minor sixth (...)
Despite the horrors of what she sees around her, the madness and the pain, the poet clings to the hope that the children may catch up with time and life, 'A moment before chaos...' But Marina, lost in her private despair, will not be there to witness the possible salvation of her world...
The last lines of the poem are introduced by a burst of clear major melody sung by the soloist, and the song concludes with a gently descending melody with echoes the faint comfort of Marina's final words.
From: Gail Holst: Theodorakis. Myth & Politics in Modern Greek Music. Adolf M. Hakkert, Amsterdam 1980
STATE OF SIEGE (KATASTASI POLIORKIAS), AST 183
Composed: March 1968 (Athens) - May 1968 (Vrachati)
Symphonic finale, AST 303: 15.11.1995
1. Like the child scarred
2. Far, far away
3. Time has made a change
Creation: Décembre 1968
Maria Farantouri, Andonis Kaloyannis, Orch., Yannis Markopoulos
Création of the symphonic finale; Novembre, Melbourne
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