The work "Suite for Medea" was initially written as a musical accompaniment to Jean Anouilh's play of the same name (based on the ancient tragedy), which was performed by a student amateur theater group at the University. I was captivated by the whole plot of the play and it mentally transported me to that ancient, mythical, heroic era. I allowed myself to be carried away, to imagine, to see the images and to hear the sounds and rhythms of this fascinating tragedy.
So, after an introduction, I imagined the DANCE before love, LOVE itself,
PASSION, COMPLAINT, relaxation-LULLABY, the mysterious calmness of NIGHT, the colors and sounds of DAWN, and the EPILOGUE. In my mind, I had the sounds of EVERLASTING GREECE, as I subjectively imagined them. That's why in the same book, on the same record, I wanted to include my sonata titled "GREEK SONATA," in which I again had our Greek musical tradition as a guide. I chose the violin and the guitar because these sounds suited my imagination for these works more. Perhaps I subconsciously had the sounds of my son Thodoris in my ears, as I heard him practicing the violin in the next room (everyone understands my emotions). However, the part of the violin can also be interpreted by the flute.

(Note from the composer)