The intention of this cycle of works is to familiarize the young musician with issues that are common in today's scores. From the time of their youth, they should acquire a taste for experimentation and this spirit of sonic adventure should be preserved when they study scores from the traditional repertoire.
Thus, in the first piece, ARTEMIS CALLED MISS GLISSANDO, DOESN'T LIKE THE ALLARGANDO, the musician will be challenged to perform tremolos, trills, glissandos, irregular accents, while maintaining a stable tempo.
In the second part, SNORKELING WITH HEFAISTOS, the bow glissando between tasto and ponticello becomes the most important structural element.
The third part, HERCULES' KALIMBA, focuses on the pizzicato technique; a new sonority, close to the sound of the kalimba, is obtained by playing pizzicato behind the bridge.
The fourth part, AFRODITA'S SECRET: BIO HARMONICS SCRUB, is based on the sensual sonority of harmonic sounds.
In the last part, DIONISOS LOVES BURRITOS, the timbral layer is spiced up with harsher, scratchy tones; the middle section, OUZO TIME ON NAVAGIO BEACH, involves more freedom given to the performer through the use of proportional notation.
“Curly myths features a wide palette of sound colours. The mythological characters featured in these miniatures are highlighted not by perfection but by character traits, personality and temperament. Thus Gabriel Malancioiu brings out the performer's expressiveness with much humour, giving him a clear, attractive and versatile score.” Arthur Balogh