Composer Kyriakos Sfetsas passed away on April 21, 2026, at an unknown age. Introduction Kyriakos Sfetsas was a Greek composer known for his work with experimental and electroacoustic music. In the 1970s, he was among the early innovators in this field, during a time when electronic composition was still in development. His name is particularly associated with Four-channel electro-acoustic music for the “Ballet Smog”, which was released on record in Paris in 1974. This work established him as a composer exploring the boundaries between music, technology, and other art forms. Musical Career Kyriakos Sfetsas was born in Amfilochia and grew up in Lefkada. His musical education began with the Philharmonic Band and the National Conservatory of the city, before continuing his studies at the National Conservatory of Athens. This education provided him with a classical foundation, but his later work demonstrated a strong interest in new sound possibilities. He worked during a period when experimental composition and electronic means were not yet commonplace. After the dictatorship of 1967, he moved to Paris a few months later. Paris was an important center for experimental and electroacoustic music during those years. There, he found the artistic space to further develop as a composer. His breakthrough within the limited but influential circle of experimental music came with Four-channel electro-acoustic music for the “Ballet Smog” from 1974. This work was released in Paris and is considered an early example of four-channel electroacoustic composition. With this project, Sfetsas demonstrated his interest in sound spatiality and the relationship between music and movement. The collaboration around Ballet Smog also underscored his affinity for multidisciplinary art, where composition and dance complement each other. As a pioneer of electronic and electroacoustic music in Greece, he occupied a special place. He experimented with forms and techniques at a time when such music was still in its infancy, making him an early innovator within his generation. Regarding his further discography, major concert series, permanent ensembles, or awards, nothing has been confirmed based on the available, verified information. However, it is certain that his work exemplifies how Greek composers in Western Europe connected with the avant-garde musical practices of their time. Private Life Little is publicly known about the private life of Kyriakos Sfetsas. It is known that he was born in Amfilochia and grew up in Lefkada. It is also known that he held Greek nationality. Further personal details have not been publicly confirmed. Passing Kyriakos Sfetsas died on April 21, 2026. His age and place of death have not been confirmed in the available information. The cause of death is not publicly known. There is currently no confirmed information about public reactions from fellow composers, ensembles, or institutions. Conclusion With the death of Kyriakos Sfetsas, the music world loses an early explorer of electroacoustic composition. His work showed how technological innovation and artistic curiosity could meet during a decisive period for experimental music. His legacy remains linked to a time when new sounds and new forms still had to be invented. On Overleden.net, you can find more notable deceased from the music world. This article was prepared with the support of AI tools and verified by the editorial team of Overleden.net. Significance for the Netherlands Although Kyriakos Sfetsas was a Greek composer who primarily developed his career in Paris, his work held significance for the Dutch music landscape as part of the international avant-garde. In the 1970s, when experimental and electroacoustic music also gained ground in the Netherlands, Sfetsas represented an important example of how composers could operate beyond traditional borders. His four-channel electroacoustic composition for Ballet Smog (1974) circulated within the limited but influential network of experimental music makers in Europe, including Dutch composers and music institutions. Sfetsas’ approach to multidisciplinary art—where music, technology, and dance converged—aligned with experimental movements that also took root in the Netherlands. For pioneering Dutch musicians involved in electronic composition, his work served as a reference point for boundary-pushing sound research. His contribution to the early history of electroacoustic music in Europe makes him a significant figure for understanding the development of experimental music in the post-war period.