ΤΕΤΤΤΙΞ ensemble & Panagiotis Tomaras
6-7 DEC 2018
Duration: 1 hour and 10 minutes
Taking Giacinto Scelsi, the composer of the mysterious spirituality, as its starting point, this performance follows a path of music and light to the “godfather” of ambient, Brian Eno.
Onassis Stegi Friends presale: from 6 NOV 2018, 12:00
General presale: from 13 NOV 2018, 12:00
Full price: 7, 10 €
Reduced, Friend & Groups 5-9 people: 8 €
Νeighbourhood residents, Groups 10+ people: 7 €
People with disabilities & Unemployed: 5 € | Companions: 5 €
Group ticket reservations at firstname.lastname@example.org
*Strobe lights will be used during the performance.
Photo © Kiki Papadopoulou
To mark the 30th anniversary of Giacinto Scelsi’s death, ΤΕΤΤΤΙΞ stages an ambient performance in which the spectators-listeners are left free to immerse themselves in the music or simply to follow it from a distance. Every composer calls forth different expressive means: imperceptible changes made by increasing or decreasing the density of the musical material or emphasizing a particular sound colour and instrumental register.
Guided by the music’s atmosphere, its 'minimalist' aesthetic and its impact, which moves between the hypnotic and the stimulating, Panagiotis Tomaras plays with the fundamental qualities of light. Using reflections and gradations of intensity and colour, he weaves subtle optical illusions and creates a singular environment for each work.
Brian Eno (b. 1948)
“Ambient 4: On Land_ Lizard Point” (1978-82) – transcription for ensemble
Giacinto Scelsi (1905-1988)
“Okanagon” (1968), for amplified harp, tamtam and double bass
Zesses Seglias (b. 1984)
“Let the music go down” (2013), for bass clarinet, saxophone, bassoon, percussion and double bass
Nikos Ioakeim (b. 1978)
“Væsanus!” (2014), for flute, bass clarinet, saxophone, bassoon, percussion, guitar, double bass
"Ambient 4: On Land_ A Clearing” (1978-82) – transcription for ensemble
Peter Adriaansz (b. 1966)
"Fraction" (2011), for amplified saxophone, el. guitar, qanun and santur
“Maknongan” (1976), for any low instrument
Michalis Paraskakis (b. 1980)
“Skostok” (2015), for ensemble
“Ambient 4: On Land_ Lantern Marsh” (1978-82) – transcription for ensemble
Concept, Realization: Michalis Paraskakis
Artistic direction and programming: Katerina Konstantourou, Michalis Paraskakis, Nikos Galenianos, Nikos Ioakeim
Light & Stage Design: Panagiotis Tomaras
Sound engineer: Brian Coon
TETTTIΞ: Ana Chifu (flute), Εirini Amanatiadou (clarinet), Guido de Flaviis (saxophone), Rhea Pickios (bassoon), Sissi Makropoulou (harp), Katerina Konstantourou (piano, qanun), Mislav Režić (guitar), Stamatis Pasopoulos (accordeon), Panagiotis Ziavras (percussion, santur), Charis Pazaroulas (double bass), Michalis Paraskakis (composer, voice), Nikos Ioakeim (composer), Nikos Galenianos (composer).
Conductor: Konstantinos Terzakis
Warm thanks to Miltos Logiadis, Pavlos Sergiou, Anastasia Georgaki & Thanos Nikolopoulos, Zacharias Tarpagkos, Vaggelis Paschalidis, Vasilis Zigkeridis, Alexandros Rizopoulos, Giorgos Perrakis, Stella Chronopoulou, Antonis Hadjinikolaou, Marko Runjić, and to Brian Eno for granting us his music free of charge.
read moreThe music
In “Okanagon” and “Maknongan”, Scelsi, the “Master of the yet smaller transition” presides over a primeval drama through his meditation on sound.
In “Fraction”, Peter Adriaansz creates a rite of industrial sounds whose languid repetitions randomly synchronize.
In “Vaesanus!”, Nikos Ioakeim sets out to explore the potential available in the vicinity of a single note.
In Michalis Paraskakis's “Skostok” an irregular pulse is used to perturb the static character of sustained sounds, setting this way the musical dramaturgy in motion.
In “Let the music go down”, Zesses Seglias explores music’s tendency to head downwards from a dramaturgical point of view, whatever form this may take: moving towards the lower register of an instrument, slowing the pulse, changing the coloration and, of course, the mood.
The evening ends with works by the “godfather” of ambient music, Brian Eno, recomposed for acoustic instruments.