Ambient Pressure / ONASSIS CULTURAL CENTRE
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Ambient Pressure

ΤΕΤΤΤΙΞ ensemble & Panagiotis Tomaras

6-7 DEC 2018
21:00

 
Exhibition Hall
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.
To mark the 30th anniversary of Giacinto Scelsi’s death, ΤΕΤΤΤΙΞ stages an ambient performance in which audience and music inhabit the same space, leaving the viewer-listener free to immerse themselves in it or simply to follow it from a distance. Every composer marshals different expressive means: imperceptible changes made by increasing or decreasing the density of the musical material or emphasizing a particular sound colour or a particular 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 presents tiny optical illusions to create a singular environment for each work.

credits

Works
Giacinto Scelsi: “Okanagon” και “Maknongan”
Brian Eno: “Ambient 4 – On Land” (3 parts)
Nikos Ioakeim: “Væsanus!”
Peter Adriaansz: “Fraction”
Michalis Paraskakis: "Skostok"
Zesses Seglias: “Let the Music Go Down”
 
ΤΕΤΤΤΙΞ Music Ensemble
Lighting Design, Art Video, Stage Editing: Panayotis Tomaras
Michalis Paraskakis: concept, realisation
Katerina Konstantourou, Michalis Paraskakis: art direction

ΤΕΤΤΤΙΞ
Ana Chifu: flute
Eirini Amanatiadou: clarinet
Rhea Pikiou: bassoon 
Guido de Flaviis: saxophone
Panagiotis Ziavras: percussion
Sissi Makropoulou: harp
Mislav Režić: guitar (electric/acoustic)
Katerina Konstantourou: piano
Stamatis Pasopoulos: bajan
Charis Pazaroulas: double bass
Nikos Ioakeim: composition
Nikos Galenianos: composition
Michalis Paraskakis: composition, voice

Conducted by: Konstantinos Terzakis

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The 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.

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