Ambient Pressure

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.

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”, Zisis 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.