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Trittico Mediterraneo was composed for 2-channel electroacoustic musicand diffused live by the composer, Konstantinos Karathanasis. He statesin the program note that this work is‘a three-movement piece inspired by summer themes’. The first movementwas a brilliantly orchestrated section crafted from bell samples. The second segment featured the sounds of children playing paired with abstracted derivative manipulations. The material of the third section, made from the sound of cicadas, was quite captivating, first introduced asa transitional gesture, then becoming the foundation of the final movement. I was quite impressed with the detail and clarity in terms of spatialization, especially considering that this was a two-channel piece. This composition was very pleasing due to its intricate textures, vivid sound characters, and invigorating transitions.

Reviewed by Jason Fick in Array (Winter 2015)

 

De Ligno Chalybeque(2003) is an electroacoustic piece composed by Konstantinos Karathanasis, currently completing a Ph.D. in composition at the University at Buffalo (UB). Drawing upon the mythology of his Greek homeland, Mr. Karathanasis cites several ingredients “necessary for the recipe of the piece,” including: Fire, Sulfur, Quicksilver, Dionysus, Sisyphus, Chaos, and Katharsis. All sounds were derived from cello and modified by custom Max/MSP algorithms. De Ligno Chalybeque is a compelling piece, by turns meditative, explosive, lyrical, and, on occasion, violent. The cello sounds are, for the most part, very abstracted, fodder for Max/MSP processing. Mr. Karathanasis uses silence as an active presence, rather than an absence, in keeping with the legacy left by long-time UB composition teacher, Morton Feldman.

Reviewed by rachMiel in Computer Music Journal (Winter 2006)

 

Dass dieser riesige technische Aufwand seine Berechtigung hat, bewiesen die ersten Töne des Eröffnungsstückes «De Ligno Chalybeque» for tape von Kostas Karathanasis. Mit einem rasch anschwellenden Ton, der schnell durch den Saal schoss und das Publikum regelrecht in Klang eintauchte, eröffnete das Stück. Immer wieder wurden zart-flirrende Klänge und leises prickelndes Rauschen von wilden, schreienden, schabenden, dumpf dröhnenden, hoch quietschenden und zirpenden Tönen unterbrochen, die aus allen Fugen und Ecken des Raumes hervorzuströmen schienen.

Reviewed by Von Rolf De Marchi in BZ (June 2005)