Music always wins | Longleash Trio | New York

meta.ξ | music always wins | a dramatized installation by Longleash Trio

Chaconne for piano, violin, Violoncello, and fixed media is going to get its premiere in New York on the 7th of July 2021 by the American Trio Longleash. The piece is focusing on the sonic moment when a glass is breaking, creating a crystalline sound while its particles fall apart on the ground. A special poem was composed by Gundega Smite and myself for this purpose and was used as an outline for the development of the form of the piece. Stay tuned for more information and in the meanwhile please read below a few words about the concept of this very special forthcoming meta.ξ concert curated by Zesses Seglias with immense support from George Katehis

poem by Gundega Smite & Dimitris Maronidis


When asked about his work words and music and the battle between the two, Samuel Beckett was clear: music is the absolute winner, as it “is the idea itself, unaware of the world of phenomena”2, in contrast to Beckett’s view on language and its expressive limitations

This is indeed true, since music ―especially abstract music― has no signified meaning, at least in the way language has. Even when an extra-musical idea or text is signified through the music, to the unaware listener music remains ―and can be perceived as― a signifier, since there is no established code attaching certain meanings to certain sounds.

When it comes to a live performance of music, is this autonomy a virtue or a flaw? Especially when more than one fields of art are involved and a certain ―or uncertain― message is to be delivered, is the absence of the signified a desired quality of music?

At the bottom line, this principle seems to be inevitably present. Thus, the question raised is not how to change the nature of music, but rather the way it is perceived. That is, to question Beckett’s note: why does music always win? Why is language ―or its visual representation― inferior to music?

In a conventional concert situation, the audience is placed against the stage (and the music) and perceives it in a rather passive way, in the sense that no action that can interfere with the performance is meant to be taken. In this way, any other element that could possibly function as a reference (or even signified) is imposed on the top of music and is decorative. In this situation, music wins again.

Live recording of Mise en abîme by Altera Shock | Rīga

Two years after the premiere of my piece Mise en abîme in Riga, I have managed to retrieve the audio files of the recording of that performance! Though the recording suffers from some technical issues (live electronics being recorded only from mics on-stage so lacking a bit of the high frequencies), the spirit of the piece is present here. I think this is probably my most meditative piece so enjoy it in serenity and preferably in dark in your bed!

Mise en abîme is a term used in visual arts to describe a formal technique of placing a copy of an image within itself, often in a way that suggests an infinitely recurring sequence. A common way of experiencing this effect is by standing between two mirrors, seeing, as a result, an infinite reproduction of one’s image. In this piece, I try to imitate this phenomenon in the field of sound. Fragments of music are repeated many times, each time slightly distorted, in order to create perceptually the same effect.

Mise en abîme was commissioned by Arena Festivāls at Riga, Latvia, and was composed in Autumn of 2018. The premiere of the piece took place at VEF Cultural House in Riga on the 30th of October 2018 by Trio ART-i-Shock and Altera Veritas Ensemble collaborating for this unique concert.

This is a LIVE recording of the premiere. Please mind using a pair of headphones, or loudspeakers to listen to this music.

(YouTube painting) “Las Meninas” by Diego Velázquez

Live Recording of Clarinet Concerto | Latvia

Please find on youTube a live recording of my new Concerto for Clarinet, String Orchestra, and Electronics, conducted and performed by Guntis Kozma and Sinfonia Concertante at Riga, Latvia on 12th of March 2020.

The piece was commissioned by Mūzikas Festivāls deciBels at Riga, Latvia, and was composed in January of 2020. Please use a pair of headphones, or loudspeakers to listen to this music.

Muted Blast (.2) Concert of meta.ξ | New York

Transient Beauty for tape and Orbits for piano and tape are going to be performed at New York on 15th of November 2019 by the Canadian pianist Jana Luksts!

-meta.ξ, a collective of Greek composer/artist/design-curators, is presenting a concert of cutting-edge works featuring piano, electronics, double bass, interspersed with electro-acousmatic music. meta.ξ is bi-laterally based between the United States and Greece, with members living and working everywhere in between. The collective aims to strengthen the voice of the post-crisis generation of Greek composers, while embracing subversive and under-represented artists internationally.

With performances in prestigious venues across the globe, this is the first time meta.ξ will bring a concert to New York City. Jana Luksts (piano) and Evan Runyon (double bass), will navigate and experiment with scores involving electronics, robotics, and light design.

Programm, Muted Blast 2, metaξ (meta-ksi.com)
Benzaquen Hall, Dimenna Center for Classical Music
Jana Luksts, piano (www.janaluksts.com)
Evan Runyon, bass (http://evanruyon.com)
November 15, 2019 at 8PM