«There was a deep evolution in the whole music world and basically the commonality was an effort to dispense with the fetters of an ossified academic art, which wreathed our music life, starting from music education and reaching to the concert halls, succeeding to convert what used to be a place of sacrament and high concepts, into a place of pedantic repetition of works with no meaning at all –when I am talking about it, I mean the international music atmosphere in the whole western world, which is characterized of a superficial perfection, deprived of a meaning, of humanism and most importantly an obligation feeling or better, the privilege of the mission to do this holy thing, called music.
This effort was made in a dual way: a) we consciously break the academic limits we are facing, when b) we subconsciously dig deep to obtain the past from eras and values that are now lost.»
«The characteristic in Christou and Xenakis is that, every other composer in Europe and America needs to go out of Europe in order to find something similar, to the traditions of Japan, India, Indonesia, when Greeks don’t need to do that. We have our own past, which is basically the European past, and this is where Xenakis and Christou dig.
The work originates from the idea of Heraclitus, who says that what stands against something is the dual form of unity.»
«With those deep thoughts, Christou tried to express the subconscious worries of modern human, who, as we know, feels as if the primitive awe awakens inside him in the new form of personal stress.»
«Christou, in this map, opens new horizons […] but, on the other side he regains the feeling of something we had lost, because we cannot understand the music of Bach, if we don’t have the feeling of the patterned nucleus, not even classical music.
Today, as we said, with the academic ossification and the imitation of an empty perfection, we take each note and try to count it up in an imitative way, when it basically seems as if we want to express, to find the meaning of a big text, not even by spelling, but itemizing the letters. When basically the feeling of the letters should be lost into the feeling of the word, which grows the sentence, and the sentence grows the period and the period grows the general meaning. Same happens in music. Bach started with the improvisation on themes.»
«Shapes that are calculated with the most unbelievable geometrical mind and creates a feeling in the infinity, which he had calculated in its tinniest detail, awakens primitive feelings and relieves us, because it makes us understand the stress.
Every musical instrument is totally free, as we are in life and have the feeling we can do whatever we want and time passes by, and as we have the feeling we are absolutely free, there is this tragic question of drama: where does the free will reaches? And where are the limits between will and destiny?»
«Destiny is organized in the general plan of the work, leading in fluctuations and to a feeling that wakes through a sound we don’t know… it starts from outside or inside us? In the beginning we are trying to conceive it, to make what happens accurate. By the time we become conscious, it is so big in size and depth that is really threatening.»
«“Metapraxis”: a philosophical meaning in which we are led to do something beyond what we would normally do, we are doing it because of a need coming from inside or outside […] A superior need we have not predicted.»
«…it reaches this point where it creates awe and you see how alive it is presented [in the score] … Until we end up in panic.»
«The conductor should have an entirely different (unusual) movement perception.»
«…as I have said in Heraclitus, it is something that, maybe for us, is consciously the end, but in the cosmic meaning it is nothing but a station for the eternal flow, which the conscious part of human cannot understand just through thought, but needs to obtain, or better admit the wisdom of the subconscious.»