Fata Morgana

fixed media 120 whistling tracks · 2016


120 whistling microtonal pitches, in a range of 2½ octaves

Composed for the Audio-DH project, curated by Francisco López.

iiinitiative - TodaysArt - Korzo Theater


Michalis Paraskakis · whistling


Recorded with a zoom in my apartment

Athens · 24 May 2016


Φλοιός (Cortex)

for piano solo · 2015-16


While composing Cortex I found an article about the lateral intraparietal cortex

of the brain, that is responsible for our perception of time, allowing us to play

an instrument or regulating the ability of speaking. I regarded "cortex" then the appropriate title for the piece, as it's based on the rapid changes of a melody's rhythms. The axis of the piece, this melody, is moving constantly fast, with small deviation of its rhythmic units, giving the impression of changing speeds.

The monolithic form of the piece, the rapid movement without resting, without breathing, is transforming it in chase for both the player and the listener.


Katerina Konstantourou · piano


Recorded live in Panteios Aula

Athens · 24 May 2016



for ensemble · 2015


Skostok is the name of an ancient king of the Odrysians.

We know he existed only from a few brass coins with laureate Apollo

and an equestrian with the inscription 'SKOSTOK'.


Nieuw Ensemble

Gregory Charette · conductor


Recorded live in Muziekgebouw aan 't Ij

Amsterdam · 12 February 2015

Ark Futura

for ensemble · 2014


Frequency beating obscures clean, transparent melodies and insisting chords.

In contrast to the static drone beatings of Terpnon, here the beatings emerge from moving melodies and harmonies, creating blurred contours and distortions to a familiar shape, as if you are looking through a frosted glass, a kind of sonic "polution" on the clarity of the melodic and formal structures.


ASKO|Schönberg Ensemble

Bas Wiegers · conductor


Recorded live in Bernard Haitingzaal

Conservatorium van Amsterdam · 14 April 2014


for positive organ and 5 performers · 2013


Terpnon means delightful. Maybe it sounds ironic, since the piece's main element

is frequency beating, a phenomenon usually unwanted and considered annoying.

But it is a sincere title, for frequency beating is a really delightful and addictive

sound phenomenon.

Purely idiomatic piece for the positive organ, it takes advantage of the instru-

ment's ability to fine-tune the pipes, creating extremely subtle and controlled differences  to the beating speeds. In unisons, clusters, closed and open chords,

the beating layers, juxtaposed on top of each other, construct a fluid but strict ceremonial sound world.

This sonic-ceremony is pictured on stage· the Tuners move in a subtle way, wear uniform black clothes and make no noise. They come in and out of light, offering

to the ceremony only when they are needed to.


Vladan Kulisic · Tuner 1

Eugene A. Kim · Tuner 2

Assaf Gidron · Tuner 3

Noah Rektenwald · Tuner 4

Michalis Paraskakis · Keyboard


Recorded live during the Spring Festival 2013

Arnord Schönbergzaal,

Royal Conservatory of The Hague · 10 April 2013


Not Yet II

for clarinet and string quintet · 2012/14


Not Yet II is a re-composed version of its first electronic version. The cold precision of the sinewaves is transformed to a warm, somnolent, seductive fluid, in which the clarinet is a soloist always moving in the shadow of the rest.


Momenta Quartet and friends:

Christa Van Alstine, clarinet

Emilie-Anne Gendron, Adda Kridler, violins

Stephanie Griffin, viola

Michael Haas, violoncello

Matthew Weber, double bass

Carl Cristian Bettendorf, conductor


16 April 2015 · The Kitchen · MATA Festival New York

Not Yet I

for clarinet and 6 sinewaves · 2012


3 pairs of sinewaves. Each pair is playing one pitch, but not in unison – each pitch

is moving microtonaly around its center creating frequency beating - “imperfect" unisons that shape a constantly fluctuating chord. The clarinet is picking pitches

from the sinewaves, picking a melody out of the pattern. But it can't be as accurate and cold as the sinwaves. Until it decides to move independently.


Enric Sans i Morera · clarinet


Recorded in my room · May 2012





































& before

Fata Morgana · fixed media 120 whistled tracks

Kama for 13 instruments · written for Klangforum Wien

Cortex for piano solo · written for Katerina Konstantourou


This for clarinet, viola, cello and narrator · on a poem by Eleonore Schönmaier

Prélude non mesuré · for soprano and baroque ensemble

Skostok for 11 instruments · written for Nieuw Ensemble

La passion de Jeanne d' Arc · music for C. T. Dreyer's film for 2 bass voices & electronics


A map for long distances no. 7 & 8 · for clarinet, violin, cello & narrator · on poems of Eleonore Schönmaier

Ark Futura for 8 instruments · written for ASKO/Schönberg Ensemble

Not Yet II · for clarinet and string quintet


Le merle, le bourdon et les couteaux · for 19 recorders  written for Ensemle Praetorius

Terpnon · for positive organ, one player and four tuners

[Medea] · for countertenor and percussion


3 slide whistles · for 3 slide whistles

Not Yet · for clarinet and sinewaves

Anthem · for actor and trombone

6 slide whistles · for 6 slide whistles


Reflèks · for percussion ceremony for 4 percussionists

Reflèks · for 8 instruments · written for Ensemble Modelo62

Trying to stand · for 6 instruments · written for Ensemble Klang

D. · for 8 solo voices

Pselaphe · for 3 percussionists · written for Slagwerk Den Haag

V · for wind quintet and viola · written for Greek Contemporary Music Ensemble

Maya · for recorder(s) and trombone


Sesokhris · for 3 percussionists

The little cock · fairytale for narrator and 9 winds

Tettix · for brass and percussion ensemble · written for NeosBrass Ensemble


Milonga Rituel · for ensemble · written for the Ereprijs Ensemble

Lorem Ipsum Dolor · for 2 tenors

Vflox · for 2 to 6 bass voices

A certain dance · for piano solo

Mezjea · fixed media composition

Visite piso piloto for four cellos · music for the theatre