Photographer: Christian Klein ©

Toufektsis Orestis

Compositions

# Title Year of Originsort icon Duration Instrumentation Category Sheet Music Shop
1 Duett 1993 1993 ~ 5m
2 Klein Ensemblestück 1994 ~ 8m
3 OPUS MINUS 7 1994 ~ 17m
4 Klavierstück 1995 ~ 13m
5 für 2 Flöten, Altflöte und Crotales 1995 ~ 16m
6 AENAON minus 2,13 - for ensemble 1995 ~ 11m
7 µ (3) ι (5) κ (7) ρ (11) ο 1995 ~ 13m
8 Streichquintett 1996 ~ 9m
9 Duett 1997 1997 ~ 5m
10 I(11)NT(5)ER(17)F(13)ER(3)EN(7)Z - für 2 Schlagzeuger 1997 ~ 9m
11 Asydehlun - for a vocal ensemble of 16 singers a cappella 1998 ~ 14m
12 Aresset 1998 ~ 10m
13 Nalos-Ackmi - for orchestra and 2 string quartets 1998 ~ 8m
14 Arsyon 1998 ~ 8m
15 Fraktum 1 1999 ~ 23m
16 Fraktum 1,1 1999 ~ 7m
17 Fraktum/mikro 2 1999 ~ 13m
18 Aresset 2 2000 ~ 7m
19 Fraktum/Aresset 3 2001 ~ 10m
20 Interferenz 2 2002 ~ 15m
21 Epi Tria - für Ensemble 2003 ~ 13m
22 A[kk]resset 2003 ~ 7m
23 Ψ (P.S.I) 2004 ~ 13m
24 Für sechs Akkordeons 2005 ~ 12m
25 67 - for accordion and violoncello 2005 ~ 1m 7s
26 Für Klaus Johns - Trio für Violine, Violoncello und Klavier 2005 ~ 2m
27 Eftaxi - für fünf Frauenstimmen 2005 ~ 12m
28 Fraktum 4/Epi Enteka 2006 ~ 14m
29 MIKRO-ALLAXI (EpiEnteka II) - for 15 musicians 2006 ~ 15m
30 EpiEnteka III 2007 ~ 9m
31 Interferenz III 2007 9m
32 EpiPente I 2008 ~ 25m
33 echochronoi 2008 ~ 45m
34 Für zwei Marimbas 2009 ~ 9m
35 chrinope 2009 ~ 9m
36 Hommage à l'isorythmique (de Machaut) - Streichquartett No 3 2010 ~ 10m
37 Perichronos 2010 ~ 9m
38 EpiPente I (Version für Klavierquartett) 2010 ~ 26m
39 60 diminutionen über Bilder 2012 ~ 30m
40 Chromades - for ensemble (16 musicians) 2013 ~ 9m
41 diminution for dissonart 2013 ~ 1m
42 Hommage à Machaut 2013 ~ 10m
43 diminutionen 2014 ~ 8m
44 zeitfluss-collage - for ensemble 2014 ~ 3m

General Information

Year of Birth:  1966
Date of Birth:  9. October 1966
Place of Birth:  Tashkent
Country of Birth: 
Nationality: 

Education

PeriodEducationInstrumentTeacherEducation OrganisationLocation
1978 - 1984

City Conservatory, Alexandroupoli (E. Karamanou)

1986 - 1993

Sygxrono Conservatory Thessaloniki (Eleni Maurodi)

1987 - 1990

Sygxrono Conservatory Thessaloniki: music theory (Alexandra Zafiriou)

1990 - 1992

Sygxrono Conservatory Thessaloniki: instrumentation (Giannis Aggelakis)

1991 - 1993

Sygxrono Conservatory Thessaloniki: counterpoint (Dimitrios Papageorgiou)

1993 - 1999

composition

Activities

PeriodActivityOrganisationLocation
1987 - 1991

artline: keyboardist of the band

1989 - 1993

piano player in various jazz and improvisation formations

1991 - 1993

Conservatory Chalastra: teacher of music theory

1997 - 1999

ensemble artresonanz: founding member

1997 - 1999

participation in the project "Klangnetze"

1999

ever since teacher of music theory

2002

Summer Academy Bertiskos: lecture and workshop (Compositional techniques of the 20th century)

2007 - 2008

guest composer (compositional aspects of self-similar structures)

various lectures and workshops

member and organiser of various projects

chairman

Performances (Selection)

PeriodPerformanceCompositionOrganisationLocation
1995
1998

Symphony Orchestra Thessaloniki

2002
2002

Echosynkyria 2002

2004

portrait concert

2008
2008

Photo Biennale

2008
2008

various concerts and performances in Vienna, Graz, Linz, Klagenfurt, London, Bremen, Athens, Thessaloniki

Awards

PeriodAwardCompositionAwarding Organisation
1992

Synchrono Conservatory Thessaloniki: scholarship

1995

composition award

1996

3rd prize of the Austrian Student Union Composition Competition

1999

1st prize of the Austrian Student Union Composition Competition

1999

2nd prize of the Austrian Student Union Composition Competition

2007

promotional award for music

Description of Style

"Toufektsis composes music that stands on its own and can be heard on its own, without being distorted by traditional or extra-musical semantics. He has acquired a coherent and systematic way of working, which is based on as few selected elements as possible and can lead to a high complexity. For Toufektsis the efficiency of means is important, complexity as an end in itself seems suspicious to him." 

Christian Klein

 

In my opinion the "shaping" of time is the most important element of a composition. I have always consciously (or unconsciously?) reduced (or repressed) sound material or the pitch to a secondariness, since I regard them as "servants" of a specific time structure.

Nevertheless, you have to decide on a certain "version" - from the many pitch combinations and formations, which often have the same or a very similar internal structure. Naturally this decision is influenced by a certain aesthetic (is there any way to avoid this decision?).

I try to "observe" and discover the inner transformation dynamics of sound and see what it has to reveal. In this stage no planned (or "interesting"?), controlled (or "narcissistic"?) sound manipulations are allowed, but only sounds that could maybe result (or be "set free") from potential or possible manipulations. In terms of reduction or selective isolation and observation, what would you see (hear) through a quasi auditory microscope? Would something be different, and - if so - in which way? Answers to these questions depend on the borders of perception and listening intensity, although I am often surprised by new and unexpected discoveries.

For me the intensity of listening - for example by the magnification of sound events - is not only an aesthetic, but also a political approach, which means avoiding any form of "superficiality" and self purpose (such as having to be "interesting" or "differentiated").

Development, repetition, variation, similarity, canon, thematic processing (harmonious? etc.) functions, gesture, expression, pitch, duration , articulation, form, (melodic?) movement, structure, proportions, (musical?) parameters, coincidences and so on. In the end all that is left is the "structured" TIME that can, if we are at the right place, resound and change our "psyche" on a long-term basis, or maybe even set us free.

Orestis Toufektsis

Contact, Links

Language:  German, Greek, Russian