Photo: Courtesy of Onassis Stegi and the Onassis Foundation.
FREE admission with entry tickets: distribution starts one hour before the concert.
I am honored to be one of this year’s commissioned artists by the Onassis Foundation for this tribute to composer Maurice Ohana, in the realm of the “Music Connects The Onassis Stegi and the Panteion University” Concert Series.
Niki Harlafti (1987-): doRon eauTomb for violin and cello* (2023), commissioned by Onassis Stegi
Henri Dutilleux (1916-2013): Trois Strophes sur le nom de Sacher for solo cello (1976)
Maurice Ohana: Syrtes for cello and piano** (1970)
Manuel de Falla (1876-1946): Concerto for harpsichord (or piano) and 5 instruments (1923-1926)
Eirini Krikoni: violin
Dimitris Karagiannakidis: cello
and Marilena Souri: piano
With: Vangelis Stathopoulos (flute), Ioannis Tselikas (oboe), Andonis Tsachtanis (clarinet / member of Oros Ensemble)
“Routes of the sea, routes of music. In this year’s concerts, we listen to fragments of primordial music in works of the last decades that narrate journeys and stories of our times. For the ninth year, the collaboration between Onassis Stegi and the Panteion University forges a music bridge above Syngrou Avenue, having as a starting point the contemporary music of pioneering composer Maurice Ohana.
The point of departure is the Iberian Peninsula and the last part of the tribute to traveler-composer Maurice Ohana (1913-1992), which we didn’t have the chance to listen to in 2023. Maurice Ohana was recognized as one of the leading composers of his generation in France as early as the 1960s, bearing a music work that remains as intricate as his musical language.
In this year’s iteration, we cross the oceans through three concerts. From the Iberian Peninsula centuries ago began the ship routes of the transatlantic slave trade to the shores of Central Africa and South America or the Cape of Good Hope and Southeastern Asia. With the Bridge’s program as our vehicle, we pass through the same routes and listen to the music of today from Central African countries, Brazil, Argentina, and Japan, as a counterpoint to some of the music that was born out of these very first journeys. With our thoughts on the sea routes that many people are forced to undergo in our times.”