C0 note (16,35 Hz) — vibrating on liquid surface

D0 note (18.35 Hz) — vibrating on liquid surface

C0 note (16,35 Hz) — vibrating on liquid surface

F0 note (21.83 Hz) — vibrating on liquid surface

G0 note (24.50 Hz) — vibrating on liquid surface

A0 note (27.50 Hz) — vibrating on liquid surface

Hadjileontiadis, Leontios: (Con)Sequences 



Basic information

  • Title: 
  • Subtitle: 
    for piano solo opus 84
  • Duration (in minutes): 
  • Year of composition: 
  • First performance (year): 
  • Genre: 


  • Program notes: 

    Con)Sequences (2011)
    for piano solo
    In a Yannis Constantinidis' style, Op. 84
    in the memory of Mary Papadopoulou

    The piece is based on Yannis Constantinidis'1 style, and lends its material from his work 'Suite Dodecanese No 1-Part VI', structured in two parts, corresponding to two themes (A and B), respectively. The A theme comes from the folk song of Rhodes 'Το παραξύπνημα' (The awakening) from Baud-Bovy's collection No. 9b, structured in the form of (a+a) and (b+b), whereas the B theme corresponds to a complex organic dancing tune (Σούστα χορευτή). The (Con)Sequences opens with the thematic counterpoint used by Constantinidis in a fused harmonic sound space defined by the melodic material of the A theme. Gradually, with the 1/16th expansion in the duration of the intermediate links, an implication of an underlying source of change that comes to the foreground is given, showing the merging of two different soundspaces that come close to each other within a sequential flow. The texture is enhanced with harmonic complexity and fragments of the B theme shift the attention towards the second part. There, however, the clear pitch sound is totally removed and the piano is used as a percussive instrument, following the rhythmical energy of the B theme. Only reverberation pitched sound is produced. This abstract relation to the Constantinidis' theme reveals the consequences from the thematic sequences started at the beginning of the piece, as a trajectory from the past to the present, embedding fragments of the initial theme to a mixture of percussive fused soundscapes. It should be noted that the title combines the initial four letters of Constantinidis' name, the structure of a thematic sequence and its consequences, as a relation to Xenakis' work 'Theme and Consequences' for piano (1951).




Total number of musicians: 



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