Performed by ensemble REV/OHM:
Julia Babé, Bassoon
George Kokkinaris, Double Bass
Daphne Mengou, Clarinet
Orestis Tsekouras, Guitar

About the "Etudes Topologiques":
The first fundamental decisions for the creation of my work “Etudes Topologiques” (2023) were made together with the prominent Double-Bassist George Kokkinaris, responding to his enthusiastic invitation, for which I am immensely grateful.
The three (3) “Etudes”:
1.“(Transforming to) Light”
2.“Magma”
3.“(Morning) Whispers (of Life)”
are written for open instrumentation (from 2-5 instruments) and the appearance of the score tends to some kind of graphic / proportional notation.
The mathematical/topological core of its structure is founded on 4 sets forming a Topology in the space (S) of sonorities, in other words: 4 categories of sonorities which serve as an object of research and experimentation for performers, aiming to enhance techniques available on their instrument, or even go beyond that and enrich their repository by simulating techniques used on different instruments (not available to their own). Furthermore, other subsets of (S) are exploited occasionally, while the overall structure plan (and notation) unfolds different aspects from the potential of this Topology.
Soon George introduced me to the rest of the ensemble Rev/Ohm (Dafni Mengou/Clarinet, Julia Babé /Bassoon and Orestis Tsekouras/Guitar) and all together with these wonderfully gifted young musicians we departed in a collaboration which kept close through all stages of creation: we’ve been thoroughly rehearsing on drafts and exchanging feedback, in a process which gradually lead to the final form and notation. This collaboration style injected a lot of enthusiasm and creativity to this project and filled me with inspiration. I am convinced that, not only this work would obviously not be the same otherwise, but also that this is the only way to truly break through to a new aesthetic vision, if not to say a vision of an authentically creative life.

Fani Kosona
Athens, 7/2023

--> George Kokkinaris (Double bass) offers his point of view about the "Etudes Topologiques":
"The project "Topology Studies" is based on my collaboration with the composer Fani Kosona. I got to know Fani through her works in concerts. I was interested in her work for solo violin "Narratives" in which I detected a particular sensitivity. Sensitivity and emotion are elements very difficult to find in contemporary music. It is difficult to combine high technique together with vision and empathy in a composition. Also reading about her work it was striking that she is both a Mathematician and a Composer mastering both at a high level. The piece "Topology Studies" started in August 2022 and finished in May 2023 with recording and production. At the beginning we discussed as to the number of musicians and instruments. It was jointly decided on a piece flexible in terms of the number of performers so that it could easily be played by many combinations. The aim is that this piece can be easily played in times when large groups or permanent formations are difficult to maintain. The second reason is mainly compositional: compositions must be written to be constantly changing while being performed. Performers must evolve with the pieces, constantly creating discoveries and new sonic experiences. Fani's piece "Topology Studies" is written as - and from a distance resembles to - a graphic score. On a second look, however, we see that it completely departs from this manner. Graphic scores require interpretation and usually initiative in terms of choice of techniques, dynamic range, pitch to such an extent that one could easily say that you are "improvising" while playing - i.e. making decisions. In contrast, Fani's work adds a new technique of composition that requires precision and consistency perhaps beyond traditional European notation. There are clear instructions in the piece regarding technique, pitch and dynamics. However, there is a huge range of ideas that performers are asked to address by choosing in relation to what is happening simultaneously from the figure as a whole. The choices contribute to the creation of sound masses of undefined direction in terms of form and structure as well as instrumentation. Each instrument contributes to an energy and to the sonic evolution of these masses. Fani's writing largely accomplishes this. I don't write ‘in full’, because this writing is constantly evolving alongside the performers' interpretation. There is a continuous evolution that is based solely on Fanis's reference, inspiration and use of mathematical models. Mathematics is not instrumentalized, instead it functions as method of mental activation and aesthetic, thus deconstructing ways of thinking of both composers and - especially - performers. Perhaps this way of composing used in the work is a first example where the performer is invited to esterify and include mathematics as a sensory modulation of sonic perception during the performance.


This difficult task was accomplished with the Rev/Ohm ensemble in which young and talented musicians agreed to collaborate with me. I especially thank them for their commitment and belief in pieces that require beyond interpretation and responsibility of creativity. The rehearsals to explore new techniques and the final placement of musical selections in a way that served the texture of the sound masses, were invaluable in producing a result that whether it is good or not we know that each time we play it will be different, new and contain more excitement and joy.

Thanks to Daphne Meggou, Orestis Tsekouras and Julia Babe for their patience and joy and for being available to face the unknown. I thank Fani for her willingness to work so closely and continuously with the musicians and for her intellect and sonic vision for new music. Music not for narrative and an affirmation of aesthetic choices. Music for new questions that open up new perspectives and views of reality, as opposed to one that often requires artists to be treated as static, predictable, descriptive, causal and boring.

George Kokkinaris
www.kokkinaris.com
Athens 07/2023