Indulge in experimental sound exploration and the boundaries of what is feasible on a unique solo evening of stuffed saxophone and electroacoustics. Experience the transformation of an instrument that creates completely new sound worlds through a spectral approach and philosophical inspiration.

The dedication to the various preparations of the saxophone, and thus the expansion or so-called alienation of the sound of the instrument itself, has made two things clear to me in the last decade; that the so-called sound synthesis, which occasionally refers to external-contextual associations (e.g. a band saw for metal, work on a construction site, synthetic sounds, etc.) can be controlled through the technical aspect of the instrument itself and through the manageable instrumental parameters of the sound. Secondly; the physical preparation of the instrument actually causes a transformation (such as – F. Kafka and the social structure of changes in the expected, psychologically perceived and introspection) and thus a change in the acoustic corpus of the saxophone. In practice, such approaches allow for unnatural changes in the sound of the saxophone, which occasionally acquires the acoustic properties of other instruments such as transverse flutes, clarinet, trumpets, and others. Thus, through acoustic playing, namely the saxophone, it can alienate itself from its own origins, and through electroacoustic transformation, it can acquire additional dimensions of sound that do not have a concrete connection to sound art, but are often reminiscent of the painting technique with watercolors, which causes nuances and interweaving of color spectrums through physical gesture. The spectral approach allows for the organic nature of the material, eternal matter, which in its essence returns primacy and reflection to its audible place. This year’s solo evening, entitled Clarifications of Self-Alienation (inspired by K. Marx’s theory of alienation, which refers to the mechanization of social class and the very nature of work), brings the latter, a solo play of an acoustic instrument with preparations and electroacoustic processing of the sound of the saxophone, which in a full-length concert captures all sonic parameters that are both at the limit of what is feasible and at the limit of the technical capabilities of the instrument itself and spectral computer interfaces. Despite the fact that this kind of evening is associated with music, I see it as a kind of watercolor approach, a sound exhibit that draws material from existing works of philosophy, compositions and existentialist approaches, as well as the perception of the saxophone as an object of practical knowledge.

Tuesday, 22/09/2026 at 20:00
Admission: 10€/8€/5€