ABOUT THE WORK
Infused by the notion that momentum is firmly associated with, and driven by, intuition, Theocharis's music deals with disembodied and fragile sonic elements laid out throughout rhythmically intricate environments, all under the scope of a dramaturgical sensibility. The effort towards fragility is realized through the simultaneous application of diverse unconventional instrumental techniques, coalescing into a singular musical event.
Essential to his compositional process is the intuitive musical progression through a phrase-by-phrase approach, expanding and contracting phrasal durations while thickening and scattering the density of both its rhythmical and textural profiles. The elements of surprise and freshness within the musical narrative are prioritized, avoiding any sense of long formal linearities, amplifying the parameter of dramaturgy.
Theocharis has developed a serious commitment towards electronic music, integrating an electronic component upon this friable context to more fully blend and expand the acoustic sound. The interest in electronics is related primarily to granular synthesis, which is to be related to and compatible with the philosophy and character of the instrumental writing. Incorporating prerecorded synthesized sounds is a practice his music has been mainly focusing on.
The electronics merge with the instrumental sonic landscapes, extract their most important elements (pitch/gestural behaviors), highlight them, or, in other cases, contradict them through extreme live manipulation or by playing back sound files with opposing textures. There is a strive for a wide, thick, and intricate sonic spectrum in which processed, fixed, and acoustic sounds mix and contrast, equally contributing to the outcome.
Finally, in his compositions that involve an electronic component, spatialization is being considered a significantly integral layer, an equally calculated and thought-out parameter, whose function is to reinforce the other parameters (i.e. harmony, rhythm, orchestration, electronics) as well as contribute to the dramaturgy of the global narrative of each individual artwork.
His current composition projects include a chamber ensemble work with electronics diffused through a 32-channel domain to be presented as part of his dissertation defense scheduled for December 2020 and an electroacoustic piece for solo saxophone commissioned by Michele Bianchini.