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Exploring his own modes of expression through sound and rhythm as well as the relation between sound, rhythm and the human body, Christos Pittas composes works for the stage, the orchestra, instrumentalists, vocalists, dancers, and actors.

… “‘Idola’ a concerto for orchestra and two dancers by Christos Pittas, revealed itself last night at the Queen Elisabeth Hall, as a work of exceptional power and strangeness, with qualities which took it outside any normal ideas of period and place.”

Fernau Hall, Daily Telegraph

… “In ancient Greek drama the music solutions offered by Christos Pittas are by now established as some of the most significant suggestions in approaching the thorny problem of the singing chorus.”

‘Ta Nea’ after “Medea” at the Athens Festival

Kostas Georgousopoulos , Ta Nea after “Medea” at the Athens Festival

… “‘Idola’ a concerto for orchestra and two dancers by Christos Pittas, revealed itself last night at the Queen Elisabeth Hall, as a work of exceptional power and strangeness, with qualities which took it outside any normal ideas of period and place.”

Fernau Hall, Daily Telegraph

… “In ancient Greek drama the music solutions offered by Christos Pittas are by now established as some of the most significant suggestions in approaching the thorny problem of the singing chorus.”

‘Ta Nea’ after “Medea” at the Athens Festival

Kostas Georgousopoulos, Ta Nea after “Medea” at the Athens Festival

… “In ‘AG’ (British entry for the Prix Italia) the music of Christos Pittas incorporated everything. From Palaeolithic grunts to blues, without affectation. Mythic overtones, moans, crackles, mouth music and solemn intonings… I found myself marvelling, captured.

Eric Korn, New Statesman

… “A grandly rich sound…In ‘Hamathen’ Pittas used the voices masterly, like natural instruments moved by a sacred frenzy.”

Niki Katsaouni, Fileleftheros (after the premiere of ‘Hamathen’)

… “In ‘AG’ (British entry for the Prix Italia) the music of Christos Pittas incorporated everything. From Palaeolithic grunts to blues, without affectation. Mythic overtones, moans, crackles, mouth music and solemn intonings… I found myself marvelling, captured.

Eric Korn, New Statesman

… “A grandly rich sound…In ‘Hamathen’ Pittas used the voices masterly, like natural instruments moved by a sacred frenzy.”

Niki Katsaouni, Fileleftheros (after the premiere of ‘Hamathen’)

… “And there was the world premiere of Christos Pittas’ work ’Synthesis for two clarinettists and three percussionists specially composed for the Camden Festival. A strong work, with rebellious implications that maintains momentum.”

Linda Talbot , H&H Express

… “And there was the world premiere of Christos Pittas’ work ’Synthesis for two clarinettists and three percussionists specially composed for the Camden Festival. A strong work, with rebellious implications that maintains momentum.”

Linda Talbot , H&H Express