Present

Regarding its artistic status, the project moves on two inter-dependable axes: The creation of a unique pianistic repertoire, and the development of performance practice. The first axis leads to repertoire expansion, both in quantity and style, highlighting a large variety of artistic expression. The second axis initiates a new dynamic, since the suggested performance practice diverges from typical pianistic categorizations (classical, jazz, rock, Latin etc.). This dynamic, of course, precipitates significant issues of aesthetic; at the same time, however, introducing itself as a field of singular musicological interest; in both cases, it deploys the musical syncretism that stands as a keystone in popular repertoires, wherever they may develop.
Meanings and values found in the innermost part of the popular piece are detected; representing commentary of the popular musics, not only leading to the development of new performance practices, but also to new aesthetic proposals. These, in turn, modernize old messages, either conceptualizing new solutions for expression, or reconstructing the old, in any case deconstructing stereotypes of the ‘novel’ and the ‘traditional’, the ‘orthodox’ and the ‘heretic’, the ‘material’ and the ‘art’ of a musical creation. The arguments for polystylism and eclecticism, which are antiquated phenomena, have currently set in motion polymorphous and protracted inclinations, which do not, however, always conform to conscious habits and attitudes.
Having the applied research as an axis, through the repertoire, the style and its techniques, structured material is produced for study: Applying modality to the piano; popular rhythms; popular improvisation/taksimi; transfer and appropriation of performance technique, style and aesthetic of other instruments on the piano; its participation in popular orchestras. Simultaneously, the historical trajectory of the piano is outlined, through the historical recordings, and the other primary sources of information procurement.
Below you will find the creations of The Eastern Piano Project, in the form of video recordings and separated into aesthetical categories.

Polymorphous

The piece and its many natures, its many readings, its many identities, its many forms. The piece ...

MORE
Novartis

Pitsanis has left his mark in the book of singers who renew a tradition which has no ...

MORE
Laiko

Having the applied research concerning historical discography as an axis, through the repertoire, the style and the ...

MORE
Pop

Pop

Through the examination of the popular an effort is made to detect the meanings which the term ...

MORE
Modern past

Mastellos is our parallel life. His actions could also be ours. He grants us knowledge, not the ...

MORE
Valhalla

Kyriakos is the popular hero of the music stage. The one we all want to be like. ...

MORE
Etudes

Autonomous exercises, with the piece in mind / Autonomous pieces, with the exercise in mind.

MORE

The project with the two pianos, with Haroula Tsalpara, seeks the orchestration of the two instruments, processing ...

MORE
Clasique

The combination piano-lavta looks at the present, renegotiating old material from scholarly Ottoman repertoire. It seeks to ...

MORE
Toys

The ‘toys’ signify early thoughts on the processing of old repertoires. Efforts made because of the repetitiveness ...

MORE
Modeness

Improvisations and taksims of The Eastern Piano Project based on diverse modal entities

MORE
Comments

Self-censoring the eastern piano project.

MORE
Rebetiko Era

The Eastern Piano Project tracks from the first CD album titled 'The rebetiko era'

MORE