Featuring Mexican flutist Wilfrido Terrazas performing works by Greek composer Thanos Chrysakis, this solo recital explores the expressive breadth of standard, alto and bass flutes through extended techniques, circular breathing, and richly layered timbres, as Chrysakis' compositions unfold as immersive sonic environments where breath, resonance, and subtle transformations.
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Wilfrido Terrazas-flute, alto flute, bass flute
Thanos Chrysakis-compositions
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Label: Aural Terrains
Catalog ID: TRRN2058
Squidco Product Code: 37304
Format: CD
Condition: New
Released: 2026
Country: UK
Packaging: Jewel Case
Recorded at UC San Diego, in April and June, 2024, by Andrew Munsey.
"Vita Morgana is the latest album devoted to the work of Greek composer and producer Thanos Chrysakis, released on his own Aural Terrains imprint, a label name that already gestures toward topography, strata, and the slow intelligence of landscapes. The program gathers three earlier works alongside more recent compositions, most of them written for solo flutes in varied incarnations. Performed with unwavering focus and artistic integrity by Wilfrido Terrazas, this recording offers an experience that invites one to wander rather than to map. For listeners attuned to contemporary practices in which sound behaves as an ecology, Vita Morgana is essential.
The album opens with the paired works "Eirmos I" and "Eirmos II", both composed in 2011, forming a diptych that functions as a root system from which the rest of the album quietly spreads. "Eirmos I", for standard flute, is rich in extended techniques, yet nothing here announces itself as an effect in search of justification. Each sound feels embedded in a larger logic, arriving with the inevitability of growth rather than the arbitrariness of display. Melody persists throughout, not always as pitch but as latent direction. Even in moments when discernible notes dissolve, music remains present in the breath itself, carrying unrealized possibilities like seeds suspended in air. Whispering and humming introduce a fragile corporeality that softens the flute's metallic spine, while harmonics and multiphonics open inward corridors, inviting the listener into layers beneath the audible surface.
"Eirmos II", written for bass flute, deepens this descent. Its sonorous weight evokes a lineage that seems to pass through multiple instrumental ancestries at once, drawing on a wealth of overtones that feel ancient and uncategorized. Circular breathing sustains the sound, producing a sense of simultaneous tension and awe, as though time itself has been bent into a continuous loop. What distinguishes this piece most vividly is its capacity to summon vegetal forms. Tendrils of branches, vines, and leaves appear to proliferate in the mind, intertwining into dense networks that resist both repetition and resolution. These structures feel inevitable yet irreproducible, growing according to internal rules that no single hearing can fully grasp. There is a profound unease at work here, one that remains inseparable from beauty. Chrysakis offers a contradiction that does not seek reconciliation, a sonic koan that remains open, fertile, and unresolved.
The bass flute returns in doubled form in the 2012 title work, Vita Morgana, where the music acquires a hallucinatory density. Layers of sound hover and refract, creating an auditory phenomenon that envelops the listener rather than receding from approach. One is drawn inward, wandering through sonic chambers that feel both luminous and hostile, spaces that seduce even as they threaten erasure. Heat, distortion, and shimmer coexist, producing a dreamlike atmosphere that never becomes comforting. This is music that peers into the darker provinces of imagination, where desire and danger are no longer distinct territories but overlapping states of being.
The latter half of the album turns toward the present, beginning with "Carved Continuum" for alto flute, one of three works composed in 2024. The act of carving suggested by the title does not imply force or incision but accumulation and erosion. The music attends closely to infinitesimal changes, to grains of time and sound that gradually contour the whole. Listening becomes an exercise in microscopic awareness, as if the ear were tracing the slow rounding of form shaped by countless small pressures. There is a quiet luminosity here, a sense of something polished through patience rather than intention, awaiting recognition even as it drifts toward disappearance.
"Night Ray", for flute, shifts the terrain once more. Its gestures suggest a song without words, emerging from a culture steeped in motion. The music communicates through posture and contour rather than syntax, offering a kind of prelinguistic intimacy. The program closes with "Krama" for bass flute, a work that seems to invert fractal logic and invite the listener inside it. Here, the recursive patterns that once unfolded at a distance become inhabitable. Sound wraps around the body, felt as much as heard. The music allows itself to be worn, unraveled, and finally released, its fragments carried away by an unseen current. What remains is a heightened awareness of continuity, of processes that persist beyond any single articulation.
Taken as a whole, Vita Morgana unfolds like a forest without a central clearing, its paths branching endlessly beneath the surface. Each piece functions as a node in a rhizomatic network, connected not by hierarchy but by shared subterranean impulses. The listener is not asked to follow but to inhabit, to become momentarily lost in the world's own restless complexity. In this way, Chrysakis gestures toward a philosophy of listening that accepts uncertainty as generative, where meaning arises from ongoing transformation. The music disperses, continuing invisibly, like roots extending into dark soil, patterns repeating at scales too small or too vast to name."-Tyran Grillo, SEQUENZA21
Get additional information at Sequenza21
Artist Biographies
• Show Bio for Wilfrido Terrazas "Wilfrido Terrazas (Camargo, 1974) is a Mexican flutist whose career spans 27 years of performance, commissioning, collaboration, improvisation, composition and pedagogy. His recent work has been focused on finding points of convergence between notated and improvised music, and in exploring innovative approaches to collaboration and collective creation. He is a founding member and Herald of the Mexico City-based improvisation collective Generación Espontánea since 2006. As an interpreter, Wilfrido has performed over 330 world premieres, and has been a member of Liminar ensemble since 2012. As a composer, his main interest is the exploration of dialogues between composition, improvisation and performance. As such, he has written over 40 works for diverse instrumental forces. Other current projects include Filera, Trio D'orizzonte, Escudo (Torre), and the Wilfrido Terrazas Sea Quintet. Since 2014, Wilfrido has been co-curator of Semana de Improvisación La Covacha, a week-long festival dedicated to improvised music in Ensenada. Terrazas has been a committed educator since his adolescence. He currently has a flute studio at the Conservatorio de las Rosas in Morelia, and teaches experimental music at the Escuela Superior de Música in Mexico City. He is also in demand as a coach and workshop leader throughout Mexico. Wilfrido has given concerts and participated in projects in Argentina, Austria, Belgium, France, Germany, Greece, Italy, The Netherlands, Portugal, Spain, Sweden, United Kingdom, United States, Venezuela, and in over 40 cities in Mexico. He has obtained support from FONCA and several other Mexican institutions, has been an artist in residence at Omi International Arts Center, Atlantic Center for the Arts and Ionion Center for the Arts and Culture; and participated in the recording of more than 20 albums, three of them as a soloist: Open Cages (Umor, 2007), Bóreas (Shival/CONARTE 2010) and Bug/ge/d (Mandorla, 2010). Wilfrido Terrazas studied music initially in Baja California and California. He later graduated from the Conservatorio de las Rosas. Among his most influential teachers are Damian Bursill-Hall, Tom Corona, John Fonville, Roscoe Mitchell, Guillermo Portillo and Germán Romero. Wilfrido grew up in Ensenada, and has lived in Mexico City since 2003." ^ Hide Bio for Wilfrido Terrazas • Show Bio for Thanos Chrysakis "Thanos Chrysakis' output consists of composition, performance, and installation. He was born in Athens in 1971. After residing in the UK between 1998-2014 he moved in 2015 to Belarus. With several albums to his name his work has appeared in festivals and events in several countries, including CYNETart Festival, Festspielhaus Hellerau - Dresden, Academy of Arts / M:AI (Museum für Architektur und Ingenieurkunst NRW)- Berlin, TU - Berlin, Diapason Gallery - New York, ohrenhoch - der Geräuschladen Gallery - Berlin Neukölln, Spazioersetti Gallery - Udine, XXII "Sound Ways" International New Music Festival - St. Petersburg, Artus Contemporary Arts Studio - Budapest, CRUCE Gallery - Madrid, Fylkingen - Stockholm, Relative (Cross) Hearings festival - Budapest, ZEPPELIN festival - Barcelona, IVM (Institut Valencià de la Música) - Valencia, Motus/Festival Futura 2013 / 21 édition - Crest-Vallée de la Drôme-Diois, Xposed Club - Cheltenham, Festival de Música Contemporanea "Ramiro Guerra" - Monterrey, FACT Centre - Liverpool, Association Ryoanji - Salle Des Fêtes - Ahun, The Center for Advanced Musical Studies at Chosen Vale/International Chosen Vale Trumpet Seminar 2014 - Hanover-New Hampshire, Frost School of Music - Clarke Recital Hall - Coral Gables/Florida, XIII Festival Internacional de Música Nueva - Monterrey, Splendor - Amsterdam, VI European Clarinet Festival - Camerino - Italy, Logos Foundation - Ghent, Palacio de Bellas Artes - Mexico City, "On the Edge of Perceptibility - Sound Art" Műcsarnok Kunsthalle - Budapest, Festival del Bosque GERMINAL - Mexico City, Noise & Fury Festival - Moscow, Oosterkerk - Amsterdam, Center for New Music - San Francisco, Västerås Konstmuseum - Västerås, Störung festival - Barcelona, BMIC Cutting Edge concert series - The Warehouse - London. His music has been frequently aired by RAI Radio 3, BBC Radio 3, Radio Portugal Antenna 2, Radio Nacional de España Radio 3, Ireland's RTÉ Lyric FM, Polskie Radio (Warsaw), RTS - Radio Belgrade 3 (Serbia), FM Brussel, Elektramusic (Strasbourg), CKCU FM - (Ottawa), Undae! Radio and Onda Sonora - Radio Circulo de Bellas Artes (CBA) (Madrid), Radio Horizon (Johannesburg), Motus/Radio Saint Ferréol -Les Territoires Du Son (la radio du Val de Drôme), Radio Nova (Oslo) among others. In addition, his texts have been also appeared in the Leonardo Music Journal (MIT Press), the Vague Terrain Journal, and in the volumes The Book of Guilty Pleasures and The Idea of the Avant Garde - And What It Means Today (Manchester University Press) edited by Marc James Léger. He composes for electronic and acoustic instruments, as well environmental sounds, focusing on the structural, aesthetic and transfigured capacity of sonic matter. His formal training encompasses percussion (Dimitris Tzafestas), Sonic Arts (Hugh Davies) at the Lansdown Centre for Electronic Arts and a PhD in composition from Goldsmiths, University of London (EMS/Michael Young) as well as private studies in orchestration with Dmitri Smirnov. However it is the yearning of the creative praxis itself that transmitted the crucial aspect of artistic practice: that something has to be staked, that something must be ventured. His work was amongst the selected works at the 32nd International Competition de Musique et d'Art Sonore Electroacoustiques de Bourges 2005, in the category œuvre d'art sonore électroacoustique, while received an honorary mention in 2006 at the 7th International Electroacoustic Composition Competition Musica Viva in Lisbon (the jury was constituted by Morton Subotnick (USA), François Bayle (France), and Miguel Azguime (Portugal). He has written music for distinguished musicians such as Philippe Brunet (flugelhorn, trumpet), Wilfrido Terrazas (flutes), Chris Cundy (baritone saxophone, bass clarinet), the Stockholm Saxophone Quartet, Jason Alder (bass clarinet), Alexander Bruck (viola), Yoni Silver (bass clarinet), Natalia Pérez Turner (cello), Nadia Ratsimandresy (Onde), Mikael Rudolfsson (alto trombone), Matias Karlsen Bjornstad (soprano saxophone), Liam Hockley (clarinets), Michael Pelzel (church organ), Kate Ryder (piano, prepared piano), Tzenka Dianova (piano), Claire Chase (bass flute), Peter Evans (trumpet), Julie Kjaer (alto saxophone/alto, Luis Tabuenca (percussion), Philip Chase Hawkins (trumpet). Recent compositions amongst others, include: Above the Hidden Track an Endless Blaze (Aural Terrains 2015), Terra Firma (for Mikael Rudolfsson [alto trombone] 2015), Astraea (for the Stockholm Saxophone Quartet, 2013), Undercurrent (for Liam Hockley [clarinet in A] 2014), Arché (for Chris Cundy [baritone saxophone] 2014), Nocturnal Flight (for Nadia Ratsimandresy [onde] 2014), Ingress (for Yoni Silver [bass clarinet] 2015), Canto Intrare (for Philippe Brunet & Philip Chase Hawkins [duo trumpets] 2015), Μήτε το Κύμα / Νé da'll onde (for Wilfrido Terrazas & Natalia Pérez Turner [bass flute / cello] 2014]. He has recorded/performed with a number of improvisers including among others Wade Matthews, Dario Bernal-Villegas, Jerry Wigens, James O'Sullivan, Philip Somervell, Jamie Coleman, Chris Cundy, Zsolt Sőrés, Sebastian Lexer, Javier Pedreira, Julie Kjaer, Artur Vidal, Christian Kobi, Christian Skjødt, Yoni Silver, Nuno Torres, Kurt Liedwart, Ernesto Rodrigues, Abdul Moimême. Furthermore, he has also closely collaborated with the visual artists Pascal Dombis, and Villő Turcsány. Since 2007 he operates the record-label 'Aural Terrains' focusing in electroacoustics, composed and improvised music. He has held residencies at the Visby Centre for Composers (twice) and at the Artus Contemporary Arts Studio in Budapest. His work has been supported by PRS for Music Foundation and the Swedish Art Council. Current and upcoming projects for 2016-17 include a residency at the Porticello Artist Residency in Calabria/Italy, a series of compositions for the Hyperion Ensemble, Tim Hodgkinson (bass clarinet), Yoni Silver (bass clarinet), Tibi Cenuser (trombone), for the Stockholm Saxophone Quartet, for Konus Quartett, for Liam Hockley (clarinets in A and E♭), Laura Faoro (bass flute), Philippe Brunet (trumpet), Elena Kakaliagou (french horn), Stephan Vermeersch (bass clarinet), Alexander Bruck (viola), Natalia Pérez Turner (cello), Chris Cundy (bass clarinets), Markus Wenninger (clarinet E♭), Serge Bertocchi (Tubax E♭), Shadanga Duo (alto flute/alto clarinet), Katalin Szanyi (alto flute), Jason Alder (contra bass clarinet), Alejandro Tello (oboe), Wilfrido Terrazas (flutes), Dana Jessen (bassoon) as well a new electronic music CD entitled 'Equinox'." ^ Hide Bio for Thanos Chrysakis
3/25/2026
Have a better biography or biography source? Please Contact Us so that we can update this biography.
3/25/2026
Have a better biography or biography source? Please Contact Us so that we can update this biography.
Track Listing:
1. Eirmos I 17:21
2. Eirmos II 10:37
3. Vita Morgana 7:40
4. Carved Continuum 8:30
5. Night Ray 10:16
6. Krama 9:06
March 2026
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Aural Terrains.
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| Chrysakis, Thanos Psyche (Eternal Music Projects) |
| Exploring the depths and boundaries of the psyche through seven compelling electroacoustic compositions, Greek composer Thanos Chrysakis delivers a deeply psychedelic, mysterious, and immersive sonic journey, masterfully blending electronic textures and acousmatic elements that resonate within the listener's consciousness, psyche, and imagination — a vivid reflection on complex inner landscapes. |
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| Chrysakis, Thanos Music For Trumpets, Bass Clarinets And Saxophones (Aural Terrains) |
| In configurations of solo to an 11-piece ensemble, Aural Terrain assembles great players including Tim Hodgkinson, Jason Alder, Yoni Silver, Chris Cundy, &c to perform works by composers John Cage, Gerard Grisley, Giacinto Scelsi, Thanos Chrysakis, Jule Kjaer and Tim Hodgkinson; seven acoustic compositions written between 1978 and 2022 that prominently feature horns as trumpets, clarinets and saxophones. |
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| Terrazas, Wilfrido / Kyle Motl Seven Gifts (FMR) |
| Seven Gifts as an offering through seven improvisations between double bassist Kyle Motl (Peter Kuhn Trio, Kyle Motl Trio) and Mexican flutist Wilfrido Terrazas, transforming their instruments through texture and tone to draw imagistic and free flowing stories in each conversation, applying unique and evocative approaches to their dialogs. |
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| Chrysakis, Thanos / Chris Cundy / Peer Schlechta / Ove Volquartz Archangel (Aural Terrains) |
| The follow-up to Music for Two Organs and Two Bass Clarinets, combining the collective work of clarinetists Chris Cundy, (bass clarinets, soprano ocarina) & Ove Volquartz (bass clarinets), Thanos Chrysakis (chamber organ & voice) and Peer Schlechta (pipe organ), recorded in the natural resonance of the Neustadter Kirche church in Hofgeismar, Germany. |
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| Chrysakis, Thanos Manifold Vista (Auf Abwegen) |
| Aural Terrains label-leader, composer and sound artist Thanos Chrysakis presents six new pieces merging electronic composition with field recordings and other electro-acoustic sources, in five rich and beautifully paced works of a diverse nature, evolving a consistent sound world where each piece draws the listener into the composer's detailed and engaging concepts. |
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| Chrysakis, Thanos / Jason Alder Milieu Interieur (Aural Terrains) |
| Employing multiphonics, circular breathing and unusual sonic phenomena of immense control over the lowest of clarinets--the bass clarinet and contra bass clarinet--UK-based multi-reedist Jason Alder performs the two-part "Milieu Interiuer" composition by Greek composer Thanos Chrysakis, along with three other Chrysakis compositions for solo and layered clarinets. |
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| Grisey, Gerard / Iancu Dumitrescu / Niels Christian Rasmussen / Thanos Chrysakis / Salvatore Sciarrino / Lori Freedman / Tim Hodgkinson Music for Violas, Bass Clarinets & Flutes (Aural Terrains) |
| Compositions for violas, bass clarinets and flutes performed by Vincent Royer, Jill Valentine, Jason Alder, Chris Cundy, Tim Hodgkinson, Yoni Silver, Lori Freedman, Carla Rees, Karin de Fleyt, Thanos Chrysakis, Katrina Lauder, with compositions from Gerard Grisey, Iancu Dumitrescu, Thanos Chrysakis, Niels Rasmussen, Salvatore Sciarrino, Lori Freedman, and Tim Hodgkinson. |
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| Chrysakis, Thanos / Chris Cundy A Certain Slant Of Light (Aural Terrains) |
| A 5-part electroacoustic improvisation from the UK duo of electronic and sound artist Thanos Chyrsakis and reedist Chris Cundy, the former using laptop computer, synthesizers, and copicat tape echo to create mesmerizing sheens of sound that circle and complement Cundy's bass clarinet, who also performs on megaphone, voice changer, zither, & objects; entrancing and captivating. |
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| Hodgkinson, Tim / Jason Alder / Chris Cundy / Yoni Silver / Heather Roche / Shadanga Duo / Thanos Chrysakis Music For Bass Clarinets (Aural Terrains) |
| A live performance at London's Cafe OTO from composer Thanos Chrysakis, performing compositions focused on the deeper reeds from composers Christian Wolff, Iancu Dumitrescu, Hannes Kerschbaumer, Georges Aperghis, and Chrysakis himself, in configurations from solo to quintet, with Tim Hodgkinson, Jason Alder, Chris Cundy, Heather Roce, Yoni Silver, and Shadanga Duo. |
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| Isotope Ensemble Radium (Creative Sources) |
| Recorded at CreativeFest#12 in Lisbon at O'Culto de Ajuda, the 21-piece electroacoustic ensemble Isotope takes on the chemical element Radium in a gripping piece of evolving improvisation, intensely restrained and extremely detailed, orchestrated with cello, baroque violin, double bass, acoustic & electric guitars, zither, psaltery, winds, brass, keys, electronics and percussion. |
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| Chrysakis, Thanos / Chris Cundy / Peer Schlechta / Ove Volquartz Music for Two Organs & Two Bass Clarinets (Aural Terrains) |
| Recording at the Neustadter Kirche in Hofgeismar, Germany, the quartet of Thanos Chrysakis and Peer Schlechta organ with Chris Cundy and Ove Volquartz on bass clarinets, use the resonance and massive sound of their organs to create active improvisations of deep tones, cries, and unearthly squalls, an incredible set of interacting textures and runs. |
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| Chrysakis, Thanos Equinox (Aural Terrains) |
| A remarkable album of electronic composition from sound experimenter and improviser Thanos Chrysakis, ten stunning compositions that explore a diverse set of tones across a broad spectrum of rich deep timbre and beautiful high frequency ringing, bell-tones at times taking the focus, at others providing a rotating basis for ethereal experiments; sophisticated and engaging! |
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| Chrysakis, Thanos ΕΚΝΗΨΙΣ (Aural Terrains) |
| Aural Terrains label leader and electronic composer Thanos Chrysakis in a work in three movements based on a blending of electronics and acoustic instruments. |
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| Eventless Plot Recon (Aural Terrains) |
| The Eventless Plot trio hails from Thessaloniki, Greece, borrowing elements from different genres and aesthetics to build a hybrid of free improv, noise, new electronica, electroacoustic composition and jazz. |
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| Chrysakis / Matthews / Bernal-Villegas Parallaxis (Aural Terrains) |
| Detailed electro-acoustic improvisation from the trio of Thanos Chrysakis on MaxMSP & electronics, Wade Matthew on synth and field recordings, and Dario Bernal-Villegas on percussion. |
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