On the 1989 LP Onar, Petros Theodorou had started to use computer technology to write orchestral music. Musica Practica is the concretion of his project to approach sound synthesis as not only a compositional tool but an end in itself. It may sound a bit pretentious in retrospective, but the resulting music is striking and impossible to pigeonhole. The composer handles all electronics, from synth-guitar playing to computer programming and electronic manipulation of acoustic samples. "Real" violin, piano, bass, drums, and vocals surface at various points in the work. The music has the ethereal introspection of new-age, but also the sound-event orientation of musique concrète. This bridging between academic electroacoustics, atmospheric synthesizer music, sound art, and modern classical writing can also be found in other composers based in Thessaloniki, Greece (Ilias Chadjoglou, Stathis Theocharakis), but also in the works of Artemiy Artemiev and Peter Frohmader. Each piece explores a different stylistic area, from dreamy lullabies ("Little Philip's Dreaming") to the Legendary Pink Dots ("Pink Dots") to Gregorian chants ("Algorithmic Aria"). The mood is often dark, but most surprisingly the music remains almost always tonal and easy to approach. Not as poetic and evocative as Phoenisses, Musica Practica still represents a convincing effort.
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AllMusic Review by François Couture