The title ENANTIODROMIA, according to Heraclitus, signifies opposing paths and currents that are the same; antithesis and synthesis become one.
The recording was mixed in the studio by the composer himself, the original material came from the live concert recordings in Oakland.

Jan Christou on ENANTIODROMIA:
»If patterns are understood as recurring forms dictating inevitable types of action, the Heraclitus´ concept of the play of opposites - enantiodromia - is perhaps the most ruthless pattern of all. For here he speaks of a constant inter-trans-formation of opposites in an eternal flux - in the sense that any condition and its opposite are the same, only at different stages of oscillation: ´The way up and the way down are the same´. Together, these two waves form one dynamic circle of tension, along the circumference of which their ending and beginning keep merging, relentlessly.«
(...)
PRAXIS for String Orchestra and Piano (1966-69is the second version of the composition PRAXIS FOR 12, (...) which Jani Christou composed for the first Hellenic Week of Contemporary Music in 1966. (...) Christou worked with patterns, which he defined as an independent system of musical events controlled by a series of specifications for each of which he designed graphic symbols.

EPICYCLE (1968) for instruments, actors and voices (continuum and events) was commissioned by the 3rd Hellenic Week of Contemporary Music in Athens. (…) Tension results from the convergence of random, improvised or planned actions with an even, undisturbed musical continuum. (...)

ANAPARASTASIS III »The Pianist« (1968-69), or ´Re-Enactment´s. The title refers to elements and ideas from primitive rites transferred to the modern world, whereby music, language, visuals and the actions of the performers are combined with reactions of the audience into a form which Christou called ´Proto-performance´.

MYSTERION (1965-66) for narrator, actors, 3 choirs, orchestra and tapes is based on ancient Egyptian funeral texts. The premiere was to have taken place in Copenhagen in 1970. (…) The tragic death of the composer in January 1970 prevented the premiere frm taking place - all that remains is a documentation produced by Danish Radio put together from rehearsal tapes.