*200 copies limited edition* Undertones is a composition for percussion idiophones, electronics, and variable field recordings, originally composed for four channels. It develops in four movements and is expressed through a graphic score which provides multiple instructions to the musicians and, simultaneously, requires their input and interpretation of the given instructions, including a particular part of the instrumentation. 

The field recordings, identified as variable, change with each performance of the piece. Through the score, one of the two performers is instructed to record short sound fragments from (or near) the performance space itself. These recordings are then integrated in the performance, contributing to the development of the structure of each movement: the two musicians respond not only to each other but also to the these captured sounds. Among others, this approach experiments with the musical input of the concert space beyond its acoustic qualities, which are explored through the spatialization in four channels. Depending on the musical identity of the two performers and the chosen recordings, multiple musical elements of the piece—such as parts of the structure, timbre, pitch, and more—diversify and fluctuate. As a result, the piece can be expressed as a semi-improvised performance session or as a composition that can be reproduced, as long as it is performed in the same location.

For the needs of the album, Undertones has been reconceived for the stereo format. In this version, in the absence of specific concert space, the locally specific field recordings are fragments of recordings made in several distinct locations in Amsterdam. These include the organ in the main hall of the Concertgebouw (without audience), the Utopa Baroque Organ in Orgelpark captured from inside the instrument (also without the presence of an audience), and a recording outdoors, beneath the exterior roof of the Stedelijk Museum.

Fani Konstantinidou (GR/NL) is a composer and performer interested in the sonic imprints of cultural, cross-cultural, and social identities. She composes music utilizing urban and rural sonic environments, combined with conventional and self-designed digital musical instruments. Her musical ideas are expressed in various formats such as site-specific and multichannel compositions, improvisation, and through collaborative projects with artists of various disciplines. Within this context, she performs live-electronics and composes music for solo instruments and small ensembles.