The music of both brief pieces by the modern Greek composer-architect is based on a calculus of sound, the orchestra of sixty-one instruments playing sixty-one different parts. In the ballet METASTASEIS (Greek, meaning ‘[action] after stillness’) the dancers, in white, form a mass in the shape of a giant wheel that moves and changes, ending as it began. In PITHOPRAKTA ( ‘aleatory acts’), the two leading dancers, dressed in white and gold, perform a pas de deux during which they simulate partnering but seldom touch; the corps is in black.