08 Friday Mar 2024
Posted in Festival, Master Class, outHEAR New Music Week
We are excited to announce our 2024 Edition! CALL FOR APPLICATIONS is now available for composers.Dates: 2-10 November, 2024
Faculty: Franck Bedrossian, Annesley Black, Dimitri Papageorgiou, Orestis Toufektis
9 musicians of Klangforum Wien & PPCM – Kunstuni Graz
Application deadline: 28th April 2024.
more: www.outhearnewmusic.com
21 Wednesday Feb 2024
Au moins… (2022) for flute/bass flute, bass clarinet, violin & piano, Austrian Premiere | Ensemble Reconsil | Reactor, Geblergasse 40 | 21/02/2024, 19:30
After Deagu, S. Korea and Belgrade, Serbia, Austrian premiere of Au moins … on February 22nd, 19:30 by the Ensemble Reconsil at Reactor. The work was commissioned by Ensemble iiiiiiiii and is dedicated to Seongmin
Program note (English)
au moins … (Fr. for “at the very least”) occurs in shifting times. What happened and what happens at every single moment punctuate each other… In reconstructions… Glimpses of the past are brought back to the flux of the present… Fragile interpolations enforce some semblance of unity… Until something, almost spontaneous, changes the way we orient to sound… On time… and beyond…
Diettro la musica
PROGRAM
Elisabeth Kirchner, Mezzo soprano Reconsil Flute: Audrey G. Perreault, Clarinet: Theresia Schmidinger; Basson: Carol Wang; Piano: Eunhye Kim; Violin: Christina Neubauer-Kraushofer; Viola: Martina Bischof; Violoncello: Irene Frank
Antanina Kalechyts, conductor
Ensemble Reconsil www.ensemblereconsil.com
Programm_21-02-24
15 Friday Dec 2023
Posted in Recording
The ensemble Construction Site (Neda Hoffmann, artistic director) performs my work “Au moins…” (2022) for flute, bass clarinet, violin, and piano at the formal opening of the International Review of Composers, Belgrade, Serbia.
Au moins … (Fr. for “at the very least”) occurs in shifting times. What happened and what happens at every single moment punctuate each other… In reconstructions… Glimpses of the past are brought back to the flux of the present… Fragile interpolations enforce some semblance of unity… Until something, almost spontaneous, changes the way we orient to sound… On time… and beyond…
The work was commissioned by the ensemble iiiiiiiii and is dedicated to Seongmin Ji.
Marko Sretenović, flute; Ilona Janovič, bass clarinet; Mirjana Nešković, violin; Neda Hofman-Sretenović, piano; Srđan Sretenović, conductor.
15 Wednesday Nov 2023
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ZEITSTRÖME FESTIVAL – Tage für aktuelle Musik | SONAR QUARTETT / SOFIA LABROPOULOU – works for Kanun and string quartet | Akademie für Tonkunst, Darmstadt, Germany | Feb 11, 2023 | 19:00
PROGRAM NOTE
Oumuamua (“Oh-moo-ah-moo-ah”) is a Hawaiian word meaning “a messenger from afar that arrives first” or “first distant messenger”, which was given to the first asteroid of interstellar origin to pass through our own solar system in 2017. According to the International Astronomical Union, the name “reflects the way in which this object is like a scout or messenger sent from the distant past to reach us”, which in some ways is not unlike my vision of the Qanun, which is a messenger rather than a scout, in its cross-cultural dialog with the Western string quartet, in which the message from the distant past changes the receiver, but also the messenger.
The work was composed as part of the Eyeo project, an idea of composer Stefan Pohlit, in which he Turkish zither meets the traditional string quartet and together they promise extraordinary and exciting sound experiences. The highly virtuosic Sonar Quartet and the Kanun player Sofia Labropoulou presented works by Dimitri Papageorgiou and Stefan Pohlit, which were developed especially for these musicians.
The Sonar Quartet’s composition commissions are funded by the Ernst von Siemens Music Foundation. The concert at Zeitströme Festival – Tage für aktuelle Musik is sponsored by the German Music Council as part of the NEUSTART KULTUR program with funds from the Federal Government Commissioner for Culture and the Media.
13 Friday Oct 2023
Posted in Premiers
Coming up: Saturday 14 OCT 2023. Nina Janßen-Deinzer premiers “Debut II” (2023) version for contrabass clarinet. 55 Dimitria Festival, Yeni Tzami, Thessaloniki, 20:00
The concert is co-organized by the Contemporary Music Lab (CML), the Goethe Institut Thessaloniki and the Municipality of Thessaloniki.
Program Note
Debout, version II (2022) for bass or contrabass clarinet:
Debout version II (2022) for bass or contrabass clarinet is a work that explores the agility, dexterity and virtuosity of playing a bass instrument, having Franco Donatoni but also Eric Dolphy often in mind. With wide range, rapid leaps, intricate rhythms, volatile changes of gestures, dynamic level, phrasing and articulation markings, and a careful incorporation of extended techniques, the piece requires the performer to demonstrate their mastery of the instrument. It is a challenging work of skill and finesse.
The composition belongs to a series of works that explore a special interlacing technique: short and trite musical objects (two brief series of notes, in this case) are braided in labyrithoid fashion, constantly revealing different perspectives of the material within the development of the musical discourse. The pitch structures of the work have been obtained by using algorithmic routines in Super Collider. The routines have been implemented in the frame of the research project Algorithmic Composition in the Context of New Music (2009-10), which took place at the Institute for Electronic Music and Acoustics of the University of Music and Drama at Graz, Austria.
09 Monday Oct 2023
Posted in Concerts
Stitching Time is OSSIA’s first main stage concert on Tuesday, October 10 at 7:30 p.m. ET in Kilbourn Hall, featuring a series of compositions that deal with the experience and understanding of time.
PROGRAM
Brandenburg Interstices (13′) – Gabriella Smith
Tripping in the Horror Vacui (10’) – Nolan Hildebrand
…risuona piu lontano che mai (10’) – Dimitri Papageorgiou
Knotted Silk (7’) – Linda Catlin Smith
Clear Sky (9’) – Josh Levine
Can’t make it in person? Not in Rochester?
Watch the live-stream! https://www.esm.rochester.edu/live/kilbourn/
Further info:
https://www.ossianewmusic.org/10-10-23 and https://www.esm.rochester.edu/news/2023/10/ossia-new-music-performs-fresh-and-diverse-repertoire-for-2023-24-season/?utm_source=rss&utm_medium=rss&utm_campaign=ossia-new-music-performs-fresh-and-diverse-repertoire-for-2023-24-season
03 Tuesday Oct 2023
Posted in Festival
Formal Opening of the International Review of Composers | Au moins… performed by the ensemble Constructions Site | Students Cultural Center, Big Hall, Belgrade | Tuesday, 3 October at 8 P.M
The ensemble Construction Site (Neda Hoffmann, artistic director) performs my work “Au moins…” (2022) for flute, bass clarinet, violin, and piano at the formal opening of the International Review of Composers, Belgrade, Serbia.
u moins … (Fr. for “at the very least”) occurs in shifting times. What happened and what happens at every single moment punctuate each other… In reconstructions… Glimpses of the past are brought back to the flux of the present… Fragile interpolations enforce some semblance of unity… Until something, almost spontaneous, changes the way we orient to sound… On time… and beyond…
The work was commissioned by the ensemble iiiiiiiii and is dedicated to Seongmin Ji.
PROGRAM
Ensemble for new music Construction Site
Milena Damnjanović, soprano; Marko Sretenović, flute; Veljko Klenkovski, clarinet; Ilona Janovič, bass clarinet; Mirjana Nešković, Anja Ovaskainen, Dušan Panajotović, violins; Veselin Jovanović, viola; Vuk Ovaskainen, cello; Filip Savić, double bass; Ivan Marjanović, percussion; Neda Hofman-Sretenović, piano; Srđan Sretenović, cello, conductor; Predrag Radisavljević, electronics; Srđan Sretenović, conductor.
11 Monday Sep 2023
Posted in Concerts
On Monday 11 September, opening the door of the Aula Magna Facultad de Cs. Exactas – Velez Hall at the University of Cordoba I see about 70 people seated, waiting for our arrival. Juan Carlon Tolosa and Gabriela Yaya hosted the next and final stop of the Tara festival with great warmth. A big smile on the lips of both mine and Jorge Diego for the attendance and the acceptance of the people of the University of Cordoba U.N.C. for these 2 days of open classes and lectures. The success of our visit was most evident in the concert of Juliana Sivila on the first evening.
09 Saturday Sep 2023
Posted in Concerts
Travelling a few kilometres away, to the city of San Salvador de Jujuy, the liveliness of the Argentinian people, their natural curiosity for the unknown, became even more noticeable. On the evening of September 8th, the good performer Juliana Sivila gave another concert, where my work for bass clarinet, “debout” (version II), was presented at the beautiful “Museo Taller de Arte”. During the breaks between the pieces, the audience took action! Their questions and key observations pleasantly surprised us!
The following day, at the Centro Cultural “Héctor Tizón”, an open lecture-discussion took place with the help of a hot cup of yerba matte, together with the valuable participation once again of Jorge Diego Vázquez Salvagno and Juliana Sivila. Students and musicians from the wider area had the opportunity to observe up close the modern performance techniques on the bass clarinet, as well as to exchange their thoughts on the new music as well as my compositional thinking about my work.
08 Friday Sep 2023
Posted in Festival, guest composer
Tags
In autumn 2023 I was invited as a guest composer at the TARA Festival de Música Contemporanea (Jorge Diego Vázquez Salvagno, artistic director), which took place at three locations: Salta, San Salvador de Jujuy, and Cordoba, from 4th to 12 of September.
I was amazed by the fact that, despite all the financial adventures of Argentina, Jorge Diego and the organizing committee – Franco Aban, Pablo Araya, and Victor Cesar Vilte – were so strongly determined to organize this festival. As the days grew closer to the festival, I found myself filled with excitement and anticipation. It was truly an honor to be invited as a guest composer.
Upon arriving in Salta, the first location of the festival, I was immediately struck by the vibrant energy that filled the air.
In the evening of September 4th, I gave an introductory presentation entitled “Memory Time Repetition Reconstruction” in front of a very interested and welcoming audience. Jorge Diego was kind enough to help with the parallel translation from English to Spanish.
The presentation was followed by the opening concert of the festival, which took place in all facilities of the Instituto de Educación Superior No 6003 Escuela Superior de Música Jose Lo Giúdice. The concert featuring the Menjunje ensemble and musicians of the academy created a mesmerizing experience and left a lasting impression on all those in attendance.
The mornings for 5th, 6th, and 7th, 09:00 – 12:00 were dedicated to teaching composition master classes. It was very interesting to encounter young composers who brought in their music local and indigenous influences of North Argentina and the Andes. I appreciated a lot the unique musical perspectives these young composers brought into play, both at technical and conceptual level, and their ability to experiment with the and create distinct sounds.
On September 5th, I held an open class at the Campo Castañares of the Catholic University of Salta (UCASal). Two of my doctoral students, Vasiliki Legaki and Arshia Samsaminia, joined us over ZOOM and we held a lecture on various aspects of cross-cultural instrumentation within a new music compositional context and presented our recent works:
On the following day, September 6th, Juliana Sivila and I held a workshop on Contemporary Composition for Bass Clarinet. Juliana is the bass clarinetist of the Symphony Orchestra of Rosario and she was the invited artist of the festival.
The concert at the Museo Historico Palacio Zorilla on September 7th marked the end of the TARA Festival. Incredible bass clarinetist Juliana Sivilla premiered the bass clarinet version of my debut version II, along with pieces by Jorge Diego Vazquez, Victor César Vilte, Horace Bravo, and Jörg Widmann. Raul Trave Castello and the Menjunje Ensemble engaged the program perfectly.
27 Thursday Jul 2023
Posted in Concerts
11th International Scientific Meeting for Sound and Musical Instrument Studies, Coibra, Portugal
With Vasiliki Legaki and Arshia Samsaminia on July 22nd we held a lecture-recital on various aspects of cross-cultural instrumentation within a new music compositional context and presented our recent works. The program entailed following works:
ABSTRACTS
Dimitri Papageorgiou, Integrative-synthesis in ‘Oumuamua for Kanun and String Quartet’
This presentation delves into my recent work, Oumuamua (2022), for kanun and string quartet. The work’s cross-cultural instrumentation exemplifies an interplay between traditional and Western instruments, intertwining their respective musical languages within a transcultural context and creating a conversation that transcends cultural boundaries. The name Oumuamua “reflects the way in which this object is like a scout or messenger sent from the distant past to reach us,” according to the International Astronomical Union. In some ways, this is similar to my interpretation of the kanun, which is a messenger rather than a scout, in its interdisciplinary dialogue with the Western string quartet, in which the message from the distant past changes the receiver but that results in a shift in itself.
The presentation focuses on two aspects: a) the integrative-synthesis mode (Barry, A., Born, G., & Weszkalnys, G. (2008). Logics of interdisciplinarity. Economy and Society, 37(1), 20-49) will be discussed as a principal compositional strategy in Oumua- mua, and b) special attention will be given to the blending of micro- tonal elements which are derived from the tunings of the kanun.
Vasiliki Legaki, Tinnitus of tradition within a contemporary context – ‘EMVOES for kanun, lyre and stereo electronics’
This presentation examines how traditional instruments can be en- gaged in a new musical environment by providing new techniques, procedures and methods, but also by keeping their folklore attitude. Focusing on my recent work EMVOES (tinnitus) for qanun, lyre, and stereo electronics, the discussion refers to the possibility of both instruments producing distinct timbres and textures and their combination with electronics creates multilayer and multiform sound events. I focus on how the natural and electronics sounds can provide homogeneous mixtures of timbres that co-exist, tangle or reverberate, interact, and collide with each other, rendering a sound world that mirrors the sounds of traditional music, mainly coming from the musical roots of both instruments. Finally, the presentation explores the actualization of these methods dealing with a new no- tation in the score, the introduction of new compositional ap- proaches (spatialisation and spatial music), and my personal experi- ence working with both musicians for the performance of this piece.
Arshia Samsaminia, The benefits of cross-cultural music/instrumentation projects: a brief review of ‘Gereh II for oud and fixed media’
Cross-cultural instrumentation plays a significant role in contempo- rary music by introducing new sounds, expanding artistic expres- sion, and promoting cultural/ethnic diversity. The integration of tradition and modernity allows musicians to explore timbres and textures not found on commonly known standard instruments. This occurred in one of my most recent compositions, “Gereh II”, in col- laboration with The Aristotle University of Thessaloniki and stu- dent performers. Gereh is the Persian word for nodes and edges. In accordance with the title, I have divided my compositional materi- als into two main materials. The “nodes” represent moments when tones interact smoothly, while the “arcs” represent different materi- als, such as percussive effects and extended techniques. When sounds meet and gradually move away from each other, it can cre- ate an interesting effect known as “divergence” or “expansion.”
This technique is commonly used in various genres and styles of music to create a sense of spatial depth, tension, or transformation.
30 Sunday Apr 2023
Posted in Concerts
Taller de Música Contemporánea del C.S.M. Málaga | Carolina Cerezo Davila, conductor | museo interactivo de la música málaga | April 30, 2023 | 17:00
In the vestige of the present is a piece that I have heard many, many times in concerts. It is a very demanding work, especially for flute and cello, and so far it has been played by excellent professional musicians.
For the first time in Málaga, I will hear students playing this work. I am really impressed by these intrepid students of the Conservatorio Superior de Musica de Málaga, who under the direction of Carolina Cerezo Davila will give a very interesting concert at the museo interactivo de la música málaga.
You can listen to In the Vestige of the Present at Scorefollower:
dimitri papageorgiou 