inner sOUndscapes | Pitman Recital Hall, Catlett Music Center | April 29, 2022 | 20:00
“…am I hearing voices within the voice?” will be performed at the University of Oklahoma School of Music within the concert series inner sOUndscapes, curated by professor Konstantinos Karathanasis.
The work was composed in more voices and vocal manifestations from samples of principally non-verbal vocalizations, reconstructed by fragmenting, overlaying, and filtering the vocal timbres, to accommodate my own requirements
During the composition process, I was more interested in the subtleties of spoken sound when speech is deprived of meaning, the subtle pauses, speech cadences, evolving dynamics, the stumbles, the stammers, the um’s, and ah’s, the speeding up and slowing down.
The program entails works by Andriotis, Daniels, Karathanasis, Papageorgiou, Tomlinson, and Vanderburg.
Ensemble of the Performance Practice of Contempoary Music (PPCM): Gregory Chalier – flute/piccolo flute, Elena Arbonies Jauregui – clarinet/bass clarinet, Lea Moullet – violin, Leo Morello – cello
The outHEAR New Music Week, is an international symposium and master class for composition, featuring Ensemble Klangforum Wien in collaboration with four members of Performance Practice in Contemporary Music (PPCM) ensemble. Is organized by the Mayoralty of Culture and Sciences of the City of Larissa (Panos Sapkas, deputy mayor) and it is taking place from April 1st – April 10th, 2022 at the Municipal Conservatory of Larissa.
The outHear New Music Week was initiated by Christos Lenoutsos, pianist, and is co-organized by the University of Music and Performing Arts in Graz, the Department of Music Studies of the Aristotle University of Thessaloniki. It is under the auspices of the Austrian Embassy in Athens, Greece.
The outHEAR Symposium and Master Class in composition is an intensive curriculum in composition. Our Composer Fellows work closely with the world-class performers of the Ensemble Klangforum Wien and distinguished faculty, Franck Bedrossian, Dimitri Papageorgiou, and Orestis Toufektsis, in one-on-one lessons and mentoring, masterclasses, coaching, rehearsals, discussions, and performances.
Concertzender, the Netherlands |Crosslinks – Electronic Frequencies | Languages of the Unheard | Wednesday 23th March 2022, 23:00 CET
The radio station “Concertzender” in the Netherlands has dedicated three episodes of its broadcasting program to the 5th Tehran International Electronic Music Festival (TIEMF).
The first episode is going to be published on Wednesday 23th March 2022, 23:00 CET, and includes the work Languages of the Unheard A live experiment of conversing in the language of protest, participatory performance, which I co-created with Danae Theodoridou in 2020. To listen to the broadcast, please visit https://www.concertzender.nl/programma/electronic_frequencies_653402/
Languages of the Unheard. Commissioned by Common Lab – Goethe-Institut Excellency Initiative by Goethe-Institut Thessaloniki & ArtBOX in collaboration with TIF-HELEXPO, Freiraum, and Institute Hypewerk for Postindustrial Design, in the context of the State of the Arts. Concept, creation: Danae Theodoridou. Composition: Dimitri Papageorgiou. Participants: Kate Adams (UK), Maria Apostolakea (France), Marijana Cvetkovic (Serbia), Ivana Filip (Croatia), Elena Koukoli (Greece), Janeda Milio (Albania), Eleni Mylona (Switzerland), Stefanie Schweiger (Austria), Elena Stamatopoulou (Greece), Tina Yotopoulou (Greece)
The rest of the program entails works by Pedro García-Velásquez, Giacomo Guerrini, Marco Alberghini, Sam Barreto Cardoso Bertoldi, Angelo Marrone, Armando Vanzi, Alessia Anastassopulos, and Erfan Javadi.
Don’t miss this amazing program and also the news item, which is written by the amazing Concertzender.
Check out the bio for having access to the broadcasts link.
tiemf.com | 19 Feb 2022 | 21:30 Central European Time |
“Languages of the Unheard: at the opening concert of the Tehran International Electronic Music Festival, on February 19, 2022. The work will stay online until March 5th on the festival’s webpage (tiemf.com) Languages of the Unheard, is an experiment of conversing in the language of protest, we created together with Danae Theodoridou for Freiraum Festival 2020. Languages of the Unheard was commissioned by the project “Common Lab”, a Goethe-Institut Excellency Initiative by Goethe-Institut Thessaloniki & ArtBOX, in collaboration with TIF- HELEXPO and Freiraum Festival 2020. Curated by Christos Savvidis. Forever grateful to the lovely women, Maria Apostolakea, Marijana Cvetkovic, Ivana Filip, Elena Koukoli, Janeda Milo, Eleni Mylona, Stefanie Schweiger, Έλενα Σίγμα & Tina Yotopoulou, who inhabited our idea with such generosity and devotion!
Program notes
‘WHAT WE MUST SEE is that a riot is the language of the unheard.’, Martin Luther King
Following a performance score, i.e. a list of instructions similar to those of a board game, Languages of the Unheard construct an online visual and auditory manifesto based on the language of signs and slogans coming from important protests in different European countries from the creation of the European Economic Community (EEC) or ‘Common Market’ in 1957 to 2020.
Playing with the performativity of zoom’s feature to ‘rename’ ourselves, we will change constantly our names using the language of those signs, producing a written dialogue in the language of protest. During this dialogue, parts of our words will be audio processed and fed back into the dialogue in different ways, creating a soundscape of languages of the unheard.
This ‘silent’ conversation aims to reveal the materiality of the language of protest in order to create an embodied experience of its social force. What stays from our common fights in public space when we don’t have the proximity of our bodies? How can we turn immaterial language into a material ‘action’ in the way Arendt defined the term as the human ability to initiate something in public space that addresses the many without being able to control its outcome in advance?
Anaeresis Piano Composition Meeting | 19 Feb 2022 | 19:00 (Athens) | online presentations
Panayiotis Demopoulos is performing at the Anaeresis Piano Composition Meeting. Among the works is also my “d’ogni luce muto” (2003) a work for piano solo commissioned by SCI and ASCAP.
program:
G. Vogiatzis: Condolatory Bodies
B. Field: Fire
D. Papageorgiou: …d’ogni luce muto
P. Safar: Red tailed hawk
L. Sakellarides: Quiet mind
A. Rizzella: Il silenzio degli ignavi
N. Harizanos: Great expectations
“d’ogni luce muto…” consists of a limited number of brief chord progressions that are woven, rewoven, and occasionally juxtaposed to form longer static moments into the structure. The reduction of the sound elements, on the other hand, is intended to shift the listeners’ attention to the inner life of the piano – it’s resonance. So, the music exists rather in the space between the piano and the audience.
Monday 7 Feb at 10am PST/ 1pm EST IG@unisonorchestralive
An Instagram live chat with Eddy Malave at Unisonorchestralive
Unisonorchestralive is a diverse and inclusive community of recording musicians from the best orchestras across the globe. Founded by 4 women Juilliard grads (www.unisonorchestra.com).
Unisonorchestralive musicians are members of the MET, Baltimore Symphony, New York Philharmonic, Los Angeles Philharmonic, Seattle Symphony, Vancouver Symphony, Royal Opera House Orchestra, Cincinnati Symphony, Cleveland Symphony, San Francisco Symphony, and also from the Hollywood scoring stages.
Performed by Panagiotis Andreoglou at the Opening Concert of the outHEAR New Music Week, Dec 8, 2019.
Panagiotis Andreoglou in a rocking live performance of Even the Sky screams sometimes too II for bajan. The work was commissioned by the Delian Academy for New Music 2018, GR, with the friendly support of SIEMENS Music Foundation.
The Russian composer Sergei Berinsky said of the bajan that it is an instrument with “human breath, but an inhuman voice, …” In my first work for bajan, I sought to explore its ‘human breath’ with a large measure of the spontaneity of expression and gain some insight on the ‘peculiarities’ and particularities of this not widely understood instrument.
Although some extended techniques are applied — some air-noises, sparse breaths, and button pizzicati — this is fundamentally a tonally and rhythmically inclined work, immersing into the immense range of timbral shadings of the instrument.
The piece is set in two halves of equal duration: a slow, immersive, fuzzy and explorative first part with a fragmentary style and frequent changes of tension and pace, introspective regions of repose followed by energetic gestural rapidity; and a decisive, virtuosic, fast, explosive and almost demonic, rhythmically motor-driven second part.
All musical ideas are imperfect and vulnerable, ephemeral and distorted. They are constantly in a state of flux and are constantly being revised.
Premiere of “Synecdochai” for 15 performers (clarinet, trombone, marimba, harp, cello, yiayli tambour, oud, ney, qanun, Zarb, trumpet, electric guitar, double bass, piano, drums set).Kornilios Selamsis – conductor.
Commissioned by the Alternative Scene of the Greek National Opéra, Niarchos Cultural Center, Athens.
Program Note
The starting point for the work Syncedochai is the micro-history of the Notaras brothers’ rivalry over a woman (Makrygiannis, Memoirs), which evokes a series of interesting associations, referring to the various levels of conflict between Greek groups over the distribution of power. Rather than a description of these syncretic relationships, I aim at the structural level, creating superpositions of logical conflict through musical ideas of a heterogeneous nature. By avoiding a unified narrative and projecting alternative idioms of musical discourse, I attempt to highlight the fluidity of relationships between disparate materials and dispositions
The work is part of the Greek Songbook for the 200th anniversary of the Greek Revolution of 1821, edited by the composer Cornelios Selamsis. Over 30 creators from the fields of scholarly and popular music and performing arts engage in a series of bold musical constructions, songs and images.
The foundation of the project is the use of a series of anthologized historical materials (texts, scores or narratives) related directly or indirectly to persons and things of the era of the revolution – a fragmentary landscape made of lifeless ruins, around which the descendants build their contemporary superstructure.
Without, otherwise, any attempt to disguise its inherent contradictions, the musical material produced is aligned at the level of its sonic negotiation by the use of ten instruments of European and five of traditional music, in a confrontational scheme that aspires to render in a formal way the series of disparate currents that converged in the cultural and political melting pot of 1821.
The production is supported by a donation from the Stavros Niarchos Foundation (SNF) [www.SNF.org] for the creation of the National Opera’s anniversary programme for the 200th anniversary of the Greek Revolution of 1821.
…am I hearing voices within the voice? for fixed media is presented at the 5th Annual Research on Contemporary Composition Conference, at the University of North Georgia, Dahlonega Campus, Georgia, U.S.A.
October 30, 2021, Breakout Session 3 – 2:00pm – 5:00pm Georgia GA, USA Time ( 6:00 PM – 9:00 PM GMT)October 31, 2021 (Gainesville Campus):Acousmatic Installation (Mobile) – 2:00pm – 5:00pm Georgia GA, USA Time ( 6:00 PM – 9:00 PM GMT)
Program Note “. . . am I hearing voices within the voice?” was composed in more voices and vocal manifestations from samples of principally non-verbal vocalizations, reconstructed by fragmenting, overlaying and filtering the vocal timbres, to accommodate my own requirements During the composition process, I was more interested into the subleties of spoken sound when speech is deprived of meaning, the subtle pauses, speech cadences, evolving dynamics, the stumbles, the stammers, the um’s, and ah’s, the speeding up and slowing down.
Dimitri Papageorgiou, “…risuona piu lontano che mai” (2016) for flute/bass flute, saxophone, piano, and percussion. Commissioned by the Il Suono Music Week 2018
Performed by Proxima Centauri at the Delian Academy for New Music 2021.
Marie-Bernadette Charrier –artistic director / saxophone
Sylvain Millepied – flute
Benoit Poly – percussion
Hilomi Sakaguchi – piano
Christophe Havel – recording
Program Note
“…risuona piu lontano che mai” is a work shaped and, at the same time, fractured by the brevity of its mnemonic fragments, which reappear in manifold and often distressing reocurrences and insistent retrospections through a series of regenerations and rearrangements of the material. Echoing the strangeness of an indescribable sound, these mnemonic fragments are advancing and regressing non-linearly, in stumbles and stutters, uncertainties and hesitations. They are treated as, what Deleuze (and Guattari would call, blocks of becomings in contemplative and non-hierarchical dialogues with one another. As something happening in the process, in intimate intimacy.
“A becoming is always in the middle; one can only get it by the middle. A becoming is neither one, or two, nor the relation of the two; it is the in-between, the borderline or line of flight… If becoming is a block (a line-block), it is because it constitutes a zone of proximity and indiscernability, a no-man’s land, a non-localizable relation sweeping up the two distant or contiguous points, carrying one into the proximity of the other – and the border-proximity is indifferent to both contiguity and to distance.” Gilles Deleuze and Félix Guattari, A Thousand Plateaus. Capitalism and Schizophrenia, trans. Brian Massumi (Continuum, London and New York, 2003), p. 293.
Delian Academy for New Music | Online Edition | June 23, 2021
Ensemble in residence Proxima Centauri performing pieces by Havel, Levine, Bedrossian and Papageorgiou.
Marie-Bernadette Charrier –artistic director / saxophone
Sylvain Millepied – flûte
Benoit Poly – percussion
Hilomi Sakaguchi – piano
Christophe Havel – électronique
Program Note
“…risuona piu lontano che mai” is a work shaped and, at the same time, fractured by the brevity of its mnemonic fragments, which reappear in manifold and often distressing reocurrences and insistent retrospections through a series of regenerations and rearrangements of the material. Echoing the strangeness of an indescribable sound, these mnemonic fragments are advancing and regressing non-linearly, in stumbles and stutters, uncertainties and hesitations. They are treated as, what Deleuze (and Guattari would call, blocks of becomings in contemplative and non-hierarchical dialogues with one another. As something happening in the process, in intimate intimacy.
“A becoming is always in the middle; one can only get it by the middle. A becoming is neither one, or two, nor the relation of the two; it is the in-between, the borderline or line of flight… If becoming is a block (a line-block), it is because it constitutes a zone of proximity and indiscernability, a no-man’s land, a non-localizable relation sweeping up the two distant or contiguous points, carrying one into the proximity of the other – and the border-proximity is indifferent to both contiguity and to distance.” Gilles Deleuze and Félix Guattari, A Thousand Plateaus. Capitalism and Schizophrenia, trans. Brian Massumi (Continuum, London and New York, 2003), p. 293.
dimitri papageorgiou 