Quasi (ébauche) performed by the Arditti String Quartet at the Norhwestern University New Music Conference, NUNC 4.
In Quasi (ébauche) the original formative ideas are constantly recalled in a series of reconstructions of the past in constantly present contexts, having at times more fidelity—and at times growing less similar—to the original experience. These reconstructions, by means of pitch gene recombinations, leave only memory vestiges of the original by constantly shifting, diffusing, distorting, transforming, omitting or adding events according to a model of retention/corruption.
It is, in other words, like drawing “on the elements and gist of the past, and extract, recombine and reassemble them into imaginary events that never occurred in that exact form,…not to preserve the past but to adapt it so as to enrich and manipulate the present.’’ It is all about what is remembered and how it is remembered…
Northwestern University New Music Conference | April 24, 2021 |
Happy to be a part of NUNC!4: Northwestern University New Music Conference this year at Northwestern.
Due to the ongoing COVID-19 pandemic, the festival – originally scheduled to take place last year – will take place online. The recording of my work Quasi (ébauche) for string quartet, performed by the fabulous Arditti String Quartet, can be found at: https://sites.northwestern.edu/…/scores-for-arditti…/ along with works by Yu-Chun Chien, Onur Dülger, Yuko Ohara, Ruud Roelofsen, and Max Vinetz.
Many thanks to Hans Thomalla and his team for their tireless efforts. Many thanks, of course, to Irvine Arditti, Ralf Ehlers, Lucas Fels, Ashot Sarkissjan.
Program Notes
In Quasi (ébauche) the original formative ideas are constantly recalled in a series of reconstructions of the past in constantly present contexts, having at times more fidelity—and at times growing less similar—to the original experience. These reconstructions, by means of pitch gene recombinations, leave only memory vestiges of the original by constantly shifting, diffusing, distorting, transforming, omitting or adding events according to a model of retention/corruption.
It is, in other words, like drawing “on the elements and gist of the past, and extract, recombine and reassemble them into imaginary events that never occurred in that exact form,…not to preserve the past but to adapt it so as to enrich and manipulate the present.’’ It is all about what is remembered and how it is remembered…
One of the leading conferences for new music in the world, the Northwestern University New Music Conference (NUNC!) brings together composers, performing musicians, scholars, and other new music advocates for a day of workshops, panel discussions, and concerts.
This year’s virtual conference guests include the Arditti Quartet; composers Anna Thorvaldsdottir, Jennifer Walshe, and Katherine Young; and musicologists Kerry O’Brien and Ted Gordon. Presentations will be given by Sergio Cote Barco, Elaine Fitz Gibbon, Daniel Tacke, and Ben Zucker. The conference culminates in a performance by the Bienen School’s Contemporary Music Ensemble, with guest vocalist and violinist Alyssa Pyper.
All events are free and open to the public. More information, and registration for the virtual presentations, is available at https://sites.northwestern.edu/nunc/
Recording session with the Arditti String Quartet for the New Music Conference NUNC! 4 at the Institute for New Music at Northwestern University, U.S.A.| Zoom session | March 5th, 2021
I am deeply indebted to Irvine, Ashot, Ralf, and Lucas of the Arditti String Quartet and, of course, Hans Thomalla, artistic director of NUNC!, and his team for having made this happen. With the Arditti String Quartet as the main guest ensemble, NUNC! 4 was originally planned in April last year and had to be postponed when the COVID-19 pandemic broke out.
Among a total of nine works the quartet was supposed to workshop and perform is also my string quartet Quasi (ébauche)available by Babel Scores.
Due to the continuing problems caused by the pandemic, NUNC! 4 was decided to take place online on April 24th and the recordings made on March 4th, 5th, and 6th will be hosted on NUNC! website.
There is an interesting background story about how this recording took place that I quote from Hans Thomalla’s wall:
“Since the quartet is based in London and Germany, and travel to the US is restricted, we had hoped to arrange for a recording session in Germany, so those nine works would still have a platform at the conference. With the new English virus mutation causing a lockdown for travel from London that option closed down last month. The country of Luxembourg, in the heart of Europe, still permits travel from England, though, and the quartet had a concert scheduled there, which in spite of all the restrictions in the world right now actually happened. The Luxembourg conservatory of Music, their President and their chair in composition Claude Lenners – in a gesture of incredible support for New Music and for our conference – offered a concert hall and the infrastructure for the event and the workshops are now happening there.”
Many thanks to all of you: the Arditti String quartet, Hans Thomalla, Claude Lenners, the Luxenmbourg Conservatory, and Jerry sets from concerts at Bienen School of Music at Northwestern University.
My interview-participation in Die Wolke art group project for Buffer Fringe festival. Using the spoken word material to create sound worlds…. looking forward for this result!
Languages of the Unheard by Danae Theodoridou & Dimitri Papageorgiou. A live experiment of conversing in the language of protest, participatory performance, 2020.
Freiraum Festival 2020 Online Artistic Interventions | Saturday, October 31st, 2020 | 16:45-17:00 Greek Time (15:45-16:00 CET or 10:45 EDT) | watch live at http://www.freiraumfestival.eu
“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?
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)
Languages of the Unheard is 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.
A collaborative, decentralised, democratised festival taking place simultaneously in the physical and the digital worlds.Developed jointly by more than 40 organisations spread around Europe, the Freiraum Festival includes an Online Summit and more than 20 Local Events, dealing with two issues that have been accelerated by the recent pandemic crisis: the “State of Freedom in Europe today: the ongoing biopolitical crisis and emerging social movements”, and the “State of the Arts: new formats and audiences”.During three days at the end of October (30/10-1/11), established thinkers and audiences around Europe gather to discuss these issues, online and offline, in specially conceived events which transform the local into a subjective centre.The online Summit combines a studio and teleconferencing platform (Zoom). It includes talks, discussions, artistic interventions especially made for the online format, and live connection with the local events held by the Freiraum partners.More information & programme: www.freiraumfestival.eu
My electronic work, “…am I hearing voices within the voice?,” has been selected and published by the Tehran-based experimental music label, Noise A Noise. I am very glad to be featured alongside fellow composers especially my dear Lee Yi Wei Angus.
Special thanks to label manager Soheil Soheili and co-curator / adjudicator Arshia Samsaminia for undertaking the tedioius task of curating this programme during this extraordinary period of time! Come and have a listen!
I just received an envelope holding a new double cd by Phasma Music with my work “…am I hearing voices within the voice?” inside. The cd is also available on
-NAR||ANA- for flute and piano | flute: Narek Avagyan, piano: Anahit Dilbaryan
The miniature was composed after a challenge by Ensemble Assonance within the frame of the Quarantine Project by Assonance․ #quarantine_composers_challenge
24-hour challenges for composers.
In the times of covid-19 and social distancing, Hong Kong flutist Angus Lee (https://www.anguslee-music.space) issued a Call for Scores for solo pieces for piccolo, concert or alto flute, in an attempt “to utilize this opportunity to create a platform where I can introduce the homebound public – who likely spend the majority of time in front of the computer – to some of the most interesting composers today and their music.”
His first choice, Call for Scores #1, is my Etude in Quarter Tones (2016). Angus not only performed the Etude but also created a video with an analysis of the piece containing detailed comments on the technical aspects of the piece.
Time stamps for specific topics: 00:04 opening introduction 00:42 CFS 2020 #1 opening credits 00:50 introduction to Dimitri Papageorgiou & Etude in Quarter Tones (2016) 03:02 a closer look at the piece 07:11 notes around the piece 09:06 detailed investigation 16:57 playthrough of Etude in Quarter Tones (2016) by Dimitri Papageorgiou 18:00 closing remarks 18:51 spoiler for next video
Great News from Chicago: the amazing Arditti Quartet will perform my string quartet Quasi (ébauch) at Nunc! 4 New Music Conference and Festival at Northwestern University, USA on 25th of April 2020.
One of the leading conferences for new music in the world, NUNC! brings together composers, performing musicians, scholars and other new music advocates for a weekend of workshops, panel discussions and concerts.
Each biennial event features a program of new works from invited guest composers as well as from a peer reviewed call for scores. Calls for performers, electronic music and presentations will for the first time be supplemented by a call for improvisers, connecting to Chicago’s rich history of improvised music.
The Arditti Quartett program will have great pieces:
Yu-Chun Chien – Trio
Onur Dülger – Barzakh
Yuko Ohara – Birefringence II for string quartet
Dimitri Papageorgiou – Quasi (ébauch)
Ruud Roelofsen– on intimacy III
Max Vinetz – maintaining
outHEAR New Music Week 2020 |Symposium and Master Class for Composition | December 6th – December 14th 2019 | Municipal Conservatory of Larissa, Greece
The outHEAR New Music Week 2019 (www.outhearnewmusic.com), an international symposium and master class for composition, featuring Ensemble Klangforum Vienna in collaboration with four members of Performance Practice in Contemporary Music (PPCM) ensemble
Ensembles in residence
Ensemble Klangforum: Mikael Rudolfsson – Trombone, Björn Wilker – Percussion, Joonas Ahonen – Piano, Dimitrios Polisoidis – Viola
PPCM: Kathrine Kirkeng Oseid – Saxophone, Felix Martl – Clarinet, David Schmidt – Trumpet, Leo Morello – Cello
Visiting artist
Panagiotis Andreoglou – Accordion
Faculty
Klaus Lang, University of Music and Drama Graz
Dimitri Papageorgiou, Aristotle University of Thessaloniki
Orestis Toufektsis, University of Music and Dram Graz
Fellows 2019
Category A
Alberto Carretero (Spain)
Analia Lludgar (Argentina/Canada)
Đorđe Markovic (Serbia)
Ioannis Gerhard Paul (Greece/Germany)
Jon Yu (U.S.A.)
Pedro Berardinelli (Portugal)
Santa Bušs (Latvia)
Severin Dornier (Germany)
Shin Mizutani (Japan)
Sinan Samanli (Turkey)
Tian-Üh Zοu (China)
Vasiliki Legaki (Greece)
28th INTERNATIONAL REVIEW of COMPOSERS | Students’ Cultural Center, Great Hall | Belgrade, Serbia | Sunday, 6 October 2019 | 18:00
Even the sky screams sometimes too II for accordion, commissioned by the Delian Academy with the kind support of Ernst von Siemens Foundation. Panagiotis Andreoglou – accordion.
The program entails also works by Luka Cubrillo, Milan Aleksic, Ivana Ogjanovic, Svetlana Savic, and Tatjana Milosevic.
Despite the recent denial of entry visa to Iran, that has almost jeopardized the whole Tehran International Electronic Music Festival, all of us — Joachim Heintz, Eva Zöllner, Verena Wuesthoff, Ulrike Brand, and I — were able to do our presentations, seminars, and master classes via skype. It was far from an ideal solution and it was uncomfortable to feel the imposed distance. But it was something …
The photo below is taken at the end of the skype session of my composition master class with the winners and selected composers of the Reza Korourian Composition Competition.
Iran did not allow foreign participants and guests to attend an electronic music festival, according to the official in charge of organizing the event in late July.
Speaking to the state-run Iran Labor News Agency (ILNA), Mehdi Jalali said, “For the first time, our prominent foreign guests, including Joachim Heintz (German composer), Dimitri Papageorgiou (Greek composer), Ulrike Brand (German cellist), and Eva Zollner (German accordionist) were denied entry visas.”
Delian Academy for New Music, Opening Concert | Claudia Perez Inesta – piano, Dan Weinstein – cello | Grypario Hall, Mykonos, GR | June 7th, 2019 | 19:30
Tonight, at the opening concert of the Delian Academy, guest artists Spanish pianist Claudia Perez Inesta and Israeli cellist Dan Weinstein perform works by this year’s composition faculty, Beat Furrer, Samir Odeh-Tamimi, and Dimitri Papageorgiou.
DELIAN ACADEMY FOR NEW MUSIC
Third Edition
7 June 2019 – 16 June 2019 Grypario Cultural Center Zervoudaki – Inglesi Hall Mykonos, Greece
Honorary President: Georges Aperghis
Composition Faculty: Beat Furrer, Samir Odeh-Tamimi, Dimitri Papageorgiou Artistic Director: Alexandros Spyrou
Ensembles in Residence: Klangforum Wien, TAK Ensemble
Guest Artists: Claudia Pérez Iñesta, Dan Weinstein
Ensemble Klangforum: Mikael Rudolfsson – trombone, Björn Wilker – Percussion, Joonas Ahonen – piano, Dimitrios Polisoidis – viola
PPCM members (Performance Practice in Contemporary Music): Severin Dornier – Saxophone, Teresa Doblinger – Clarinet, David Schmidt – Trumpet, Leo Morello – Cello
Dimitri Papageorgiou, Aristotle University of Thessaloniki
Orestis Toufektsis, University of Music and Dram Graz
The OUT HEAR New Music Week 2019 is happy to announce a Call for scores to participate in a Symposium and Master Class in Composition on December 6th to 14th, 2019, lead by our ensemble-in-residence, Ensemble Klangforum in collaboration with four members of the PPCM and our faculty Klaus Lang, Dimitri Papageorgiou, and Orestis Toufektsis.
The Reconstructive Nature of Memory as a Compositional Model | Bilgi University, Istanbul | E2-201 | April 24th, 2019 | 15:00 – 18:00
My music is, among other things, a continuous negotiation of the distinction between the self and the other and the fluidity of their relationship.
The core of my work revolves around specific themes: time, identity/similarity/difference, repetition, memory, and order — the fragility of order in the creative process.
The concept of memory, in particular – the way we consider the or our past – is perceived not as a repetition or nostalgic recollection. Quite on the contrary, memory is regarded for its creative dimension, that is, as a constantly updated reconstruction of the past from the point of view of the present and through a process of constant reformulation.
All musical ideas are imperfect and vulnerable, ephemeral and distorted. They are constantly in a flowing state and are constantly being revised.
Ensemble Airborne Extended | Parallel Textures | Contemporary Music Lab of Aristotle University of Thessaloniki | Thessaloniki State Orchestra Rehearsal Space | Wed April 10th, 2019 | 20:30
The exceptional Austrian ensemble Airborne Extended premiers my work “She sees by formless gleams…” for bass flute, great bass recorder (paetzold), and harp.
Ensemble airborne extended was founded in 2013 and is a female Quartett for contemporary music consisting of the instruments harp, harpsichord/keyboard, flutes, recorders/Paetzoldflutes, with and without electronics and performance. The unusual combination of these instruments is the starting point for a sensitive and nuanced search for unknown tonal combinations. Many of the tones evoke associations to earlier eras. The group’s effort to pry the instruments away from their bourgeois context and to use them in a contemporary fashion is a referential experience.
Sonja Leipold – harpsichord/keyboard
Caroline Mayrhofer – recorders/Paetzold
Elena Gabbrielli – flutes
Tina Žerdin – harp
Program
Bruno Strobl ABE (2018) Hannes Kerschbaumer not.to (2017) Μιχάλης Λαπιδάκης Lullaby (arr.2019) Balázs Horváth fragmentuum+arpège+miroirs (2017) Dana Probst Profond Miroir II (2019, first performance) Πάνος Ηλιόπουλος GZMNLG (arr. 2019) Παναγιώτης Κόκορας Cycling (2009) Δημήτρης Παπαγεωργίου She sees by formless gleams (2019, first performance) Mehmet Ali Uzunselvi parallel textures (2018)
I was glad to be among the special guests of Diffrazioni – Florence Multimedia Festival (http://www.diffrazionifestival.com/nuova-pagina), “a project dedicated to contemporary art exploring the boundaries between technology and poetic expression, where new tools, new scenarios and deep inner emotions meet and combine.”
The European premiere of my work “Am I hearing voices within the voice?” took place on Thursday, March 28th, 2019 at the magnificent Le Murate Progeti Arte Contemporanea.
This festival is an opportunity for connection, celebration, knowledge, development. It is a physical space and a short moment in time where multiple experiences converge, each one originating from different research fields in science, technology, art, expression, communication. Diffrazioni bases its strength on a system of synergies between institutions of higher artistic education, public administrations, young artists, cultural associations and non-profit organizations.
Wed March 13th, 2019 | Panagiotis Andreoglou, accordion | Melina Merkouri Hall, State Conservatory of Thessaloniki | 21:00
March 13th, at the State Conservatory of Thessaloniki, Panagiotis Andreoglou presents my work Even the sky screams sometimes too for solo accordion. The work is commissioned by the Delian Academy for New Music with the kind support of SIEMENS Music Foundation. The program also entails KoryReeder’s abstract and atmospheric “White and Lavender” in first world performance and the highly idiosyncratic “Cantus Firmus” by Kostas Tsougras.https://www.facebook.com/events/612555282505164/
Program
Domenico Scarlatti, Sonata K. 394 in e minor
Kostas Tsougras, Cantus Firmus (2011)
Domenico Scarlatti, Sonata K. 98 in e minor
Kory Reeder, White and Lavender (2017) α’ World Performance
Domenico Scarlatti, Sonata K.450 in g minor
Dimitri Papageorgiou, Εven the sky screams sometimes too (2017) α’ Greek Performance
outHEAR New Music Week 2018 | Concert I: Hannah Walter & Robert Torche | Ceremonial Hall of the Municipal Conservatory of Larissa |Friday 14 December, 20:30
Program
Orestis TOUFEKTSIS (*1966) Fraktum/Mikro2 for violin and electronics
Kaj DUNCAN DAVID (*1988) SOME PIECES (2017) Loops and atmospheres for two players 1. 01:00 — #2. 01:30 — #3. 02:00 — #4. 01:00 — #5. 02:00
Dimitri PAPAGEORGIOU (*1965) “…anD…” (2012) for viola
Clemens GADENSTÄTTER (*1966) moved by (2012) for violin
Simon STEEN ANDERSEN (*1967) Next To Beside Besides (2003/2007) #10 miniature for microcamera and viola — #6 for violins
The outHEAR New Music Week 2018, an international symposium and master class for composition, featuring the string quartet of the Ensemble Klangforum Vienna, is organized by the Mayoralty of Culture and Sciences of the City of Larissa (Panos Sapkas, deputy mayor) and is taking place from December 12th to 16th at the Municipal Conservatory of Larissa.
The outHear New Music Week was initiated by Christos Lenoutsos, pianist, and It is co-organized by the University of Music and Dramatic Arts Graz, the Department of Music Studies of the Aristotle University of Thessaloniki, and 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 Vienna and distinguished faculty, Clemens Gadenstätter, Dimitri Papageorgiou, and Orestis Toufektsis, in one-on-one lessons and mentoring, master classes, coaching, rehearsals, discussions, and performances.
During the first two days, composer fellows, faculty, and guest artists will also present their artistic research at the Symposium, an opportunity for all participants to share with each other their unique perspective on composition, techniques and innovations.
Our mission is to bring together promising composers from around the world in an inspiring environment, provide them with master classes and with opportunities for the performance of their works, but also allow them to exchange knowledge and expertise. We strive to develop long-lasting personal relationships between lecturers, performers and participants and therefore let them profit from one another.
Join us!
Work with a world renown guest ensemble and a visiting artist in rehearsing, reading and performing your music.
Have the performance or reading of your work recorded and videotaped.
One-on-one lessons and mentoring with faculty composers.
Making new friends and being part of a supportive artistic community.
Fellow composers will be selected through a Call for Scores. Please visit this page to submit your work and get the chance to have your work selected and performed.
outHEAR New Music Week is committed to promoting gender and ethnic diversity and inclusivity across its activities.
the artistic committee,
Christos Lenoutsos, founder
Dimitri Papageorgiou, Aristotle University of Thessaloniki
Orestis Toufektsis, University of Music and Drama Graz
Concert with Hannah Walter and Robert Torche | Museum der Wahrnehmung, Graz | December 7th 2018, 20:00
Guest Lecture and Composer Talk with Hannah Walter, Robert Torche, Clemens GADENSTÄTTER, Dimitri PAPAGEORGIOU, and Orestis TOUFEKTSIS | University of Music and Drama Graz | December 6th 2018, 10:00-13:00 and 15:00-18:00
Works by Orestis Toufektsis, Kaj Duncan David, Dimitri Papageorgiou, Clemens Gadenstätter und Simon Steen Andersen
Matt Ertz, host, devoted his December 3 show Muddle Instead of Music (https://www.mixcloud.com/muddleinsteadofmusic/) to music from Greece. Among works by Iannis Xenakis, Jani Christou, Yannis Kyriakides and Lina Tonia, there is also to be found my “…risuona piú lontano che mai” for flute, soprano saxophone, percussion and piano (2018) performed by the Ensemble Suono Giallo premiered this July at the Il Suono New Music Week.
Ikhoor : for string trio (1978) / Iannis Xenakis (members of the Arditti String Quartet) — Praxis for 12 : for 11 sting instruments and pianist/director (1966) / Jani Christou (Accademia Musicale Napoletana Chamber Orchestra ; Piero Guarino, piano/conductor) — “…risuono più lontano che mai“ : for flute, soprano saxophone, percussion and piano (2018) / Dimitri Papageorgiou (Ensemble Suono Giallo) — Butterfly effect : for orchestra (2017) / Lina Tonia (Orchestre Philharmonique de Radio France ; Pierre André Valade, conductor) — Der Komponist : for orchestra and computer (2015) / Yannis Kyriakides (Philharmonie Zuid Nederland ; Bas Wiegers, conductor).
After its world premiere at the Tehran International Electronic Music Festival, “…am I hearing voices?” receives a US premiere November 27, 2018 at the Grains of Sound #1 in San Francisco Conservatory of Music, Osher Salon.
I am very glad to announce that my composition “…am I hearing voices within the voice?” for Acousmatic category has been selected among 176 applications to be programmed on the Grains of Sound Festival #1 (GOS#01), which will take place on November 27th at San Francisco Conservatory of Music, Osher Salon.
«Grains of sound electroacoustic music festival» strives to expose the works of a select group of innovative international composers, active in the electroacoustic field, to those enticed by new aural aesthetitcs.
The selected composers of the GOS#1 Call for Scores are
Acousmatic category: Annette Vande Gorne and Dimitri Papageorgiou
Solo Instrument category: Sylvia Rosani, Aldo Lombera, Bekah Simms, Jacob Sundstrom
Audiovisual category: Nicola Capelletti
Featured composers of the Grains of Sound festival are:
Patricia Alessandrini, Joao Pedro Oliveira, and Liviu Marinescu
My activities at TIEMF entailed among others following:
September 2nd 2018, Hanooz Bookstore
Lecture
Artificial voice. A brief history of speech synthesis: from talking heads to talking machines.
In this talk, I present an overview of speech synthesis. The idea that a machine can generate speech disappears in the depths of history, but only recently has man been able to construct speaking devices with success. The narration of this history starts from simple hoaxes (antiquity to 17th c.) and moves on to mechanical approaches (18th c. to 19th c.) with more emphasis to electronic and digital approaches of the modern era (20th c. to present).
Sep 5th, Tehran University, School of Music
10:00 – 12:00 “Composing Seminar”: The Reconstructive Nature of Memory as a Compositional Model. Aesthetic Approach and Algorithmic implementations.
Memory and identity. Variance and invariance. Iteration and evolution. The opposition between unity and multiplicity, in terms of the ”dialectic of the repeated and the non- repeated.“ The present seminar outlines my views on compositional process technique in theory and in practice. At rst, I present a framework of a compositional methodology based on the reconstructive nature of memory, as a metaphor for the construction of pitch complexes and their dynamic and evolving elaboration in my music by means of algorithmic manipulations. In the second part, I present an introductory demonstration of some algorithmic routines of my interlocking technique.
12:00 – 15:00 Composing Master Class
With students of the M.A. Program in Composition of the Composition Area of the Tehran University Department of Music Studies
Sep 8th 2018, Tehran University, Avini Hall
Premiere of my work
“… am I hearing voices within the voice?” (2018) for fixed medium
was composed in more voices and vocal manifestations from samples of principally non-verbal vocalizations, reconstructed by fragmenting, overlaying and ltering the vocal timbres, to accommodate my own requirements
During the composition process, I was more interested into 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.
UUDEN MUSIIKIN LOKAKUU, Oulu, Finland | Tulindbergin Hall | September 28th, 2018 | Even the sky screams sometimes too (2018) for solo accordion | Matti Pulkki – accordion
Even the sky screams sometimes too is commissioned by the Delian Academy for New Music with the kind support of the Ernst von Siemens Music Foundation.
Honored to announce that my piece, In the Vestige of the Present, was selected for the Score Follower call for works. A 13-member jury selected this piece from a pool of 770 submissions in the spring 2018 follow my score call for works.
I am grateful to Trio IAMA for their excellent studio performance!
Trio IAMA: Jiannis Anissegos — flute Maria Anissegou — cello Antonis Anissegos — piano
There is a report published on August 28, 2018 in the Arts and Culture sections of the Financial Tribune (first Iranian English Economic Daily) about the upcoming Tehran International Electronic Music Festival. The report is titled
50 Famed Composers to Attend Tehran Electronic Music Festival
Electronic concerts, seminars and lectures, video arts, composition workshops and performance arts are among the programs of the festival
“…risuona più lontano che mai”(2018) for flute, saxophone, piano, and percussion. Commissioned by ilSUONO Contemporary Music Week 2018 for ensemble Il Suono Giallo.
Performed by Ensemble Suono Giallo, Italy: Andrea Biagini, flute; Michele Bianchini, saxophone; Laura Mancini, percussion; Simone Nocchi, piano
Program Notes
“…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.
A press report about the participation of our Labor Beethoven 2020 project at the 73. Sommerliche Musiktage Hitzacker // BEETHOVEN! // 28. Juli – 05. August
The Laboratory Beethoven 2020 is a project of the Akademie der Künste, Berlin, and is funded by the Federal Government Commissioner for Culture and Media from the project BTHVN2020. For three years, nine young composers have the freedom to develop and realize their vision of new music. The Summer Music Days are the ideal platform for their first concert project.
In March 2018, the Beethoven laboratory team will meet the freshly awarded winners of the German Music Competition. Out of the spirit of their partnership, they create short works and installations. The opening on July 28 will feature an installation by Eva Gentner and Adrian Nagel from the border area between sound and image. In the following days, premieres of short solo and chamber pieces enrich the festival program.
In cooperation with the Akademie der Künste, Berlin
The Sommerliche Musiktage Hitzacker are Germany’s oldest chamber music festival and at the same time one of the most innovative. They see themselves as a festival of discoveries – from charming concert formats, engaging programs, unusual venues and international artist personalities.
Il Suono 2018 | The opening of the 3rd edition of the IlSuono Contemporary Music | Teatro Comunale Degli Illuminati | Città di Castello | Sunday, July 15 at 6:30 PM
Andrea Biagini, flute; Michele Bianchini, saxophone; Laura Mancini, percussion; Simone Nocchi, piano; Giacomo Piermatti, double bass; Theoharis Papatrechas, artistic director.
-PROGRAM-
Nuño Fernández Ezquerra: Invocazione all’ignoto (2018)* for flute, saxophone, percussion, piano
Luciano Berio: Sequenza XIVb (2002) for double-bass
Franck Bedrossian: La Solitude du coureur de fond (2000) for alto saxophone
The OUT HEAR New Music Week 2018 is happy to announce a Call for scores and proposals to participate in a Symposium and Master Class in Composition on December 12th to 16th, 2018, lead by our ensemble-in-residence, String quartet of the Ensemble Klangforum in collaboration with our faculty Clemens Gadenstätter, Dimitri Papageorgiou, and Orestis Toufektsis.
Symposium and Master Class dates: December 12-16, 2018
Location: Conservatory of the City of Larissa, Greece
Application fee: 12 Euros
Open to all composers
Application deadline: August 24th, 2018, 11:59pm (UTC+2:00 Athens)
Delian Academy for New Music, International Symposium on New Compositional Concepts (2018). The Reconstruction Nature of Memory as a Compositional Model. Grypario Cultural Center, Mykonos, Greece. 10th June, 2018.
A lot of interesting stuff this year at the 2nd Edition of the Delian Academy for New Music on the island of Mykonos, Greece, 8 June to 17 June.
Honorary President: Georges Aperghis
Composition Faculty: Michael Finnissy, Elaine Lillios, Dimitri Papageorgiou
Artistic director: Alexandros Spyrou
Ensembles in Residence: Trio Accanto and Zone Experimentale
Guest Artist: Jana Luktst, piano
24 fellow composers from USA, China, Singapore, Japan, Hong Kong, Greece, Chile, Serbia, Switzerland, Germany, Argentina, South Africa, France, Iran, and Taiwan.
6 concerts, 2 days of symposia, instrumental workshops, lecture recital
We are very proud to announce the organization of OFF BORDERS FESTIVAL OF ELECTROACOUSTIC MUSIC, VIDEO & PERFRORMING ARTS in collaboration with the State Museum of Contemporary Art.
21/22 of April 2018, Thessaloniki
Open call for Artists from Iran, Greece and Germany
Deadline: 3 MARCH 2018
In collaboration with:
Eirini Papakonstantinou, Art historian/curator SMCA
Joachim Heintz, composer/director of FMSBW electronic studio
Mehdi Jalali, composer,conductor/director of Yarava Music Group
About
This initiative investigates new ideas in the field of sound, visual and performance art. Off borders festival, intends to provoke conversations into the intercultural coexistence among the dipole artists & audience.
Wondering where the periphery starts and where the center, strong proponent of DIY culture (do it yourself), we aspire to create another node in the world DIY network and develop communication channels having intercultural exchange as their main goal.
Our goal is the integration of the periphery into within the internationalization process of contemporary art. Sounds, Pictures and Movements create a meeting point in Greece, disseminating frequencies across Europe and nearby countries.
Bridging the gap
GREECE-IRAN-GERMANY
The off borders Festival wants to establish itself as an out of bounds 2 day event at the city of Thessaloniki. This year we aim to artists from Iran, Germany and Greece, whose works focus on investigating new ideas, consider risk as an inherent aspect of their work. Unlike other festivals, off borders is particularly interested of participants-driven projects focusing at the fields of:
Electronic Music/Sound Art
Video Art
Performance Art
Entails an interview to Jim Igor Kallenberg recorded on September 30th 2017 at my apartment in Thessaloniki and the broadcast of my work In the Vestige of the Present for flute, cello, and piano performed by Trio IAMA (Jannis Anissegos – flute, Maria Anissegou – cello, Antonis Anissegos – piano) from the CD Present Perfect Vol. 1 by Dissonance Records, Thessaloniki.
The results of the International Call For Scores & Commission 2017, organized by Ensemble Suono Gialloand IlSuono Contemporary Music Week have been announced and I am glad to be one of the two winners of the Commission 2017 in a statement on their webpage and Facebook page issued on October 29th:
The selection process of the applications received for the International Call For Scores & Commission 2017, organized by Ensemble Suono Giallo and IlSuono Contemporary Music Week, ended, with the selection committee thoroughly reviewing applications by:
143 composers (a total of 278 works) from 34 countries
The selection committee went through a strong applicant pool, including a large number of exceptional entries, making the decision process quite challenging. We would like to THANK all composers who sent in their music and trusted us with it. And, feeling grateful to the large amount of interest shown in the call, the committee decided to offer TWO commissions this year.
SELECTED WORKS FOR PERFORMANCE
We are excited to announce the following works have been selected to be included in the repertoire of ensemble Suono Giallo and its concert programs for the following season.
due forme dell’insonnia (2017) for sax, perc, pno
by Marco Longo (Italy, 1979)
L’erotisme sacré (2012) for fl, pno, and elec
by Taylor Brook (Canada/USA, 1985)
l’œil brisé (2017) for sax, perc, and elec
by Yiqing Zhu (China, 1989)
Piccolo inventario degli insetti (2017) for fl, sax, perc, pno, and elec
by Claudio Panariello (Italy, 1989)
will the voice remain the same (2015-17) for fl, sax, perc, pno
by Charles Kwong (UK/Hong Kong, 1985)
STATISTICS
• 143 applications
• 10 applications were rejected;
-4 provided nonfunctional links
-6 submitted scores and/or recordings with composer’s identifying information (e.g. name in the score, soundcloud links)
• 23% of the applications were by female composers and 77% by male composers.
• 34 countries
Follow the link for a more analytical representation of statistical data. https://www.ilsuonoacademy.com/call-for-scores-2017
A nice critique about Iwona Glinka’s CD One Minute by Piotr Grella-Możejko, that mentions my Etude in Quarter Tones
… Two compositions played superbly on the bass flute, i.e. “Path” by Rania Chrisostomou (Cyprus) and “Catharsis” by Héctor Oltra Garcia (Spain), as well as “Kekkai” by Nicolas Marty (France), “The Clown” by Michail Travlos (Greece; the title is misleading – the music is actually quite good), “Etude In Quarter Tones” for piccolo flute by Dimitri Papageorgiou (Greece), and the remarkable “Concert Etude”, also for the piccolo, by Paweł Siek (Poland; again, the title turned me off, but the music did exactly the opposite) all stand out as examples of very well written mini-pieces aptly projecting the composers’ individual “voices” really worth exploring further.
Listen to Effluences (2011) for flute, bass clarinet, violin, cello, and piano Live @ Delian Academy for New Music 2017 (delianacademy.com)
Grypario Cultural Center, Mykonos, Greece
A huge thank you to the ensemble Oerknal for their stunning performance!
Gregory Charette – conductor
Susanne Peters – flutes
Daniel Boeke – clarinets
Daniel Walden – piano
Mariana Hutchinson Siemers – violin
René van Munster – cello
Proud to be a member of the Women in Music Information Retrieval (WiMIR) Mentoring Program!
Poster design: Julia Wilkins Blog post by Anja Volk (Utrecht University), Co-Founder of the WiMIR Mentoring Program We started the mentoring program in 2016, after many years of regular meetings of…
Award Ceremony of the Reza Korourian Electroacoustic Composition Competition 2017 | September 1st, 2017 | Arasbaran Cultural Center, Tehran, Iran
SCHEDULE
* Releasing the CD of the first year’s selected works of the Reza Korourian Award 2016
* The members of the Jury, Joachim Heintz, Shahrokh Khajenouri, and Dimitri Papageorgiou award the second year’s winners of the Reza Korourian Award 2017
Winners 2017:
Farzad HosseinAbadi (1989): “Sunset in the woodland”
Soheil Shirangi (1987): “Suspension No.2”
Bahar Royaee (1984): “Tendency and Avoidance”
* Screening a Video art by Hasan Sheidaei
* Speechs by Joachim Heintz, Shahrokh Khajenouri, …
The Second year of Electroacoustic Music composition competition
Reza Korourian Awards 2017
Composition Seminars and Master Classes
Shahrokh Khajenouri, Joachim Heintz, Dimitri Papageorgiou
It is a great honor for me to hold a composition master in Tehran, Iran, at the end of August, as part of the 2nd Electroacoustic Music Composition Competition Reza Korourian Award 2017, which is issued by the Yarava Music Group, Contemporary Music Records.
Further composition master classes will be held by other members of the Reza Korourian Composition Competition Jury, Shahrokh Khajenouri and Joachim Heintz, on August 28th and 29th, respectively .
Lectures, panel discussions and concerts will be announced soon!
Composers Panayiotis Kokoras and Dimitri Papageorgiou together with the artistic director Alexandros Spyrou as guests of journalist Thanasis Gogadis in his show “En Thessaloniki” .
Main subject of their talk is the Delian Academy for New Music, which opened its gates for the first time this Monday, June 12th 2017, at the Grypario Cultural Center of the City of Mykonos and welcomes talented composers and musicians from all over the world.
The pictures are from the follow up interview, a retrospective of the Delian Academy, which took place on July 10th, but unfortunately has not been recorded due to technical programs.
Screenshots of the deliberations on a Skype session, which was held on July 20th, of the jury of the Korourian Competition 2017.
The members of the jury are:
Joachim Heinz, head of electronic music studio at Hannover University for Music, Drama and Media
Arsalan Abedian, Ph.D. in Composition, head of Contemporary Music Records (CMR) and the international relations office of Yarava Music Group
Shahrokh Khajenouri, Composer, Tehran, Iran
Dimitri Papageorgiou, Assistant Professor of Composition at the Department of Music Studies, Aristotle University of Thessaloniki, Greece.
The winners will be announced officially in the days to come and they will be awarded during a ceremony coming August.
The contest is planned to be held annually with the collaboration of CMR and Yarava Music Group, to venerate Korourian, the only Iranian musician who worked on electronic music.
“In Pulses, in Strokes…” (2011) for flute, bass clarinet, violin, cello, percussion, and piano. Performance on Thursday, March 2nd 2017, Kobacker Hall, at Bowling Green University, Bowling Green, Ohio, U.S.A.
BGSU New Music Ensemble. Maria Mercedes Diaz Garcia — conductor.
Program Notes
The title of the work is derived from a reply (dated “Grand Hotel, Rome, 4, I, 1941”) by George Santayana to a letter by Ezra Pound (reproduced in Machine Art and Other Writings):
Existence comes in pulses, in strokes. I see no reason for not stopping, or for stropping, anywhere in that flux. Existence has as many centres as it happens to have, as many moments, feelings, assumptions, questions—all in the air and with no power over one another. But if we have time and patience to study a natural world posited as the source and common continuum in all this existence, we assume that it has dynamic unity: otherwise from one point in it we could never justly infer or posit any other point in it. This is my argument for materialism. — GS
Delian Academy for New Music | Concert II | Friday, 16 June 2017 | 19.30 | Grypario Cultural Center, Mykonos, Greece
A visceral performance by Ensemble Oerknal of my Effluénces for flute, bass clarinet, violin, cello, and piano in tonight’s concert at the Delian Academy for New Music at the Grypario Cultural Center, Mykonos, Greece.
Oerknal New Music Collective, Gregory Charette — conductor and artistic director, Susanne Peters — flutes, Daniel Boeke — clarinets, Daniel Walden — piano, Mariana Hutchinson Siemers — violin, René van Munster — cello.
The concert also featured excellent works by participants of the Delian Academy: Elvira Garifzyanova, Ashkan Behzadi, Jorge Eduardo Gomez Elizondo, Nemanja Radivojevic, and Tolga Tüzün.
Memory and identity. Variance and invariance. Iteration and evolution. The present lecture is an introduction to the exploration of the reconstructive nature of memory as a metaphor for the construction of pitch complexes and their dynamic and evolving elaboration in my music. For that purpose, I have invented an interlocking technique, which is a systematic transformation plan that takes some raw material and creates structurally and aurally similar pitch arrays by means of algorithmic manipulations
Ensemble in Residence: Oerknal New Music Collective. Gregory Charette, conductor and artistic director; Susanne Peters, flutes; Daniel Boeke, clarinets; Daniel Walden, piano; Mariana Hutchinson Siemers, violin; René van Munster, cello
*The Scholarship in memoriam Iannis Xenakis is awarded to Elvira Garifzyanova.
Composers and Sound Artists
Ivan CHIARELLI (Brazil)
Tyler ENTELISANO (USA)
Pedro FRAGUELA (Argentina)
Marissa HICKMAN (USA)
John Paul LEMPKE (USA)
Emma MARGETSON (United Kingdom)
Bernard SHORT (USA)
Visiting Composers
Hyunjoo KIM (S. Korea)
Nahyun KIM (S. Korea)
Anastasios SAVVOPOULOS (Greece)
Jee SEO (S. Korea)
Mischa SHIMEK (USA)
Jorge Diego VÁSQUEZ SALVAGANO (Argentina)
Jennifer YOO (USA)
9,58 Cultural Radio, Thessaloniki National Radio|”En Thessaloniki,” Thanassis Gogadis – host | June 8th, 2017 |
Composers Panayiotis Kokoras and Dimitri Papageorgiou together with the artistic director Alexandros Spyrou in an interview with journalist Thanasis Gogadis in his show “En Thessaloniki” at 9,58 Cultural Radio ERT3.
Main subject of their talk is the Delian Academy for New Music, which opens its gates for the first time this Monday, June 12th 2017, at the Grypario Cultural Center of the City of Mykonos and welcomes talented composers and musicians from all over the world.
Dokzaal, Amsterdam | Friday, 26 May, 2017 – 20:30 & Korzo Theater, The Hague | Saturday, 27 May, 2017 – 20:30
The Dutch new music collectiveOerknal is premiering my quintet Efflénces (2011) in the Netherlands, in two concerts that take place in Amsterdam and in The Hague on May 26th and 27th, respectively.
On stage of the Dokzaal, Amsterdam and the Korzo Theater, The Hague the Ensemble Oerknal in collaboration with the vocal quartet Damaskwill be presenting a concert with the title Sin and Expiation, which is inspired by Bach’s Matthaüs-Passion.
Program:J.S. Bach | ‘Erkenne mich, mein Hüter’
Dimitri Papageorgiou | Effluénces
Orlando di Lasso | Excerpts from Prophetiae Sibyllarum
Kaija Saariaho | From the Grammar of Dreams
Hildegard Von Bingen | Excerpts from Symphonia armonie celestium revelationum
– – – – – –
J.S. Bach | ‘Wenn ich einmal soll scheiden’
Lewis Nielson | Cilice | World Premiere
The CD features 60 world premiere recordings of One Minute compositions for solo flute(s) by 42 composers from 17 countries: Argentine, Australia, Canada, Cyprus, England, France, Greece, Great Britain, Hong Kong, Israel, Mexico, Poland, Portugal, South Korea, Spain, Switzerland, and U.S.A.
On track nr. 40 you will find my work Etude in Quarter Tones for piccolo flute
Guest composer, Institut Neue Musik @ University for Music, Drama and Media Hannover, Germany (HMTMH), invited by Joachim Heintz and Gordon Williamson.
Master classes in composition on April 26 – 28 with students coming from diverse backgrounds and countries such as Germany, Korea, Philippines, Iran, Iceland, Esthonia, Greece, etc. Presentations of my music on Thursday 27/4 and Friday 28/4 afternoon.
Schedule
26/04: Composition master classes (morning and afternoon)
27/04: Composition master classes (morning) and guest composer presentation at FOKUS: “Interlocking technique and the reconstructive nature of memory” (afternoon)
28/04: Composition master classes (morning) and presentation in the class for electronic music on the subject “Interlocking technique – algorithmic routines and applications” (afternoon)
Three mentors and nine young composers from Basel, Tel Aviv, and Thessaloniki. First planning meeting in Akademie der Künste, Berlin for the artistic research project Labor Beethoven 2020.
Basel School of Music team: Caspar Johannes Walter, Anda Kryeziu, Eleni Ralli, Andrian Nagel.
Tel Aviv University team: Ruben Seroussi, Guy Rauscher, Ari Rabenu, Akkad Izreel.
*The Scholarship in memoriam Iannis Xenakis is awarded to Elvira Garifzyanova.
Composers and Sound Artists
Ivan CHIARELLI (Brazil)
Tyler ENTELISANO (USA)
Pedro FRAGUELA (Argentina)
Marissa HICKMAN (USA)
John Paul LEMPKE (USA)
Emma MARGETSON (United Kingdom)
Bernard SHORT (USA)
Visiting Composers
Hyunjoo KIM (S. Korea)
Nahyun KIM (S. Korea)
Anastasios SAVVOPOULOS (Greece)
Jee SEO (S. Korea)
Mischa SHIMEK (USA)
Jorge Diego VÁSQUEZ SALVAGANO (Argentina)
Jennifer YOO (USA)
Kobacker Hall, Moore Musical Arts Center | BGSU College of Musical Arts | Thursday, March 2, 2017 8:00 PM |
Conductor Mercedes Diaz conducts my work “In Pulses, in Strokes…” for flute, bass clarinet, violin, cello, and piano in a concert that presents works by Dimitri Papageorgiou, Tolga Yayalar, Kory Reeder, Dimitris Maronidis, and Zeynep Gedizlioglu, and featuring accordionist soloist and Fulbright Artist Scholar Panagiotis Andreoglou.
If you in the Bowling Green, Ohio, area this coming Thursday, March 2nd, 2017, you can join the BGSU New Music Ensemble and dr. Chris Dietz’s concert at the Kobacker Hall of the BGSU College of Musical Arts.
Featuring performers
Panagiotis Andreoglou, accordion soloist
Piyaphon Asawakarnjanakitm, Henrique Batista, Teresa Bellamy, Johnathan Britt, Erin Cameron, Kenneth Cox, Lydia Dempsey, Gramm Drennen, Brianna Drevlow, La Le Du, Nick Fox, Mercedes Garcia, Robert Garza, Jenica Georgeson, Soren Hamm, Aaron Hynds, Kathryn Kibbe, Garrett Krohn, Kyle McConnell, Emma Mills, Adam O’Dell, Octavian Moldovean, Thomas Morris, Kory Reeder, Vincent Sauer, Jack Smolenski, Tim Young, Yufei Zhang.
This June, together with my friend Panayiotis Kokoras, I will be serving as faculty member of the Delian Academy for New Music (artistic director: Alexandros Spyrou), an international summer academy for composers and sound artists located on the island of Mykonos, Greece. We will be collaborating with the ensemble Oerknal, a collective of young professional musicians based in The Netherlands. Selected composers can submit a new or existing piece to be performed in Grypario Concert Hall in Mykonos.
Curated under the auspices of Georges Aperghis and the Grypario Cultural Center, the Academy derives its name from the nearby island of Delos, the birthplace of god Apollo, and an UNESCO world heritage site.
Unlike top-down organization programs, our Academy is a participant-driven meeting where attendees co-decide and create the agenda for a series of symposia, workshops, and concerts with the guidance of faculty and staff.
The 2017 edition will take place from June 12 to June 19 in Grypario Cultural Center of Mykonos. Participating composers will have the chance to take part in masterclasses, presentations, workshops and have their music performed by our ensemble in residence. The main language of the Academy will be English. Additional languages may be used in private masterclasses.
From the western art music of the 19th century to postmodernism today | Sunday Feb 12th, 2017 19:00 | Melina Mercuri Hall, State Conservatory of Thessaloniki
During the festival CONSONANCES 2017 (ΣΥΝΗΧΗΣΕΙΣ 2017), violist Athanasios Sourgounis will be performing my work “…anD…” (2012) for viola in a honorary concert, which is organized by the Onassis Scholars’ Association with the support of the Onassis Foundation.
The concert is conceived as “a journey through time and the music history of Thessaloniki, starting with the composers who brought Western art music in the city and continuing with representatives of current compositional trends …
Athanasios Sourgounis, violist
composers who founded the course of Greek art, together in a concert that aims to highlight the Greek music from the 19th century until today.”
The first part entails works by composers born before 1960: Dimitrios Lalas, Emilios Riadis, Dimitris Themelis, Costas Nikitas, Christos Samaras.
In the second part to be heard are works by composers who represent the diversity of today’s musical trends: Michalis Lapidakis, Dimitri Papageorgiou, Costas Siempis, Costas Tsougras, and Leontios Hatzileontiadis.
PROGRAM
• Dimitrios Lalas (1848-1911). Die Karthause – recording
• Emilios Riadis (1880-1935). Jasmins et minarets
• Dimitrios Themelis (1931). Marsya’s song
• Costas Nikitas (1940-1989). Sonatina for flute
• Christos Samaras (1956). Four songs for mezzo soprano and piano
• Michalis Lapidakis (1960). Ιntermedio (Double flame) for violin and viola
• Costas Siempis (1961). 12 Variations for piano
• Dimitri Papageorgiou (1965). ” …anD…” for viola
• Costas Tsougras (1966). Diatheses for violin and piano
• Leontios Hatzileontiadis (1966). Labirintus for Mezzo Soprano and CD, Op. 78
PARTICIPANTS
ContraTempo Chamber Orchestra, conductor:Vladimiros Symeonidis
mezzo soprano:Angelica Cathariou
The evening will be introduced by the Chairman of the State Conservatory of Thessaloniki Harry Lefakis and musicologists Chardas Costas and George Athanasopoulos.
State Conservatory of Thessaloniki, Fragkon 15, Thessaloniki, GΡ-54625 (google map).
I am thankful to Iwona Glinka for playing my Etude in Quarter Tones for piccolo flute on track nr. 40 of this CD soon to be released by Sarton Records, Poland. Amazing artwork, as well, by graphic designer Beata Czerepak.
The CD features 60 world premiere recordings of One Minute compositions for solo flute(s) by 42 composers from 17 countries: Argentine, Australia, Canada, Cyprus, England, France, Greece, Great Britain, Hong Kong, Israel, Mexico, Poland, Portugal, South Korea, Spain, Switzerland, and U.S.A.
I am glad to serve as a mentor in the Women inMusic Information Retrieval (WiMIR) Mentoring Program 2017. The WiMIR mentoring program connects women students, postdocs, early-stage researchers, industry employees, and faculty to more senior women and men in MIR who are dedicated to increasing opportunities for women in the field. Mentors will share their experiences and offer guidance to support mentees in achieving and exceeding their goals and aspirations.
By connecting individuals of different backgrounds and expertise, this program strengthens networks within the MIR community, both in academia and industry.
WiMIR is a group of people dedicated to promoting the role of, and increasing opportunities for, women in the MIR field.
Great News from Chicago: the amazing Arditti Quartet will perform my string quartet Quasi (ébauch) at Nunc! 4 New Music Conference and Festival at Northwestern University, USA on 25th of April 2020.
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A press report about the participation of our Labor Beethoven 2020 project at the 73. Sommerliche Musiktage Hitzacker // BEETHOVEN! // 28. Juli – 05. August
Delian Academy for New Music | Thursday, 15 June 2017 | 19:00 | Grypario Cultural Center, Mykonos, Greece
Abstract
The Delian Academy for New Music (
Dimitri Papageorgiou, Tolga Yayalar, Kory Reeder, Dimitris Maronidis, and Zeynep Gedizlioglu, and featuring accordionist soloist and Fulbright Artist Scholar Panagiotis Andreoglou.
