Proxima Centauri perform “…risuona piu lontano che mai”

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.

Proxima Centauri perform “…risuona piu lontano che mai”

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.

Delian Academy 2021

DELIAN ACADEMY FOR NEW MUSIC 2021

International Summer Academy for Composers & Sound Artists
18 – 27 June 2021

Ensemble-in-residence: Proxima Centauri, Awkas

Guest artist: Nike Lada, voice

Fellows 2021

Composition for Ensemble and Media​

  • X. Lee* (United States)
  • Matteo Tundo (Italy)
  • Chonglian Yu (China)

Composition for Ensemble

  • Xue Han (China)
  • Alfred Jimenez (Sweden)
  • Seokmin Mun (South Korea)
  • Tsu-Yao Yang (Taiwan) 

Composing with (live) Electronics

  • Luis Fernando Amaya (Mexico)
  • Konstantinos Baras (Greece)
  • Jared Bennett (United Kingdom)
  • Dzovinar Mikirditsian (Lebanon)

Visiting Composers​

  • Cecilia Assalini (Argentina)
  • Andreas Bäuml (Germany)
  • Agustín Castellón (Chile)
  • David Nunn (United Kingdom)
  • Nicolas Roulive (Belgium)

Arditti String Quartet perform Quasi (ébauche) at NUNC 4.

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…

Quasi (ébauche) performed by the Arditti String Quartet at NUNC4

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

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.” 

Hans Thomalla, https://www.facebook.com/hans.thomalla/

Quite a remarkable story! 

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.  

Δ-topia by Die Wolke Art Group

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!

See, https://bufferfringe.org/artists-work/die-wolke-2/

Creators Dani Joss, Drosia Triantaki At Vitruvian Thing

Thank you guys for the invitation

Languages of the Unheard (trailer)

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. 

About the online artistic interventions: http://www.freiraumfestival.eu/artistic-interventions.html

Freiraum Festival:

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

published by Noise a Noise, Tehran

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!

Link:
https://noise-a-noise.bandcamp.com/track/dimitri-papageorgiou-am-i-hearing-voices-within-the-voice

…am I hearing voices within the voice? released by Phasma Music

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

and other online services.

More info on the site of Phasma – Music at http://www.phasma-music.com/catalogue/spectrum_vol-1

Call for Applications – outHEAR New Music Week 2020

deadline: August 28th, 2020

outHEAR New Music Week, March 26th – April 4th 2021

with Klangforum Wien & PPCM

Faculty:
Franck Bedrossian
Dimitri Papageorgiou
Orestis Toufektsis

with the friendly support of the Ernst von Siemens Music Foundation

Find out how: https://www.outhearnewmusic.com/call-for-scores-2019
Photο: Kostas Mantziaris

-NAR||ANA for Ensemble Assonance “Quarantine Project”

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-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.

www.assonance.com

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