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:
On April 24th at 10:30 am, we will be kicking off a week-long residency with an artistic presentation at Sala da Cámara in Conservatorio Superior de Musica de Málaga.
The reconstructive nature of memory as a compositional model
This lecture discusses how the mnemonic system and more specifically ‘reconstructive memory’ (Bartlett, 1932) can be a radical model of the compositional process.
In this context, the lecture is an introduction to the key theoretical and practical aspects of the Interlocking Technique, which I have invented and modeled in order to explore the above proposal. This technique is both a) a genetic process, a systematic way of constructing fluorescent patterns based on some simple initial fluorescent data, and b) a reconstructive process, a way of transforming these patterns through the creation of structural homologies, by means of algorithmic manipulations.
The development of the technique was based, to a significant extent, on the study of memory theories in neuropsychology, psychology, sociology, criminology, etc. Scientific evidence supports the fact that memories are not exact records, but rather reconstructions of past events. Memory stores only fragments of the past that serve later to reconstruct past events. Thus, remembering the past is a subjective and sensitive process, and the recall of memory is open to inaccuracies, distortions, and distortions of the information conveyed with each recollection, as well as to various selective and processing procedures.
Consequently, reconstructive memory has a highly creative function. My study of it has led me to a different view of the concept of repetition, insofar as the recall of an event is not a faithful repetition but a (to a lesser or greater extent) creation of new content. ‘Reconstructive memory’ functions, ultimately, as a metaphor and analogy for the construction of new versions of pitch complexes through cycles of repetitive processes and their dynamic (continuous or non-continuous) reconstruction, processing, and reconstruction in my music through a technique of enveloping imperfections and distortions that each recall of the pattern carries within it.
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
The highly virtuosic Sonar Quartet and the Kanun player Sofia Labropoulou present works by Dimitri Papageorgiou and Stefan Pohlit, which were developed especially for these musicians. The Turkish zither meets the traditional string quartet and together they promise extraordinary and exciting sound experiences.
The Sonar Quartet’s composition commissions are funded by the Ernst von Siemens Music Foundation. The concert 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.
Program
Dimitri Papageorgiou (*1965) Oumuamua for Kanun and string quartet
Stefan Pohlit (*1976) eyéo (Streichquartett #5) for Kanun and string quartet
In collaboration with the Greek kanunist Sofia Labropoulou, the Sonar Quartet is developing new commissioned works by Dimitri Papageorgiou and Stefan Pohlit, as well as its own framework program that continues to spin the aesthetic directions of the compositions on the borders of improvisation. Against the background of the arithmetic tradition of the Aegean region, the focus is now on the development of a microtonal playing practice, on which the modern kanun (descendant of the Pythagorean monochord) is based.
With Sofia Labropoulou, the ensemble focuses on a personality who has translated the musical heritage of the European and Aegean musical traditions into a living practice. Papageorgiou’s and Pohlit’s completely different perspectives are flanked within the program by a separate improvisation laboratory, which transforms the purely subjective perspectives of the compositional styles in the mirror of the equally subjective “interaction culture” of the ensemble. The framework program is also based in parts on composed works of the Turkish makam tradition, which the ensemble arranges and alienates independently before becoming independent with the theoretical foundations of the arithmetic tradition.
With
Sonar Quartet: Susanne Zapf (violin), Wojciech Garbowski (violin), Ian Anderson (viola), Konstantin Manaev (cello); Sofia Labropoulou (kanun)
Program
Works by Stefan Pohlit and Dimitri Papageorgiou
Info
The concert will be recorded by SRF2 and broadcast on 15.2.
On the occasion of the 100th birthday of Iannis Xenakis, the Bremen Percussion Ensemble commissions 3 generations of Greek composers in its homage. Grouped around the work Okho by Iannis Xenakis (1922-2001) are 4 world premieres by Georgia Koumará (1991), Petros Leivadas (1990), Irini Amargianaki (1980) and Dimitri Papageorgiou (1965).
The works were written as part of the Schlag>|<Art project of the Bremen Percussion Ensemble.
Performances in Germany
December 1st, Kulturkirche St. Stephani Bremen
December 3rd, Tonalisaal, Hamburg
December 6th, Unerhörte Musik, BKA Theater, Berlin
Program
Iannis Xenakis 1922-2001 “Okho” (1989) for 3 percussionists
Irini Amargianaki *1980 “a lullaby for Xenakis” (2022) premiere for 4 percussionists
Georgia Koumará *1991 ” Perceptives on radical attention” (2022) premiere for 4 percussionists
Petros Leivadas *1990 “Night watches” (2022) UA for 4 percussionists
Dimitri Papageorgiou *1965 “Divagations” (2022) UA for 4 percussionists
In the gallery above, rehearshing In the Vestige of the Present in the scope of CROSSROADS 2022: Contemporary Music Days in Armenia with Ensemble Assonance and the fabulous Anahit Ararati Dilbaryan, Mikayel Navasardyan and Narek Avagyan through the lens of the immensely talented photographer Mane Hovhannisyan
Many thanks to Aram Hovhannisyan, Ruben Antonyan, Sergey Umroyan, Haykuhi Alaverdyan, and of course the performers of Ensemble Assonance for making this residency a joyful experience.
A video of the performance of the work is due at the end of October.
33rd Daegu International Contemporary Music Festival | Ensemble iiiiiiiii | 대구콘서트하우스 챔버홀 Chamber Hall | Thursday 25/08/22, 19:30 |
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 ensemble iiiiiiiii, Seongmin Ji – artistic director.
33rd Daegu International Contemporary Music Festival | Ensemble iiiiiiiii | 대구콘서트하우스 챔버홀 Chamber Hall | Thursday 25/08/22, 19:30 |
The world premiere of au moins… (2022) for flute, bass clarinet, violin, and piano is taking place at the Daegu International Contemporary Music Festival (Cheol Ha Park, Artistic Director), in a concert that also entails works by Siho Kim, Simon Steen-Andersen, Caspar Johannes Walter, Alex Mincek, Yukiko Watanabe, Enno Poppe, and Eunsil Kwon.
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.
ensembleiiiiiiiii is an ensemble founded in 2014 to devote itself to contemporary music. ensemble iiiiiiiii led ‘iN International contemporary music festival’ in which composers, musicians and visual artist from six countries including UK, Italy, Sweden, Russia, and Austria participated and sponsored by AVL CF, Austria’s leading art sponsorship foundation, and the Austrian Embassy in Korea. ensemble iiiiiiiii pursues concerts and programs internationally, such as performances being broadcast on ORF Ö1, Austria’s largest national broadcaster. recently, we have commissioned a recording session by chinese composer, Z.Huang from solo to ensemble pieces and invited by various organization and composer’s group.
ICMC 2022 (International Computer Music Conference) is hosted by the University of Limerick in Limerick, Ireland between Jul 3 and 9 in-person and online.
Among dozens of very interesting pieces, my work “…am I hearing voices within the voice?” for fixed media is presented as a part of the concert program on Jul 7.
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.
dimitri papageorgiou 