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
“…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.
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
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
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
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
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
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.