IGNM Basel – Oumuamua for kanun and string quartet

Feb 9th, 2023 | 20:00. ignm Basel "EYÉO - New transcultural music for kanun and string quartet", Gare du Nord, Basel, Switzerland. 

https://www.garedunord.ch/…/eyeo-neue-transkulturelle…

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.

Duration

60 minutes, no break

Divagations for four percussionists – German performances

Tags

Divagations

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

Bremer Schlagzeugensemble

• YI Huang
• Moritz Koch – mehr …
• Hsin Lee
• Olaf Tzschoppe

Daegu International Contemporary Music Festival 2022: Au moins…

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.

오병철 Byungchul Oh (Flute) 이새롬 Saerom Lee (Clarinet) 문종인 Jongin Moon (Piano) 문지원 Jiweon Moon (Violin I) 최세훈 Saehoon Choi (Conductor)

DAEGU INTERNATIONAL CONTEMPORARY MUSIC FESTIVAL, SOUTH KOREA: au moins … world premiere

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.

오병철 Byungchul Oh (Flute) 이새롬 Saerom Lee (Clarinet) 문종인 Jongin Moon (Piano) 문지원 Jiweon Moon (Violin I) 이현아 Hyunah Lee (Violin II) 변정인 Jeongin Byun (Viola) 길희정 Heejung Keal (V.Cello) 최세훈 Saehoon Choi (Conductor) 지성민 Seongmin Ji (Artistic Director)

Premiere: Synecdochai – Greek National Opéra, Alternative Scene, Niarchos Cultural Center, Athens.

Tags

A Greek Songbook, Alternative Stage

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Premiere of “Synecdochai” for 15 performers (clarinet, trombone, marimba, harp, cello, yiayli tambour, oud, ney, qanun, Zarb, trumpet, electric guitar, double bass, piano, drums set).Kornilios Selamsis – conductor.

Commissioned by the Alternative Scene of the Greek National Opéra, Niarchos Cultural Center, Athens.

Program Note

The starting point for the work Syncedochai is the micro-history of the Notaras brothers’ rivalry over a woman (Makrygiannis, Memoirs), which evokes a series of interesting associations, referring to the various levels of conflict between Greek groups over the distribution of power. Rather than a description of these syncretic relationships, I aim at the structural level, creating superpositions of logical conflict through musical ideas of a heterogeneous nature. By avoiding a unified narrative and projecting alternative idioms of musical discourse, I attempt to highlight the fluidity of relationships between disparate materials and dispositions

The work is part of the Greek Songbook for the 200th anniversary of the Greek Revolution of 1821, edited by the composer Cornelios Selamsis. Over 30 creators from the fields of scholarly and popular music and performing arts engage in a series of bold musical constructions, songs and images.

The foundation of the project is the use of a series of anthologized historical materials (texts, scores or narratives) related directly or indirectly to persons and things of the era of the revolution – a fragmentary landscape made of lifeless ruins, around which the descendants build their contemporary superstructure.

Without, otherwise, any attempt to disguise its inherent contradictions, the musical material produced is aligned at the level of its sonic negotiation by the use of ten instruments of European and five of traditional music, in a confrontational scheme that aspires to render in a formal way the series of disparate currents that converged in the cultural and political melting pot of 1821.

The production is supported by a donation from the Stavros Niarchos Foundation (SNF) [www.SNF.org] for the creation of the National Opera’s anniversary programme for the 200th anniversary of the Greek Revolution of 1821.

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

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

Tags

premiere, Video

-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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Airborne Extended premiere “She sees by formless gleams”

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)

DIFFRAZIONI MULTIMEDIA FESTIVAL

26/31 MARZO 2019 – 26TH/31ST MARCH 2019
III EDIZIONE – 3RD EDITION

SOUND LIGHT ART – ROBOTICS – VIDEOS
CONCERTS – INSTALLATIONS – PRESENTATIONS
TECHNOLOGY NEUROSCIENZE NANOTECHNOLOGY

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.

GOS#1 at San Francisco – US Premiere of “…am I hearing voices within the voice?

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.

https://www.electropresence.com/en/even/41086/Grains_of_Sound_01_Concert

“…am I hearing voices within the voice?” has been selected among 176 submissions in a Call for Works issued by the Grains of Sound Festival.

Tehran International Electronic Music Festival 2018

 

 

2nd Tehran International Electronic Music Festival, September 2 to 9, 2018

Artistic Directors: Sara Abazari, Mehdi Jalali

Scheduling Group and Art Advisors: Mohsen Mirmehdi, Azin Movahed, Gelareh Soleimani, Dimitri Papageorgiou, Farzia Fallah

Technical Director: Farhad Ilaghi Hosseini

Holding committee: Nazanin Ghiyasi, Sajjad Khodaverdi, Aila Moghimi, Alaleh Daneshmand, Ashkan Rahbarian

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.

See full program at Bro2018-NEW

Matti Pulkki premiers my work “Even the sky screams sometimes too”

Tags

accordion, contemporary music festival, Matti Pulkki

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.