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

Even the sky screams sometimes too II

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Even the sky screams sometimes too

INTERNATIONAL REVIEW of COMPOSERS | Belgrade, Serbia | Sunday, 6 October 2019

Even the sky screams sometimes too II for accordion, commissioned by the Delian Academy with the kind support of Ernst von Siemens Foundation.

Dress rehearsal at the 28th International Review of Composers, Belgrad.

Panagiotis Andreoglou – accordion.

Arditti Quartet to be performing Quasi (ébauche) at NUNC! 4

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

See you there!

 

https://www.music.northwestern.edu/nunc4?fbclid=IwAR3pTXFGQXTz8b2Th4lGvcLjSetwdIgKl0BaSCjmusRHDIXC6ehcpRgoCag#call-results

https://dimitripapageorgiou.wordpress.com/2014/09/01/quasi-ebauche-for-string-quartet-2014/

28th International Review of Composers, Belgrade: Even the sky screams sometimes too II

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Even the sky screams sometimes too

 

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.

http://composers.rs/en/?page_id=3054&sfns=mo

3rd TIEMF 2019 – Program Booklet

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TIEMF 2019

 

3rd Tehran International Electronic Music Festival

Electroacoustic Music Competition 

“Reza Korourian Awards” 2019

20-27 July 2019

Organized by the Yarava Music Group in collaboration with the Department of Music, University of Tehran

Artistic Directors: Sara Abazari, Mehdi Jalali ● Scheduling Group and Art Advisors: Mohsen Mirmehdi, Azin Movahed, Hassan Sheidaei, Gelareh Soleimani, Dimitri Papageorgiou, Farzia Fallah ● Technical Director: Farhad Ilaghi Hosseini Holding committee: Nazanin Ghiyasi, Amin Khoshsabk, Aila Moghimi, Soheil Tabatabie, Sajjad Khodaverdi, Ashkan Rahbarian

Download the program booklet (farsi and english) TIEMF Brochure 2019

Call for Scores – outhear New Music week 2019 with klangforum wien

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call4scores

outHEAR New Music Week 2019 – Symposium and Master Class in Composition

December 6th – December 14th 2019

Municipal Conservatory of Larissa, Greece

Call for Scores 2019

Open to all composers

Submission deadline: June 23rd, 2019 | 11:59 PM (+2:00 EET, Athens)

Ensemble in residence:

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

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

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.

See, outhearnewmusic.com

{Call for Scores is now CLOSED}

 

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.

Tehran International Electronic Music Festival – A report of the Iranian Financial Tribune

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

Press Report Hitzacker

A press report about the participation of our Labor Beethoven 2020 project at the 73. Sommerliche Musiktage Hitzacker // BEETHOVEN! // 28. Juli – 05. August

Scannable Document on 2 Aug 2018 at 8_57_45

See, also, at https://dimitripapageorgiou.wordpress.com/2018/07/22/labor-beethoven-2020-meets-preistrager-akademie/

“…risuona piu lontano che mai” premiere by Ensemble Suono Giallo (15/7/2018)

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Ensemble Suono Giallo

 

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
• Annie Hui-Hsin Hsieh: TEE/Tee/T (2015, rev. 2018) for tenor saxophone, marimba, piano, double-bass
• Dimitri Papageorgiou: “…risuona più lontano che mai” (2018)* for flute, saxophone, percussion, piano
• Nicolas Tzortzis: Sopra l’amore perso del liuto (rev. 2018) for bass flute, tenor saxophone, percussion, piano, double-bass

*World Premiere|Winners of the Call For Scores & Commission 2017

 

 

 

 

Ensemble Suono Giallo Rehearsals

Delian Academy program 2018

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Delian Academy

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
• and a lot more

Read more details at Official Booklet – Programme 2018

Off Borders festival – gallery

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electronic music

off borders festival for electroacoustic music, video and performing arts | thessaloniki @ 21 & 22 April, 2018 

 

Kathimerini 11/4/2018 – Report on Off Borders Festival

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DIY, Off Borders

2018_04_11_Ο-Απρίλιος-κατέφθασε-στη-Θεσσαλονίκη-με-πειραματική-διάθεση

Off Borders Festival – Open Call

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

Organization Committee.
Dimitri Papageorgiou, composer/faculty AUTH
Athina Dragkou, stage director/A4M
Dimitris Papadopoulos, performer,composer/A4M

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

Production
Marily Ventouri

https://www.offborders.org/

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

Photo gallery @Da Theater, Tehran

Photo gallery at Da Theater, Tehran, Iran | Sep 2, 2017

Photo credits: Farhad Ilaghi Hosseini

Auf molekulare Ebene

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molecular organ, molekular orgel, studio dan vienna

Musikprotokoll Graz | Studio Dan Vienna: Auf molekulare Ebene | Friday October 7th 2016 | Neue Technik Graz, Stremayrgasse/Kopernikusgasse, 8010 Graz 

Works by Klaus Dorfegger, Florian Geßler, Robert Gutmann, Elisabeth Harnik, Hannes Kerschbaumer, Clemens Nachtmann, Dimitri Papageorgiou, Ernst Christian Rinner.

Line-up:
Dominik Fuss – Trompete
Damaris Richerts – Trompete
Thomas Liesinger – Trompete
Matthias Muche – Posaune
Kevin Austin – Posaune
Daniel Riegler – Posaune, Leitung
Stefan Hermüller – Tuba

http://studiodan.weblog.mur.at/archives/2729

Program Notes

Dimitri Papageorgiou, “No more will my green sea go turn a deeper blue…” (2016)

The work paints an eerie imagery of the dark side by constantly shifting and unfixing the tonal anchors of its harmonic world. The title draws inspiration from the line “No more will my green sea go turn a deeper blue…” from the famous rock song Paint it black (Album “Aftermath,” 1966). In the lyrics of this haunting song, the Rolling Stones use color-based metaphors and paint with an exceptional nihilistic pathos the colorlessly blackest of all possible blacks.

Molecular organ rehearsals (photo gallery)

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molecular organ, molekular orgel, studio dan vienna

Molecular organ: Rehearsals on Sep 25th with Studio Dan Vienna

Photos courtesy of Klaus Dorfegger

In two weeks in MusikProtokoll Graz

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molecular organ, molekular orgel, studio dan vienna

https://studiodan.at/projekte/molekularorgelmusik/

October 7th, 2016 | 17:00
TU Graz, Neue Chemie, Graz, Austria

18/9/2014 Effluénces – Performance at the ICMC | SMC Joint Conference

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Effluences, ICMC/SMC 2014, music

ICMC/SMC 2014 Joint Conference | Music for Ensemble II | Onassis Cultural Center, Main Hall | Thursday 18/9/2014 | 19:00-21:00

If you are in Athens this coming Thursday, September 18th, don’t miss the concert Music for Ensemble II at the JOINT ICMC/SMC Conference. The concert takes place at the Main Hall of the Onassis Cultural Center, a state of the art concert hall.

Among various very interesting works in the program, by composers such as Patricia Alessandrini, Judith Shatin, Kyong Mee Choi, Lidia Zielinska, Martin Ritter, and my Greek colleague Leontios Hatzileontiadis, is my wok Effluénces (2011), a very challenging piece for ensemble.

Onassis Cultural Center, 107-109 Syngrou Avenue, 11745 Athens, GR. http://www.sgt.gr/en/programme/event/1738

The full program of the concert entails:

Leontios Hadjileontiadis, Brainswarm for bio-conductor soloist and ensemble, kinect, ΕEG Emotiv, MAX/MSP-Processing live electronics and visuals (2013) 13′

Judith Shatin, Spring Tides for amplified flute, clarinet, violin, cello, piano and interactive electronics 11’3”

Patricia Alessandrini, Trio d’après Schoenberg for cello, clarinet, piano and electronics 7′

Martin Ritter, Prayer for alto flute, cello and percussion (2013) 13′

Kyong Mee Choi, Tender Spirit I for flute, clarinet, violin, cello, piano, percussion and electronics (2013) 9’20’

Lidia Zielinska, Rust for 5 instruments and CD (2010) 9’24”

Dimitri Papageorgiou, Effluénces (2011)  for flute, bass clarinet, violin, cello and piano (2011) 12′

Performers:

Zacharias Tarpagos (fl), Alexis Pogrevnois (cl), Giorgos Panagiotopoulos (vln), Alexandros Mpotinis (vc), Thodoris Vazakas (perc), Giorgos Konstantinou (pno), Kostas Anastasopoulos (pno)

Effluénces – Program Notes:

I wonder how the warp of living memory can affect a musical narrative, which would record the inscription, over time, of the remembered past — e.g. of a musical event – in memorial form. For that purpose, I tried to focus on the moment of recollection and I have envisaged the form as a ‘tree of memory.’ The branches of this ‘tree’ extend in various directions as reconstructions of the past in the light of present, following the tricks memory plays in every step of the way: some of the facts have been switched, others are omitted or added; in some cases, accurate memories are mixed with inaccurate ones and, in other cases, facts are perhaps retained but their source is forgotten.

The pitch structures of Effluénces have been obtained by using algorithmic routines in Super Collider. The routines have been implemented in the frame of the research project Algorithmic Composition in the Context of New Music (2009-10), which took place at the Institute for Electronic Music and Acoustics of the University of Music and Drama at Graz, Austria. Given a limited material as input—usually two or three different ordered pitch cells—linear arrays of cells are formed which are subsequently braided with one another, constantly regrouping into new formations in order to engender inexhaustible variants at the output.

The score of Effluénces is available by BabelScores at www.babelscores.com/en/catalog/inst…ents/effluences

“…anD…” for solo viola at the Inaugural Ceremony of the ICMC | SMC 2014

Tags

anD, ICMC, music

Opening Ceremony ICMC/SMC 2014 | Ceremonial Hall, Athens University | September 14th, 2014 | 19:00-21:00.

It is a great honor that the Greek premiere of my work “…anD…“ (2012) for solo viola will be performed by Ilias Sdoukos at the Opening Ceremony of the joint ICMC | SMC 2014 Conference, which will take place at the Ceremonial Room, University of Athens (see map).

The concert, which includes also works by Chin Ting Chan and Ben Houge, will be followed by a Welcome Reception.

The joint ICMC|SMC|2014 Conference will take place in Athens, Greece, from 14 to 20 September 2014 and, for the first time, it will bring on the cross-road two well established events: the 40th International Computer Music Conference (ICMC) joint with the 11th Sound & Music Computing conference (SMC). The main theme of the Conference is “Music Technology meets Philosophy: From Digital Echos to Virtual Ethos“.

The ICMC|SMC|2014 Conference will include lectures, special sessions, indoors & outdoors concerts, installations, demonstrations, studio reports, workshops, exhibition as well as asummer school, given in various places ranging from concert halls and university auditoria to museum lobbies and archaeological sites.

 

Through Tacit Cracks at Forum Wallis, Switzerland

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Forum Wallis, music, Through tacit cracks

Upcoming performance:

My piece Through Tacit Cracks for flute, bass clarinet, violin, and double bass at the Collaborative Miniature Project.

6.vi.2014
Schloss Leuk
FORUM Wallis
Switzerland

http://www.forumwallis.ch/programm-2014dissonart.htm

Tomorrow in Graz: Nuit for clarinet, viola and piano performed at the festival Tage neuer Music Graz

Tags

Klangforum Wien, music, Nuit, Tage neuer Musik Graz

23. Mai 20:00
Großer Minoritensaal | Mariahilferplatz 3, 8020 Graz

Program 

BERNHARD LANG: Necronomicon 9458 für Klarinette, Violine, Violoncello und Klavier (1986)
PETER LACKNER: Kanon für Streichquartett. 18. Mai 1993 (1993)
DIMITRI PAPAGEORGIOU: Nuit für Klarinette, Viola und Klavier (1999)
GERD KUEHR: Con Sordino für zwei Violinen, Viola und Violoncello (1995/96)
FLORIAN GESSLER: Die Dinge des Lebens für Klavierquartett (2010)
ERNST CHRISTIAN RINNER: Wandauer Zwölfer für variable Besetzung (1986)
KLAUS LANG: bonsai. für Viola und Klavier (2005)

Performers: members of the ensemble Klangforum (Olivier Vivares – clarinet, Annette Bik – violin, Sophie Schafleitner – violin, Dimitrios Polisoidis – viola, Andreas Lindenbaum – cello) and Janna Polyzoides

ME_MMIX Festival, Palma di Mallorca: Ums & JIP perform “Unending are the Mazes it Engenders”

Tags

concerts, contemporary music festival, Mallorca, ME_MMX

The Swiss contemporary duo UMS & JIP (Ulrike Mayer-Spohn, Blockflöten/Elektronik and Javier Hagen, Tenor/Countertenor/ Elektronik), perform Unending are the Mazes it Engenders for counter tenor and block flute at the ME_MMIX Festival (Palma di Mallorca). The rest of the program includes:

Einer (chamber opera by UMS ‘n JIP) and further works by Luis Codera Puzo, Joan Bagés Rubí, Octavi Rumbau, Panayiotis Kokoras, and Chikasi Miyama.

For further information about this concert, please visit: http://memmix.es/conciertos-11-de-agosto/ (in spanish)

The ME_MMIX Festival (Electronic Music_Mixed Music and Videoscreening) is a project of the Culture Area of the City Council of Palma and Fundació Palma Espai d’Art.

The ME_MMIX Festival’s main aim is to programme contemporary music, linked to electronic media. It also aims to promote interdisciplinary scenic related to technology. ME_MMIX Festival will present electronic and mixed works in every concert but, to provide a broader view of music from the 20th and 21st centuries, also includes works without electronics. The ME_MMIX programmeaddresses a broad creative spectrum always linked to the academic tradition, technological innovation and contemporary creation.

For more information about the festival, please visit: http://memmix.es