Orbits, for piano and fixed media is getting a performance by Valeria Lapsin
Werke von: Luigi Nono, Dimitris Maronidis, Lisa Streich, Johannes Schollhorn, Maximilians A. Soto
22th of February 8pm | Wolfgang Hoffmann Hall | Freiburg | Germany
Valeria Lapsin, Piano | Valeria Vinogradova & Yiannis Giannopoulos elec difussion
Cover photo by Elza Zhrerebchuk
Chaconne for piano trio and electronics is getting a performance at the State Conservatoire of Thessaloniki on 29th of November 2023. Herta Hansena (piano) and Eriks Kirsfelds (Violoncello) who are visiting AUTh with Erasmus are collaborating with Kostas Kampantais (Violin) to present a concert of contemporary music.
The piece was composed during the first half of March 2020 in Thessaloniki after a poem by Gundega Smite and Dimitris Maronidis. The form of the work is a Chaconne in the sense that an imaginary sound of a glass breaking, is repeatedly reflected in all musical gestures, creating a sonic environment where small sonic fragments are generated, cracked, and splintered constantly.
Iannis Xenakis – Paille in the Wind
Maja Einfelde – Four Elegies
Jonathan Harvey – Dialogue and Song
Anton Webern – Three Little Pieces
Eriks Esenvalds – Last Letters
Salvatore Sciarrino – Melencolia I
Gundega Šmite – Cancon de Cuna
Dimitris Maronidis – Chaconne
29th November 2023, 21:00 | State Conservatoire of Thessaloniki | Entrance Free
Impulse Response for Contrabass Clarinet, electronics and the response of the mosque Yeni Cami in Thessaloniki is getting its world premiere by Nina Janßen-Deinzer on 14th of October 2023, 20:30. An impulse response is the reaction of any dynamic system in response to some external change. In this piece the performer is acting as the impulse, providing to the musical ecosystem the input signal, triggering its response. The venue acts as a third instrument by shaping the overall sound. The piece was designed and partially composed in the venue. Yeni Mosque (Greek: Γενί Τζαμί, from Turkish: Yeni Cami, “New Mosque”) is a historical mosque in Thessaloniki, Greece. It was built by Italian architect Vitaliano Poselli in 1902 for the city’s Dönmeh community, crypto-Jewish converts to Islam. However, when the Donmeh left the city during the population exchange between Greece and Turkey, it was used to house the Archaeological Museum of Thessaloniki in 1925. Today it serves as an exhibition center.
14 October, 20:00 | Yeni Cami | Archeologikou Mousiou 30, Thessaloniki 546 41 | Free entrance
More info about the performer here
After a long and sad waiting period, Chaconne for Piano, Violin, Violoncello & Electronics is getting its premiere by Paula Šūmane (Violin), Herta Hansena (Piano), and Ēriks Kiršfelds (Violoncello). The concert will occur at Sigulda in Latvia on July 16th, 2023.
The piece was composed during the first half of March 2020 in Thessaloniki after a poem by Gundega Smite and Dimitris Maronidis. The form of the work is a Chaconne in the sense that an imaginary sound of a glass breaking, is repeatedly reflected in all musical gestures, creating a sonic environment where small sonic fragments are generated, cracked, and splintered constantly.
July 16th 2023, Concert Hall Baltais Fligelis, Sigulda, Latvia
Orbits, an electroacoustic piece for piano and fixed media is getting a new exciting performance by Valeria Lapsin at the Concert Particles #10 in Freiburg. Electronics will be diffused by Valeria Vinogradova on a 10-channel audio setup.
6th of June 7:30 pm | Wolfgang Hoffmann Hall | Freiburg | Germany
Werke von: Adrien Trybucki, Dimitris Maronidis, François Sarhan, Heinz Holliger, Javier Álvarez, Martjin Padding, Rebecca Saunders,Toshio Hosokawa.
Cover photo by Elza Zhrerebchuk
Orgiastic Compression, for 12 (or more) pianists will be presented, for a second time, at the Thessaloniki Concert Hall. The concert will take place on 27th & 28th of April 2023. It will be performed by the Greek Pandemonium as a part of the Thessaloniki Piano Festival 2023. The piece is programmed to be the last piece of the first part of the concert and -as it is asked in the score- it will take the form of a happening, covering all the break and extending till the beginning to the second half of the concert. An extensive set of sound-generating objects (vibrators, electric toothbrushes, etc) will be utilized to create a unique and autonomous soundscape.
Friday 28 & Saturday 29 – Public Performances | 18:00 & 20:30
Thursday 27 & Friday 28 – School Performances | 9.30 & 11.00
Concert Duration 60′ Concert Info: Anastasia Ioannou, tel.6981055760 & info@tpf.gr
More info here
Piandaemonium consists of Charalampos Aggelopoulos, Eftyhia Veniota, Evi Giamopoulou, Nikos Zafranas, Stephanos Thomopoulos, Nikos Kyriosoglou, Christos Lenoutsos, Nefeli Mousoura, Maria Mylaraki, Stephanos Nasos, Dionysis Pantis, Antonis Selemidis, Melina Tsinavou & Kostas Chardas
Nexus I for Accordion and fixed media is getting its world premiere by Peter Katina. The concert will take place at Divadlo Viola Centre on 7th of December 2022. The piece is dedicated to Peter who has commissioned it. In this piece, the Accordion is in an open dialogue and connection (nexus) with an imaginary part of itself (electronics). The musical material consists of very small, fragmented gestures closely examined and observed from multiple perspectives. The electronic part has at times symbiotic character, at other times an anti-biotic one. The sonic image of the piece can be seen as unpredictable star reflections on mirrors placed into the darkness of the abyss.
more info here http://www.peterkatina.sk
meta.ξ | music always wins | a dramatized installation by Longleash Trio
Chaconne for piano, violin, Violoncello, and fixed media is going to get its premiere in New York on the 7th of July 2021 by the American Trio Longleash. The piece is focusing on the sonic moment of a glass breaking and creating a crystalline sound while its particles fall apart on the ground. A special poem was composed by Gundega Smite and myself for this purpose and was used as an outline for the development of the form of the piece.
When asked about his work words and music and the battle between the two, Samuel Beckett was clear: music is the absolute winner, as it “is the idea itself, unaware of the world of phenomena”2, in contrast to Beckett’s view on language and its expressive limitations
This is indeed true, since music ―especially abstract music― has no signified meaning, at least in the way language has. Even when an extra-musical idea or text is signified through the music, to the unaware listener music remains ―and can be perceived as― a signifier, since there is no established code attaching certain meanings to certain sounds.
When it comes to a live performance of music, is this autonomy a virtue or a flaw? Especially when more than one fields of art are involved and a certain ―or uncertain― message is to be delivered, is the absence of the signified a desired quality of music?
At the bottom line, this principle seems to be inevitably present. Thus, the question raised is not how to change the nature of music, but rather the way it is perceived. That is, to question Beckett’s note: why does music always win? Why is language ―or its visual representation― inferior to music?
In a conventional concert situation, the audience is placed against the stage (and the music) and perceives it in a rather passive way, in the sense that no action that can interfere with the performance is meant to be taken. In this way, any other element that could possibly function as a reference (or even signified) is imposed on the top of music and is decorative. In this situation, music wins again.
Read More »Music always wins | Longleash Trio | New YorkTwo years after the premiere of my piece Mise en abîme in Riga, I have managed to retrieve the audio files of the recording of that performance! Though the recording suffers from some technical issues (live electronics being recorded only from mics on-stage so lacking a bit of the high frequencies), the spirit of the piece is present here. I think this is probably my most meditative piece so enjoy it in serenity and preferably in dark in your bed!
Mise en abîme is a term used in visual arts to describe a formal technique of placing a copy of an image within itself, often in a way that suggests an infinitely recurring sequence. A common way of experiencing this effect is by standing between two mirrors, seeing, as a result, an infinite reproduction of one’s image. In this piece, I try to imitate this phenomenon in the field of sound. Fragments of music are repeated many times, each time slightly distorted, in order to create perceptually the same effect.
Mise en abîme was commissioned by Arena Festivāls at Riga, Latvia, and was composed in Autumn of 2018. The premiere of the piece took place at VEF Cultural House in Riga on the 30th of October 2018 by Trio ART-i-Shock and Altera Veritas Ensemble collaborating for this unique concert.
This is a LIVE recording of the premiere. Please mind using a pair of headphones, or loudspeakers to listen to this music.
(YouTube painting) “Las Meninas” by Diego Velázquez
Please find on youTube a live recording of my new Concerto for Clarinet, String Orchestra, and Electronics, conducted and performed by Guntis Kozma and Sinfonia Concertante at Riga, Latvia on 12th of March 2020.
The piece was commissioned by Mūzikas Festivāls deciBels at Riga, Latvia, and was composed in January of 2020. Please use a pair of headphones, or loudspeakers to listen to this music.
Concerto for Clarinet, String Orchestra and Electronics is getting its premiere at Latvia on the 12th of March by Sinfonia Concertante and Guntis Kuzma who is going to be both the soloist and conductor! The piece was commissioned by JVLMA Mūsdienu Mūzikas Festivāls deciBels, a festival on Contemporary Music in Latvia.
Transient Beauty for tape and Orbits for piano and tape are going to be performed at New York on
-meta.ξ, a collective of Greek composer/artist/design-curators, is presenting a concert of cutting-edge works featuring piano, electronics, double bass, interspersed with electro-acousmatic music. meta.ξ is bi-laterally based between the United States and Greece, with members living and working everywhere in between. The collective aims to strengthen the voice of the post-crisis generation of Greek
With performances in prestigious venues across the globe, this is the first time meta.ξ will bring a concert to New York City. Jana Luksts (piano) and Evan Runyon (double bass), will navigate and experiment with scores involving electronics, robotics, and light design.
Programm, Muted Blast 2, metaξ (meta-ksi.com)
Benzaquen Hall, Dimenna Center for Classical Music
Jana Luksts, piano (www.janaluksts.com)
Evan Runyon, bass (http://evanruyon.com)
November 15,
