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Hexagonum DeciBels Festival | Rīga

Quatre Hommages at Hexagonum for two pianos will be played at DeciBels Festival Rīga | 22.03.2024, 18:00, JVLMA in the Great Hall

The piano duo Sanita Glazenburga and Juris Žvikovs present a program of contemporary music for piano duo with compositions by Marina Anna Timofejeva, Dimitris Maronidis, Henry Poikans, Morton Feldmans, Annija Anna Zariņa, Gyorgy Ligeti

This program consists of three works by JVLMA composition students and three composition masters. The dramaturgy of the concert is created in such a way that the “new” and “masters” are paired in pairs: Marina Anna Timofejeva – Dimitris Maronidis, Henrijs Poikans – Morton Feldmans, Annija Anna Zariņa – Gērģs Ligeti. These pairs form three lines, with the up-and-coming at one end and the “classic” at the other. Visually contemplating and playing with these lines can create a beautiful hexagon

Orbits for piano and tape by Valeria Lapsin | Freiburg

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 at the State Conservatoire of Thessaloniki | Greece

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

Chaconne for piano trio & electronics world premiere | Latvia

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

4 hommages au carré premiere by Žvikovs-Glazenburga piano duet | Sigulda

Quatre hommages au carré (four squared hommages) for two pianos was composed in the spring of 2023. The piece is a revised and extended version of 4 (hommage) études for solo piano. In its initial version (etudes), the work had a pedagogical character. The current version for two pianos has been a journey of exploration for some of the work’s own hidden sonic territories. Not being a set of etudes anymore, the piece is departing from its inherent educational aspect and leans towards a broader sonic and expression spectrum.

July 15th 2023, Concert Hall Baltais Fligelis, Sigulda, Latvia

Orbits by Valeria Lapsin at Particles#10 | Freiburg

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 by Piandaemonium at Thessaloniki Concert Hall | Greece

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

Orbits performance at Arts Incubator | Seoul

Orbits for piano and tape is getting a performance in Korea by Jongin Moon. The piece will be played as a part of this year’s Arts Incubator festival “Borderless Point”. October 22, 17pm at Oil Tank Culture Park T1, T2. More information about the festival and the program can be found here https://audio-trading-manual.kr/index.html

Contemporary Greek Music CD presentation | Thessaloniki

On April 6th, Fani Karagianni is presenting a new CD release with Contemporary Greek works for solo piano. The album includes 18 works for solo piano by 13 Greek composers of the 20th and 21st century: Nikos Skalkotas, Giannis A. Papaioannou, Argyris Kounadis, Costas Nikitas, Christos Samaras, Costas Tsougras, Maronidis, Dimitris Oikonomou, Stella Dalampira, Glykeria Koutoula, Orestis Papaioannou. The 4th etude from 4 (Hommage) Etudes is included in the CD.

There will be a round-table discussion with Costas Tsougras, Fani Karagianni, Georgios-Ioulios Papadopoulos, George Sakallieros, Petros Vouvaris. The presentation/concert will take place at the concert hall “Melina Mercouri” of the State Conservatory of Thessaloniki (15 Frangon, Thessaloniki) on Wednesday, April 6, 2022, at 20:00.

Read More »Contemporary Greek Music CD presentation | Thessaloniki

7 COnsecutive INVENTions at AI and Music S+T+ARTS Festival | Barcelona

7 Consecutive INVENTions are getting a performance by the Greek pianist Fani Karagianni at

AI and Music S+T+ARTS Festival: Synergies of musical creation with Artificial Intelligence
Thursday 28 15:20 – 15:35 | Streaming Channel 1

In this exclusive audiovisual streaming, presented by the AI research and communication platform Artificia, we go behind the scenes of Thessaloniki Universities AI Chameleon, a GAN capable of generating musical harmonies that can be used by composers. In a 15 minute capsule, a chamber quartet of musicians from Barcelona’s OBC and the Greek pianist Fanny Karagianni will play pieces whose harmonic content was based on human-machine interaction.

in collaboration with Artificia

https://aimusicfestival.eu/en/programs/2021/areas/concerts-amp-demo-research/chameleon-s-blendings-performed-by-a-obc-s-string-quartet-and-pianist-fani-karagianni

Read More »7 COnsecutive INVENTions at AI and Music S+T+ARTS Festival | Barcelona

4 (hommage) études performed by Tobias Weiß | Vienna

Please watch a new video of Tobias Weiß performing 4 (hommage) études. The concert took place at Fanny Hensel-Saal in Vienna on the 6th of February 2019. The piece is an hommage to the following composers I. Hommage à Helmut Lachenmann, II. Hommage à Gyorgy Ligeti, III. Hommage à Steve Reich and IV. Hommage à Gundega Šmite. Various aspects of the piano playing techniques are highlighted in each of these miniature etudes whilst the fundamental aim of the piece is to help the younger students to open up their minds into a poly-stylistic acoustic environment of negative pedaling, minimalism, patterns, clusters, and isorhythmic structures; in an emotional trip that spans from icy austerity to a warm contemplative nirvana! Enjoy!

Music always wins | Longleash Trio | New York

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.

poem by Gundega Smite & Dimitris Maronidis


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 York