for string quartet and electronics
Commissioned by F. and J-P Billarant for the Wittener Tage Für Neue Kammermusik 2021.
Recorded by Ircam (Paris, Centre Pompidou), mixed by Music Unit.

First performance : April 23th 2021, Paris (FR)
Diotima quartet.

Des Mondes Possibles - string quartet & electronics (2021)

Unterschrift for solo piano (2019)
Dedicated to Pavlos Antoniadis
Besides his music, I was always attracted to  Beethoven’s manuscripts, that uneasy almost frenetic way in which he expressed his musical ideas. I went back to those manuscripts,  I was struck -above all- by his signature, the fragility in which the great Ludwig van sealed his works. Unterschrift is an investigation or perhaps a reflection on that space, on that periphery of his music. MT
Live performance at 2021 Contemporary Insights Summer Academy for Present-Day Music. Supported by the InSzene program of the German Music Council with funds from the Federal Government Commissioner for Culture and Media

Unterschrift (2019)

This piece is the first of my own take of Pauline Oliveros "13 changes"
Stay tuned for the 12 others

Standing Naked In the Moonlight - Music Washing The Body / O vis Eternitatis

part 2/13 on my project gathering Hildegarde Von Bingen & Pauline Oliveros

Atomic Imagery - Rotating Molecules - Particles Dancing - Instantly Vanishing / O Rubor Sanguinis

En la impenetrable maraña de lo no nombrado (In the impenetrable tangle of the unnamed)
for 24 voices (2009)
Two or three things collaborated in the existence of this absented music.  A Zen garden motivated its possibility. It was concrete and clear.  Its layout of rocks and sand suggested materials and form. 
While composing, materials and form went through a process of transformation arriving to a state of disturbing immateriality. It opened the space to a calm empty mind sailing in the winds of uncertainty. Some objects came together and started to relate to each other not too different from the way rocks are related to sand. I had forgotten the Zen garden just to later realize that I was all the time "looking" at it.
While composing, the idea of Latin America randomly and persistently came to my mind. As usual, some places emerged, some people, some music, and the past. Surrounded by silence and snow I was frequently brought back into the present.
The poetry of Roberto Juarroz was a bright shadow walking with my steps. The title of this work is a line from his Poesía vertical.


En la impenetrable maraña de lo no nombrado

Live performance

Ekmeles, directed by Jeffrey Gavett
Moore Musical Arts Center, Bowling Green State University, Ohio
22 November 2021

Madrigal book in 31-TET (2012-16) after Nicola Vicentino
Texts adapted from Jacques Arcadelt's Primo Libro de' Madrigali (1539)

Primo Libro

Some more output from a CSound program I wrote. This one is a sort of 1500 voice "fugue".

Leaf

Liza Lim / lucid dreaming (2022) UA for flute solo

Cuatro conciencias... o dos conciencias desdobladas en la que cada parte se manifiesta independientemente de las otras, en su propia temporalidad, en su propio tempo, en su propia tinta…Y sin embargo compartiendo trayectorias, explosiones, gestos, letargos, temblores y devaneos de una materia sonora casi indefinida que las unifica en un mismo universo.  
Este cuarteto disjunto y autónomo en sus partes se completa quizás –y solamente- en el oído de quien escucha, sin que esto signifique necesariamente un cierre. Trama plurivalente hecha de interrupciones y resonancias a largo plazo. Vapores y golpes que alertan a la memoria desorientada. Los materiales se dispersan, se acercan o superponen siguiendo una lógica huidiza que no alcanza a revelar su mecanismo.

César Vallejo vino nuevamente a iluminar lo indecible.

Grabación del ensayo previo al estreno realizado por el Cuarteto UNTREF.

Cuatro conciencias

Sonic Arts Research Centre, Queen's University Belfast, 18.01.2018

Two of the leitmotifs running through my work are the effect of time on memory and perception, and the creation (however illusory) of a fragile continuity from discontinuity. My large-scale ‘Traces’ Cycle for solo flute (1991-2006) is perhaps the best illustration of the former tendency, while the latter is typified by Music for 25 Solo Strings (Epitomaria-Glosaria-Commentaria) and åNeM (1996) for solo piano.

Like Music for 25 Solo Strings and åNeM (based respectively on a motet by William Byrd and an organ work by the 17th Century Neapolitan composer Giovanni Maria Trabaci), this piece makes use of pre-existing musical material.  In this case, seven fragmentary and radically differentiated versions of the Andante from C.P.E. Bach’s 4th Württemberg sonata are segmented and interleaved. Their juxtaposition creates the impression of an object viewed from different angles, different distances and different perspectives, prompting a constant revaluation of an original, which remains tantalisingly out of earshot.  

I also like to think that the piece is not simply an acknowledgement of my long-standing interest in C.P.E Bach, but can be seen as a symbol of the welcome critical re-interpretation of his music over the past 50 years, as well as recognising his well-documented interest in philosophy, aesthetics and music theory. 

The piece is dedicated to Pavlos Antoniadis.

James Erber: Elided Dilapidations (after C.P.E. Bach)(2014-2015)

Andrey Nemzer, countertenor, Ekaterina Pressler, Piano. Sergej Newski/Leonid Imennykh electronics.

Tarussa (2020) for voice piano and playback  after Paul Celan

Dr Pavlos Antoniadis (PhD University of Strasbourg-IRCAM, MA University of California, San Diego, MA University of Athens) is a pianist, musicologist and technologist from Korydallos, Athens, Greece, currently based in France. He performs complex contemporary and experimental music, studies embodied cognition and develops tools for technology-enhanced learning & performance. He is currently researcher at EUR -ArTeC, Paris 8 and following up at the Berlin Institute of Technology (TU-Audiokommunikation) as a Humboldt Stiftung scholar. He collaborates with the Interaction-Son-Musique-Mouvement team at IRCAM and he is a member of the Laboratory of Excellence GREAM, Université de Strasbourg, where he also taught seminars on computer music and contemporary performance practice.

As a pianist, he has performed in Europe, North & South America and Asia with the new music ensembles Work in Progress-Berlin, Kammerensemble Neue Musik Berlin, Phorminx, ERGON, Accroche Note, as well as a soloist with the Thessaloniki State Symphony Orchestra. He has participated in recordings for Mode (2015 German Recording Critics Award / Deutscheschallplattenkritikspreis) and Wergo records. As a soloist, he has worked with composers Mark Andre, Helmut Lachenmann, Brian Ferneyhough, Wolfgang Rihm, Tristan Murail, Richard Barrett, Walter Zimmermann, and has premiered solo piano works by James Erber, Nicolas Tzortzis, Andrew R. Noble, Luis Antunes Pena, Dominik Karski, Laurentiu Beldean and others. His programming features the most complex contemporary works, extremes of physicality, live electronics, multimedia and musical theatre, often in eclectic dialogue with ancient repertoire from Cabezón to Bartók. He is also active in free improvisation with the composer and improviser Panos Ghikas (London) and has collaborated with the physical theatre group Zero Point (Athens).

As a researcher, Pavlos was a Musical Research Residency fellow at IRCAM in 2014, where under the supervision of Frédéric Bevilacqua and Dominique Fober (Grame, Lyon) he developed GesTCom (Gesture Cutting through Textual Complexity), a sensor-based environment for the gestural control and analysis of complex piano notation, for example of works by Xenakis or Ferneyhough. His research record includes fifteen (15) publications in English, German and French and over fifty (50) talks and lecture-performances in several institutions (HfM Dresden, INMM Darmstadt, IRCAM Paris, Orcim Gent, Goldsmiths London, Trinity Dublin, Aristoteleio Thessaloniki, Cité de la Musique et de la Danse Strasbourg, Hong Kong University, Yamanashi Gakuin University Kofu, Wocmat Taiwan, LEAD Dijon, SARC Belfast, UdK Berlin) and international conferences.

Pavlos holds degrees in piano performance (Piano Diploma, Nakas Athens; Koninklijk Conservatorium Den Haag;  MA, UC San Diego) and musicology (MA, Athens National University, PhD Université de Strasbourg in co-direction with the  IRCAM, under Pierre Michel and Frédéric Bevilacqua). He has studied on LabEx GREAM, IRCAM, Fulbright, UC San Diego, Nakas conservatory, Internationale Ensemble Modern Academie Frankfurt and Impuls Academie Gratz scholarships. His PhD thesis was awarded the "Prix de thèse 2019" from the University of Strasbourg. His main piano teachers were Chryssi Partheniade, Ian Pace, Geoffrey Douglas Madge and Aleck Karis. In ensemble performance, he has followed the seminars of Ensemble Modern and Klangforum Wien.

CONTACT:

katapataptwsi@yahoo.gr

antoniadis@ircam.fr

pavladisanton@gmail.com


http://ismm.ircam.fr/pavlos-antoniadis/

https://pavlosantoniadis.wordpress.com/about/

James Erber: Elided Dilapidations (after C.P.E. Bach)(2014-2015)

Pavlos Antoniadis

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