Pavlos Antoniadis

Simon Howard Memorial Concert, City University London, 24.03.2015

Richard Barrett - lost

City University London, Simon Howard Memorial Concert, 24.03.2015

The Laugh of the Medusa for speaking pianist/ Andrew Noble

Contrejours-Alistair Zaldua

Villa Romana, Florence, April 2011
piano, Pavlos Antoniadis

Antonio de Cabezón: Tiento del Tercer Tono

Festival Encounterpoints, Berlin, 09.06.2017

Wieland Hoban: When the panting STARTS für Klavier (2002 - 2004)

"Noch mehr als jede andere musikalische Darbietung ist für mich eine Solo-Aufführung ein theatralischer Akt. Dabei kann das Theatralische als Monolog nach innen verlagert werden. In diesem Stück handelt es sich um einen solchen Monolog, der sich jedoch in einem sehr angespannten Konfliktzustand befindet und jederzeit droht, sich nach außen zu entladen.
Dieser Situation geradezu autistisch angestauter Spannung entspricht die Behandlung des Klavierspiels, bei dem jeder Finger zu einer eigenen Stimme wird, jedoch vom erzwungen Zusammensein durch die jeweilige Hand eingeschränkt bleibt. Zugleich ermöglicht diese Herangehensweise Formen der Polyphonie, die anders nicht entstehen können. Somit wird der Konflikt zwischen Autismus und Aus-Druck unmittelbar körperlich ausgetragen, im kleinsten Kern des Klavierspiels selbst. Es handelt sich also weniger um zwei Hände als ein Ensemble von zehn Fingern. Eine wesentliche Anregung zu diesem Ansatz bekam ich durch das Spiel von Ian Pace, in dem feinste Nuancen der Artikulation eine frappierende Klarheit bekommen. 
Der Titel bezieht sich auf Samuel Becketts Prosawerk Wie es ist. Dort versucht der Erzähler immer wieder, einen narrativen Faden zu spinnen, und setzt an, „wenn das Keuchen aufhört“, d.h. sobald er wieder atmen kann. Es ist aber gerade dieser Zustand der Sprachlosigkeit, der in when the panting STARTS – wenn das Keuchen anfängt – den Ausgangspunkt bildet. - Das Stück wurde für Ian Pace komponiert und ist ihm gewidmet."

https://www.youtube.com/watch?v=tHU8rKRg-RQ

Wieland Hoban,  when the panting STARTS, piano: Pavlos Antoniadis

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)

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/