This is my Motion, in Two, for solo violin performed by Sofia Manvati, Sara Dragan, Yurina Arai, Matthew Hakkarainen for the 2nd Karol Szymanowksi competition, 2023, Katowice, Poland. I got the 3rd prize as a solo violin composition laureate.

Motion, in Two, played by S. Manvati, S. Dragan, Y. Arai M. Hakkarainen

Pop, for fixed media had its premiere at on February 24th, 2021 at the International Electronic Music Festival, Reza Korourian Awards 2021 in Tehran, Iran. Link: https://tiemf.com/project/sixth-day/

Programme note: Pop features moments of pop music passing by the mind of a listener who tries to resist in pop culture. It was developed on Ableton Live exclusively. The automated chains realized a fast passing-through from a number of sounds which have one single sound sample as route but also transform due to fast changes in FX plugins. This super-fast juxtaposition of sounds resembles today’s music environment which is promoted through modern streaming platforms and apps offering of course, easy access to almost all music genre, bombarding our mind however with music we do not like and suggesting music collections according to what we have listened before.

Pop, for fixed media (2021)

This work was first performed by the Diotima Quartet in 2016, and later on June 13, 2018, as part of the Kinetic Nights #3 Manchester Festival.

The String Quartet No. 2 is a five-movement composition based primarily on texture transformation. To achieve this, several approaches are employed, including harmonic permutation, melodic patterns, fluctuation of dynamics and extended playing techniques. In addition, the acoustic characteristics of each instrument’s tonal range were manipulated; the resulting effects on timbre and sonority underpin subsequent texture modulation and texture change. The development of a clearly defined idea throughout each individual movement is the major characteristic of the String Quartet No. 2 that results in a consistent form. The form is also stimulated by clarity in musical style and the avoidance of redundant, excessively complicated notation.

String Quartet No. 2 (2016)

Sommerliche Musiktage Hitzacker 2018 part of Labor Beethoven 2018-2020 project, funded by the Akademie der Künste, Berlin.

“McVitie’s Disease”, was recorded by NDR Kultur on August 2nd, 2018 at Verdo Konzertsaal in Hitzacker, performed by the
pricewinners and fellows of the Deutsche Musikwettbewerb 2018 and and licensed by Studio Hamburg Enterprises GmbH (SHE.

Alle im Rahmen des Labors Beethoven entstandenen Werke sind Kompositionsaufträge der Akademie der Künste, Berlin, gefördert durch Mittel der Beauftragten der Bundesregierung für Kultur und Medien.

McVities Disease is based on a poem of the same title written by the English poet Bernadette O' Horo. The usage of short phrases and some signal words marked in bold in the text defined much of the work's character. "McVities" is a British snack food brand. The perplexed mental images the poem brings to the reader are depicted from a tenor lost in their own words juxtaposed with the gestural instrumental phrases. All in all, everything is a matter of emotional expression. This refers first and foremost to the emotions I want to share with the audience through the work.

McVities Disease, for ensemble (2018)

My participating score in the "Collaborative Miniature Project", performed by the Dissonart ensemble of contemporary music. Enjoy!

DESCENT, For Flute, Violin, Clarinet In Bb And Piano (2013)

Program Notes

In Outside-time sketch, my intention is to match live instruments with electronics not in the direction of creating homogeneous textural chunks, but rather of creating a coexistence of these two units in an organically effective form. For this reason, the two cellos are always prominent throughout the work. Their sound is captured by a Max4Live device developed by me which randomizes the parameters of a Delay plugin during the performance (real-time) yielding the electronic sound thereby.

The rhythmic and tone material of the work consists of quasi improvised outside-time structures: Iannis Xenakis coined this term, to characterize generic material, not formed into an organized or systematized pattern. There is no fixed media part; everything is generated with the help of the device led by the passion of the two cellists.

Cello 1: Yelda Özgen Öztürk
Cello 2: Bike Öner
Premiere: 10/06/2022, Usmanbaş hall, ITU MIAM, Istanbul

Outside - Time Sketch, for two cellos and live processing (2022)

Premiere: MISE-EN festival 17/06/2022, MISE-EN hall, Brooklyn, New York.
Guest ensemble: Amorsima Trio (violin, cello)

Ensemble MISE-EN
Kelley Barnett - Flute
Ford Fourqurean - Clarinet in Bb
Yumi Suehiro - Piano
Josh Perry - Percussion
Mark Broschinsky - Trombone
Mia Detwiler - Violin
Kourtney Newton - Cello
Electronics coordinator: Ford Fourqurean, Moon Young Ha

Program Note

 Inside, inside, inside... is a work for mixed media inspired from our soul's soundscape during lockdowns. The tools I use feature mostly fixed media and pre-recorded instrumental parts which blend with the live instruments complementing the internal monologue many had during this period. Limited filtering has been applied to selected parts in a textural ongoing change which resembles our rapid psychological transitions while being inside inside inside...

Inside Inside Inside, for ensemble and  mixed media (2022)

Performance: This work was premiered in ATEMPORÁNEA, III International Contemporary Music Festival, from September 19 to 24, 2022 at the Superior Conservatory of Music of Buenos Aires City “Astor Piazzolla”.
Dirección artística (Artistic Director): Sandra González
Jefe técnico (Tecnical manager): Lucas Mechehem

Program note

In Europe of the 60s-70s, an exchange of concepts between the electroacoustic and instrumental composers was observed, which linked the two sides: the French composers applied concepts and techniques of the Cologne studio to instrumental music (French Spectral), and the German composer Helmut Lachenmann applied concepts and techniques of the Paris studio to the instrumental domain (Musique Concrète Instrumentale). Simultaneously with the two schools above, Iannis Xenakis developed his random concepts.

In this work, I use an M4L device I have developed to compose electroacoustic music using such devices that will yield my musical material combining the concepts of these three schools: recorded sound samples, studio-produced sounds, and random. Using an M4L device that comprises real-time randomized delay plugin parameters on three sound samples, I generated my primary material to compose a "pure" work without any additional processing, like filtering, plugins, or external stand-alone devices, such as granulators, which would produce additional material. The "purist" idea reaches the extreme since not even panning has been applied, a technique we find in most works dealing with electronics. However, I cut the waveforms in specific points to avoid any unwanted sound resulting from the continuous change of the parameters.

The looped sound samples I used comprise a looped high-volume texture of approximately 500ms duration, a repeated piano note, and a 22’’-long excerpt from a mixed composition of mine (In Love...for soprano, ensemble, and mixed media). The title of the work signifies the content of the sound samples.
Fixed MediaRandomElectroacousticSound SynthesisVoice

Three Etudes On Texture, Piano And Voice, for fixed media (2022)

Program note:
Still inside, for fixed media is a work composed with sound samples (World 1) as well as using a library of Sound Synthesis maxmsp patches developed by myself (World 2). It comprises Additive, Subtractive, Stochastic Synthesis patches as well as a patch featuring generative processes. The final form of the work was sculpted on Ableton Live. It features the changes in which a human’s brain could be subjected under “inside home” conditions. Yet, even inside we keep dreaming about an outdoors place. Low frequency powerful sounds are featured throughout the work. In the beginning, they are obvious, but later in the work these sounds would emerge out of total silence. Culmination points exist many times, not as aesthetic means but rather as a morphological tool which carries the burden of sonic development.

Still inside got its premiere at Viberation#2 soundscape project in Marseille at the Vieux Port on July 10th 2021 and was streamed on P-Node webradio, https://p-node.org/

Inside, Yet Around A Port, for fixed media (2021)

QuasiGrain, for 8-channel fixed media. Part of the 10-year celebration of Sonic Arts department MIAM, ITU foundation anniversary. Sonified Symposium, Arter gallery, Istanbul, 30/12/2022.

Program note:
Throughout history, the world has passed through many stages: imperial, ethnic, and globalization. It seems that the breaking of empires and countries into many parts has not ended. It seems that granulation has been used by world leaders way before musicians. While imitating the world leaders' example and alternating between 4 tracks, I approach a quasi-granular effect producing grains, gradually beginning from large segments and ending up in parts of less than 10ms. The sound diffusion is realized via a MaxMsp patch.

QuasiGrain, for 8-channel fixed media (stereo version)(2022)

Wykonanie w ramach II Międzynarodowego Konkursu Muzycznego im. Karola Szymanowskiego 2023 organizowanego przez NOSPR.

Performed in the 2nd Karol Szymanowski International Music Competition 2023 organized by NOSPR.

Sara Dragan - Manolis Ekmektsoglou  Motion, in Two

Wykonanie w ramach II Międzynarodowego Konkursu Muzycznego im. Karola Szymanowskiego 2023 organizowanego przez NOSPR.
pianista - Marcin Sikorski

Performed in the 2nd Karol Szymanowski International Music Competition 2023 organized by NOSPR.
pianist - Marcin Sikorski

Matthew Hakkarainen - Manolis Ekmektsoglou  Motion, in Two

Wykonanie w ramach II Międzynarodowego Konkursu Muzycznego im. Karola Szymanowskiego 2023 organizowanego przez NOSPR.
pianista - Radosław Kurek

Performed in the 2nd Karol Szymanowski International Music Competition 2023 organized by NOSPR.
pianist - Radosław Kurek

Yurina Arai - Manolis Ekmektsoglou  Motion, in Two

Sofia Manvati - Manolis Ekmektsoglou  Motion, in Two

The "Greetings, in a G8 Countries Conference", for violoncello solo, is a miniature composed in October 2013. It is selected to be recorded in the anthology of the Soundiff Diffrazioni Sonore Miniature project, for solo instruments. A CD with all the miniatures  is about to be published.

In addition, this miniature is the first movement of a three-piece collection work, called "A G8 Countries Conference", for violoncello solo. There are also the "Arguments" (2nd movement - see in the comments for the recording) and the "Deals" (3rd movement - not yet recorded).

Greetings, In A G8 Countries Conference, For Violoncello Solo (2013)

In GenProcMixedMe, I used a Max/MSP patch to produce three types of material: slow, medium, and fast patterns, which converged to create homogeneous sonic aggregates. 

This work was commissioned from the OutHear New Music Week 2020 (realized in April 2022 due to the pandemics) and it is heartily dedicated to Klangforum Wien ensemble and the PPCM performers.

Flute: Gregory Chalier
Clarinet: Elena Arbonies
Saxophone: Gerald Preinfalk
Accordion: Krassimir Sterev

GenProcMixedMe, for flute, clarinet, saxophone and accordion (2022)

Voice: Javier Hagen (JIP)
Recorder: Ulrike Mayer-Spohn (UMS) 

This composition is inspired by the flow of the signal in systems and its processing. It comprises three parts and an interlude. In the first, the glissandi imitate the ups and downs of a pure tone with the steepness varying. After a while (second part), these lines are shredded, ending up in individual frequencies. I used AI to produce this part. The last part is a combination of the glissandi and the frequencies and it is prepared by an interlude where the lines are defined precisely with the voice following the verse of Franz Kafka’s Die Bäume:

Denn wir sind wie Baumstämme im Schnee. Scheinbar liegen sie glatt auf, und mit kleinem
Anstoß sollte man sie wegschieben können. Nein, das kann man nicht, denn sie sind fest mit
dem Boden verbunden. Aber sieh, sogar das ist nur scheinbar.

This work is composed for UMS'nJIP and performed in various venues in Switzerland. The specific recording was realized in Zürich, Kunstraum Walcheturm on the 12/04/2024, 8pm as part of the ensemble's Turkey project along with works by Deniz Hatipoğlu, Tokzhan Karatai, Yunus Eren Kirmizigül, Şahin Kureta, Ata Gökalp Öz, Gökçe Türkoğlu (all Swiss Premieres), Onur Dülger, Reuben de Lautour and Mehmet Ali Uzunselvi.

Signal flow (2024), for UMS 'n JIP voice and recorder duo

My first String Quartet performed by DissonArt Ensemble of Contemporary Music

String Quartet (2012)

My second String Quartet performed by the Diotima Quartet in a workshop in York University. 

String Quartet No.2

String Quartet No. 3 is the result of exploration of technology and tradition. The piece was
composed entirely within Ableton Live, utilizing a custom Max for Live (M4L) patch that I
developed using Max/Msp visual programming environment. At its core, the composition is
driven by four oscillators that interact and blend, each contributing to the sonic fabric of the
work. The transcription of the material from Ableton into conventional notation was undertaken at a subsequent stage of the process. These synthesized elements aim to engage with and expand upon the timbral palette of the string quartet, an ensemble whose sonic possibilities have been continually redefined since its establishment in the common practice era.

This work received its premiere during the MIAM 25th Anniversary Gala in November 2024, commemorating a quarter-century since the department's founding.

Conductor: Kamran Ince
Violin I: Ceren Türkmenoğlu 
Violin II: Seçil Işıksoy 
Viola: İlay Öztürk 
Cello: Gözde Yasar

String Quartet No. 3 (2024)

The title NEuripides merges “Neuron” and “Euripides,” reflecting both the technical method behind the composition and its aesthetic resonance. The piece is generated using an artificial neural network composed of four neurons - a minimal AI system that produces layered sonic gestures throughout the training process. These gestures, often repetitive and evolving, evoke the presence of an ancient Greek chorus: collective, ritualistic, and emotionally charged.

At the same time, the textures and timbres of NEuripides are deeply rooted in the contemporary world. They echo the spectral fragments that define our current sonic environment - from urban infrastructure to data flows and media noise. In this way, NEuripides becomes a dialogue between ancient voice and artificial system, memory and code, evoking how the echoes of the past can still speak through the networks of today.

NEuripides was first performed as a 4-channel fixed media work in Hannover Musik Hochschule in Kammermusiksaal Uhlemeyerstr as part of the exchange program between MIAM and HMTMH. 28/06/2025, 7:30pm.


NEuripides, for 4-channel fixed media (2025)

In TrajSynth, created for 32-channel diffusion, I explore the use of artificial intelligence as a generative tool - not for producing entire sound materials directly, but for sonifying the dynamic numerical processes that AI methods inherently generate. These constantly evolving numbers, often ignored in mainstream AI-music platforms, carry a latent energy that I find highly effective for sound creation. Rather than relying on ready-made platforms, I focus on tapping into the internal workings of AI – extracting numerical data from within neural networks or training loops - and translating tha...

Special Thanks To Jean Voguet, for giving me the opportunity to work on CRANE lab's 32.2 volumiphonic device in 06/07/2025 and for inviting me to participate in his Curated By series on Sounding Future. And to Fränk Zimmer, for organizing the project and guiding us through the process, offering the opportunity to present our works on the Sounding Future platform for 3D Audio Space.

TrajSynth, for 32-channel fixed media (stereo version) (2025)

This is a live recording of my trio "Sustaining Love", for bass clarinet, violin and piano, realized by the AMGA ensemble in Hong Kong.

As a genuine implementation of my own composition technique, called “Selective Subtraction of Tone and Rhythm material”, Sustaining Love refers to a method of creating the form of a piece based on a selective subtraction of pitches, rhythms, even dynamics and patterns. For the particular piece, I created a number of patterns for the bass clarinet and the violin and a chord sequence for the piano through a multi-layered process, which is a part of the same technique. Once this preliminary step was completed, the Selective Subtraction technique was implemented in the formed material, anew. It was then I realized that, what the first implementation gave was a pattern which was bringing persistently in my mind a continuous talk, a girl confessing to her lover her sustaining loyalty and love.

Sustaining Love (2015)

My piece Pyrrhichios for Bassoon, Guitar and Cello, performed by the legendary trio of Pascal Gallois, Magnus Andersson, Rohan de Saram.
               
"...At one point one of the dancers stabbed the other to the shock and amazement of the crowd. The blood that flowed and the subsequent collapse of the defeated dancer further shocked the observers who cried out in horror. The victor proceeded to dance around the defeated opponent. Suddenly, in a theatrical realization of his deed, he proceeded to kneel by the victim in anguish and stab himself. This further shocked the crowd some of whom rushed to abait this deed. When doing so, they realized that the entire proceeding was fake, as the blood was thickened dye. The two dancers then arose to the amusement of all present...".                                                                                                                                   

Xenophon, Anabasis

Pyrrhichios, For Bassoon, Guitar And Cello (2015)

Finally, my Second String quartet is here completed. Written for the Diotima quartet, it was performed on February 2, 2016 at York.


Programme note 

The Second String Quartet is a three-movement composition based primarily on texture transformation. In order for this to be achieved, several approaches are demonstrated, including harmonic permutation, melodic patterns, fluctuation of dynamics and extended playing techniques. 

The first movement is characterized by chord progressions, whereas the major textural characteristic of the second movement is timbre transformation on a sustained pitch (D). Throughout the movement the performers execute transmissions between bow positions and also different levels of bow pressure. Texture transformation results from the plethoric vertical juxtaposition of bow techniques against a background of fluctuating dynamics.

 Whereas timbre sonorities are the major structural components of the second movement, in the third movement the burden of development is carried primarily by overlapping melodic patterns, interrupted periodically by sff attacks and the sustained pitches of the opening. The patterns comprise individual melodic lines which coincide vertically in specific points throughout the movement. The alteration between individual lines and their convergence demonstrates thinning-thickening texture transformation. 

The two last movements come as a conclusion. The modest character of the fourth movement ends up in a severe, yet still uptight overeaction prepairing the listener for the wilder character of the fifth and final movement.

String Quartet No2 (2016)

Little Mass No. 2 is the second piece of a composition cycle I intend to realise. The most striking characteristic of these pieces is that although they are composed for small ensemble, they try to highlight sound mass as a primary textural feature. This is the driving force behind some choices I made in this piece, particularly with respect to dynamics and register.

Regarding the first of these parameters, the instruments rarely play in the same dynamic level at the same time. This happens precisely because we need a very equal dynamic balance in order to produce sound mass, but the three instruments used in the piece vary in terms of absolute dynamic level. A typical dynamic combination used extensively throughout the composition is the following:

Saxophone: pp, Accordion: mp, Cello: mp

The other parameter refers to the choice to have the instruments play in the same register. This creates a dizzying sound in which the individual lines become “meaningless as individual events” and are “subordinate to the total aural effect”; resulting in the desired sound mass.

The Little Mass No. 2 for tenor saxophone, accordion and cello was written specifically for the 2016 MIXTUR festival in Barcelona and is dedicated to the ensemble Regards.

Maï Toyama – Saxophone
Fanny Vicens – Accordion
Jeanne Maisonhaute – Cello

Little Mass No. 2, trio (2016)

Here is the music for tape (electronic music)I composed in 2012 during my undergraduate degree in Greece. It was first performed as music for ballet.

Scenes From An Industry, For Fixed Media (2012)

Twisted Fingers, is a Music Theater piece or short opera based on  a poem by Bernadette O’ Horo for the International HIV day (1st December).

The work took its performance on 3 June 2017 in St Martin's Church, York. Commissioned by the Resolution of Sound project.
Organisers: Samra Mayanja, Sapphire Clare Littler.

Twisted Fingers (excerpt Bar 101 And On)(2017)

For ensemble.

In architecture, a gargoyle is a carved or formed grotesque with a spout designed to convey water from a roof and away from the side of a building, thereby preventing rainwater from running down masonry walls and eroding the mortar between. This concept inspired back in the 90’s the creation of the Gargoyles American animated series that features a species of nocturnal creatures that turn to stone during the day. After spending a thousand years in an enchantedly petrified state, the gargoyles are reawakened and take on roles as the city's secret night-time protectors.

Following this concept, I based my piece on this specific dramaturgy. In the beginning, Gargoyles are in petrified state; then, as night approaches, the stone breaks and they slowly turn into humans and start their activity under the moonlit sky. After several hours and having their mission accomplished, they turn again to stone, waiting for the next night to come.

This piece was commissioned by the Crossroads festival 2017 in Salzburg and is heartily
dedicated to New Art and Music Ensemble (NAMES)

Instrumentation: Flute, Clarinet in Bb, 2 violins, Cello, Marimba, 2 pianos.

Gargoyle, for ensemble (2017)

Dual Voice, is a comparison between long, archaic voices and quick short shreds of "new" screams. The spatialization of the sound helps us to understand this comparison more deeply. The long voices tend to turn into something new in the end... Guess who wins!

Dual Voice had its first performance in February 7th, 2018 at Sprengel Museum in Hannover, Germany and a second performance during Off Borders festival in Thessaloniki, Greece. It will be also included in an audio CD collection with acousmatic works published by Yarava Music Group in Tehran, Iran.

Dual Voice, for fixed media (2018)

For ensemble

The form of Ripping…having…standing…oben!! follows a certain path that is traced from the words of the title. Piercing sounds rip the silence, whereas bold sounds are formed by all instruments having audience’s attention, either standing or going above and below the middle registers of the instruments. But I should not delude myself. Whatever the case, all these sonic situations are used in the piece to create figures that express emotional states.

This piece was commissioned by the Crossroads festival 2017 in Salzburg and is heartily dedicated to Synaesthesis - Contemporary Music Ensemble.

Instrumentation: Clarinet in Bb, Alto Saxophone, Percussion (Glockenspiel, Vibraphone 1 player), Electric Guitar, Double Bass, Piano.

Ripping, having, standing, oben!, for ensemble (2017)

A Two-Faced Mirror, acousmatic piece (or for piano and fixed media) composed for two dancers. "Music in Motion" festival, Athens, 26-27 May, 2018, 19’.

Warning: Listen with either headphones or loudspeakers only!

A Two Faced Mirror, for fixed media and dancers (2018)(listen with headphones or loudspeakers)

This piece was commissioned by the Academy of the Arts, Berlin (Akademie der Künste, Berlin) as part of the "Labor Beethoven" project funded by the Academy of the Arts, Berlin. 

Premiere: 24/02/2019, Parizer platz, Akademie der Künste, Berlin.
Accordion: Julius Schepansky
Trombone: Paco Olmedo

Programme note:
Deactivated Soul, is the result of electronic processing of sound samples to blend with the sound of the two acoustic instruments (accordion and trombone). It consists of electronic and acoustic parts which blend, separate, twist and sometimes fight with each other. The world situation today got me with some existential concerning as nowadays the old primitive questions of humanity about domination seem to reemerge (and also some Yasuma Takada I read about Theory of Power Relations into the Materialism of Economics).

P.S. The alternative title could be “Why, when and what?”.

Deactivated Soul, for accordion, trombone and fixed media (2018/19)

Manolis Ekmektsoglou:
Like we`ve met before... (2019)
for Sopranino/Alto Recorders & Accordion

performed by Windspiel Contemporary Music Duo
Verena Wüsthoff & Eva Zöllner

Listen to the work here: https://soundcloud.com/windspielduo/manolis-ekmektsoglou-like-weve-met-before-2019-for-recorder-and-accordion

live recording of the world premiere
May 16th 2019
MOMus-Experimental Center for the Arts (Warehouse B1, Thessaloniki Port), Labor Beethoven 2020, Platform Thessaloniki

Labor Beethoven 2020 ist ein Projekt der Akademie der Künste. Gefördert durch die Beauftragte der Bundesregierung für Kultur und Medien im Rahmen von BTHVN 2020.

Like We've Met Before..., for Recorder and Accordion (2019) Youtube Link

Deactivated Soul 2, for violin, harp and trombone (2019)

Watch the video with the work here: 
https://www.youtube.com/watch?v=Y8OrdbKi1M0

This piece was commissioned by the Academy of the Arts, Berlin (Akademie der Künste, Berlin) as part of the "Labor Beethoven" project funded by the Academy of the Arts, Berlin.

Premiere: 24/02/2019, Parizer platz, Akademie der Künste, Berlin.
Violin: Zoe Pouri
Harp: Alice Belugou
Trombone: Paco Olmedo

Deactivated Soul 2, for violin, harp and trombone (2019) Youtube link

Vocals (soprano): Ploka Angeliki 
Composition: Ekmektsoglou Manolis
Orchestration: Diamantis Karagiannakides, Ekmektsoglou Manolis

Whether the sun (2011)

How can form  evolve under a nowadays psychological framework? Is it more difficult to compose long or short pieces and is there any morality in it that serves as a proof of the composer’s skills? My musical interests are focused on a personal composition method that started from my late integrated masters years in Thessaloniki and which eventually was the subject of my PhD research in York. It used to serve as a preliminary stage for an instrumental composition; however, since 2017 the “Selective Subtraction of tone and rhythmic material” composition technique serves as a tool to create but mostly to sculpt the tone and rhythmic material of the instruments that will interweave with the electronics. As its name signifies it is based on a subtractionprocess that gives a certain amount of material. This material forms the basis for an evolutionary process where finally, all these elements are combined in order to give the final piece. Under the scope of electronics it incorporates computational methods like Csound software, Ableton Live and MaxMasp (Sound Synthesis private patch library) in the direction of finding new ways of pattern development and thus evolution of the form.

For examples of the Selective Subtraction of tone and rhythmic material” composition technique enter here: https://www.dropbox.com/sh/alutmo3h0ue30ec/AAC-LmZExoUMBr6lVgabz1YOa?dl=0

Sound Synthesis private maxmsp library: https://1drv.ms/u/s!AvxYMmv9_S-sgfRtKB-Vq4t2l1PE_g?e=o8BN6A 

PhD thesis: http://etheses.whiterose.ac.uk/20111/
Website: https://manolisekmektsoglousite.wordpress.com/
email: ekmektsoglou8@gmail.com 

BIOGRAPHICAL SKETCH

Manolis Ekmektsoglou studied composition in the Aristotle University of Thessaloniki, Greece with Dimitri Papageorgiou and in the University of York (PhD) with Thomas Simaku. He also spend a year in Hannover studying acoustic and electronic music (Hochschule für Musik, Theater und Medien Hannover), with Professors Ming Tsao, Gordon Williamson and Joachim Heintz. He is currently Assistant Professor of Acoustic and Acousmatic composition in the Technical University of Istanbul, Department of Sonic Arts, Center for advanced study in Music (M.I.A.M.).

Manolis participated in the “Labor Beethoven 2017-2020” project, funded and organized by the Berlin Academy of the Arts. The project comprised participants from Basel, Tel-Aviv and Thessaloniki. This intensive 4-year period included commissions and performances from various ensembles in Germany and Switzerland and culminated in a final performance that took place in Berlin in 12-13/04/2020. For more info enter here: https://www.labor-beethoven-2020.de/de, and for the final output: In Love…, for voice, ensemble and mixed media https://www.youtube.com/watch?v=ORJfUvJ0iUo, Circus Story: Taming the animals, for alto saxophone, percussion and fixed media https://www.youtube.com/watch?v=EhBiIEBGrY4

His pieces have been performed in Greece (DissonArt ensemble, New Hellenic Quartet, Off Borders Festival for electronic music in Thessaloniki, Music in Motion festival for dance and music, Athens), Germany (Neues Vocalsolisten Stuttgart, Earth, Sky, Space festival, Hitzacker Musiktage 2018), Italy (Soundiff project), Hong Kong (AMGA ensemble), Spain (ensemble Regards Mixtur festival 2016), Austria (NAMES ensemble, Synaesthesis ensemble, Crossroads festival), Iran (International Electronic Music Festival, Reza Korourian Awards 2017), and the UK (Kinetic nights festival, Manchester, Andersson – Gallois – De Saram trio, Diotima Quartet, Psappha ensemble). Upcoming activities comprise performance of the existing work Ripping…having…standing…oben!!, for ensemble in Versipel New Music festival, Louisiana (postponed for 2021 due to pandemics) and a premiere of a work specifically written for MISE-EN festival, New York (postponed for 2021 due to pandemics). 

For a detailed CV follow this link: https://www.dropbox.com/s/hprdtba1p9plqhj/CV.pdf?dl=0

Manolis Ekmektsoglou

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