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tweak

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)

riss 2
für Ensemble
Ensemble Modern/Leitung : Lucas Vis
Kompositionsauftrag der Alten Oper Frankfurt
für Stephan Pauly und das Ensemble Modern
UA am 30.09.14 in der Alten Oper Frankfurt
(Foto: Pierre Reimer)

riss 2 für ensemble

Karola Obermüller (*1977)
One another I Zustand 2023 
Duo (Flöte, Klarinette)

30 Mai 2025 | 19:00PM | Alte Nikolaischule Leipzig (Kulturstiftung Leipzig)
Richard-Wagner-Aula

Ensemble Tempus Konnex

Flöte: Jaume Darbra Fa
Klarinette: Emanuel Dantscher
Leiterin des Ensembles: JiYoun Doo
 
Recording: Eleftherios Krysalis
Mix & Master: Martin Recker & Paul Hauptmeier



one another I Zustand 2023 - Karola Obermüller (*1977)

Michalis Moschoutis - Nylon Love

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)

Performed live on 11.08.2017 at the Kalv Festival.

Rocío Bolaños - clarinets
Linda Jankowska - violin
Emma Richards - viola
Alice Purton - cello

Ann Cleare - Ore

Love is in the hair <3

Live recording in 2017.

Enno Poppe - Haare, for solo violin (2014)

The Intoxication Show December 2012 recorded live 2012-12-29 on 
www.radio4by4.com

01. Danny Cosa - Good Time (Juan Lombardo remix)
02. DJ Hightech - Play That Music (Mono Extra Cheese remix)
03. Lash - Time (Jay Tripwire remix)
04. Winston Lobo - Comic
05. Hans Thalau - Vilde
06. Gareth Bilaney - One Of Us
07. Hans Thalau - Tuva (Rene Breitbarth edit)
08. DJ Ino - The White Russian
09. Housadiction - Soulful Meeting Theme (Old Skool Dub remix)
10. E'Mij - Love Is A Place (JC Love dub)
11. Alcatraz Harry & Ali Scott - Hes Mine
12. Alcatraz Harry & Ali Scott - Hes Mine (Saytek remix)
13. Sebastian Illobos - Shit Is Deep
14. The Discoguns & Umai Move - Square Affection
15. Angel Stoxx - No Guestlist
16. Paygn - Player (Matthew Freedz Groovy remix)
17. Coolerika - Temple Tools (Tribal house mix)
18. George Phantom - Punch
19. Holggy & Rico Star - Carnival Of House
20. Michael Ballus - Neonhimmel
21. Kevin Over - Basement Rip 12
22. Alex Drayling & Aquareef - Thailand (Human8 remix)

       www: www.hangoverboy.se
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Hangover Boy - The Intoxication Show December 2012

String Quintet  "Sich Motivieren" Kammerensemble Konsonanz

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 was born in Thessaloniki, Greece. He studied composition at the Aristotle University of Thessaloniki, Greece, with Dimitri Papageorgiou and in the University of York, UK (PhD) with Thomas Simaku. He also spent a year at Hannover Musikhochschule studying acoustic and electronic music with Joachim Heintz, Gordon Williamson and Ming Tsao. He is an Assistant Professor of Instrumental and Electronic/Computer music Composition at İTÜ, 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. He received the third prize in the Karol Szymanowski composition competition 2023 with the work Motion, in Two, for solo violin.

His pieces have been performed by many ensembles in several festivals in many countries such as Greece (OutHear Week, DissonArt ensemble, Off Borders Festival), Germany (Neues Vocalsolisten Stuttgart, Earth, Sky, Space festival, Hitzacker 2018), Italy (Soundiff project), Turkey (MIAM 20 year-Gala), Iran (Reza Korourian Awards electroacoustic music festival 2017), Hong Kong (AMGA ensemble) Spain (Mixtur festival 2016), Austria (NAMES ensemble, Synaesthesis ensemble, Crossroads festival, KUG), the UK (Resonance FM 104.4, Kinetic nights festival, Manchester, Gallois trio, Diotima Quartet, Psappha ensemble, Resonance FM, RNM Call 2022), France (Viberation#2, Réseau inDREAM Network), the USA (MISE-EN festival, NYCEMF, Impulse festival 2024), Argentina (Atemporánea festival 2022), Romania (EELISA 1st conference, 2023) and Switzerland (UMS n’ JIP).

An upcoming publication by Manolis in the MIT Computer Music Journal (Volume 48, Issue 4) explores the impact of emerging AI technologies on music composition and performance. It also proposes an alternative approach to generating textural and timbral transformations in mixed-media composition through the use of a dynamically trained neuron.

Musical Practices in the Contemporary World is his first book, where he tries to sum up what has happened in New Music after the 70s, making meaningful connections with the past and providing suggestions from contemporary repertoire. 


For a detailed CV follow this link: https://1drv.ms/w/c/ac2ffdfd6b3258fc/EeaNM87Bv1tJn0dIh8LCzKwBVayUg5HVSY_ZLcaPLOqYEQ?e=IciA10

String Quartet No2 (2016)

Manolis Ekmektsoglou

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