A sonic delight - great piece, interested in hearing in the rest...

Stone Age (2022) for violoncello and electronics
Total Duration 8' 40" minutes.

Ensemble Holophony Project
Preview Full Score at https://www.panayiotiskokoras.com/compositions/
Studio edited mix © Panayiotis Kokoras

2022

Stone Age [cello & electronics]

Sixth track from my latest album, Absens.

Endless Hallway

COMPOSER'S SUFFERING

mur mur

A Pulse in the Quiet_02

Real Work

The promise of conneqtion_02

荒みて靡きて 震えながら夢を観る
失くなりて 人の手 草葉の影に重なりぬ

秋高く 宇宙は軋みて 夢の深く 抱く胸に花々
儚過ぎて抗えずに此の部屋にも差し込む光

如何様にも常軌を遠ざけた足跡を編む
故意入り乱れ 明日の傷を振り切れず

邂逅は空に託す 人の世は此の痛みに深々
変わることない憧憬は更に此の意味を映す

サヨナラ 葉は落ちて色の深く 抱く花を遺した
別れの言葉 礫に月 此の部屋にも差し込む情景

秋高く(Aki Takaku)

2024-11-29

Breathe Freely

2024-12-03

It Stretches Like Honey

2024-12-07

In The Corner By The Window

The work is contrasting aural places of intimacy and enclosure with expansive spaces and propagates through their interaction.  The title is borrowed from a painting by René Magritte, depicting two coffins seated in a mountainous landscape. The source materials for the work have been recorded with an 18 channel microphones arrange in a globe shape, encoded in Higher Order Ambisonics. The work was completed with the support of Musiques & Recherches at the Métamorhose d'Orphée studio during in the summer of 2024. 

Par une belle fin d'apres-midi (stereo reduction)

Connotations (2015) for string orchestra and electronics
Total Duration 9' minutes.

Ensemble Holophony Project
Preview Full Score at www.panayiotiskokoras.com/en/works.html
Studio edited mix © Panayiotis Kokoras

Connotations [string orch & elec]

Finalist in SCRIME  2008 electroacoustic composition competition.

The material for the work was developed out of simple and short sounds that
accidentally occurred in the digital studio during previous work: (clicks, pops, digital
distortion et cetera). These sounds were transformed into more organic, gestural
material using mainly the GRM Classic plug-ins in a Pro-Tools environment. The
only field recording used in the piece is the sound of crickets, used here to
establish a nocturnal soundscape. This is in contrast with the otherwise rather
abstract sound world, which exhibits timbral characteristics perceptually related to
materials such as wood, metal, water and combinations of thereof.

Resurrection

Full track available from electrocd.com
electrocd.com/en/album/5984/Niko…poulos/Micro-lieux

Selection at Bourges Electroacoustic Music Competition 2008.

For James Mooney

Greek root poly, meaning "many", and choros meaning "room" or "space".

! Warning ! You should be fairly well acquainted with the convex uniform polyhedra and their symmetry groups, and somewhat well acquainted with the six convex regular polytopes in four-dimensional space and their symmetry groups, if this material is to make any sense to you.

The work was composed during a four week residency at the surround sound studios of the Culture Lab, Newcastle University. Many thanks to everyone at the Culture Lab for their support during the making of Polychoron.

Polychoron (Stereo Reduction - Excerpt)

Anechoic Pulse [tape]

Panayiotis Kokoras studied composition with Yannis Ioannides, Henri Kergomard, Kosta Varotsi, and classical guitar with Evangelos Asimakopoulos in Athens, Greece. In 1999, he moved to England for postgraduate study at the University of York where he completed his MA and PhD in composition with Tony Myatt. His works have been commissioned by institutes and festivals such as the Fromm Music Foundation (Harvard), IRCAM (France), Guggenheim (New York), MATA (New York), Gaudeamus (Netherlands), ZKM (Germany), IMEB (France), Siemens Musikstiftung (Germany) and have been performed in over 1000 concerts around the world. His compositions have received 98 distinctions and prizes in international competitions and have been selected by juries in more than 350 international calls for scores. He is president of the International Confederation of Electroacoustic Music (ICEIM-ICEM) and a founding member of the Hellenic Electroacoustic Music Composers Association (HELMCA) and from 2004 to 2012 he was a board member and president. Kokoras’ sound compositions develop functional classification and matching sound systems written on what he calls Holophonic Musical Texture. As an educator, Kokoras has taught at the Technological and Educational Institute of Crete, and, the Aristotle University of Thessaloniki (Greece). Currently, he is Regents Professor of Composition at the University of North Texas and director of the Center for Experimental Music and Intermedia (CEMI).

Anechoic Pulse [tape]

Panayiotis Kokoras

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