**please listen with speakers or headphones capable of picking up very low frequencies**

follow this link to view the video version: https://youtu.be/GRpAjF6lJyo

for string quartet, live electronics, and optional video projection, performed by members of the university of washington modern music ensemble:
Constance Aguocha - vln I
Christine Chu - vln II
Madeline Warner - vla
Kevin Lieferman - clo

program note:
philosopher and ecologist Timothy Morton refers to climate change as a hyperobject, “a conceptual fact so large and complex that, like the internet, it can never be properly comprehended.”* much of the complexity surrounding the idea of climate change is due to the incomprehensibility of the extent of an intricate and seemingly infinitely connected web of biofeedback loops, such as forest dieback and the albedo effect, which are accelerating the already staggering rate of climate change. these loops create a snowball effect, a cascade of impact escaping our control. c a s c a d e s is informed by these feedback loops and attempts to bring the intimately impactful, yet seemingly distant, effects of these feedback loops to the forefront of our perception. throughout the piece, electronics distort the listeners perception of cause and effect, what is real and what is artificial, what is impacting and what is being impacted.

c a s c a d e s (2021) | UW new music ensemble

Toy Harp n°21 by Marco Lucchi reworked by Marco Marongiu

gennaio 2022

25/01/2022

Toy Harp XXI

Understanding

for soprano, 4 amplified dictaphones, and mixed ensemble

Performed by Nina Guo and Ensemble Modern
text by Alexandra Kleeman
Conducted by Sara Caneva
Recorded by Felix Dreher, mixed by Katherine Balch

waste knot

Géranomachie Acoustique(2022)
for 15 musicians
Commissioned by the Lemanic Modern Ensemble
Conductor: Pierre Bleuse
Premiere on September 27 2022 at the  Franz Liszt concert hall, Geneva

Live recording: Jérôme Vavasseur

Géranomachie Acoustique(2022)

Jeff Gburek: zither, fx. Pete SwintonL electronics, fx. 
Produced and woven by Jeff Gburek.  Check out the full album.
https://jeffgburekprojects.bandcamp.com/album/methuzelah-first-album
if you can't believe your ears, here's a review: https://musicyouneedtohear.com/methuzelah-jeff-gburek-pete-swinton-first-album/

Methuzelah 5 (Jeff Gburek & Pete Swinton)

center signifies noumenal

Revelaciones Extravagantes 6

Pièce pour ensemble de 21 musiciens de Louis Bona
Quatuor vocal(amplifié sur scène), quatuor de saxophones, deux tubas, trois percussionnistes, guitare acoustique (amplifiée sur scène), double trio à cordes et contrebasse (amplifiés dans la salle) .

Concert publique du 5 octobre 2022 salle d'art lyrique CNSMDP

Interprétation:
Jean Deroyer, direction
Pierre Pradier, guitare
Orchestre des lauréats du conservatoire nationale supérieure de Paris
Sébastion Tondo, sonorisation (guitare, cordes et voix) 

Enregistrement: Jean Gauthier
Mixage: Dorian Seyller 
Mastering: Lorenzo Targhetta

Régression

"white wide eyes" (2014) for 23 musicians (4 ensembles), electronics, projection
- Ensemblekollektiv Berlin (Ensemble Mosaik, Sonar Quartet, Ensemble Adapter, Ensemble Apparat)
- Manuel Nawri (conductor)
premiere January 22nd 2015, Festival Ultraschall Berlin, HAU2

live recording: dradio

"white wide eyes" 2014 - for 23 musicians, electronics, projection

/ 𝗣𝗟𝗘𝗔𝗦𝗘 𝗣𝗟𝗔𝗬 𝗧𝗛𝗜𝗦 𝗥𝗘𝗖𝗢𝗥𝗗 𝗥𝗘𝗔𝗟𝗟𝗬 𝗟𝗢𝗨𝗗, EVEN TO THE POINT OF OVERWHELMING INCONVENIENCE – ABRUPT VOLUME CHANGES ARE ESSENTIAL FOR THE STRUCTURE & DYNAMISM OF THE FORM AS A WHOLE | 𝗛𝗘𝗔𝗗𝗣𝗛𝗢𝗡𝗘𝗦 𝗦𝗧𝗥𝗢𝗡𝗚𝗟𝗬 𝗥𝗘𝗖𝗢𝗠𝗠𝗘𝗡𝗗𝗘𝗗 | 𝗕𝗜𝗡𝗔𝗨𝗥𝗔𝗟 𝗔𝗨𝗗𝗜𝗢 /

« erased lines cartography » (2018/2019)
piece composed for Festival Mikrotöne Basel 2019 in October 2018–May 2019

trombone – FRANCISCO OLMEDO
e-accordion – DAWID KONRAD RYDZ
harp – ALICE BELUGOU
violin – ZOÉ POURI
cello – MATTHIEU GUTBUB

electronics – SZYMON S. STRZELEC

part I recorded by Caspar Johannes Walter & Shervin Saremi during the world premiere on May 4th, 2019 in H95: Raum für Kultur in Basel, Switzerland (Festival Mikrotöne Basel 2019)

parts II & III recorded, sampled, resynthesized, mixed & rendered by the composer in May-September 2019

© Szymon Stanisław Strzelec, 2019

***
the piece is based on morphing noises with precisely designed morphologies derived from chord transition between 24, 15, 19, 22 edo and my own non-octave scale which will be further developed in the next, forthcoming piece. for more info please, send me a message! feel free to ask questions.  :)

erased lines cartography (2018/2019)

Born in Thessaloniki (Greece) in 1988, Sofia Avramidou graduated from the composition department of Aristotle University (Bachelor's and Master's degrees, 2009-2014) and from the National Academy of Santa Cecilia in Rome (specialized Master's degree, 2014-2016), receiving the highest distinction in the class of Professor Ivan Fedele, as well as an excellence scholarship from the "Alexandros Onassis Foundation”.
In Paris, in 2020, she graduated from IRCAM's "Cursus de composition et d'informatique musicale".
She has been awarded numerous prizes, including the Goffredo Petrassi Prize from the Quirinal Palace in Rome (2016), 1st prize at the IX "Francisco Escudero" International Accordion Composition Competition (2016) in Spain, and 1st prize at the 6th "Dimitris Dragatakis" Composition Competition (2014), organized by the Greek Composers' Union. She participated in numerous composition courses and seminars, with Beat Furrer, Philippe Manoury, Georges Aperghis, Francesco Filidei, Yan Maresz, Jean-Luc Hervé, Franck Bedrossian, Dmitri Kurljandski...
Sofia Avramidou also collaborates with director Evangelia Kranioti, for the film "Obscuro Barroco", which received the Teddy Award at the 2018 Berlin International Film Festival. That same year, she was selected by the Venice Biennale to compose the chamber opera "Rodi rodi, morsicchia! La casina chi rosicchia?" performed at the Teatro Piccolo Arsenale.
She has been commissioned by ensembles and institutions such as Ensemble Intercontemporain, Philharmonie de Paris, Ircam, Venice Biennale, Musikfabrik, Ictus, Lemanic Modern Ensemble, 2e2m, Radio-France, Festival Ensemble(s), Festival de Prades, Festival Nouveaux Horizons, Orchestre National de Jazz, ECHO, Fondation Calouste Gulbenkian, Lisbon, Auditorium Orchestre National de Lyon....
Her compositions have been performed at the Philharmonie of Paris, the Musikverein (Vienna), the Concertgebouw (Amsterdam), the Bozar (Brussels), the Barbican (London), the Elbphilharmonie (Hamburg), the Philharmonie of Cologne, the Venice Biennale, the Auditori (Barcelona), the Festspielhaus (Baden-Baden), the Philharmonie of Luxembourg, the Auditorium of Lyon, the Auditorium Parco della Musica (Rome), the Teatro La Fenice (Venice), the Boston University, the Megaron (Athens)...
Alongside composition, Sofia Avramidou studies Byzantine music, Hymnology, Oud and Ney instrument, as well as traditional Greek singing.
As a singer, she collaborates with various ensembles and orchestras, such as the Cyprus Symphony Orchestra, the Thessaloniki Municipal Orchestra, the Raanana Symphony Orchestra (Israel)...

 In 2018, she arranged traditional songs for voice and clarinet and recorded the album "Binôme" in Greece.
Her works are published by Éditions Lacroch' and BabelScores.

Géranomachie Acoustique(2022)

Sofia Avramidou-composer

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