est croisée (2020)
for large ensemble 

International Ensemble Modern Academy (IEMA) 2019/20
September 11th, 2020, at the Haus der DEA, Dachsaal, Frankfurt – Germany
Conductor: Lucas Vis

Other performances:
International Ensemble Modern Academy (IEMA) 2019/20
September 19th, 2020, Hochschule für Musik und Darstellende Kunst, Großer Saal, Frankfurt – Germany
Conductor: Marc Hajjar


“est croisée” belongs to a series of recent compositions where the composer is exploring frameworks of dramaturgy characterized by a continuum of repetitive rhythmicities. Strictly defined by concrete sound blocks, the structure of the piece introduces the horizontal and vertical symbiosis of material opting for phrasal collision, concatenation, and displacement. The gradual deconstruction of the structural constituents of each and every sound block introduces a new view on the hypostasis of the material delineating the eventual dramaturgical development as well as shaping new structural pillars. One of the goals of the composer is to compose a self-referential soundscape where the notion of repetition and micro-parallaxes, the phrasal shortening and stretching, can lead to a new perception of the sound blocks as entities, where repetition can cause a sense of exhaustion and perversion in their singularity. “est croisée” was commissioned by the Trägerverein Herrenhaus Edenkoben e.V. with the support of the Ernst von Siemens Music Foundation. It was written for the IEMA - Ensemble 2019/20 and is heartily dedicated to Konrad and Barbara Stahl.

est croisée, for large ensemble (2020)

momentum "I": death & escape (2019)
for bass flute and live electronics 

Live recording
20th Weimarer Frühjahrstage für zeitgenössische Musik
April 26th, 2019
Weimar, Germany 

The piece was written for and heartily dedicated to Carin Levine.

momentum "I": death & escape, for bass flute and live electronics (2019)

en tranche (2020)
for string quartet

Live, concert recording.

August 19th, 2021 
Protestantische Kirche Edenkoben
Edenkoben - Germany

The piece was commissioned by the Herrenhaus Edenkoben with the friendly support of the Ernst von Siemens Musikstiftung. It was composed for and heartily dedicated to the Arditti Quartet.

en tranche, for string quartet (2020)

June in Buffalo, International festival and Conference 2013

“meta-Morphisms” was selected for performance at the June in Buffalo Festival and Conference, 2013. 

The piece is dedicated to Rane Moore and the “Talea” ensemble.

Meta Morphisms, for bass clarinet and ensemble (2013)

Performed at the “Young Composers Meeting 2013” by the Orkest de ereprijs in the Netherlands, February 2013.

Restlessness, for voices and large ensemble (2013)

Performed at the 13th Weimarer Frühjahrstage für zeitgenössische Musik, by the Jenaer Philharmonic Orchestra in April 2012.
First Prize, and audience’s Prize sponsored by the “Bärenreiter” Publishing Company. 
Flute solo, Carin Levine. Jenaer philharmonic orchestra conducted by Markus L. Frank.

Réflexions des nuages, for flute and orchestra (2011)

aux déBris • (2021)
for chamber ensemble

Live, concert recording.

Festival Ensemble(s)2021
Ensemble MULTILATéRALE

September 10th, 2021
Pan Piper
Paris – France

In “aux déBris” I am interested in the exploration of defined points of convergence related to aspects of a-synchronicity, dis-continuity, and de-construction of sonic actions. Behavior, plasticity, and mechanic rigidity are in the epicenter of my artistic research while forging the embedded rhythmicities and temporalities of the sonic canvas of the piece. What I find particularly intriguing is the illusory hybridity between the human and non-human in an attempt to explore recursive, musical situations that become mechanical and electrified. Therefore, the piece is exploring the resulting perceptual complexities and multiplicities related to distorted and exhausting phenomena of repetition and re/de-construction. “aux déBris” is a piece for flute, clarinet, piano, harp, violin, and cello and is written for and heartily dedicated to the Yann Robin and the members of the MULTILATéRALE ensemble.

aux déBris, for chamber ensemble (2021)

spasmodic frictions: "X"- Aria Impulsiva - "R"

for bass flute, bass clarinet, violin I, violin II, viola, cello, d.bass

Conducted by Elena Schwarz and performed by the Namascae Lemanic Modern Ensemble


[spasmodic frictions: "X"- Aria Impulsiva - "R"] is a piece for seven performers composed for the Royaumont Voix nouvelles composition course 2013 and is dedicated to the Namascae Lemanic Modern Ensemble. The piece resembles to an organism with distinct functionalities that generates a complex system of either cohesive or unpredictable moments. The dramaturgical discourse aims for a stochastic comprehension of the behavior and/or the theatricality of either independent musical units or generalized structural moments throughout the piece. The technical aspects of the music deal with fluidity and the sculpting of sound, means that aim to highlight a visceral and ductile gestuality. One of the fundamental principles of this work is the conception of structure as the potential byproduct of microscopic elaborations of the timbral and gestural dimensions of music. The directionality of the piece derives from the spasmodic transformations of heterogeneous elements that don't allow for the music to be perceived as a system of hierarchically juxtaposed ideas and tend to depict it as a “stream of consciousness”.

spasmodic frictions: "X" - Aria Impulsiva - "R", (version 1) for seven instruments (2013)

The piece was written within the framework of [‘tactus] Young Composers' Forum".

L'allégorie de la caverne was written for and the winning composition for [‘tactus] Young Composers' Forum, Brussels, 2013.

Wayne Brewster Barlow Prize from the Eastman School of Music, 2012. 

First orchestral reading by the Eastman Philharmonia. 

World premiere by the Brussels Philharmonic conducted by Michel Tabachnik, Oct 2013.

Brussels Philharmonic, conducted by Michel Tabachnik.

L'allégorie de la caverne, for orchestra

d'être étouffé • (2021)
for baritone saxophone, accordion, viola, and double bass

Live, concert recording.

The piece was commissioned by and is heartily dedicated to Ute Pinter, for the OPEN MUSIC GRAZ Festival, Junge Stücke 2021.

December 17, 2021
Museum der Wahrnehmung MUWA

Gerald Preinfalk saxophone 
Krassimir Sterev accordion 
Dimitrios Polisoidis viola
Philipp Kienberger double bass

d'être étouffé, for chamber ensemble (2021)

"au sujet de fusion: la genèse d'un(e) . . ." (2019-21)
for amplified ensemble - flute, saxophone, percussion, piano and electronics

Live recording

OPUS 22.1 Jeune Génération

Thursday, March 10, 2022
Le Rocher De Palmer

Proxima Centauri

Marie-Bernadette Charrier, saxophone
Sylvain Millepied, flute
Benoit Poly, percussion
Hilomi Sakaguchi, piano
Christophe Havel, electronics

"au sujet de fusion: la genèse d'un(e) . . .", for amplified ensemble and electronics (2019-20)

NOUVELLES AVENTURES CICLE – KONZERTHAUS WIEN

Berio-Saal
Wiener Konzerthaus
Friday, April 22, 2022

Schallfeld Ensemble
Leonhard Garms, Conductor

The octet version of "les instances" is projecting an electrified sound world emerging from the musical synergies and the coexistence of an amplified ensemble with a synthesized, electronic soundscape. A continuum of interchangeable drives it, phrasal collages comprised of distinct sonic and rhythmical structures, both in the acoustic and the electronic parts. The structure is formulated by repetitive blocks and timbral constructs that engage horizontally and vertically (harmonically) and eventually forge the behavior and the dramaturgy of the music. At the core of my creative thinking lies the notion of repetitive exhaustion and dissolution of sonic material in frameworks of organic sound complexity. I am deeply interested in the impact of recursion on our perception of details and musical events at a micro and macro time level. The piece is heartily dedicated to George E. Lewis.

Les instances - octet version, for amplified ensemble and diffused, synthesised sounds (2019/20)

ABSCHLUSSKONZERT 3 
International Ensemble Modern Academy (IEMA) 2021/22

Hochschule für Musik und Darstellende Kunst Frankfurt am Main (HfMDK)
Kleiner Saal
September 29, 2022

“…qui s'enchaînent” is a piece for a large ensemble that explores the limits of recursive obsession and systemic propagation of musical events. It is unfolding multiple processes of repetition, formalizing microstructures with unique sonority characteristics and yet outlining superimposed identities of similar sonority objects. The notion of harmony comes to unify quasi-homogeneous materials for creating prominent sound archetypes that frame the canvas of broader musical ideas that formulate the piece's dramaturgy. Mimetic micro-variations and rhythmic metamorphoses are obsessively sculpting, and constantly re-formulating the timbral identities of the sound materials exposed. The piece is heartily dedicated to the musicians of the International Ensemble Modern Academy 2021-22.

“...qui s'enchaînent”, for large ensemble (2022)

Regensburg Chamber Music Festival
Fifth Regensburg Composition Competition 2022

Regensburg, Germany 
September 18th, 2022
live recording

The piece was premiered by the soprano Kaoko Amano 
and the Camerata Goltz.

The text is based on and has been adjusted from the original text by Jason Polakis titled “trapped in perpetual stasis”.
•
Oh, mighty Oizys, the most dreaded of demons and gods your poisonous filaments prod, infecting the darkest corners of my psyche.
Rendering my mind, a barren wasteland, silently lost in a haze, out of sync with reality.
As if I lost a step somewhere and accidentally shifted out of phase.
Now I awkwardly glance through a foggy window as life continues around me. Introspection replaces reality, as I oscillate between aimlessly wandering through murky mental caverns and scouring my dreamscape for memories of loss, for those defining moments.
Those pivotal moments in space and time, the gravity of which only becomes apparent in hindsight.

The chaos of life.
The vicissitudes of life.
How bitter the remembrance of things past.

We are but empty husks left behind by broken promises, simulacra hollowed by rejection.
Alas, there is no hope, only loss.
Happiness eludes me.

I’M DROWNING!

We are but empty husks left behind by broken promises by broken promises
broken
broken

A life shattered through betrayal and abandonment, each shard a reflection of agony.

Broken Promises broken Broken promises broken

Doomed to litanies of lament and desolation.

Let us grieve.

Oh, mighty Oizys, the most tangible of myths, your traces left with cataclysmic abundance.
How is one to endure?
They say time heals all, but they forget the destructive force of time, as it chips away at sanity’s facade until the houses of lies collapse. A cascade of misery, from the first light to the final dawn.

The void beckons.
HERE
I will construct a monument to tragedy in your honor. In defiance of occhiolism, a temple erect of materials profound;

MISERY 
ANXIETY 
GRIEF

and depression.

Every brick a painful memory.
In memory of the casualties of life...

the casualties of my life...

For suffering is sacred and pain is holy... 

Let us pray...

l'appel du vide, for soprano and string orchestra (2022)

in dysto (2023)
for amplified trio: saxophone(s), percussion, piano - and midi keyboard - and electronics 

Ex Sentia Ensemble
Miguel Fernández (saxophone)
Jacob Mason (piano)
Santiago Villar (percussion)

Live recording:
Theater Pavillon Luzern – Switzerland
November 14, 2023

"in dysto" is an extended, mixed electroacoustic composition that explores the concept of sonic hybridity through recursive processes of structural de/re-construction. Drawing inspiration from the resonance profiles of both natural materials and synthesized resonances, the work delves into the realm of unpredictable resonant behaviors. By merging resonance and behavior, a unified concept is formed that mirrors the aesthetic and technical characteristics inherent in the electroacoustic elements, thereby resulting in an electrifying sonic experience.

Through meticulous construction and dissolution, conducted at both micro and macro levels, self-referential blocks of sonic action are harmoniously reconciled, ultimately giving rise to a dystopian landscape characterized by emergence and collision. The deliberate utilization of recursion and repetition serves to push the boundaries of the electro-acoustic material and the synergies observed during performance, while subjectively alluding to a transformative shift from utopia to dystopia.

Premiere performance:
Impuls Festival 2023
Ex-Sentia ensemble
MUMUTH – György-Ligeti-Saal
August 3, 2023, Graz, Austria

Other performances:
the “METABIOME” project, concert series:
Benr Aula Progr, Bern – Switzerland, November 15, 2023.
Theater Pavillon Luzern – Switzerland, November 14, 2023.
Centre Le Phénix, Fribourg – Switzerland, October 20, 2023.
Basel Ackermannshof, Basel – Switzerland, October 19, 2023.

The piece was commissioned by the ex-Sentia ensemble

in dysto, for amplified saxophone(s), percussion, piano - & midi - and electronics (2023)

TANDEM (2024) 
for soprano, baritone, and large orchestra

Camila Mandillo (Soprano)
André Henriques (Baritone)
Gulbenkian Orchestra under the baton of Luca Francesconi.

Live recording:
Grande Auditório
Fundação Calouste Gulbenkian
June 28, 2024

"Tandem" is a project inspired by the homonymous text of the Greek poet Orfeas Apergis. The composition aspires to evoke a vocal dialogue with our inner self, the subconscious, or the mind during moments of void and despair within a toxic relationship. It manifests dualism through feminine and masculine characters, which ultimately dissolve into a sexless, internal battle in search of the true self, the true choice, and the truth. The vocalists are envisioned as a single vocal entity, magnified by the imposing presence of a grand orchestra. This composition conjures an augmented vocal amalgamation, a unified vocal body of harmonic and rhythmic multiplicities that evolve organically over time. This work seamlessly fuses text, meaning, and music into a singular entity, creating an intricate tapestry of sound and emotion.

TANDEM (2024) for soprano, baritone, and large orchestra

dropLET_GO (2021)
for alto flute, viola and violoncello

Ensemble Risonanze Erranti
Anne-Catherine Heinzmann, alto flute       
Barbara Linke-Holicka, Viola       
Peter Tilling, Cello
Stylianos Dimou, Composer/ Conductor

Live recording
Festival Risonanze Erranti
Protestantische Kirche Haardt
Neustadt an der Weinstrasse – Germany
September 24th, 2021

The piece was commissioned by Peter Tilling, and festival Risonanze Erranti 
with the support of the Ernst von Siemens Music Foundation.

dropLET_GO, for alto flute, viola and violoncello (2021)

COLUMBIA COMPOSERS
Wet Ink Large Ensemble

spasmodic frictions: "Aria Impulsiva", V.2. (2015)
￼￼bass flute, bass clarinet, piano, violin I, violin II, viola, cello, contrabass,
￼electronics (fixed and live media)

spasmodic frictions: “Aria Impulsiva”, version 2, is a piece for eights instruments and electronics. The piece resembles to an organism with distinct functionalities that generate a complex system of either cohesive or unpredictable moments. The dramaturgical discourse aims for a stochastic comprehension of the behavior and/or the theatricality of either independent musical units or generalized structural moments throughout the piece. The technical aspects of the music deal with fluidity and the sculpting of sound, means that aim to highlight a visceral and tactile gestuality. The directionality of the piece derives from the spasmodic transformations of heterogeneous elements that don’t allow for the music to be perceived as a system of hierarchically juxtaposed ideas but rather as a “stream of consciousness”.


spasmodic frictions: "Aria Impulsiva" (version 2), for eight instruments and electronics (2015)

eChOlapse (2025)
Acousmatic composition for 8-channel polyphonic diffusion Commissioned by the PROSSESES festival, Athens 20-21 September 2025

eChOlapse presents itself not as a narrative but as a sonic drift — a non-linear environment where sound moves through states of fracture and erosion. The work suggests a broken ecosystem, a broken system, even a collapse continually replayed. Repetition does not function as return, but as residue; loops falter and fold back into themselves, echoes collapsing into echoes. Forgetting becomes a way of renewal, while recalling appears as a destructive fixation — the urge to recover what sound has already erased. In its multichannel presentation, the listener neither begins nor ends but is suspended in a field of resonance, ambiguity, and attrition. Diffusion operates not as projection but as composition itself, where collapse takes the form of structure and disappearance asserts itself as presence.

à Vassiliki Legaki & “Gotye”

eChOlapse (2025)

my grounding | surrounding [it]_self / h_I. (2015)
for four percussionists and electronics

The piece was commissioned by the Gaudeamus Muziekweek 2015 and is dedicated to the Slagwerk Den Haag percussion ensemble.

my grounding | surrounding [it]_self / h_I. (2015)

International Ensemble Modern Academy (IEMA), 2015
Im Rahmen des Ulysses Netzwerks. Dieses Projekt wird mit Unterstützung der Europäischen Kommission finanziert.

• 10 September, 8:00 pm
TivoliVredenburg, Hertz, Utrecht (Netherlands) International Ensemble Modern Academy Gaudeamus Muziekweek

• 16 September, 7:30 pm
Hochschule für Musik und Darstellende Kunst, Kleiner Saal, Frankfurt am Main (Germany) International Ensemble Modern Academy
Prüfungskonzert IEMA-Ensemble 2014/15

Conductor: Lucas Vis
Soloists: Flute, Yuri Matsuzaki - Violoncello, Miłosz Drogowski
IEMA 2015


“DUALITIES is a piece for flute, cello, large ensemble and electronics composed for the International Ensemble Modern Academy 2015 (IEMA). The basic idea of this piece stems from the sonic properties of hissing sounds. The harmonic and/or gestural pallet of the piece incarnates hybrid sonic clouds constructed by microtonal instances of characteristic pitches along with concrete sonic objects (noise), highlighting the artificial depiction of a high frequency, “quasi hissing” landscape. My goal for this project was to realize, musically, high frequency gestures and sonic streams deriving from the visceral contribution along the soloists (the flute and the cello) the electronic sounds - fixed media or live processing of the soloist duet - and the ensemble. The piece is governed by the idea of dualism that is expressed via the following relationships: The flute with the cello, the soloist duet with the electronics, the soloist duet with the instrumental ensemble and the multiple combinations along the duet, the electronics and the large ensemble. The texture is treated as a fabric of superimposed elements that correlated within a multidimensional space of sounds and gestures. Aiming for precision and strict articulation, the piece is a virtuosic display of sonic plasticity projecting different instances of an artificial hissing landscape, sculpted, filtered and sonically modified in numerous unpredictable ways. The piece highlights a continuous and gradual blending among the generated spectra of the soloist duet towards the illusionary impression of a hybrid stream of a single “mega”, perceivably homophonic, gestural line (voice) that characterizes the entire piece.

DUALITIES (2015) for flute, cello ~ large ensemble and electronics

". . . d'un archétype métallique" (2017) 
for eight instruments and electronics

Live recording
May 1st
Columbia Composers Concert series 2017
DiMenna Center for Classical Music - NYC

Talea ensemble under the baton of Jeffrey Means. 

The piece addresses the coexistence of multiple acoustic and electronic sonic entities while it explores the relationship between instrumental and sound complexity. The framework of this project takes advantage of the technology and generates an electrified sonic world that counterbalances the acoustic complexities articulated by the ensemble. Metallic sounds, idiomatic frictions, granulated textures and chaotic microtonal clouds are some of the sonic entities interacting within a dramaturgical framework of intricate sonic interconnections and electrified acoustical masses. The generalized standpoint stems from the genesis of an electrified sonic world derived from the electronic processing of acoustic sounds that behave as the sonic extension of the instrumental ensemble in a unified way – the assembly of a “sonic twin”. The emergence of gestural interactivity pointing to an idiomatic stream of sonic behaviors captures the dramaturgical framework of the piece, highlighting a network of distinguishable sonic objects all perceived in a unified sonic fabric.

". . . d'un archétype métallique" (2017), for eight instruments and diffused electronics

•
Soirée sonore #4
En partenariat avec ARTE Radio
Rendez-vous
Thursday, 16 November 2017
19:00-23:00
Musée - Niveau 4, Musée - Niveau 5, Cinéma 1, Forum - Centre Pompidou, Paris
https://www.centrepompidou.fr/cpv/resource/crEn9k7/rXEnG8r
•
oFFBorders Festival, electroacoustic music, video and performing art
Sunday, 22 April 2018
19.00-20.00
https://www.offborders.org/events
•
2nd Tehran International Electronic Music Festival
Avini Concert Hall
Saturday, 8 September 2018
15:30
•


This is a study on the articulation of distinct sonic material and the possible ways that it can be transformed and generate a structural narrative, a small acousmatic tale. If it can be seen in three parts, the material remains invariant but it progresses drastically! This oxymoron forges a continuous metallaxis of identical sounds, attempting to destroy memory while de- contextualizing intimate sounds from the past. My main goal was to unravel various treatments and representations of my material aiming for the illusion of multiple and heterogeneous sonic entities.

Intimate Sounds From The Past (2017)

~ Drops ~ (2017)
for saxophone quartet

premiered by the 
Quartet Iberosudamericano

18th World Saxophone Congress
in ACADEMY OF MUSIC Fran Lhotka Hall

The piece was initially commissioned by the association "Friends for Music" of Venaria Reale and was presented in parts by the Vagues saxophone quartet, Toniro – Italy, September 23rd, 2017.

~ Drops ~ (2017), for saxophone quartet

Machine learning (2018)
for amplified baritone saxophone and diffused electronics

IRCAM
Concert Cursus 2018
Centquatre, Salle 400 
June 16th, 2018

Interpreter : Elvis Sousa
Pedagogical supervision : 
• Mikhail Malt (Ircam)
• Claude Delangle (The Conservatory of Paris) 
Dedication: to Fred Lerdahl

In my piece Machine learning, I want to highlight the sound qualities of the key mechanism of the saxophone. It is amplified by several microphones on the outside, but also inside the main body of the instrument. This enabled me to access the hidden acoustic nuances of the instrument and investigate a new sonic territory, that of a sonic pallet full of various percussive sounds resonating in different ways. The goal of this project is to capture this hidden acoustic world of the instrument’s mechanism while understanding its potential for music making. Therefore, the performer is put in a place where he/she is reinvestigating the acoustic results of the traditional, common performance practices of the saxophone. The electronics are sonically intertwined with the acoustic properties of the resonant body of the instrument while expanding its acoustic and spatial possibilities. The final result is a projection of an augmented saxophone where acoustic and electronic sounds intermingle in a halo of mechanical sounds, metallic and versatile.

Machine learning (2018), for amplified baritone saxophone and diffused electronics

électro-folie (2020)
• l'aversion reflétant ''...for Violectra" (2018)
for electric violin and live, diffused electronics

Alicja Pilarczyk - e-violin
Piotr Peszat - audio recording, production
Stylianos Dimou - electronics design and audio mixing

Performance "non-lieux:nie-miejsca"
24.10.2020 
Trafostacja Sztuki w Szczecinie

électro-folie (2020) • l'aversion reflétant ''...for Violectra" (2018) is a piece for electric violin and diffused electronics. It is governed by the idea of percussive fragility and sliding instability. The main sound archetype is the organic interaction between wooden bow attacks and metallic thimble attacks on the strings of the e-violin. The piece gradually introduces multiple “glissando” gestures, slithers on the strings, in various speeds projecting a hidden world of granular subtleties that occur during the interaction of the thimbles on the strings. This becomes the central goal of the musical discourse while the structure is evolving.

The e-violin is one character within a virtual quadraphonic space (4 loudspeakers). The role of the electronics, primarily live, is to grasp the percussive density and transform it in the frequency and time domain. One of the roles of the live electronics is to generate a kind of “glue” that surrounds the instrumental gestures transforming them into a robust, thick and dense construction. In addition to that, the computer is responsible for the generation of multiple “e-violin identities”, instances that interact in a continuous counterpoint. One of the goals of the project is the disorientation of the audience by placing the e-violin, in unpredictable places, within the virtual quadraphonic space and blending it with the generated electronics.

électro-folie, for e-violin and live electronics (2020)

Les Instances (2019)
for diffused synthesized sounds and large ensemble

2019 annual Columbia Composers concert series
Conductor: James Baker 
Ensemble: Talea ensemble
March 29th, 2019
DiMenna Center for Classical Music – New York 

The piece was written for TALEA ensemble 
and is heartily dedicated to George E. Lewis

In "les instances" I am exploring the coexistence among digital, synthesized sounds and instrumental material. I am interested in experimenting with the reflection of an instrumental group on a synthesized soundscape that dominates the music discourse and has no spectral and/or sonic similarities with the material articulated by the ensemble. The structure of the piece is driven by a continuum of interchangeable, phrasal collages of distinct sonic and rhythmical structures, projected as sonic blocks, and formulating, eventually, the dramaturgy of the piece. The piece was written for Talea ensemble and is heartily dedicated to George E. Lewis.

Les Instances (2019), for diffused synthesized sounds and large ensemble

L' osmose (2019)
for tape

• Binaural decoding

L’ osmose is an acousmatic composition commissioned by the Ultima Oslo Contemporary Music Festival 2019 and was mixed at the Notam, Studio 3 in Oslo. The piece has been originally composed and diffused within a dome of a 32-loudspeaker array. The material of the piece is comprised of synthesized and electroacoustic sounds whereas its acoustic profile formulates a virtual, 3D soundscape. My goal is the depiction of a live, sonic organism emerging from various different angles of the space. The composition addresses one of my most recent conceptions with regard to formal structure that of angular, phrasal displacement and the unpredictable collage of heterogeneous material. I am interested in displacements and juxtapositions and form remains to be subject of ongoing and unorthodox osmosis of ideas.

L' osmose (2019)

Premiere performance:

impuls festival | akademie 2019 - February 2019 

February 14th, 2019 Graz, Austria
KUG. MUMUTH, György-Ligeti-Saal Lichtenfelsgasse 14, 8010 Graz

Other performances:

Kammermusiktag der Hochschule für Musik, Musik-Akademie Basel - January 19th, 2019
Basel Attacca Festival, Basel - June 15th, 2019
Finale des Concours Nicati 2019, Bern - August 31st, 2019

The piece was written for and heartily dedicated to the 
Concept Store Quartet
 
Alicja Pilarczyk
Nejc Grm 
Pablo González Balaguer 
Guillem Serrano

sur les traces de la fissure (2018), for baritone saxophone, violin, percussion and accordion

2019-20 annual Columbia Composers concert series.
TAK ensemble performs works by COLUMBIA COMPOSERS.

Saturday, February 29, 2020
8:00 PM  10:00 PM
TENRI Cultural Institute
43A West 13th Street New York, NY, 10011 United States

"dû à l'usure" v.2 (2019-20)
for female voice and small chamber ensemble

“dû à l'usure” v.2, is a piece that projects a canvas of phonetic noises and percussive rhythmic models in large repetitive, phrasal units. The female voice along with the percussionist formulate a noise-based phonetic construct that establishes the rhythmical and timbral archetypes of the piece. Repetitiveness and minimalistic mechanisms forge large structural shapes in a process of inevitable decay. This second and final version of the piece is dedicated to the TAK ensemble.

"dû à l'usure" • v.2 (2019-20), for female voice and small chamber ensemble

Stylianos Dimou is a distinguished Greek composer renowned for his expertise in acoustic, electroacoustic, and acousmatic music. In addition to his compositional work, he is an accomplished conductor, accordionist, and electronic music improviser. Dimou’s contributions to the field have earned him numerous awards and recognitions, supported by prestigious international organizations such as the Fulbright Program, the Alexander S. Onassis Public Benefit Foundation, and the Stavros Niarchos Foundation Public Humanities Initiative, Ernst Mach weltweit, Federal Ministry of Culture and Media of Austria, SWR Experimentalstudio, Calouste Gulbenkian Foundation, and Cité Internationale des Arts.

Dimou's musical education began with advanced studies in Music Composition at Aristotle University of Thessaloniki, Greece, where he completed his BMus and MMus under the guidance of Prof. Christos Samaras. He further developed his compositional skills at the University of Rochester's Eastman School of Music, earning an MA in Composition while studying with notable composers Ricardo Zohn-Muldoon, Carlos Sanchez-Gutierrez, Robert Morris, and David Liptak, and exploring advanced electronic music with Allan Schindler "(deceased)".

In 2017-18, Dimou participated in the prestigious Cursus program at the Institute for Research and Coordination in Acoustics/Music (IRCAM) in Paris, where he received professional training in Composition and advanced Electronic Music, under the mentorship of Mikhail Malt. He subsequently served as a Composer and Music Researcher at the OeAD organization, affiliated with the University of Music and Performing Arts Graz, Austria.

Dimou’s dedication to artistic excellence led to his selection as Composer in Residence at the Cité Internationale des Arts in Paris during the fall of 2019, an opportunity extended by The Embassy of Greece. He earned his Doctoral Degree from the Graduate School of Arts and Sciences at Columbia University, where he conducted advanced artistic research and pursued graduate studies as a Dean’s Fellow. His doctoral studies were guided by Prof. George Lewis, Prof. Fred Lerdahl, Prof. Georg Friedrich Haas, and Prof. Brad Garton, specializing in Composition, Music Theory, and Computer Music.

Stylianos Dimou is a tenured Associate Professor of Composition at the Grieg Academy, University of Bergen, Norway, within the Faculty of Fine Art, Music, and Design. He specializes in both acoustic and electroacoustic music, with teaching interests that encompass Composition (acoustic, mixed electroacoustic, and acousmatic), Music Technology, Music Theory, and Analysis. Dimou teaches across undergraduate and graduate programs, fostering students' exploration of contemporary compositional practices.

Dimou's research explores the creative symbiosis between human performers and technological systems across various artistic mediums and performance practices. His work emphasizes sonic hybridity and spatial immersion, with a focus on the integration of interactive sound systems, digital signal processing, and multichannel audio. His research delves into the complex structural relationships between chromatic and microtonal aggregations in intricate sonic architectures, with a particular focus on the music of Georges Aperghis. By investigating the intersections of instrumental and electroacoustic elements, Dimou seeks to create cohesive artistic frameworks that expand the boundaries of contemporary music.

Prior to his appointment at the University of Bergen, Dimou served as an Adjunct Faculty member at the University of Peloponnese, Greece - Spring 2024 -, where he taught sound design, interactive sound systems, digital signal processing, and immersive audio. He also held the position of Research Assistant Professor in the Academy of Music at Hong Kong Baptist University - Spring 2021 to Fall 2024 -, where he taught Composition, Music Technology, and Electroacoustic music. His work at these institutions emphasized the integration of technology into music performance, with a particular focus on live interactivity and the creative possibilities offered by technological innovation in the compositional process.

Among Dimou’s most distinguished accolades are the Ulysses Network / IRCAM Award for Artistic Excellence (2018-2019), 1st Prize at the 2nd International Composition Competition "Amici della Musica di Cagliari," and 1st Prize at the International Prize for Composition "Luigi Nono" (3rd edition). He also won 2nd Prize in the 24th Annual Martirano Award, 1st Prize with the Audience’s Prize at the Weimarer Frühjahrstage für zeitgenössische Musik (2012), and the Prize for orchestral music at the 5th [‘tactus] Young Composers Forum (2013). Dimou was a finalist for the Roche Young Commissions at the Lucerne Festival Academy (2013), judged by Pierre Boulez. His academic achievements include the Charles S. Miller Prize (2029) from Columbia University and the Wayne Brewster Barlow Prize from the Eastman School of Music.

https://stylianosdimou.com/biography

Stylianós Dimou

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