Orchestral

Stylianos Dimou

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)

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

Manifeste 2014, the academy

Ensemble InterContemporain and Juliet Fraser (EXAUDI vocal ensemble)under the baton of Julien Leroy. 



(hy) – (cha) – (hy) – hypnos

If you see him – (ch) – , if you see him
tell him that we’re playing, playing
(a) – (a) –, hide and seek!
Tell him, tell him that insomnia, insomnia
tell him, that she’s dancing, dancing her wild dance!
(a) – deep, deep in my mind’s conquered labyrinth.

Ela, (m) – ela, take me on a voyage until
don’t don’t deny me
don't leave me at the mercy of my Erinyes – (a)
don't
don't leave me at the mercy of a bitter rain
that for years, that for years
that for years I’ve known one day will come

Ela – ela – ela
don't deny me

I open my mouth and I stare at the sky
with menace, his punishment
the punishment of tasting
don't be late
my tired body longs for your presence
cries under you touch.

Away from [Anit]


enigma's “I”: away from [Anit] (2014), for soprano and large ensemble

Manifeste 2014, the Academy

First reading by the Orchestre Philharmonique de Radio France under the baton of Hyun-Jin YUN.



"about" [Zr0]: a fallacy of a thread's grey trace, for orchestra (2014)

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

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)

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)

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

"about" [Zr0]: a fallacy of a thread's grey trace, for orchestra (2014)

Stylianós Dimou