Recording with Tetttix
We recorded a new version of The Musicians of Dourgouti with the Athens-based ensemble Tetttix at Sierra Studio. This version is conducted by Konstantinos Terzakis and features a spoken narration by filmmaker Daphné Hérétakis, replacing the projected texts of the original version. The recording is intended for a CD release featuring works by Michalis Paraskakis, Nikos Galenianos, Eleni Ralli, Stamatis Pasopoulos, as well as Nikos Ioakeim’s orchestration of the Eliot Songs by Jani Christou. The album is scheduled for release in 2026.
Gaudeamus Festival
I will be one of the jury members at this year's Gaudeamus Festival, together with Isabel Mundry and Moritz Eggert. The nominees for the award, who will be featured at the festival are: Matthew Grouse, Golnaz Shariatzadeh, Robin Haigh and Yaz Lancaster. Quatuor Bozzini will also be there, and we will have the opportunity to present the 2022 work hypnokaséta with Andy Moor on guitar and myself on live electronics.
Athens State Orchestra workshop in Spetses
Will be teaching again this year at The Athens State Orchestra's Pilot Contemporary Music Workshop held in Spetses, Aug 18-28. 10 new pieces by young composers will be performed by a large ensemble formed by members of the Athens State Orchestra, conducted by 10 young conductors. The workshop is held at the old Anargyrios & Korgialenios School of Spetses, (which is where Iannis Xenakis went to school in the 1930s). It was such a great experience last year, looking forward to this year's participants.
Festival d'Aix-en-Provence
A round table discussion at the Festival d'Aix-en-Provence under the title: COMPOSITION AND TECHNOLOGY IN THE AGE OF AI. The moderator is Jean-Baptiste Barrière, composer and multimedia artist, former director of research, education and creation at IRCAM. Participants will be composers Stefan Lattner, Clara Olivares Lucia Ronchetti, and myself. This roundtable is organised in cooperation with CultTech, and in partnership with the VOICES Performing Arts Festival in Berlin.
Testudo and Anemic Cinema
Performances of two works. The great contrabass player, Beltane Ruiz plays Testudo, for contrabass and electronics in a concert produced by GRAME in Théâtre Astrée, Lyon, in a programme featuring the work Folia by Kaija Saariaho and Présence by Raphaèle Biston.
Music for Anemic Cinema is performed by New Zealand ensemble Stroma, in a programme of music to experimental silent films, Anemic Cinema. Other pieces included by Andrew Faleatua, David Long, Feona Lee Jones, Iris ter Schiphorst and Olga Neuwirth.
Anima Obscura
Premiere of Anima Obscura at the O Festival in Rotterdam. This was Nanine Linning's debut as artistic director of Scapino Ballet. A re-staging of a Ballet made during covid in Bielefeld which featured my 2016 piece Ein Schemen, the Brahms Requiem recomposition. This version included a great cast of live musicians including Remy van Kesteren (harp), Laurens Vocal and Rotterdam Philharmonic. From the Scapino website: "Anima Obscura is a monumental work of art for a large ensemble of dancers in which choreography, video animation, holograms, costume design and music merge into an immersive theatrical experience. With her international artistic team, Linning manages to create a world that leaves no one untouched in breathtaking images. The performance features Johannes Brahms' majestic Ein Deutsches Requiem, cut with a contemporary version by composer Yannis Kyriakides. Renowned harpist Remy van Kesteren or Milana Zaric plays live and is part of the choreography. Collaborating on this innovative performance are internationally renowned artists, including fashion designer Irina Shaposhnikova. In a gigantic video set, videoscenographer Claudia Rohrmoser brings the latest technologies to life." Touring from Autumn 2025.
Conversation with Alvin Curran at Rewire Festival
Alvin Curran was the featured composer at this year's Rewire festival, I had the pleasure of interviewing him. It was a wonderful conversation. As an introduction: Alvin Curran is a pioneering composer, impoviser and sound artist, whose very diverse works over the last 60 years, leaves a indelible trace of an experimental music practice bridging the 20th and 21st century. If one was to try and sum up his work into one word or idea, it might be something like: “harmonising contradictions”, or better in his own words: “recombinant invention”. And it's not music from the ivory tower, it’s fundamentally music on a human scale, dealing with people, our relationships with each other and the world around us, all made in a highly personal, playful and passionate way.
Lingua Ignota
Finishing a new generative score to be performed by Kristia Michael and Sibil•la Ensemble as part of the 3rd Sacred Music Festival of the Greek National Opera. The piece is based on the mystical language invented by Hildegard von Bingen, and translates it into music through various algorithms. The Lingua Ignota is one of the earliest known constructed languages, with 23 letters and a glossary of 1,011 words. Each word, corresponding to theological and spiritual concepts, generates contrapuntal melodies. The concert, featured works that celebrate nature from the recent Sibil•la Ensemble album, Viriditas, with premieres of pieces by Ioannis Panagiotou, Aggelos Mastrantonis and Aspasia Nasopoulou.
Future Ancestrale II
Rehearsing and recording with new group together with Giueseppe Doronzo (saxophones) , Andy Moor (giuitar), Frank Rosaly (drums) and myself on electronics. A day of recording for a new forthcoming release, with some concerts planned in the coming months, including Lisbon and Novara jazz festivals.
Beyond Paper: Attributes of the Media Score
Essay published on the Research Catalogue dealing with Media Scores. Media scores—expansion of musical notation that incorporate other modalities, particularly enabling interactive and generative elements—have reshaped the relationships between composer, score, and performer. This essay examines nine distinct attributes of the media score that differentiate it from traditional notation. Through historical and contemporary examples, the discussion highlights how these attributes manifest in various artistic practices. Additionally, the author's own compositions are cited, with particular focus on Mutability, a large-scale collaborative project that highlights many of the elements discussed in the paper.
