Ηλεκτροακουστική Άνοιξη 2025
30 & 31 Μαίου, 8.30 μμ.
Aμφιθέατρο Τμήματος Μουσικής Τεχνολογίας & Ακουστικής (ΕΛΜΕΠΑ), Ρέθυμνο
Η Ηλεκτροακουστική Άνοιξη είναι το ετήσιο (από το 2014) φεστιβάλ ηλεκτροακουστικής μουσικής στο Ρέθυμνο. Το πρόγραμμα περιλαμβάνει συνθέσεις από διάφορες τάσεις της ηλεκτροακουστικής / ακουσματικής μουσικής όπου παρουσιάζονται πρόσφατα αλλά και παλαιότερα έργα του διεθνούς ρεπερτορίου. Tα έργα παίζονται με ορχήστρα ηχείων περιμετρικά του ακροατηρίου.
Η Ηλεκτροακουστική Άνοιξη 2025 περιλαμβάνει ένα ειδικό αφιέρωμα στον Jonty Harrison καθώς και έργα μελών της Διεθνούς Συνομοσπονδίας Ηλεκτροακουστικής Μουσικής (CIME/ICEM) και του Eλληνικού Συνδέσμου Συνθετών Hλεκτροακουστικής Mουσικής (ΕΣΣΗΜ). Eιδικά προσκεκλειμένος είναι ο Βασίλης Ρούπας. Συνολικά θα παρουσιασθούν έργα των Jonty Harrison, Bernard Parmegiani, Todor Todoroff, Oktawia Paczkowska, Nicola Cappelletti, Pedro Padua, Antonio Russek , Erik Nyström, Μάριου Μόρα, Ανδρέα Ανδρέοβιτς, Σπύρου Πολυχρονόπουλου, Δημήτρη Μπαρνιά, Νίκου Σταυρόπουλου, Βασίλη Ρούπα και Κατερίνας Τζεδάκη.
Υπεύθυνοι του φεστιβάλ είναι ο Νικόλας Βαλσαμάκης και η Κατερίνα Τζεδάκη.
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Παρασκευή 30 Mαίου
Συναυλία A1
Jonty Harrison – Rock’n’Roll (2004) 11’43 [8-channel]
Jonty Harrison – Espaces Cachés (2014) 13’54 [8-channel]
Jonty Harrison – Petit Prélude Parallèle (2018) 8’45 [8-channel]
Jonty Harrison – Postcards From Azet (2023) 9’57 [8-channel]
Συναυλία A2
Μάριος Μόρας – Components Of A Concrete Nature (2024) 4.21
Σπύρος Πολυχρονόπουλος & Γιώργος Δημητριάδης – Near Field pt1 (2024) 13.20
Δημήτρης Μπαρνιάς – Deliverance (2025) 15.32 [4-Channel]
Todor Todoroff [FeBeME] – Kinetic Reflections (2023) 11’31 [8-Channel]
Νίκος Σταυρόπουλος – Par Une Belle Fin d’Apres-Midi (2024) 8.20 [8-Channel]
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Σάββατο 31 Μαίου
Συναυλία B1
Pedro Padua [DME] – Between Spaces (2025) 7.15
Ανδρέας Ανδρέοβιτς – Άμυλο (2025) 8.24
Nicola Cappelletti [TEMPO REALE] – Tuning Limestone (2024) 17.13 [8-Channel]
Antonio Russek [AARSOM] – Universos Paralelos (2022) 13.24 [8-Channel]
Oktawia Paczkowska [PSeME] – Close/Distant (2022) 9.22 [8-Channel]
Συναυλία B2
Κατερίνα Τζεδάκη – Εν Ύδασιν (2025) 8.13 [ video ]
Erik Nyström – Textonics (2017) 7.11 [8-Channel]
Bernard Parmegiani – Rêveries (2007) 13.46
Βασίλης Ρούπας – Eclipsed (2019) 24:16
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Συναυλία A1
Jonty Harrison – Rock’n’Roll (2004) 11’43 [8-channel]
When we moved into our house, we inherited a heavy garden roller with a concrete wheel. Rolling this implement around our garden pathways proved sonically interesting, as did hastening the collapse of various bits of wall and other stonework. As you can probably tell, I’m no gardener! In the course of developing the material in the studio, my attention became more focused on the ‘rock’ sounds than on the roller sound which had originally caught my ear. In particular, I became preoccupied with getting as close as possible to the rocks (possibly even ‘inside’ them), in contrast to the more open, spacious and ‘environmental’ use of the roller material and the garden ambience. The 8-channel format allowed a further exaggeration of this contrast, using a stereo speaker array for the close material and a quasi-hexagonal surround array for the ambience. Many thanks to Pete Batchelor for his invaluable processing and spatialisation patches in Max/MSP. Rock’n’Roll is dedicated to my wife, Ali, who did the energetic bit of the recordings while I held the microphone and gave instructions. The title of the piece just had to be!
Jonty Harrison – Espaces Cachés (2014) 13’54 [8-channel]
We are accustomed to accepting the version of sonic reality delivered through the illusion of stereo – which offers an interpretation of ‘space’ as two-dimensional, and with limited horizons of breadth and depth. In Espaces cachés, a variety of spaces, places, scenes and vistas (which we may or may not have experienced, but which we somehow recognise) is evoked through sound alone and animated by the multichannel sound system. Sounds reach us as they would in everyday life, as if we were ‘there’ – from multiple locations in different positions and at different heights and distances. In this sense we are closer to reality; but even the bounds of reality can be stretched by the agencies of motion and memory – unreality, surreality and hyper-reality are but steps along the route that can be taken by the imagination… Espaces cachés was commissioned by the Maison des Arts Sonore, Montpellier.
Jonty Harrison – Petit Prélude Parallèle (2018) 8’45 [8-channel]
In memory of Claude Debussy. “If modern music may be said to have had a definite beginning, then it started with… the Prélude à l’après-midi d’un faune by Claude Debussy (1862-1918).” — Paul Griffiths. Debussy’s Prélude is one of ‘my’ pieces, part of my musical identity. I have played in it, conducted it and listened to it countless times… Composed to mark the centenary of Debussy’s death, this Petit prélude parallèle follows the melodic, harmonic and dynamic contours of the original, but also includes sonic references to Mallarmé’s evocation of the drowsy, heat-laden Sicilian afternoon in which the Faun remembers (or imagines) his erotic encounter.
Jonty Harrison – Postcards From Azet (2023) 9’57 [8-channel]
1.Openings 1:49
2.Bells 2:49
3.Fountain 2:13
4.Valley 3:06
Four aural snapshots based on recordings made in and around the village of Azet in the French Pyrenees. The work was composed for Aure sonore: festival de paysage sonore, Azet, 2-6 August 2023.
Jonty Harrison (born 1952) studied at the University of York between 1970 and 1976, before moving to London, where he worked at the National Theatre and City University. In 1980 he joined the Music Department of the University of Birmingham, where he was Director of the Electroacoustic Music Studios and of BEAST (Birmingham ElectroAcoustic Sound Theatre), which he founded in 1982. He retired as Professor of Composition and Electroacoustic Music in 2014 and is now Emeritus Professor. He was Guest Professor of Computer Music at the Technische Universität, Berlin (2010) and Leverhulme Emeritus Fellow (2014-15). He is Compositeur Associé with Maison des Arts Sonores/KLANG! Acousmonium, Montpellier, France. He has been commissioned by leading organisations and performers (INA-GRM, Bourges, ICMA, MAFILM/Magyar Rádió, Arts Council England, Electroacoustic Wales/Bangor University, Maison des Arts Sonores/KLANG! Acousmonium, BBC) and won several prizes (Bourges, Ars Electronica, Musica Nova, Destellos, Thomas Selig Fixed Media Award/DEGEM, Lloyds Bank, PRS Prize). His music appears on four solo albums (empreintes DIGITALes, Montreal) and on several compilations (NMC, Mnémosyne Musique Média, CDCM/Centaur, Asphodel, Clarinet Classics, FMR, Edition RZ and EMF).
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Συναυλία A2
Μάριος Μόρας – Components Of A Concrete Nature (2024) 4.21
Το Components Of A Concrete Nature αποτελεί κομμάτι μιας σειράς συνθέσεων, που δημιουργήθηκαν με βασικό concept την αφήγηση του τέλους της εποχής του ανθρώπου και την άνοδο της μηχανής. Για την συγκεκριμένη σύνθεση χρησιμοποιήθηκαν ηχογραφήσεις τοπίου που πραγματοποιήθηκαν με αναλογικά κασετόφωνα (dictaphones). Σκοπός της σύνθεσης ήταν η αποδόμηση των ήχων του φυσικού περιβάλλοντος και η ανάδειξη ενός νέου τεχνητού μηχανικού τοπίου, με την ηχητική παλέτα να προκύπτει από τον “λάθος” χειρισμό του μέσου αναπαραγωγής (κασετόφωνων). Η σύνθεση συμπεριλήφθηκε στην έκδοση Non Living Nature. Compositions for Dictaphone (moremars, 2024).
O Μάριος Μόρας γεννήθηκε το 1981, στη Λάρισα. Σπούδασε Μουσική Τεχνολογία και Ακουστική στο Ρέθυμνο, όπου και ζει Είναι ιδρυτικό μέλος του μουσικού label Moremars (2006 – σήμερα), στα πλαίσια του οποίου έχει συνεργαστεί με καλλιτέχνες όπως ο Philip Corner, Lionel Marchetti κ.α. Έχει γράψει μουσική για θεατρικές παραστάσεις με το Θέατρο Ανάποδα, και έχει μοιραστεί την σκηνή με μουσικούς όπως ο Matthew P. Hopkins, Mike Cooper κ.α.
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Σπύρος Πολυχρονόπουλος & Γιώργος Δημητριάδης – Near Field pt1 (2024) 13.20
An immersive multichannel experience where boundaries between natural and synthetic blur. Fragmented field recordings, sharp percussive strikes, resonant string drones, and shifting modular synth textures collide and dissolve through layers of custom digital processing. Moving through the extremes of the audible spectrum, from piercing high frequencies to dense, tactile lows, Nearfield invites audiences into an intimate auditory landscape, where attention magnifies the smallest gestures and hidden details pulse just beneath the surface.
Spyros Polychronopoulos, formerly known as Spyweirdos, is based in Athens, Greece, and deeply immersed in the world of sound, exploring its multifaceted nature as both a scientific phenomenon and an artistic expression. He is an Assistant Professor in the Department of Music Technology & Acoustics at HMU, with academic interests in acoustic levitation, musical acoustics, acoustic holography, and room acoustics. Further, he has been passionately engaged in the aesthetic aspects of sound since the late 90s, resulting in the release of 20 albums, collaborations with various musicians, and numerous concerts worldwide. His innovative creations, such as Live Electronic Music (LEM, Room40, 2016) and Nyfida (Room40, 2024), have revolutionized the distribution and listening to music, offering a dynamic and interactive experience.
Yorgos Dimitriadis, born in Thessaloniki Greece 1964, is a Berlin based percussionist, composer/improviser active in the fields of improvised music and contemporary jazz. In his original solo work he uses drums, cymbals and microphones to create.
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Δημήτρης Μπαρνιάς – Deliverance (2025) 15.32 [4-Channel]
Deliverance is designed for quadraphonic playback, inviting listeners to immerse themselves in a dynamic soundscape that feels both familiar and uncanny – expansive, yet intimate. The piece unfolds through evolving sonic textures and shifting spatial elements, creating a sense of movement and transformation. While largely driven by autonomous processes, subtle aesthetic interventions by the composer guide the overall character of the work as captured in its recorded form.
Dimitris Barnias. My music research focuses on algorithmic composition using environmental sounds. Working with modular synthesizers and the music programming language Pure Data, I design generative music systems aimed at creating autonomous compositions, as part of my doctoral research at HMU. Alongside my academic work, I actively perform in free improvisation concerts, both as a solo artist and in collaborative settings. I have collaborated with artists across disciplines – including dance and theatre groups, video artists and fellow musicians. My works have been presented at numerous Greek and international festivals, including: Electroacoustic Spring, Electroacoustic Music Days (ESSIM), Tanzahoi International Dance, London Greek Film Festival, Open Sails, Reveil Festival, Ametric Festival, Dance Days, Ride Cafe, Miden Video Dance Festival, Off Borders Festival, Pool International Festival, Dance on Screen, and Invisible City. I am an active member of the Hellenic Association of Electroacoustic Music Composers (ESSIM) and a strong advocate for Acoustic Ecology through various cultural initiatives in Chania, where I live.
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Todor Todoroff [FeBeME] – Kinetic Reflections (2023) 11’31 [8-Channel]
Pol Bury’s kinetic sculptures are fascinating: driven by motors, almost invisibly, using wires or, as if by magic, using magnets, they come to life and invite the viewer to stand still and take the time to discover them. Their slow movements take us into a suspended, almost meditative time-space. Close observation gradually alters the perception of movement and speed. Hypnotic internal rhythms arise; imaginary landscapes emerge, evolve, tip and jostle. Reflections on the polished metal surfaces multiply the points of view like so many dream-like echoes. Is it an illusion of reality or the reality of dreams?These images and rhythms are echoed in Kinetic reflections: hypnotic repetitions, gravity and lightness, shocks, rolls and flights, mechanics and mystery, themes and variations, transformations, transitions and ruptures all appeal to the listener’s imagination. The vast majority of the sounds come from experimental and improvisational sessions involving cello, voice, sensors and interactive digital transformations with the talented cellist Sigrid Vandenbogaerde.
Todor Todoroff. Telecommunications Engineer from Université Libre de Bruxelles (ULB), he received a First Prize and a Higher Degree in Electroacoustic Composition at the Royal Conservatories in Brussels and Mons. Co-founder and president of ARTeM (Art, Recherche, Technologie et Musique) and FeBeME-BeFEM (Belgian Federation for Electroacoustic Music), co-founder of Forum de la Création Musicale, he was researcher at ULB, Faculté Polytechnique de Mons and Numediart Institute, Professor at ESA-Arts2 and Belgian representative of EU-COST actions DAFx and ConGAS. He divides his time between research and creation, developing for the last 30 years hardware and software aspects of interactive systems, with an emphasis on multichannel sound spaces and new methods of sound transformation with gestural control. Besides concerts, fascinated by the dialogue with other art forms, he composes for film and video, installation, theatre and contemporary dance, through multiple collaborations. Prizewinner in several international competitions, his music has been programmed in numerous international festivals.
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Νίκος Σταυρόπουλος – Par Une Belle Fin d’Apres-Midi (2024) 8.20 [8-Channel]
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.
Νίκος Σταυρόπουλος. Σπούδασε πιάνο και θεωρητικά στην Ελλάδα και είναι απόφοιτος του τμήματος μουσικών σπουδών του Πανεπιστημίου της Ουαλίας και του Πανεπιστημίου του Σέφιλντ. Γράφει κυρίως ακουσματική αλλά και οργανική μουσική και το έργο του εστιάζει στην άρθρωση του ακουστικού χώρου, τη χρήση πολυκάναλων συστημάτων και την έννοια της απτότητας του ήχου στην ηλεκτροακουστική μουσική. Συνθέσεις του μεταδίδονται από το ραδιόφωνο και παρουσιάζονται τακτικά σε φεστιβάλ στην Ευρώπη, Ασία και Αμερική και έχουν βραβευτεί σε περισσότερους από 20 διεθνείς διαγωνισμούς. Είναι καθηγητής στο Leeds Beckett University στην Μεγάλη Βρετανία.
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Συναυλία B1
Pedro Padua [DME] – Between Spaces (2025) 7.15
“Entre Espaços” (Between Spaces) is an acousmatic piece that explores the fluidity and transition between different sound environments. Within the work we have an oscillation of places obtained through sounds and their characteristics. Due to a constant change of scenarios, although there is a connection between them through common sounds, the listener is often surprised by the new environment in which one finds oneself immersed, thus making the work quite unpredictable and interesting.
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Andreas Andreovits –Amylo (2025) 8.24
Το έργο «Άμυλο» βασίζεται σε υλικό που προέκυψε από επιτόπιες ηχογραφήσεις στο φαράγγι, των Μύλων στο Ρέθυμνο οι οποίες πραγματοποιήθηκαν τον Οκτώβριο του 2023. Μέσα από ήχους που αντηχούν μνήμες μιας παλαιότερης ακουστικής πραγματικότητας, το έργο πλάθει ένα ηχοτοπίο όπου το παρόν συναντά το παρελθόν σε μια αβέβαιη ισορροπία. Η σύνθεση δεν στοχεύει στην αναπαράσταση, αλλά στην ανάκληση – στην αποκάλυψη των αποτυπωμάτων που αφήνει ο χρόνος, όχι μόνο στον χώρο, αλλά και στον τρόπο που τον θυμόμαστε. Γιατί η μνήμη βαραίνει, στρέφεται, αλλάζει μορφή· διαμορφώνεται από τις φωνές που επιβιώνουν και τις σιωπές που επιβάλλονται. Σαν το βάρος και την περιστροφή ενός ήχου που κάποτε ήταν ζωντανός, και τώρα επιστρέφει διάχυτος, μέσα από τα ερείπια και την ανάσα του τόπου.
Ο Ανδρέας Ανδρέοβιτς γεννήθηκε στη Θεσσαλονίκη το 1998. Ξεκίνησε τις σπουδές του στην κλασική κιθάρα το 2004, ενώ το 2014 απέκτησε πτυχίο Αρμονίας και Θεωρίας της Μουσικής. Από το 2017 ζει στο Ρέθυμνο, όπου φοιτά στο Τμήμα Μουσικής Τεχνολογίας και Ακουστικής (ΕΛΜΕΠΑ).
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Nicola Cappelletti [TEMPO REALE] – Tuning Limestone (2024) 17.13 [8-Channel]
Tuning Limestone (in the term’s double meaning of “tune” and “harmony”) is the result an exploration and mapping of the multiplicity of sound phenotypes that make up the ecosystem of the city of Prato in Tuscany, Italy, documented, processed, and reassembled in a framing process. Just as the marly limestone (dominant in the city’s historic buildings and monumental architecture, and very present in the Calvana mountain range northeast of the city) is crossed by veins and points of different color and density, so Prato offers trace and living memory of multiple historical, social, urbanistic, ethnographic and morphological crossings, indelible imprints and elements of shared heritage with a strong timbral connotation. The sound investigation, carried out by documenting different contexts with special recording techniques, was conducted both in a documentary way and through the solicitation of materials, vibrating bodies, mechanical objects and surfaces to analyze their timbral potential and activate a dialogue with the context. Some of these elements were then chosen for their particular spectral and emblematic conformation to punctuate the structure of the composition, restoring a new soundscape at once identifiable and imaginative.
Nicola Cappelletti (ITA/FRA) is an electroacoustic sound artist, performer and composer. He focuses his artistic research on the relationship between acoustic sound and electronic processing in various expressive contexts of the contemporary arts, such as dance, visual arts, theater and poetry. He collaborates with numerous artists, performers and musicians in various fields of contemporary music. As a performer his activity ranges from popular music, with forays into rock and club music, to concerts of radical improvisation for prepared instruments, concrete sounds and electronics. As a composer, his work has been presented at ICMC, SMC Conference, NYCEMF, Ars Electronica, Muslab, Atemporanea, Colloqui di Informatica Musicale, Lund Contemporary, Simultan Festival, Mantis Festival, Cantiere internazionale d’Arte of Montepulciano, SICM Colloque International, Festival Nuova Consonanza, Australasian Computer Music Conference, Seoul International Computer Music Festival, Festival Orizzonti, Bologna in Lettere, Encode, Dancity. He is a member of the Opificio Sonoro ensemble directed by Marco Momi and he teaches Electroacoustic Composition at Italian conservatories.
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Antonio Russek [AARSOM] – Universos Paralelos (2022) 13.24 [8-Channel]
Multichannel acousmatic work produced in the author’s studio using mixed electroacoustic techniques; analog and digital synthesis, acoustic sample processing, original sound objects and field recordings brought together in a dimensional immersive environment. It is a metaphor of two parallel universes colliding in different time domains. The work is linked to a trajectory of the composer for 50 years focused on spatial composition and immersive audio.
Antonio Russek’s work has been linked to the performing arts since its inception, and he has expanded his participation to include interdisciplinary events, soundscapes for museums and galleries, video art and installation, film, theater, dance, video dance, radio art, and action art. He creates sound sculptures, electroacoustic instruments, and devices. With a distinguished career, Russek is a pioneer of what is now known as Sound Art, collaborating regularly with artists outside the strictly musical sphere, redefining the role of experimental music in our country. An expert in audioacoustics and producer, he provides advice to both new media producers and cultural institutions on a variety of projects. He founded the Independent Center for Music and Multimedia Research (CIIMM), where he developed important publishing work, producing albums, publications, conferences, consulting, organizing and curating electronic music concerts and new media. Antonio Russek’s work promoting the use and exploration of technology in art is reflected in his own work, with the creation of immersive sound environments in closed spaces, as well as sound projection in open spaces using multi-channel systems. In his 50 years of professional career, he has received awards and distinctions, and his work has been presented in 20 countries. He founded and directs the Multimedia Laboratory for the collective AlbercaArtes A.C. and the Sound Laboratory for the Faculty of Arts at the Autonomous University of the State of Morelos. He is a beneficiary of the National System of Art Creators.
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Oktawia Paczkowska [PSeME] – Close/Distant (2022) 9.22 [8-Channel]
“close/distant” delves into the contrast between what is intimately familiar and what feels remote and insignificant, using sound as its sole medium. The work invites listeners to experience a dynamic spectrum of perception, moving between what is intimately known and what feels distant, alien, or insignificant. At its core, the piece is concerned with the way sound can collapse or stretch the perceived distance between the self and the outside world. The compositional structure is built around contrasts in texture, density, and spatialization. Glitch-derived sound materials, processed field recordings, and layers of noise create a complex and evolving sonic environment. Fragmented digital distortions mimic the sensation of interference – both technological and emotional – while low, enveloping drones suggest vastness and isolation. The spatialization strategy is designed not just to surround the listener, but to articulate a sense of motion and dimensionality within the sound field itself. By blurring the boundaries between source and reflection, between foreground and background, the composition becomes a resonant space in which closeness and distance are constantly renegotiated. Rather than following a linear narrative, “close/distant” unfolds as a series of sonic encounters – moments of rupture, intimacy, suspension, and drift. It offers a contemplative journey through the fragile layers of attention, presence, and memory. The absence of visual elements heightens the listener’s engagement with the acoustic material, allowing sound to become a primary medium of thought and emotional resonance. Ultimately, the piece poses a question: how do we orient ourselves in a world where connections are fleeting and distances are constantly shifting? Through sound, “close/distant” creates a space to dwell in that uncertainty, to listen to the invisible lines that stretch between us and everything we perceive as ‘other’.
Oktawia Pączkowska – composer and sound artist from Poland. Winner of numerous competitions, including the Composition Competition of the 10th International Harp Duo Competition (2024), the Keiko Yoneda International Composers’ Competition (2021), the Current Resonance Festival Call for Works (2021), Over the Rainbow: Compositions for Human Rights, the 61st Tadeusz Baird Young Composers’ Competition, the 2017 Call for Scores organized by Diaphonia Edizioni, and a three-time finalist of the PRIX CIME International Electroacoustic Music Competition (2019, 2021, 2023). Her works have been performed both in Poland and internationally at festivals such as: Setkávání Nové Hudby Plus in Brno (Czech Republic, 2017), Tehran Contemporary Music Festival (Iran, 2018), New Music Days in Lucerne (Switzerland, 2018), New York City Electroacoustic Music Festival (USA, 2021), HELMCA Electroacoustic Music Days (Greece, 2021), Lampi Di Rete Audiovisual Marathon (Italy, 2022), Audio Art Festival in Kraków (2022, 2024), MUSICACOUSTICA-HANGZHOU (China, 2023), and Warsaw Autumn (2023, 2024). She has collaborated with ensembles such as Hard Rain Ensemble, XelmYa+, Figmentum Ensemble, and Spółdzielnia Muzyczna contemporary ensemble. Her artistic development has been shaped through masterclasses with composers such as Helmut Lachenmann, Wen Deqing, and Ivo Medek. She took part in the composer.pl residency program (2021), the JACK Studio for emerging artists (2023), and the international exchange program OneBeat Virtual #5 (2024). She received the Scholarship of the Minister of Culture and National Heritage for outstanding artistic achievement (2020), the Creative Scholarship of the City of Kraków (2023), and the Young Poland Scholarship (2024). She earned her Master’s degree in 2021 from the Krzysztof Penderecki Academy of Music in Kraków. In 2018, she studied under Professor Bettina Skrzypczak at the Hochschule Luzern in Switzerland as part of the Swiss-European Mobility Programme. She is currently pursuing a doctoral degree at the Fryderyk Chopin University of Music in Warsaw.
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Συναυλία Β2
Κατερίνα Τζεδάκη – Εν Ύδασιν (2025) 8.13 [ video ]
Η κεντρική ιδέα της οπτικοακουστικής αυτής σύνθεσης είναι η αποσπασματική αφηρημένη προσέγγιση των υδάτων σαν στοιχείο του κόσμου και της δημιουργίας όπως αναφέρονται στον προοιμιακό ψαλμό (103). Έχουν χρησιμοποιηθεί ηχογραφήσεις και συνθετικοί ήχοι, καθώς και σταθερό και κινούμενο οπτικό υλικό, αυτοσχέδιοι αλγόριθμοι αναδιάταξης και μεταμόρφωσης, σε συνδυασμό με επαναληπτικές, αναδρομικές, κινητικές και διαισθητικές συνθετικές διαδικασίες καθώς και ηχοποιητικές εικόνες που αναφέρονται στον ψαλμό 103.
Η Κατερίνα Τζεδάκη διδάσκει στο Τμήμα Μουσικής Τεχνολογίας & Ακουστικής του Ελληνικού Μεσογειακού Πανεπιστημίου, είναι ιδρυτικό μέλος της Ελληνικής Εταιρείας Ακουστικής Οικολογίας και του Ελληνικού Συνδέσμου Συνθετών Ηλεκτροακουστικής Μουσικής και πρόσφατα μέλος της Ένωσης Ελλήνων Μουσουργών. Ζει και εργάζεται στο Ρέθυμνο της Κρήτης.
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Erik Nyström – Textonics (2017) 7.11 [8-Channel]
The title of the work fuses micro and macro: textons, the quanta of spatial texture; and tectonics, a ‘geomorphology’ where textures coagulate and layer in a dense terrain. In this work, the two domains reflect a continuum between technology and nature: a post-nature of digital waste, where lost information gains a physical materiality. The synthesis methods employ both constructive and destructive forces: sound is generated as standard and non-standard waveforms, including Iannis Xenakis’ GENDYN algorithm and my own processes; but microscopic parts of sound are also deleted, creating a corrosive effect. The piece was composed on the Game of Life Wave Field Synthesis system in The Hague, The Netherlands, in 2017 – this is an eight-channel adaptation
Erik Nyström’s output includes live computer music, electroacoustic works, and sound installations. Most of his work is created for multichannel systems, and explores sound synthesis, spatial texture and algorithmic systems. Nyström also writes on topics related to texture, space and synthesis. He is currently Lecturer in Music at City, University of London, and was previously a Leverhulme Fellow at BEAST, University of Birmingham, UK. He studied with Denis Smalley at City, University of London. He performs worldwide and his music has been published by empreintes DIGITALes.
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Bernard Parmegiani – Rêveries (2007) 13.46
Bernard Parmegiani (1927 – 2013). For half a century Bernard Parmegiani has produced over a hundred major works, more than sixty of which are considered “concert” pieces. Some have defined the progress of electro-acoustic music (Violostries, Jazzex, Capture Ephémère, De Natura Sonorum, Exercismes…), others are quite simply lodged in in the French collective unconscious like the jingle tone at Roissy airport. He has composed innumerable scores for cinema and television, videos, theatre and mime… The music of Bernard Parmegiani consists of movements, continuums, straight lines, curves, repetitions and distortions…he functions as a genuine sonic designer, an utopian inventor of a music to be watched with the ears and heard with the eyes. He is constantly counterpoising opposites: natural and artificial, acoustic and electro-acoustic, interior and exterior, dense and sparse…The titles of his works explicitly announce this his intention. The interweaving of such notions may lead the listener to the brink of a vertiginous chasm, an aural parallel to Escher’s tortuous tessellations. Nonetheless, frequent repetition, impromptu refrains “techno” treatments way ahead of their time, all make his work relatively accessible, easily crossing over into the world of contemporary electronica. Beginning as a sound engineer for French television, Bernard Parmegiani soon joined G.R.M. (Musical Research Group) heartily encouraged by Pierre Schaeffer. His first major work “Violostries” appeared in 1963, a confrontation between sounds extracted exclusively from the violin and a violin soloist. He has explored other fields too: His piece “Jazzex” (1966) is a rare and successful meeting between “musique concrète” and jazz. “Du Pop à l’âne (1968) is an admixture of Pink Floyd bass lines, scattered piano notes, African percussion, church organ…He left GRM in 1992 moving to his own studio « Fabriquasons ». His collaboration with Cézame began in 1995 with «Génériques Potentiels» (CEZ 4009) followed by «Questions de Temps» (CEZ 4021) in 2001. “
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Βασίλης Ρούπας – Eclipsed (2019) 24:16
Ένα μεγάλης διάρκειας έργο ηλεκτρονικής μουσικής, που παίζει κυρίως με αλλαγές συχνοτήτων και εντάσεων. Στο δεύτερο μισό εισάγονται επίσης κάποια ρυθμικά στοιχεία. Εμπνευσμένο από τους άδειους δρόμους της Αθήνας κατά την απαγόρευση κυκλοφορίας λόγω κορωνοϊού, το κομμάτι βουτάει στην καρδιά του σκότους και ανακαλύπτει νέους κόσμους. Έγινε σε περιβάλλον linux. Παρουσιάστηκε για πρώτη φορά στις Ημέρες Ηλεκτροακουστικής Μουσικής 2021 στα Γιάννενα. Στο Ρέθυμνο θα παιχτεί μια ελαφρώς συντομευμένη εκδοχή.
Βασίλης Ρούπας. Συνθέτης, πιανίστας, αυτοσχεδιαστής, ιδρυτικό μέλος του ΕΣΣΗΜ.