Georges Aperghis. A Greek composer born in Athens in 1945, he has lived and worked in Paris since 1963. In 1971, after a few instrumental pieces more or less inspired by serial techniques, he composes his first musical play La tragique histoire du nécromancien Hiéronimo et de son miroir. This piece is at the root of much of his future investigations into the relationships between music and text, between music and stage. Thus, he takes part in the great adventure of musical theater that begun in France at the Festival d’Avignon. In 1976, with the founding of ATEM (Atelier Théâtre et Musique), he reinvents his approach to composition with a new art-form inspired by everyday life and social issues transposed into an often absurd and poetic world, in which musicians, singers, actors, and multimedia artists meet on a equal footing (La bouteille à la mer, 1976; Conversations, 1985; Sextuor, 1993; Commentaires, 1996) After leaving ATEM in 1997, he goes on writing musical plays (Machinations, 2000; Paysage sous surveillance, 2002; Le petit chaperon rouge, 2003; Luna Park, 2011). His concert music includes a large series of instrument or vocal solo pieces (among them is his masterpiece Récitations, 1978), introducing theatrical elements here and there, sometimes purely gestural. His chamber music, either orchestral, vocal, or instrumental, is rich of many pieces composed for a wide variety of performing ensembles. In these, he does not give up his taste for experimentation, nor for a certain kind of provocation (Die Wände haben Ohren, for large orchestra, 1972), but unlike musical theater, nothing is intentionally stage-oriented, all is composition-driven. His opera works, a third domain of activity, may be considered a synthesis of his musical theater and concert music; here, the text is the unifying and decisive element, and the singing voice is the main vector of expression. Georges Aperghis has composed seven lyrical works, including Pandemonium (1973) inspired by Jules Vernes’ writings, Liebestod (1981) after a letter from Brentano to Goethe, Tristes tropiques (1996) after Levi-Strauss, Les Boulingrin (2010) after Georges Courteline. Indeed, since the early 2000s, classifying Georges Aperghis’s works in three distinct domains is more confusing than ever because of their very nature. Die Hamletmaschine (2001), an oratorio based on Heiner Muller’s work; Dark Side (2004), a "monodrama" based on Aeschylus’ Oresteia; Avis de tempête (2004), an opera; perhaps even Wölfli Kantata (2006), a cantata after Adolf Wölfli’s writings; or Happiness Daily (2009), for soprano, mezzo-soprano and ensemble; all of them challenge the issues of drama, of performance, of staging, and they illustrate the freedom with which Georges Aperghis plays on classification and genre, in the performing arts as well as the theater. A prolific composer with a never-ending inventiveness, Georges Aperghis is building a very personal corpus of works, serious and humorous at the same time, rooted in tradition as well as free of institutional constraints. Knowledgeably opening up unexpected horizons of vitality and ease for his performers, he skillfully reconciles the sound and the visual, as much as he broaches issues embedded in the tragic or derisory aspects of his time. In October 2011, Georges Aperghis received the Mauricio Kagel’s Prize. http://www.aperghis.com/lire/bio.html#ENGshot

 

 

Thimios Atzakas was born in Thessaloniki in 1971. He studied the classical guitar with Costas Cotsiolis, Hubert Käppel and Carlo Marchione. He was taught the oud and modal music by Ziad Radjab, Behnam Manadjedi and Ross Daly. He is a graduate of the New Conservatoire of Thessaloniki, the Music Academy of Köln and the Academy of Music and Drama of Leipzig. He lived in Berlin from 1998 until 2004. During the last decade, his main avocations have been the performance and exploration of the ud and other lute instruments, music composition and improvisation. Moreover, as a guitar player, he also performs early and contemporary music. Thymios has so far performed at international festivals and attended to and participated in many projects in Greece, Cyprus, Turkey, Romania, Spain, Portugal, England, France, Italy, Belgium, Germany, Switzerland, Morocco and Syria and Kirgizstan. He has broadcast and recorded for the Greek Radio and Television, the WDR, Deutsche Welle, MDR, Arte and the BBC. He has also founded music groups, amongst others: the Armos Ensemble, the Tropos Quartett Berlin, and, in collaboration with Antonis Anissegos, the SOMA. As of 2005, Thymios teaches the oud and co-ordinates music groups in the sector of Traditional Greek Music at the Department of Musical Arts and Sciences of Makedonia University.

Leontios J. Hadjileontiadis was born in Kastoria, Greece in 1966. He received the Diploma degree in Electrical Engineering in 1989 and the Ph.D. degree in Electrical and Computer Engineering in 1997, both from the Aristotle University of Thessaloniki, Thessaloniki, Greece. Since December 1999 he joined the Department of Electrical and Computer Engineering, Aristotle University of Thessaloniki, Thessaloniki, Greece as a faculty member, where he is currently an Associate Professor, working on lung sounds, heart sounds, bowel sounds, ECG data compression, seismic data analysis and crack detection in the Signal Processing and Biomedical Technology Unit of the Telecommunications Laboratory. His research interests are in higher-order statistics, alpha-stable distributions, higher-order zero crossings, wavelets, polyspectra, fractals, neuro-fuzzy modeling for medical, mobile and digital signal processing applications. Dr. Hadjileontiadis is a member of the Technical Chamber of Greece, of the IEEE, of the Higher-Order Statistics Society, of the International Lung Sounds Association, and of the American College of Chest Physicians. He was the recipient of the second award at the Best Paper Competition of the ninth Panhellenic Medical Conference on Thorax Diseases‘97, Thessaloniki. He was also an open finalist at the Student paper Competition (Whitaker Foundation) of the IEEE EMBS‘97, Chicago, IL, a finalist at the Student Paper Competition (in memory of Dick Poortvliet) of the MEDICON‘98, Lemesos, Cyprus, and the recipient of the Young Scientist Award of the twenty-fourth International Lung Sounds Conference‘99, Marburg, Germany. In 2004, 2005 and 2007 he organized and served as a mentor to three five student teams that have ranked as third, second and seventh worldwide, respectively, at the Imagine Cup Competition (Microsoft), Sao Paulo, Brazil (2004)/Yokohama, Japan (2005)/ Seoul, Korea (2007), with projects involving technology-based solutions for people with disabilities. Dr. Hadjileontiadis also holds a Ph.D. degree in music composition (University of York, UK, 2004) and he is currently a Professor in composition at the State Conservatory of Thessaloniki, Greece.

text: Fernando Pessoa ("Crónica da vida que passa…" 5 de Abril 1915, I.)

Common Brain. The work is based on the construction of a "common brain" in a bilateral perception; the one that is being shared and the one that does not deviate from the norm. Starting from the point of existence (through the understanding of breathing), the multi-layering proliferation of the neurons is developed, followed by the network-activation, text-training, external-stimulation reaction and, final, emotional responsiveness. The performers participate in a formation of the sound-scape with the real-time acquisition of their encephalogram and its transform to sound material, creating an experiential perception of the "common brain" in many different aspects of its development and formation. The experiential stochasticity brings the "sound liquidness" and continuous de/construction to the foreground, making them as basic structural ingredients of the dynamically produced composition in an alternative perspective, that of the, so called, Biomusic.

 

Haris Kittos was born in Thessaloniki, Greece, in 1971. In 1995 he graduated from the Macedonian Conservatoire, where he studied Solo Piano Performance, Harmony, Counterpoint, Fugue and Orchestration. Also, in 1997 he graduated from the School of Art, Aristotle University of Thessaloniki, obtaining BA (Hons) in Fine Art. In 1998 he moved to London, UK, and until 2000 he studied composition at Trinity College of Music at postgraduate level with Daryl Runswick and Andrew Lovett. Further study with Diana Burrell and full scholarship at the Guildhall School of Music and Drama led to MMus with distinction in 2001. Haris was also mentored by Theodore Antoniou, Susan Bradshaw, Alexander Goehr and Nye Parry. In 2008, fully funded by the AHRC and under the supervision of Julian Anderson, Dr Darla Crispin and Edwin Roxburgh, he concluded the DMus in composition at the Royal College of Music, where he has been lecturing since 2004. He also teaches composition at Purcell School since 2009. Haris has been a participant of the Blue Touch Paper scheme of the London Sinfonietta, under the mentorship of Georges Aperghis, the Composers Shortlist of Sound and Music, and New Voices of BMIC. His music has been performed throughout the UK and abroad by Arditti Quartet, Clariphonics, COMA, dissonArt, Ensemble Exposé, Ensemble In Extremis, London Sinfonietta, Jane Manning OBE, Sarah Nicolls, Smith Quartet, Solaris Quartet, Aleksander Szram, Nick Veliotis and others.

Haris Kittos: Hectic for voice and recorder, with electronics
(text: Harry Ross)

Hectic is a semi-theatrical piece which was inspired by the unique combination of UMS ‘n JIP, with their abilities for acting and alternate a variety of voices and recorders. The main idea of the work is that the voice plays a leading ‘character’ who ‘suffers’ from a multiple personalities disorder, while the recorder has a generally supporting role. The dominating personality of the leading ‘character’ speaks Greek but has lost the ability of articulated speech and produces a continuous flow of nonsensical sounds. In the meantime, there are four more personalities in this ‘character’ that are tying to be heard, managing though to ‘insert’ only syllables from the same text into the feverish situation*. The first and most frequent of these personalities is the speaking voice, in German, while the rest are singing voices: baritone and stroh bass in English, tenor and mixed voice in French, contra-tenor in Italian.

* the text is derived from the EU Lex document 52012PC0738: “ recommendation for a COUNCIL DECISION amending Decision 2011/734/EU which is addressed to Greece with a view to reinforcing and deepening fiscal surveillance and giving notice to Greece to take measures for the deficit reduction judged necessary to remedy the situation of excessive deficit”

Panayiotis Kokoras (Greece, 1974) studied composition with I. Ioannidi, K. Varotsi, A. Kergomard and classical guitar with E. Asimakopoulo in Athens, Greece. In 1999 he moved to England, for postgraduate studies where he completed his MA and PhD in composition with T. Myatt at the University of York with funds from Arts and Humanities Research Board (AHRB) and Aleksandra Trianti Music Scholarships (Society Friends of Music) among others. His works have been commissioned by institutes and festivals such as FROMM (Harvard University) IRCAM (France), MATA (New York), Spring Festival (The University of York), Gaudeamus (Netherlands), ZKM (Germany), IMEB (France), and regularly performed in over 400 concerts in 70 cities around the world. His compositions have received 40 distinctions and prizes in international competitions among others Prix Ars Electronica 2011 (Austria), Métamorphoses 2010 & 2000 (Belgium), Giga-Hertz Music Award 2009 (Germany), ECPNM 2009 (Sweden), Bourges 2009, 2008 and 2004 (France), Gianni Bergamo 2007 (Switzerland), Pierre Schaeffer 2005 (Italy), Musica Viva 2005 and 2002 (Portugal), Look and Listen Prize 2004 (New York), Gaudeamus 2004 and 2003 (Holland), Jurgenson Competition 2003 (Russia), Seoul international competition 2003 (Korea), Takemitsu Composition Award 2002 (Japan), Noroit Prize 2002 (France), CIMESP 2002 (Brazil). Moreover, they have been selected by juries at more than 100 international call for score opportunities. Panayiotis Kokoras sound compositions develop functional classification and matching sound systems written on what he calls Holophonic Musical Texture. His works include significant influences of the electroacoustic studio upon acoustic instrumental compositions and vice versa. Panayiotis Kokoras' creative output consists of 50 works ranging from acoustic works to mixed media, improvisation and tape. He is founding member and currently Vice President of the Hellenic Electroacoustic Music Composers Association (HELMCA). He has taught at the HigherTechnological and Educational Institute of Crete and the Aristotle University of Thessaloniki. Since August 2012 he is Assistant Professor at the University of North Texas. His music is published in 30 CD compilations by Spectrum Press, NOR, Miso Musica, SAN / CEC, Independent Opposition Records, ICMC2004 and distributed in limited editions by LOSS, Host Artists Group, Musica Nova, Computer Music Journal (MIT Press), Dissonance Records and others. www.panayiotiskokoras.com

Hiss and Whistle - Sound Theatre Act I: Boiling Teapot (2013) for amplified alto recorder, tenor voice and electronics. Duration 8 minutes.

The work Hiss and Whistle: Teapot Boiling is part of a larger project under the general title Sound Theatre. It as been commissioned by the Swiss duo UMS ‘n JIP and completed in January 2013. The piece takes place, sometimes with a surreal and sometimes in a realistic manner, in a room where the protagonist is preparing a cup of tea. The sounds, meanings and gestures of this single story suggest the final structure of the piece. In Hiss and Whistle the 'classic standard sound' of the recorder and voice is abandoned as a result of the lack of melody, harmony and rhythm. However, special emphasis is given to the organization and function of 'sound notes' that synthesize the composition and reveal the form and content of the piece.

 

Michalis Lapidakis was born in Thessaloniki, Greece in 1960. He began his musical studies in the State Conservatory of Thessaloniki. In 1988 he earned a Master's degree (M.M) in Composition at Boston University and in 1993 a Doctoral degree (D.M.) in Composition at Northwestern University. He has studied with A. Stout, Th. Antoniou, O. Messiaen, P. Boulez, T. Takemitsu and I. Xenakis among others. His compositional output includes works for orchestra (Five Pieces, Three Portraits, IA-POMH (Route E-75), "Narration: to compose the serenity . . .", In a State of Flux IIa), various instrumental ensembles (Vera Quartet, In a State of Flux II, Return, Entweder Oder), solo intruments (Five Preludes, Perspectives, Comments, Akira's Dream, Ein andrer Hauch, Taxims), voice (Days, Un soleil noir, SIS) and electronics (Die Niemandsrose) that have been performed internationally and received numerous awards. He has received commissions by orchestras and contemporary music ensembles like Camerata, Symphony Orchestra of Bulgaria, Orchestra of Colours, State Orchestra of Thessaloniki, Alea III, e.t.c. His works are published by the music house "Philippos Nakas" and have appeared with various labels (Capstone Records, Lyra, e.t.c.). A large part of his music is based on literary and other extramusical sources whereas in all his music one can trace the composer’s tendency to integrate the strict organization of musical structures with a deep respect for the unexpectedness of true improvisation. He has also written music for multi-media productions, theatre and contemporary dance. Since September 2000 Michalis Lapidakis is Associate Professor of Composition at the Aristoteleion University of Thessaloniki, Greece.

Four Allegories for contratenor/tenor recorders (tenor & contrabass)
“Frage”
“Ziel”
“Monologue(s)”
“Agon”

In the Frage Allegory for tenor recorder and contratenor/tenor voice, the all generating idea consists in the codification of the sentence «frage: worauf hoffen?» according to the Mors code. The Ziel allegory for tenor recorder and contratenor/tenor voice is based on the phrase «also, üblicherweise wird versucht ein ziel möglichst schnell zu erreichen, wenn es bekannt wird». The Monologue(s) Allegory for contrabass recorder and voice is the voice’s monologue or its attempt to utter a monologue that is based on the phrase «es gibt nichts zu erreichen wäre außer dem tod». The Agon Allegory for contrabass recorder and contra tenor voice is an allegory of an “agon” (ancient Greek word for combat, contest). The above mentioned phrases originate from the novel “der sechste sinn” of the Austrian writer Konrad Beyer. The Four Allegories can be played in any order. The work is dedicated to UMS ‘n JIP.

Kostas Makrygiannakis studied music (Thessaloniki-Greece, Synchronon Conservatoire, London-UK, Trinity College of Music) and economics/business administration (Thessaloniki-AUTH, Ecole Superieure de Commerce – Dijon FR). He also attended several masterclasses and workshops with acclaimed musicians and has been distinguished in international competitions as prize-winner or finalist. Since 1997 he has widely performed in venues and festivals in Greece, UK, Germany, Denmark, Romania, Cyprus and Czech Republic. His broad area of interests includes chamber music, new music for guitar, historically based performance as well as pop music, conceptual music and composition. He has premiered many new works for solo guitar as well as for chamber ensembles, promoting contemporary music in Greece and abroad. He has broadcasted for Greek State Radio and Television, BBC, EBU and has been engaged in several album recordings. His performances have received great reviews from the international press such as Classical Guitar Magazine (UK), Neue Presse (Germany) and from Greek newspapers and magazines. Kostas is the artistic director of Guitar Plus Festival in Thessaloniki, the only greek festival entirely focused on chamber guitar music from Renaissance to the present day. Together with Thimios Atzakas and George–Emmanuel Lazaridis, he is a founding member of Music Village International Arts Community, (www.music-village.gr) one of the most important cultural societies in Greece, which brings together artists from all over the world in the context of performing, education and cultural cross-breeding.

Dimitris Maronidis was born in Thessaloniki in 1980. He studied the technique of Counterpoint, Harmony, Orchestration and Composition at the State Conservatory of Thessaloniki and also Musicology and Music Theory at the Music Department of Aristotle University of Thessaloniki where he earned his BA degree after the successful completion of his thesis, focusing on the use of Markov Chains in interactive music environments composed/constructed with Max/MSP. In 2006 he moved to the United Kingdom, for doctoral studies and he completed his Ph.D degree in music composition at the Music Department of York University in 2009, under the supervision of Dr. Thoma Simaku with funds from the State Scholarships Foundation of Greece (IKY). In 2011 he moved to United States of America and he pursued a post-doc research as a visiting Fulbright scholar at Harvard University. During 2000/1 he participated in an experimental project which was held at the Aristotle University in collaboration with the American Hellenic Educational Progressive Association (AHEPA) and the Institute of Psycho-acoustics (IPSA) directed by prof. Thanassis Rikakis. There he was introduced to the techniques of algorithmic composition and sound synthesis using software like OpenMusic, Csound, Cmix Max/MSP e.t.c. His music has been performed at various festivals in Greece and other countries [Milano incontra la Grecia (Italy), HCMF (UK), Acanthes (France) etc.] He has attended various seminars on music composition and music analysis with D. Blake, L. Hadjileontiadis, H. Tulve, T. Antoniou, T. Simaku, I. Papadatos Chaya Czernowin, George Aperghis, Philippe Hurrel, Oscar Strasnoy, Unsuk Chin e.t.c. His musical output includes both acoustic, electroacoustic, mixed media and interactive music. In his recent works he uses extensive algorithmic processes and he organizes his music material based primarily on a non-symbolic way of thinking. He is programming himself the software that he uses and he tries to explore and expand the inner properties of sound from a mathematical - physical point of view.

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Dimitri Papageorgiou was born in Thessaloniki in 1965. He majored in composition with Hermann Markus Pressl and Andreij Dobrowolski at the University of Music and Dramatic Arts at Graz in Austria. From 1998-2002 he held a Presidential Fellowship of the University of Iowa, U.S.A., for a Ph.D. in Composition with Donald Martin Jenni, Jeremy Dale Roberts, and David Karl Gompper. Since 2007, he is appointed as assistant professor of composition at the Department of Music Studies of the Aristotle University of Thessaloniki. His works have been aired several times by the ÖRF (Austria), the Greek National Radio (3rd Program and 95.8), and several U.S. Radio Stations. He has appeared in festivals and conferences in Austria, Germany, Switzerland, Russia, Greece, Cyrpus, Croatia and several States of the U.S.A.. He has received commissions by several institutions and ensembles, such as SCI/ASCAP (U.S.A.), Institute for Electronic Music and Acoustics of the University of Music and Drama at Graz, Austrian National Radio and Literature Forum Graz, Thessaloniki Concert Hall, Ensemble Interface (Germany), Zeitfluss Ensemble (Austria), UMS & JIP (Switzerland), Trio IAMA (Greece), etc. In 2008 he was composer-in-residence at the festival 4020.mehr als Musik Linz and in 2006 the Minoritensaal Graz programed Papageorgiou's composer's portrait. In summer 2012, his work "Effluences" has been heard at the 46th International Summer Course for New Music Darmstdat and in March 2013 Klangforum Vienna performed his work In the Vestige of the Present at the Vienna Konzerthaus. He appeared in the discography in 2005 with the CD "Musing" by Capstone Records, NY, featuring his work "...d'ogne luce muto". In 2009 his work "In the Vestige of the Present" appeared on the CD "Present Perfect, Vol. 1" by Trio IAMA, which was released by Dissonarnce Records. He is the co-founder of the dissonart ensemble the first non-state sponsorded new music ensemble in Greece.

"Unending are the Mazes it Engenders"

The work is a mazing utterance of an uncanny, palpitating sound, which unravels with twists and turns through algorithmic mutations and reformulations, continuously circling back to itself by creating and not resolving the dialectics that underly its construction. Its mazing construction lacks of an en-trance, a center, and possibility of escape; it is a maze without a monster and a death-defying hero ...
The title is a quotation of a verse from the poem Everness by the Argentinian writer and poet Jorge Louis Borges:

And everything is part of that diverse
Crystal of memory, the universe;
Unending are the mazes it engenders

Eleni Ralli wurde in Thessaloniki, Griechenland geboren. Sie absolvierte 2007 ihr Studium an der "Macedonian University of Thessaloniki - Department of International, European, Economical and Political Studies". Es folgten viele Workshops, Seminare und Meisterkurse u. a. bei Mark Andre, Beat Furrer, George Aperghis, Manos Tsangaris und DissonArt Ensemble. Im September 2013 begann sie ihr Masterstudium in Komposition und Musiktheorie an der Musik Akademie Basel, Schweiz unter Prof. J.C. Walter und Michel Roth. Im Jahr 2013 absolvierte sie ihr Master und Bachelor Studium an der "Aristotel University of Thessaloniki - Department of Music Studies (Faculty of Composition)" mit dem Prädikat "Excellent". Sie schloss ihr Studium in den Fächern Harmonie, Kontrapunkt, Fuge und Komposition an der "State Conservatory of Thessaloniki" ab. Sie nahm an einigen Kompositionswettbewerben teil und wurde dabei mehrere Male unter die Finalisten gewählt. So war sie 2008/2009 Finalist beim "International Music Prize for Excellence in Composition" und Finalist in "aXes Krakau Festival 2014". 2014 beim Wettbewerb ‚Iktus Percussion International Score Call’ mit ihrem Stück "COMplex COMbinations in 3" und ebenso 2014 als Finalist in "IV Kiev International Master-Classer for new Music Course". Ihre Werke wurden in den Ländern Deutschland, Schweiz, Griechenland und Polen aufgeführt.

Antonis Rouvelas was born in Papadianika (Laconia, Greece) in 1987. He started working with music in local unions, in 2006 he was admitted in Aristotle University of Thessaloniki – Department of Music Studies and the year after he was accepted to study composition with Dimitri Papageorgiou (for one year with Michalis Lapidakis, too). In September 2012 he was accepted in the Master’s Program at the University for Music and Performing Arts of Graz, studying composition under the supervision of Beat Furrer. In 2010 he participated in 4th contemporary music workshop with his work Retrospective spasm for ensemble (Thessaloniki Concert Hall - 24-26.4.2010). In 2011 he was selected for a scholarship at the Composition Workshop with Beat Furrer and dissonArt ensemble (Music Village 2011). In 2012 he was selected as full student at Pierluigi Billone's masterclass (Venecia, Fontazione Querini Stampalia). Also, he won the 2nd prize in 5th Panhellenic Composition Competition in memory of Dimitris Dragatakis with the work Semimpulsive spasm, for ensemble (2012). He’s been attending seminars, workshops and courses with subjects that relate mostly contemporary music and free improvisation (P. Billone, G. Aperghis, G.Stabler, K.Shim, A. Porfiriadis, P. Kokoras, DissonArt ensemble a.o.). Website: antonisrouvelas.blogspot.com

The motive for the series ‘’Peristatiko 5663a elifthi’’ was the desire for a common work with my friend Odysseas Gkallios (text). The basic pursuit of the series’ third part was the localization of relationships in the text, which can also be transferred into the music, for instance relationships in the structure, layout etc. Both music and text, each one from their point of view, create another one parameter, i.e. the relationship that the two performers can have between them (relationship of interaction – independence, amplified by their positions in the stage).

Text:
an end instead of a beginning / incident 5663a closed // Hypothermia / Vertigo / fragments of yesterday / attempt number one / Attempt number two / Spring and nausea // third attempt, an effort / more persistent than anything /a tough life getting tougher / always in comparison, never me, always the opposite of someone else / the identical echo of someone else / To be defined through another, to follow a set text for the day, compromise: a fate for our generation. // yet it's closing it will never open again, at least not in this way, our times call for a closure and i respect them, see i adapt cause it suits me. // incidents, transient urban accidents, bourgeois long distance events, falling into decay. // onset of an era.

Zesses Seglias was born in Greece in 1984, where he started his music education with J. Gouranis. He pursued studies in Composition and Music Theatre with Dr. Michalis Lapidakis at the Aristotle University of Thessaloniki (2002 – 2008, Bachelor Degree) and with Beat Furrer at the University for Music and Performing Arts of Graz, Austria (2009 – 2011, Masters Degree). He is currently a PhD candidate at the Aristotle University of Thessaloniki, under the supervision of Dr. Dimitris Papageorgiou. Zesses Seglias has attended numerous master classes (Darmstadt Summer Academy 2010, Centre Acanthes 2011, Impuls Academy 2011, Tschaikovsky Academy 2012) with G. Aperghis, P. Billone, G. F. Haas, C. Czernowin, Andre, M. Stroppa, Ph. Hurel, K. Lang P. Ablinger among others. His pieces have been performed in various cities in 10 countries by various ensembles and performers, such as D. Michel-Dansac, P.-S. Meuge, Er. Theodorakis, MCME (Ru), the DissonArt Ensemble (Gr), the Helsinki Chamber Choir (Fi), Ensemble Cairn (F) and others. In July 2012 he was awarded with the 1st prize at the International Einojuhani Rautavaara Chamber Choir Composition Workshop and Competition 2012 and was also prenominated for the Impuls Competition. All of his studies have been funded by Greek Foundations, such as the State Scholarships Foundation (IKY), the Onassis Foundation and the Greek Composers Union. Next projects include a new commission for the Helsinki Chamber Choir, as well as for the swiss duo UMS ‘n’ JIP, and a performance of his latest music theatre piece "hystéra" in Graz under the baton of Beat Furrer.

In this piece I treat sound as a living organism. The sound lies itself, having its own life. Any differentiation in the sound's state happens as an inner motion of this life. The sound is not considered to be moving. In this way, any external movement that may occur gives shape to the form, which is anyway integrated into the sound. This is obvious in sonic objects, which may nevertheless be transformed into situations or even processes; a need for an unexpected shift in this phenomenon calls for a "mago del suono".