for amplified percussive objects and electronics

minute | from within (2019-20)

Premiered by Rebecca Lloyd-Jones in January 2020 

at the University of California, San Diego.

minute | from within occupies itself with the concept of sonic spaces, where the minute sonic intricacies of the spaces of the individual objects are being captured, empowered, transformed, and projected via microphones placed inside their resonant bodies.

Rebecca Lloyd-Jones, in her recital program notes, writes: "Exploring the minute details of human action, Papatrechas' minute | from within explores rhythmic structures and patterns, coupling with this a tactile approach to gesture. Within the simplicity of a single touch, the work combines lyrical yet rigid lines, which encompass a rich and extremely broad spectrum of sonorities for the listener to connect to; with the micro finesses of each touch being enhanced through the amplification of the resonances produced by found objects and conventional instruments."

The project was audio and video recorded on December 18, 2020

at the Experimental Theater of the Music Department of the University of California, San Diego. 

 

Screen Shot 2021-01-05 at 10.00.19 AM.pn
Screen Shot 2021-01-03 at 6.47.56 PM.png
Screen Shot 2021-01-04 at 6.08.40 PM.png
setup.jpg

Grit (2019)

for piano, fixed media, live electronics, and sound diffusion

Premiered by Dimitris Paganos Koukakis in November 2019

 at the University of California, San Diego.

Note: The audio of this video is binaural. Use headphones for optimal experience.

Audio & video recording, editing, mixing, and mastering by Theocharis Papatrechas.

Pythmenas (2019)

a 3D audio installation for 28 channels

 

A project that involves data of natural habitats and urban environments with the addition of sounds from fellow performers, Pythmenas (Greek word for ‘bottom of the ocean’) is a collaborative 3D audio installation work that took place at the Spatialization Lab of the Qualcomm Institute of Technology at the University of California, San Diego in May 2019. 

 

The work combines the recorded data of bowhead whales coupled with acoustic imitation of seasonal ice activity. The acoustic data, collected by a team of scientists from UCSD's Scripps Institution of Oceanography, were captured by hydrophones at the bottom of the Arctic Ocean. Additionally, the sonic profiles from recordings of several ocean species were interpreted by my fellow UCSD performers, reacting to the data and also each other through improvisatory action. The performers’ signals were recorded and processed in combination with the original ocean data, with the sonic resultant of Pythmenas being an audio registration and fusion of the totality of the layers. The layers were subsequently projected and spatialized through an infrastructure of 28 spherically configured loudspeakers arranged three-dimensionally on 4 levels – 4 on the ground, 12 at ear-level, 8 6-feet above, and 4 on the ceiling. The 3D spatialization trajectories were constructed and operated within a Max/MSP patch, utilizing the Ambisonics model in the 4th order.  

 

Collaborators:

Alexander Ishov, flutes • Dimitris Paganos Koukakis, piano

Ilana Waniuk, violin • Rebecca Lloyd-Jones, percussion

PythmenasTheocharis Papatrechas
00:00 / 17:09

Note: This is a binaural recording. Use headphones for optimal experience.

grit_background.png

Reflections on Quadrat (2020)

for tape | an audio installation

Note: The audio of this video is binaural. Use headphones for optimal experience.

Inspired by and made during the 2020 lockdown, the project seeks to apply a malleable, yet dramaturgically compact, musical experience upon an iterative and purgatorial reality.

 

Accompanying Samuel Beckett's 'Quadrat', the audio component retracts, processes, and lays out samples from individual recording sessions with instrumentalists - friends and colleagues - taken place over the last few years.

 

Through the work, each distinct instrumental palette is assigned to one of the four walkers. The walkers become then sources of spatial movement. The listener follows the action being placed right at the center of the square facing the middle of the upper side.

The project will eventually be presented solely as an audio installation. In a dark room, a similar square is projected on the ground. In each of the four corners, a loudspeaker is placed facing the center. In another room, four instrumentalists are playing and their signals are processed and sent inside the area, following the spatialization trajectories of the play. The listeners are walking freely inside the square.

 

Dealing with the concept of sonic spaces, in Reflections on Quadrat, there are three spaces at play; the performance space, the performers’ space, and the acoustic space projected through the speakers. Added to that, the acoustic space is being electronically transformed by adjusting the room’s size and shape, its frequential sensitivity, and its absorption and reverberation times.

Collaborators:

Alexander Ishov, flutes • Alexandria Smith, trumpets

Michele Bianchini, saxophones • Rebecca Lloyd-Jones, percussion

Hearing Seascapes (2018-)

a collaborative research project

Since 2018, Theocharis has been involved in ongoing research projects at the Qualcomm Institute of the California Institute for Telecommunications and Information Technology (CalIT2), collaborating with Professor of Composition Lei Liang and scientist Dr. Joshua Jones from the Scripps Institution of Oceanography. The team deals with raw acoustic data captured by hydrophones at the bottom of the Arctic ocean. With the workspace being the Institute’s Spatialization Lab (a facility with 32.2 3D-arranged loudspeakers), captivating sounds of beluga whales, bearded seals, and white-beaked dolphins are extracted, edited, electronically manipulated, and spatialized. Willing to honor the co-habitats on this planet, the team endeavors to bring those unseen elements of nature out to the broader community through immersive artistic experiences.

The samples below provide an insight into how the raw data are transformed through the editing process.

 
Pod of Beluga Whales
Season 2 "Upingaaq"
Recorded on May 22, 2016
3_beluga_waveform.png
3_beluga_spectogram.png
 
Raw Recording
00:00 / 00:28
 
Final Designed Product
00:00 / 00:28
 
Bowhead Whale
Season 2 "Upingaaq"
Recorded on May 25, 2016
bowhead_waveform.png
bowhead_spectogram.png
 
Raw Recording
00:00 / 00:20
 
Final Designed Product
00:00 / 00:20

Slit (2019)

for double bass and fixed media

Premiered by Kathryn Schulmeister and the Vertixe Sonora 

in November 2019 in Padrón, Spain.

-excerpt 2:25-3:40-

for bass clarinet, violin, cello, and live electronics

Pictorial Fields: Traces in 1A  was premiered by the [Switch~ Ensemble] during the 2016 VIPA (Valencia International Performance Academy) Festival that took place in Valencia, Spain in July 2016.

Madison Greenstone, bass clarinet
Lauren Cauley, violin
T. J. Borden, cello

Electronics made based on a Max/MSP patch built by Nicolas Tzortzis.

Pictorial Fields: Traces in 1A (2016)

doomed to its paralysed eternity (2015-6)

for alto flute, tenor saxophone, percussion, piano

 

Commissioned by ensemble Suono Giallo

l'esprit de l'escalier (2014)

for large ensemble

 

Commissioned by Nouvel Ensemble Moderne

-excerpt-

Indiscriminately (2014)

for soprano, saxophone, piano

 

Commissioned by the Ritsos Ensemble

Poetry by Yiannis Ritsos

Le Radeau de la Méduse (2012)

for string quartet

 

Performed by the Mivos Quartet at the

Shanghai New Music Week 2012 in Shanghai, China.

Pictorial Fields: Traces in 1A.ii (2016)

version for violin, cello, and live electronics

 

Performed by Quartetto Mitja at the

MA/IN Matera Intermedia Festval 2016 in Matera, Italy

...yet so terribly afraid of its endlessness (2018)

for saxophone, fixed media, live electronics, and spatialization

Commissioned by Michele Bianchini 

to be included in his first solo album 'Grido'

published by Ars Publica.

-promo video-

ogalb01755897_large.jpg
GRIDO_20inlayWEB.jpg

About Grido:

'Grido (Shout) is the culmination of a collaboration carried out with some of the composers I have met, whose aim was to explore the full range of expressive possibilities that the saxophone offers. Each of the composers brings a unique approach and style, which makes for a stimulating mix of colors and sounds that highlight both the concrete and amorphous capacity of the instrument. This album is a sonic journey that presents a continuous meandering through various states from calm to anxiety, sounds ranging from vocal to instrumental, rhythmical moments that are solid then scattered, tonal qualities that move from vivid to somber, and textural environments here thick and opaque, there ephemeral and transparent - a combination of sensations that formulate a rich experience and provide a multifarious perspective of contemporary thought on the saxophone.'

- Michele Bianchini

...aspettando... (2014)

for staged amplified saxophonist and amplified alto saxophone

Written for Michele Bianchini and submitted

as part of the master's thesis at the Eastman School of Music

in April 2014.

Program Notes:

…aspettando… is a piece for solo alto saxophone that was completed in March 2014 and was commissioned by the Italian saxophonist Michele Bianchini. It lasts a little more than ten minutes, and was based on Samuel Beckett’s play Waiting for Godot (1948).

What influences me the most in Beckett’s work is the extremely well structured eccentric and erratic, though substantial, idiosyncratic atmosphere that lies on all of his works. What amazes me on the specific work, Waiting for Godot, is the monotonous, though tense, scenery that is given by the endless dialogues between Vladimir and Estragon, the two protagonists. I idolize how Beckett maintains this kind of energy throughout the work, though nothing really happens. That is what I tried to achieve in the solo saxophone work; contradiction: localized complexity vs macro-scale simplification and unification.

The solo piece was composed using a wide canvas of small and large gestures that were put in order in a particular way so that sometimes the connection between them does not make any sense. The process I used to achieve this phenomenon was that of breaking gestures in pieces and interfering smaller samples of gestures into other gestures. Consequently, although the local and micro-level may seem awkward and not well connected, the entirety of the structure has a logical momentum. This concept interprets the structural flow of Waiting for Godot, where, even if the essence and the meaning of each local discussion between the two protagonists may be minimal and totally irrelevant to the whole work, there is a macro-scale point that underlies and puts together the entirety of the work’s process (i.e. the fact of waiting for someone who never comes).