for amplified 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.
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.
Alexander Ishov, flutes • Alexandria Smith, trumpets
for piano, fixed media, live electronics, and sound diffusion
Premiered by Dimitris Paganos Koukakis in November 2019
the University of California, San Diego.
Note: The audio of this video is binaural. Use headphones for optimal experience.
a 3D audio installation for 28 channels
A project that involves data of natural habitats and urban environments with the addition of sounds from collaborative 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 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 a three-dimensional infrastructure of 28 spherically configured loudspeakers arranged in 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.
Note: This is a binaural recording. Use headphones for optimal experience.
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
The piece has no score. The three parts were written independently with each part moving through its own temporal stream. The three parts, sharing duration and sonic identity by being consistent on a dominant textural hue, were written to co-exist by beginning and finishing together, with the instrumentalists playing using click-tracks and without being aware of each other during the performance.
Solely for educational purposes, a video has been made after the completion of the composition and its premiere to provide a rudimentary score follower of the work, aligning in parallel the playbacks of the individual scores of the parts, aiming, firstly, to present a notational sense of the momentary vertical relationships throughout the musical activity and, secondly, to visualize the global progression of the layer of the composition’s dramaturgy.
The score follower video may be found here.
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
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.
'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
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.
…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).