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Solo


Music for solo instruments

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Solo


Music for solo instruments

 

A collage of different sonic moods, changing abruptly from one to the other,  an attempt to render thoughts broken by  intense emotions  flooding the mind when falling in and out of love. |  May 2008, Aneton Theatre, Thessaloniki, Greece.

 

Hauntingly simple, like children’s songs, yet diluted through fragile dissonance. Repeated over and over again, much like a painful thought looking for a solution but never finding it. | 19th June 2011, Hellenic Centre, London.

 

Inspired by the compositional style of Béla Bartók and his affection for folk music, this piece is based on a folk tune from my homeland, Cyprus. | 16th June 2010, Blackheath Halls, London.

 
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Ensembles


Ensemble & Orchestral

Ensembles


Ensemble & Orchestral

 

Commissioned for the London-Jerusalem project, a collaboration of composers and performers from the Jerusalem Academy of Music and Dance and Trinity Laban Conservatoire of Music and Dance (UK & Israel, Spring 2012) the piece is influenced by modes and rhythms used in Middle-Eastern religious chants.

 

Aiming to create an atmosphere of mystical stillness, this piece uses visual gestures, extended techniques and the performers’ voices., often on the verge of audibility. | April 2010, Trinity Laban, London.

 

An attempt at a sonic rendition of swarm-like collective movements with voices. The piece relies heavily on improvisatory techniques and allows a fair amount of freedom for each individual singer. The inspiration for this piece came from the story of Onesilus, the warrior king of Salamis in ancient Cyprus. | Workshop recording at Trinity College of Music, 2010.

A series of orchestrational crescendi, layered over rhythmical ostinati, dense textural movement in the string section, swelling brass chords and parallel chordal movement in the woodwind section. | Workshop recording at Blackheath Halls, London 2010.

 
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Electronic


Electroacoustic & Electronic

Electronic


Electroacoustic & Electronic

 

The performer is asked to be both violent and lyrical, sometimes ‘destroying’ the sounds produced through intense bow pressure, sometimes playing extremely delicately. Thus, the viola becomes a fragile vessel, containing the processed echoes of its past. | 16th June 2010, Blackheath Halls, London.

Based on the 24th poem from the 'Mythistorema' collection, by George Seferis. The original Greek version of the poem can be found here and a translation of it can be found here. | 28th May 2009. Vafopouleio Spiritual Centre, Thessaloniki, Greece.

 

A collage of  material from different test recordings, and mainly from the rehearsals & demos of Stathis Grafanakis, Marianthi-Ippolyti Katsari & Alexandra Karamoutsiou. It has been used in Fibre Performing Arts' 'I Eat Me' dance performance, 2012.

 

Commissioned and choreographed by Marina Theofilou. This track is a collage of processed recordings of voices reciting poetry, focusing on themes of grief and loss. | Trinity Laban Theatre Studio, London. June 2013. 

 

EDM-style soundtrack commissioned by visual artist Vasiliki Antonopoulou as part of XPAT, a video art installation exhibited at the Royal College of Art degree show in London, June 2018.

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for Dance


for dance

for Dance


for dance

 

Commissioned for the performances of Fibre Performing Arts Company at Pallas Theatre, Nicosia, Cyprus in 2010 and 2011.

 
 
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for film


for film

for film


for film

 

A selection of tracks created for short films Tutu & Pointes (2017) by Iria Pizania, Buyout (2012) by Carmen Zografou, Thicker than water (2011) by Christoffer Eide and Treasure Tastes Good (2013), a creative educational project lead by Sapfo Pantzaki.