Greek National Opera – Alternative Stage

Contemporary Music Days – Multiple Presents Festival (October–November 2026)

Sayings and Cracks – A Tribute to György Kurtág
Ρήσεις και ρωγμές – Αφιέρωμα στον György Kurtág

György Kurtág – The Sayings of Péter Bornemisza, op. 7, concerto for soprano and piano
Stylianos Dimou – Where Bornemisza Cracks / Στις Ρωγμές του Bornemisza, ten miniatures for voice, piano and electronics (GNO commission, world premiere)

Fani Antonelou soprano, Giorgos Konstantinou piano

The centrepiece of the programme is György Kurtág’s The Sayings of Péter Bornemisza, op. 7, sung in English. A landmark of post-war Hungarian music, it is often counted among the most important works written after Bartók. In forty-five minutes of extremely concentrated writing, Kurtág creates a singular concerto for voice and piano. Its twenty-four short movements are grouped into four cycles: Confession, Sin, Death and Spring. Through them, the sayings of the persecuted sixteenth-century Hungarian preacher become an almost explosive physical and psychological event: a man wrestling with his demons, with rot and with death, until he lifts his eyes towards spring. His words are old; his unrest is ours.

Stylianos Dimou’s new work Where Bornemisza Cracks (Στις Ρωγμές του Bornemisza), commissioned by the GNO, enters into direct dialogue with Kurtág’s cycle. Ten miniatures, moving between acoustic and mixed electroacoustic writing, slip into the gaps and breaths between its movements, where its material seems to fracture, from an opening to a closing. Five recorded recitations by the soprano introduce the concert and each of the four cycles, distilling its world into poetry. The composer synthesized the texts of both the miniatures and the recitations from the sayings that Kurtág sets, as a reflection on them. Within the Cracks, Bornemisza’s Hungarian returns as sound, as syllables and breath, while spare English lines open like fissures of meaning.

Voice, piano and electronics fuse into a single sonic body. The electronics are its memory: through machine learning, recollections of Kurtág are drawn back to the surface, altered, as if remembered by someone else. The voice becomes body and behaviour, broken into fragments. The piano gives flesh to the harmonies that rise from the electronics.

Kurtág thus becomes a place to inhabit. Each Crack shifts the way we listen, and the next song is heard differently. The evening becomes a meta-experience, a “Post-Kurtág”.

Concert structure

Recitation – Bornemisza Péter mondásai…
Man wrestles with his demons. He writes in shame, sees the rot within him, trembles before death. He sees no way out. His words are old; his unrest is ours. Listen.

Crack I – Opening (Dimou)

Recitation
You did not want to write. The harder you pushed the temptations away, the more they grew. Now your words are here — a mirror before you. Look.

Confession (Kurtág)

Crack II (Dimou)

Recitation
Fog between you and the light. Your mind wanders; the rot within you lies quiet — until something stirs it, and it squirms like maggots in carrion. Let the word dig.

Sin 1–3 (Kurtág)

Crack III (Dimou)

Sin 4–8 (Kurtág)

Crack IV (Dimou)

Sin 9–10 (Kurtág)

Crack V (Dimou)

Recitation
You are a flower, a frail flower. Death spreads its net; you writhe, as the soul is torn from the body. Each of us pays the debt. And yet, beyond the iron gate, a garden is in bloom.

Death 1–3 (Kurtág)

Crack VI (Dimou)

Death 4–5 (Kurtág)

Crack VII (Dimou)

Death 6–7 (Kurtág)

Crack VIII (Dimou)

Death 8–9 (Kurtág)

Crack IX (Dimou)

Recitation
After the ashes, the light. Lift your eyes: the stars are smiling at you. Trees put forth leaves again, every creature stirs — and the poor man, frozen all winter long, finds warmth once more.

Spring (Kurtág)

Crack X – Closing (Dimou)

Hybrid Horizons Festival

16-18.10.2026

Concert II, Saturday 17 October, 20:30
Works by guest composers

Guest ensemble: Ensemble Multilatérale
Guest conductor: Kornilios Selamsis

Programme

Dimitris Papageorgiou — The Ash Keeps this Breathing of Absence (2026), for clarinet, trumpet, trombone, harp, double bass and electronics (premiere)



Alexandros Spyrou — Simulacrum α (2026), for clarinet, trumpet, trombone and AI agents (premiere)



Esther Lemi — Ichnos Alpha (2026), for harp, double bass and pre-recorded narrator (premiere)

Dimitris Maronidis — Zero White (2026), for clarinet/bass clarinet, trumpet, trombone, harp, double bass and electronics (premiere)

Vasiliki Legaki — Aequilibria (2026), for harp and electronics (premiere)

Panayiotis Kokoras — Mutation (2014), for clarinet and electronics

Stylianos Dimou — AfterImage (2026), for bass clarinet, trumpet, trombone, double bass and electronics (premiere)

The Listening Room - H[t] DUO

h[t] duo

H[t] Duo was born from the encounter between classical guitar and live electronics. Pierpaolo Dinapoli and Matteo Tundo explore what happens when the physicality of an acoustic instrument interacts with real-time electronic processes, shaping performances in which electronics are played, transformed, and diffused live.

On stage, the focus is on the interaction between the two performers and the sound space around them: microphone placement and spatialization become compositional tools, creating immersive environments.
The duo has performed at festivals and research centers in Italy, Austria, Germany, and Canada, including Out of the Ordinary (Konstanz), Fondazione Piseri (Milan), Modena Contemporanea, Signal to Noise Festival (Pergine Valsugana), Alte Schmiede (Vienna), CIRMMT and Université de Montréal.

H[t] Duo is also a founding member of Manifattura Digitale del Suono, a platform dedicated to new music research and production.

Program

Talia (2024); Maria Vittoria Agresti
Talia, for guitar and live electronics, unfolds around a continuous downward motion, made possible by the instrument’s scordatura, which leads progressively into ever lower registers. This “infinite glissando”, evoking a perpetual fall, contrasts with a cyclical electronic ostinato that runs throughout the piece. The dialogue between the fluidity of the descent and the static nature of the electronics creates a constant tension, drawing the sound towards remote and rarefied territories.

Fotografiar el mar (computer music design by Pierpaolo Dinapoli) (2026); David Antunez Rodriguez
The movements of this cycle are not fixed sonic photographs, but open scores: guidelines for capturing different snapshots at each performance, in keeping with the unpredictable nature of feedback. A common thread runs through them: blurring the boundaries between feedback, classical guitar and live electronics, inspired by the dialogue between Barthes’s punctum and Calvino’s Palomar.

Where hands fall into breath (computer music design by Tommaso Rosati) (2025); Nicoletta Andreuccetti
Sixty years ago, Asimov imagined organic machines and mechanical humans. Today, neuroprosthetics, neural networks and intelligences capable of learning are dissolving the boundary between nature and artifice: no longer imitation, but metamorphosis. Where Hands Fall into Breath inhabits this threshold. The instrumental gesture, reduced to its essentials, is reconfigured through its encounter with a digital breath generated through physical modelling synthesis. Acoustic and virtual bodies permeate one another, taking on new forms and rhythms. Everything becomes unstable, surreal, yet possible.

et ego (2017); Daniela Fantechi
et ego, for guitar and live electronics foresees the use of two piezo microphones, placed on the soundboard of the guitar to amplify the instrument, allowing for the production of very subtle sounds both on the strings and on the soundboard. This allows for a percussive use of the guitar, and the building up of a pitchless percussive structure, through very small gestures of hitting, scraping, striking. Progressively the percussive pace starts to slow down, opening a more harmonic window, letting emerge as an inner musical memory a distant, but recognizable, fragment by Gesualdo da Venosa (1566-1613), taken from Tristis est anima mea, in Tenebrae Resposories for Maundy Thursday.

Fray (2026); Stylianos Dimou
Fray investigates the threshold where the classical guitar’s physical immediacy begins to disintegrate. The piece draws its raw material from mechanical gesture, percussive contact, and rhythmic friction—the grain of wood under pressure, the scrape of strings, the sharpness of attack. These tactile events form a vocabulary of recursive motion, where repeated actions gradually erode their own clarity and reveal hidden layers within the instrument’s sound. The live electronics function not as an external gloss but as an active agent of distortion, mutation, and subversion. They electrify the guitar’s acoustic reality, twisting familiar resonances into rusted timbres, stretching harmonics into hollowed echoes, and generating hybrid sonic figures that oscillate between the mechanical and the spectral. As the music unfolds, the guitar and electronics fray into each other: rhythmic impulses blur into noise, percussive cracks blossom into resonant afterimages, and fragile tones are bent into unfamiliar shapes. Fray traces this process of unraveling—where sound sheds its identity and re-emerges as a charged, electrified presence.

A SIGNAL IN FRACTURE
H[t] Duo

Pierpaolo Napoli (classical guitar)
Matteo Tundo (live electronics)

ArteScienza 2026
curated by Centro Ricerche Musicali (CRM)

A Signal in Fracture is a concert program for classical guitar and live electronics that explores the unstable relationships between instrumental gesture, technological mediation, and spatial listening. Through close-miking, lo-fi amplification, and real-time processing, the guitar is transformed into a shifting sonic interface, while the electronics take on an autonomous, dialogic role, continually redefining the balance, resonance, and perception of acoustic space.

The pieces on the program approach this exploration from different angles. Fray traces the progressive dissolution of the guitar's sonic identity through mechanical gestures, friction, and processes of electronic distortion. Otiac introduces a third performing agent: an autonomous computational system that learns from material generated by the duo and intervenes in the musical dynamics through processes of feedback and prediction. In Talia, an endless descending glissando and an electronic ostinato build a constant tension between movement and stasis, turning the sonic descent into a path of metamorphosis. The reflection on the relationship between performer and technology continues in Rubber Duck Debugging, where musical fragments are continually reread and transformed by the electronics, calling into question the listener's memory and perception. Where hands fall into breath turns instead to the physical modeling of breath, making the guitar a living sonic body through which to establish an imaginative dialogue between acoustic matter and electronics. Finally, Fotografiar el Mar uses feedback as a tool for building immersive soundscapes, in a chamber-music setting that grants equal agency to both performers.

Source: https://www.crm-music.it/festival/programma/a-signal-in-fracture.html

Program

Nicoletta Andreuccetti (1968)
Where hands fall into breath
realizzazione elettronica a cura di Tommaso Rosati (2025) 

Maria Vittoria Agresti (1996)
Talia
per chitarra ed elettronica (2024)  

Claudio Panariello (1989)
Otiac
per chitarra ed elettronica (2026) 

Stylianos Dimou (1988)
Fray
per chitarra ed elettronica (2026)

 David Antunez Rodriguez (1995)
Fotografiar el Mar
realizzazione elettronica a cura di P. Dinapoli (2026)

Daniele Vulpiani (1989)
Rubber Duck debugging
per chitarra ed elettronica (2025)

Fray (2025-26)
for guitar and live electronics

Fray investigates the threshold where the classical guitar’s physical immediacy begins to disintegrate. The piece draws its raw material from mechanical gesture, percussive contact, and rhythmic friction—the grain of wood under pressure, the scrape of strings, the sharpness of attack. These tactile events form a vocabulary of recursive motion, where repeated actions gradually erode their own clarity and reveal hidden layers within the instrument’s sound. The live electronics function not as an external gloss but as an active agent of distortion, mutation, and subversion. They electrify the guitar’s acoustic reality, twisting familiar resonances into rusted timbres, stretching harmonics into hollowed echoes, and generating hybrid sonic figures that oscillate between the mechanical and the spectral. As the music unfolds, the guitar and electronics fray into each other: rhythmic impulses blur into noise, percussive cracks blossom into resonant afterimages, and fragile tones are bent into unfamiliar shapes. Fray traces this process of unraveling—where sound sheds its identity and re-emerges as a charged, electrified presence.

C_Music NOW

Raw Portraits

Galan Trio

As a call to the musical forces of our time, the Greek Composers Union presents a programme comprising works by five composers, alongside two new commissions. It is a carefully curated selection of pieces that were either written specifically for the evening’s protagonists – the Galan Trio – or have since become established reference points within the contemporary Greek piano trio repertoire.

The organising principle underpinning the programme is both clear and riveting: the presentation of works that embrace a diversity of aesthetic and technical approaches, seeking to capture the breadth, vivacity, and ongoing creative ferment of today’s ever-evolving laboratory of contemporary Greek music. All participating composers – Dionysis Boukouvalas, Eleni Ralli, Stylianos Dimou, Sofia Sergi, and Christina Athinodorou – are distinguished members of the Union, each representing distinct creative orbits and formal concerns across the spectrum of Greek musical production in the first quarter of the twenty-first century.

Special mention must be made of the Union’s initiative to commission two new works through an open call, which will serve as the culmination of the evening. This constitutes a conscious and forward-looking gesture, one that acknowledges the continuum of musical creation in Greece – a core mission of the Union, which sustained its activities even during the years of the German Occupation – and affirms the need to remain attuned to the emergent voices shaping the musical landscape of tomorrow. The two new works are by Fani Kosona and Dimitris Mousouras.

As a testament to its vital connection with contemporary Greek creation, the demanding task of performing these works is entrusted to the Galan Trio. Renowned for its dynamic stage presence and unflappable commitment to the living pulse of art music, the ensemble moves with assured virtuosity between the imperatives of the classical repertoire and a spirit of exploration, fostered through the commissioning and performance of new works for piano trio. Following the presentation of original programmes across Europe and the United States, the Galan Trio’s return to the Athens Epidaurus Festival – after its appearance in 2018 as part of the Claude Debussy tribute – marks a welcome homecoming and a shared occasion for celebration.

Program

Dimitris Mousouras Perpetually (2026) | First performance

Stylianos Dimou Quando l'an[I]ma è [S]atu[R]a: meaningless meandering for [Anit] (2013-14)

Dionysis Boukouvalas Aubade (2023)

Fani Kosona Fragility / Ductility (2026) | First performance

Intermission

Eleni Ralli Portraits (2022)

Christina Athinodorou Messa Aktis (2013)

Sophia Serghi Towards the Flame (2009–10)

Quando l'an[I]ma è [S]atu[R]a: meaningless meandering for [Anit]
for amplified piano trio

“Quando l'anIma è SatuRa: meaningless meandering for [Anit]” is a piece for amplified violin, cello and piano finished in January 2014. The technical aspects of the music deal with fluidity and the sculpting of sound, means that aim to highlight a visceral and tactile gestuality. The fundamental principle of this work is the conception of structure as a potential byproduct of microscopic elaborations of the timbral and gestural dimensions of music. The stream of sonic energy results from a continuous, self-generated – without any particular reference to a formal scheme – “domino” process consisted of heterogeneous gestural and timbral elements that formulate shapes in the unfolding of the structure. Objects and gestures are generated in various layers, in an unpredictable way, depicting the gradual formulation of the structural shape of the piece. Therefore, every single parameter is interacting, producing “cells” that gradually spread out, communicate and connect each other, resulting to the formation of focal sonic/ harmonic moments and gestural interconnections, all combined generating the dramaturgical forces of the piece. The notion behind this approach is pertinent to my need for a stochastic comprehension of the behavior and/or the theatricality of either independent musical units or generalized structural moments throughout my music.
•
Το έργο για βιολί, τσέλο και πιάνο (με ηχητική ενίσχυση) ολοκληρώθηκε τον Ιανουάριο του 2014. Κεντρικό μέλημα της σύνθεσης είναι η ρευστότητα του ήχου και η διερεύνηση της σωματικής, απτικής σχέσης των μουσικών με το όργανό τους — μια χειρονομιακότητα που γίνεται αισθητή στον ίδιο τον ήχο. Η δομή του έργου δεν σχεδιάστηκε εκ των προτέρων: αναδύεται φυσικά μέσα από τη λεπτομερή επεξεργασία του ήχου και της κίνησης σε μικροεπίπεδο. Η μουσική εξελίσσεται σαν μια αυτογενής αλυσιδωτή αντίδραση — ένα «ντόμινο» — όπου κάθε στοιχείο γεννά το επόμενο χωρίς να ακολουθεί κάποιο σταθερό τυπολογικό σχήμα. Ήχοι και χειρονομίες εμφανίζονται σε διαφορετικά επίπεδα ταυτόχρονα, με τρόπο απρόβλεπτο, διαμορφώνοντας σταδιακά τη μορφή του έργου. Οι επιμέρους παράμετροι αλληλεπιδρούν και παράγουν μικρά «κύτταρα» ήχου που εξαπλώνονται και συνδέονται μεταξύ τους, δημιουργώντας έτσι τις δυνάμεις που κινούν δραματουργικά το έργο. Πίσω από αυτή την προσέγγιση βρίσκεται η επιθυμία μου να κατανοώ τη μουσική συμπεριφορά — τόσο σε επίπεδο μεμονωμένων στιγμών όσο και στο σύνολο της δομής — με έναν τρόπο που αγκαλιάζει το απρόβλεπτο ως δομική αρχή.

Bilkent Electroacoustic Music Summit 2026 (BEAMS)

Sound in Space - Call for Multichannel Works

6 JUNE · 19:00
SOUND IN SPACE III

Luigi Ceccarelli
Birds — 8-channel

Jonty Harrison
WhirlPool — 7th-order Ambisonics

Robin Parmar
The Garden of Adumbrations — 8.1-channel

Zeynep Özcan
Cross-Pollination — 8-channel

Stylianos Dimou
eChOlapse — Ambisonics

Mikel Kuehn
Perseverance: An Artist Rendering — 3rd-order Ambisonics

Matteo Tundo
øyeblikk — 8-channel

eChOlapse (2025)
ambisonics mix HOA 3D, 5th order

Live Space 2026 - Teachers Concert

eChOlapse (2025), 5th-order ambisonics mix

eChOlapse presents itself not as a narrative but as a sonic drift — a non-linear environment where sound moves through states of fracture and erosion. The work suggests a broken ecosystem, a broken system, even a collapse continually replayed. Repetition does not function as return, but as residue; loops falter and fold back into themselves, echoes collapsing into echoes. Forgetting becomes a way of renewal, while recalling appears as a destructive fixation — the urge to recover what sound has already erased. In its multichannel presentation, the listener neither begins nor ends but is suspended in a field of resonance, ambiguity, and attrition. Diffusion operates not as projection but as composition itself, where collapse takes the form of structure and disappearance asserts itself as presence.

à Vassiliki Legaki & “Gotye”

Protos credits: Tomas Terekas @Tomografija

CAST: Premiere Night

I am honoured to have been selected as one of six composers to participate in the inaugural edition of CAST 2026 — a platform for artists working at the intersection of sound, music, and visual media, dedicated to bold experimentation and boundary-pushing interdisciplinary work. Following a global call for submissions, the CAST panel paired six composers with six visual artists to form collaborative teams, spending months developing original works that receive their world premieres at this event. Their work will be presented on the dadaLab immersive video wall, creating a unified environment where sound and image merge into a shared performance space. Presented in partnership with UT Austin's College of Fine Arts, the Department of Arts and Entertainment Technologies, the Butler School of Music, SoundMap, Line Upon Line Percussion, dadageek, and dadaLab.

More information: https://dadageek.com/cast

Programme

Premiere Night features the world premieres of six new collaborative works:

Stylianos Dimou & Britt Moseley (with SoundMap Ensemble)
Haeun Park & Krista Faist (with SoundMap Ensemble)
Rafael Godoi & David Sydiongco (with SoundMap Ensemble)
Carolina Carrizo & Jonathan Monaghan (with Line Upon Line Percussion)
Mathis Saunier & Shirley Steele (with Line Upon Line Percussion)
Shahrzad Talebi & Eric Theise (with Line Upon Line Percussion)

Programme Note

Entre-Vues (2026)
for amplified sextet, electronics, and real-time visuals
Duration: 15:00

Entre-Vues — between views, between glances — is a work born at the threshold: between sound and image, between performer and machine, between what is heard and what is seen. The title gestures toward a space of encounter; not a dialogue, but a collision of presences that continuously reshape one another.

The music unfolds through accumulation and pressure. Layered materials build upon each other in densities that resist easy resolution — mechanisms set in motion, saturated with energy, reactive to the slightest shift in the ensemble's collective breath. Complexity here is not ornament but architecture: a structural force that determines how tension is generated, sustained, and released.

Entre-Vues marks my first collaboration with a visual artist, and working with Britt Moseley has fundamentally shaped the nature of the piece. His real-time visuals — horizontal in orientation, mirror-like in their logic — do not illustrate the music so much as inhabit the same space of urgency. Presented on dadaLab's immersive video wall, image and sound share a single nervous system, each amplifying what the other cannot say alone.

The work is written for and warmly dedicated to the members of SoundMap Ensemble, whose commitment to new music made this premiere possible.

live@CIRMMT: Gestures and actions

live@CIRMMT presents a concert featuring the [h]t duo

Pierpaolo Dinapoli (classical guitar)
Matteo Tundo (live electronics)

Program

Stylianos Dimou: Fray (2025-26, world premiere)
for guitar and live electronics. Duration: 8'

Claudio Panariello: OTIAC (2025-26, world premiere)
for guitar and live electronics. Duration: 10'

Ariadna Alsina Tarrés: Closca II. Skin of glass (2025-26, North American premiere)
for guitar and live electronics. Duration: 6'

Reservations

This event will be held at Salle Claude-Champagne, Université de Montréal, 220 Vincent-d'Indy Avenue

We invite you to share this event via Facebook.

Erasmus Blended Intensive program
An International Forum on the Artistic Research and Innovative Creative Practices in Spatial Audio

Professors' CONCERT
8-channel diffusion

Program

Javier Torres Maldonado; Enim adscititios accidentalesque a Stellis fulgores adimit

Dániel Peter Bíró; Asher Hotseti Etkhem (Who Brought You Out Of The Land) - Voices of the Neue Vocalsolisten

Bálint Baráth; Mariposa

Bálint Bolcsó; Machaut Commentaries No. 2

János Bali; laaslegeipS

Stylianos Dimou; eChOlapse (2025)

Achim Bornhöft; 1to4(124)

Franz Liszt Academy of Music
Academy of Music, Room 23

KO-LAB
catinblack ensemble
& ensemble S201

Program

Tamon Yashima (1991): not even death is kind to me (2024/2025, new version) – for oboe and double bass

Gérard Pesson (1958): Peigner le vif (2007) – for viola and accordion

Kaija Saariaho (1952–2023): Oi kuu (1993) – for bass flute and cello

Stylianós Dimou (1988): dropLET_GO (2021) – for alto flute, viola, and cello

Adriana Hölszky (1953): Segmente III (1992/93) – for oboe, accordion, and double bass

catinblack ensemble
Sofia von Atzingen – viola
Ema Grčman – cello
Javad Javadzade – double bass

Ensemble S201
Dimitry Stavrianidi – flute
Tamon Yashima – oboe
Filip Erakovic – accordion

Admission: €9 / reduced €5
karten@szene10.de
016099255623

Indeterminate State

Fabio Macchia — Percussion
Giulio Colangelo — Electronics, Sound and Light Direction

Produced by LOXOSconcept and Keyhole
Commissioned by MA/IN Festival

Program:
Sarah Nemtsov – Bugs
Cesare Saldicco – La meccanica dei numeri e delle ombre
Maurizio Azzan – Of debris and dust
Stylianos Dimou – Hyoidal Echoic Nexus
Giulio Colangelo – Extravaganza

INDETERMINATE STATE is a sonic landscape in flux—an evolving dialogue between the corporeal force of percussion and the volatile textures of electronics. The project investigates the thresholds of resonance and transformation, where rhythm becomes vibration and sound becomes light.

Through a series of new commissions, six composers reimagine the relationship between performer, material, and system, tracing new paths between the tactile and the digital. The resulting works invite listeners into a liminal space of instability and emergence—a world where the boundaries between acoustic gesture and electronic architecture dissolve.

Scheduled for release on the STRADIVARIUS label (Milan) in July, the project’s recording documents this encounter of energies and materials. Each piece is conceived for “indeterminate-sound” percussion in continuous dialogue with electroacoustic and real-time processes.

The sonic material arises from a vast spectrum of sources—traditional and experimental percussion, as well as instruments and objects created specifically for the project. Woods, skins, metals, and shells form the elemental matter from which the music unfolds.

Each composition, between six and eight minutes in duration, articulates a distinct sonic microcosm centered on the performer-percussionist. Together, these works delineate a field of new acoustic and perceptual possibilities—an indeterminate state where sound, gesture, and technology coexist in perpetual transformation.

Hyoidal Echoic Nexus (2024)
for percussion and electronics

"Hyoidal Echoic Nexus" (2024) for percussion and electronics explores mechanical resonances through an intricate web of percussive textures and electronic layers, forming an "echoic nexus" where vibrations converge and disperse. Mechanical noise elements highlight rigid yet resonant qualities, alluding to an artificial hyoid bone, and produce a sound environment that cycles through phases of buildup and decay. This nexus acts as a focal point for layered, machine-like rhythms, behaviours, and pulsating resonances, forming a dynamic space that amplifies and refracts sound. Through this interplay, the piece shapes an immersive auditory experience in which mechanical acoustics pulse, echo, and connect within a resonant core.

2nd Spaceout International Ambisonics Festival 2025

CONCERT 2 | October 17, 2025 | 12:30-1:30 PM

Greg Dixon - Lake Wayfaring (Interlaced) (2023)
Bonnie Han Jones - a place where many people gather (2025)
Eduardo Nespoli – Biofonia (2025)
Stylianos Dimou - L'osmose (2019)
Varun Kishore – Kraken (2024)
Beste Öztürk & Eşref Berk Türkoğlu – Moldscape (2024)
Frank Ekeberg – Hyperthermic (2019)
Luca Frigo - Cosa sogna l'acqua II (2019)

L’osmose will be featured at the Spaceout Festival in Ann Arbor, Michigan. Dedicated to Ambisonics—an immersive audio technology that surrounds the listener in 3D space—the festival presents peer-reviewed compositions and performances from artists around the world.

The concerts will take place at the Chip Davis Technology Studio, located on the lower floor of the Earl V. Moore Building (University of Michigan), on the following dates:

• October 16, 2025 at 7:00 pm

• October 17, 2025 at 12:30 pm

• October 17, 2025 at 4:30 pm

All events are free and open to the public, though seating is limited. Visitors are encouraged to reserve a place in advance through this registration link: myumi.ch/rA21Z.

Audiences in Ann Arbor will have the opportunity to experience Dimou’s work within the unique spatial environment of Ambisonics, alongside an international program of contemporary sound art.

// Immersive Listening Session / Multichannel Diffusion //

As part of its Espaces Multiples series, APNÉES presents a unique immersive listening session, deploying its spatial sound diffusion system to offer the public a rare and heightened sonic experience.

This curated program of electroacoustic works invites listeners on a guided auditory journey—where spatial trajectories and perceptual phenomena converge in a dynamic interplay between sound and space.

This edition resonates with Desierto Sonoro, a collaborative diffusion event co-organized with Radio Campus Grenoble.
Read more about Desierto Sonoro

This event emerges from the Immersive Listening Laboratory, a research and experimental group founded within APNÉES. The lab explores the technological, neurocognitive, psychoacoustic, and aesthetic dimensions of immersive sound creation and listening practices.

Presented within the framework of the inDREAM network (International Network for the Diffusion of Recorded Electronic and Acousmatic Multichannel Music).

Full program:
► Nicole Fior-Greant – Contours de l'Inouï, flux_i (9'36, 2024)
► Stylianos Dimou – De faux échos (14'50, 2022)
► Stefano Catena – Travelling Without Moving (8'09, 2023)
► Loïc Guerineau – Stéréophonotopie du Panier (12'52, 2023)

More info: https://apnees.wordpress.com/espaces-multiples-12/

INTERNATIONAL FORUM "INMUSE" AND WORKSHOP "LIVE SPACE" 2025

L' osmose (2019) – Ambisonic Presentation in Vilnius

My ambisonic composition L’osmose (2019) will be presented as part of the INTERNATIONAL FORUM "INMUSE" and the WORKSHOP "LIVE SPACE" 2025, in a concert featuring works by mentors and alumni of the Dirty Deal Audio network. The program includes a curated selection of acousmatic compositions and spatial performances, implemented inside the Dirty Deal Audio mobile ambisonic dome.

The event is organized by the Lithuanian Academy of Music and Theatre (LMTA – Lietuvos muzikos ir teatro akademija) and will take place at the iconic Vilniaus plokštelių studija, located at Barboros Radvilaitės g. 8, Vilnius, 01124.

This concert offers an immersive listening experience, showcasing innovative approaches to ambisonic composition and multichannel sound diffusion within a unique dome environment.

Gare du Nord

The light is the memory of the past, the color is the promise of the future

Concept Store Quartet

Programm

Asia Ahmetjanova (*1992): «Dinner for two» (Swiss Premiere)
Stylianos Dimou (*1988): «Sul les traces de la fisure» (2018)
Mike Svoboda (*1960): «Growth I» Violin Concert for violin, saxophone, accordion, percussion
Paul Clift (*1978): «Colours are like memories of other colours II» (2024)

Concept Store Quartet

The Light is the Memory of the Past, the Colour is the Promise of the Future

Programm

Asia Ahmetjanova (*1992): «Dinner for two» (Swiss Premiere)

Stylianos Dimou (*1988): «Sul les traces de la fisure» (2018)

Mike Svoboda (*1960): «Growth II» Cocnert for Snare Drum (2021)

Paul Clift (*1978): «Colours are like memories of other colours II» (2024)

Periferien Festival
Concept Store Quartet

Proto credits: Pascal Schmidt

The Oslo-based concert series Periferien proudly presents the Basel-based ensemble Concept Store Quartet for an evening of diverse and innovative music. The program will feature acoustic and electroacoustic works by Stylianos Dimou, Paul Clift, Asia Ahmetjanova, and Anna Sowa.

Founded in 2018, the Concept Store Quartet quickly gained acclaim, winning both First Prize and the Audience Award at the prestigious Concours Nicati in Bern, Switzerland, in August 2019. Over the past five years, the ensemble has been remarkably active on local and international stages, premiering approximately 50 new works and performing in 50 concerts across Switzerland and Europe. The quartet’s members are Alicja Pilarczyk (violin), Pablo González Balaguer (saxophone), Nejz Grm (accordion), and Jeanne Larrouturou (percussion).

Periferien is a key platform for experimental music in Oslo, offering a regular program featuring national and international ensembles and composers dedicated to pushing musical boundaries.

Program

Stylianos Dimou; sur les traces de la fissure (2018)

Paul Clift

Asia Ahmetjanova

Anna Sowa

New Music in Bergen with the Concept Store Quartet

Program

Emil Lehre - umgestaltungen, second thoughts (2025)
Marc Alexandre Mayor Ferrer - Belomancie (2025)
Isak Rudolf Hård - Bedlam (2025)
Þórbergur Bollason - Click (2025)
Erik Håkon Halvorsen - Pythia (2025)
Stylianos Dimou - sur les traces de la fissure (2018)
Asia Ahmetjanova - Dinner for two (2025)
Ana Maria Oancea - Voices not our own (2025)

MA/IN Festival 2024

SIDEREAL combines the past and present while projecting into the future with a hybrid and modern musical language. The project combines ancestral and ethnic percussion instruments with electronic compositions, culminating in a live performance during the artistic residency in Brienza, a town undergoing cultural and touristic transformation. PERC+ enhances historical spaces through sound performances, merging musical culture and territorial promotion. The residency involves the entire local community and hosts artists from across Europe, fostering cultural exchange. Local hospitality, economic, and social activities actively participate in the project, generating economic and cultural growth. Prestigious partnerships with the MA/IN festival, various Italian conservatories, and other institutions stimulate cultural dissemination and education. The project aims to ensure continuity through the release of an album with the Stradivarius Milano label, concerts in towns across the region in 2025, and outreach activities in national and international production centers, experimental music festivals, and workshops.

Concert program

Fabio Macchia [IT] /// Indeterminate State
concert for percussion and electronics

Marta gentilucci [IT] /// re//patterning 24

Giulio Colangelo [IT] /// new work

Cesare Saldicco [IT] /// new work

Stylianos Dimou [GR] /// Hyoidal Echoic Nexus (2024)

Sarah Nemtsov [DE]/// Bugs

Maurizio Azzan [IT] /// Of debris and dust

Fabio Macchia, percussionist from Lucania, he began studying drums at the age of eight and entered the conservatory at 16 to pursue classical studies. He performs as a soloist and interpreter of 20th and 21st-century music in various concert seasons, including the Ravello Festival, Roma Sinfonietta, Roma Tre Orchestra, MA/IN Festival, Taverna Maderna, Chigiana Festival, Micat in Vertice, and Auditorium Parco della Musica. Over the years, he has attended numerous national and international masterclasses, achieving a comprehensive education in various musical fields: classical, contemporary, experimental electronic music, and pop-rock-jazz. He has played with various orchestras, both Italian and European, such as the Münster Theatre Orchestra (North Rhine-Westphalia) and the Italian Philharmonic Orchestra (touring in China and beyond). He collaborates with internationally renowned musicians in both classical-contemporary and pop-jazz contexts, including Javier Girotto, Marco Sannini, Massimo Bartoletti, Jonathan Williams, Joe Barbieri, Nicola Piovani, Daniele Sepe, Giovanni Imparato, Luigi Piovano, Letizia Gorga, ArsLudi Ensemble, Chigiana Percussion Ensemble, Patrick Gallois, David Krakauer, Alessandro Carbonara, Giuseppe Ettore, David Geringas, Maurizio Giammarco, Maurizio Sigurtà, Giovanni Falzone, Roberto Spadoni, and many others. Currently, he is a freelance percussionist/drummer performing in various musical contexts and collaborating with numerous composers, including Giulio Colangelo, Mezzalira, Vittorio Montalti, Maurizio Azzan, Chisci, Vannoni, and others. He is a current member of the Thauma Ensemble and the Chigiana Percussion Ensemble.

Contemporary Music Panorama

Electroacoustic Concerts

PROGRAM

Part 1 | 19:00

Theodoros Lotis
Li Po – flute & electronics
Performer: Ria Georgiadou (flute)

Dimitris Maronidis
Les Signaux Du Vent – flute & electronics
Performer: Theodora Iordanidou (flute)

Esthir Lemi
Calculi Mediterranei – harp, marimba, piano & pre-recorded sounds
Performers: Esthir Lemi (harp), Vitória do Bem (marimba), Alexis Alatsis (piano)

Artemis Gioti
Bias – bassoon & interactive music system
Performer: Vasilis Priovolos (bassoon)

Vasiliki Legaki
The Dream of Philomela – violin & electronics
Performer: Dionysis Pylarinos (violin)

Orestis Karamanlis
BitVox – beatboxer & electronics
Performer: Giorgos Gargalas (beatbox)

Part 2 | 20:30

Pinelopi Bekiari
Flow – piano & electronics
Performer: Pavlos Sifnaios (piano)

Apostolos Loufopoulos – Myrto Korkokiou
Machine Gun Cut – flute & electronics
Performer: Myrto Korkokiou (flute)

Andreas Mniestris
MlikeL – flute & electronics
Performer: Myrto Korkokiou (flute)

Panayiotis Kokoras
Mutation – clarinet & electronics
Performer: Dimitris Kantsioulis (clarinet)

Stylianos Dimou
Momentum “I”: Death & Escape – bass flute & electronics
Performer: Myrto Mari (Bass flute)

Georgia Spyropoulou
Saksti – saxophone & electronics
Performer: Theophilos Sotiriadis (saxophone)

momentum "I": death & escape (2019)
for bass flute and live electronics

"momentum 'I': death & escape" (2019), commissioned by the 20th Weimarer Frühjahrstage für zeitgenössische Musik, explores sonic boundaries for bass flute and live electronics. At its core, the piece weaves a continuum of rhythmic, repetitive figures that intertwine with the electronically generated counter-rhythms, and intricate timbral spaces creating an immersive dialogue. The electronics, shaped by impulse responses drawn from the bass flute's resonant characteristics, form a hybrid acoustic landscape, extending the instrument’s sonic possibilities. The result is an electrified experience, a meeting of acoustic and electronic realms. Dedicated with deep gratitude to Carin Levine, the work seeks to push the listener’s perception of sound and space.

The final concert of the workshop Composing for Voices and Orchestra

Seven works premiered by the Gulbenkian Orchestra

Stylianos Dimou
Tandem
para soprano, barítono e orquestra

Cong Wei
Omnia Vanitas, Caro Cardo Salutis
para soprano, tenor e orquestra

Fran Barajas
El olor de la guayaba 4
para barítono e orquestra

Mariana Vieira
Contra o tempo e a carne
para tenor e orquestra

João Carlos Pinto
Responsório
para barítono e orquestra

— INTERVALO 20 MINUTOS —

Hibiki Mukai
Ode Marítima
para tenor e orquestra

Luca Francesconi
Canti
para soprano, tenor, barítono e orquestra
(Encomenda da Fundação Gulbenkian)

Duração aproximada: 90 min.

Tandem (2024)
for soprano, baritone, and orchestra

"Tandem" is a project inspired by the homonymous text of the Greek poet Orfeas Apergis. The composition aspires to evoke a vocal dialogue with our inner self, the subconscious, or the mind during moments of void and despair within a toxic relationship. It manifests dualism through feminine and masculine characters, which ultimately dissolve into a sexless, internal battle in search of the true self, the true choice, and the truth. The vocalists are envisioned as a single vocal entity, magnified by the imposing presence of a grand orchestra. This composition conjures an augmented vocal amalgamation, a unified vocal body of harmonic and rhythmic multiplicities that evolve organically over time. In this work, text, meaning, and music are seamlessly fused into a singular entity, creating an intricate tapestry of sound and emotion.

Composing for Voices and Orchestra was the challenge set to young composers by Gulbenkian Music as part of a workshop organized by enoa - European Network of Opera Academies. Over the course of about seven months and under the guidance of composer and conductor Luca Francesconi, six young composers had the opportunity to create new works that will be premiered in this concert by the Gulbenkian Orchestra and soloists Camila Mandillo (Soprano), Marcos Alves dos Santos (Tenor) and André Henriques (Baritone). A new work by Luca Francesconi, commissioned by the Gulbenkian Foundation, will also be premiered.

UltraViolet

Works by Emilie LeBel, Rodrigo Lima, Raphael Cendo, and Stylianos Dimou

Ticket Information
Student/Senior/Alumni | $10
Adult | $20

• online

• by phone | 780.492.2495

• in person | Tuesday & Thursday, 11:00 am – 2:00 pm at the Timms Box Office | Timms Centre for the Performing Arts, 112 Street & 87 Avenue

impetuous flow: in flux (2016)

for alto flute, alto saxophone, percussion and piano