Sounds 2015-17

List based on performances dates. 

2017


 Guess Who (2012) 
Alexis Porfiriadis and Vassiliki Spyrou (collaborative work)
Graphic Score
 'Guess Who'- Concert with compositions by A.Porfiriadis, Underflow Record Store and Art Gallery Athens, Version made by Angeliki Mousiou and Olga Papakonstantinou, 7/4/2017

Guess Who (2012) is a work for at least two performers. They should study carefully the 27 collages and make a selection of the collages they want to use for their presentation. One can use any number of collages, in any sequence and combinations. The performers should create collectively a written script prior to the performance, using the images, the colours and the texts presented on the collages, as well as their own impressions of the material in any creative way.
Performers can only use text that already exists on the collages. No other text is allowed to be used during the performance. On the contrary performers can use live or pre-recorded music that they think is in accordance with the texts or the graphics. The performance should be presented in a space where all 27 collages are in sight. The performers should not relate their actions spatially with the respective collages, since they just have to follow their pre-written script. Only one script should be collectively created, without the guidance of any third party (composer, conductor, manager, etc).
The real sizes of the collages are: 45x35 cm (2), 15x49 cm (4), 70x100 cm (5), 50x70 cm (6), 19,5x75 cm (10). The presentation in this score is only exemplary.
The minimum duration of the performance is 12 minutes and the maximum 60 minutes.



The C duo (2014) for two people in an intimate relationship
Verbal Score
 'Guess Who'- Concert with compositions by A.Porfiriadis, Underflow Record Store and Art Gallery Athens, Version made by Panagiota Grigoropoulou and Anna Papoutsi, 7/4/2017

The C duo (2014) is a verbal score consisting of 102 verbally instructed parts. Performers are invited to make a group realization of the composition using any amount of this material. The order of actions and their respective timings should be decided collectively prior to the performance. The resultant realization should be the product of a conversation between the performers and it should by no means be decided by one single person.  
The actions of The C duo may be combined in any manner (based on the performers’ choice), so that an action can continue while another starts, more than one action can be performed simultaneously etc. An action can be repeated by the same person provided that one or more other actions are inserted between repetitions to avoid successive appearances of the same action. The order in which the actions are presented in this score reflects no structural preference on the part of the composer.
Perform the piece in a concert or at home just for yourselves. In the case of a public performance duration should be not less than 6 minutes. In this case you are encouraged to perform your chosen action(s) as naturally as possible. Extreme displays and theatrics should be avoided at all costs.
Score can be found here



The L duo (2016) for two persons using laptops
Verbal Score
 'Guess Who'- Concert with compositions by A.Porfiriadis, Underflow Record Store and Art Gallery Athens, Version made by Odysseas Gkallios and Yorgos Hopolopoulos, 7/4/2017

I have many friends who play music using their laptops. Two of them are my co-players in 6daEXIt Improvisation Ensemble: Odysseas Gkallios and Yorgos Holopoulos are companions for many years. I therefore decided to make a piece for two people using laptops having in mind Odysseas and Yorgos as the first couple of people, who are going to use the score. The title is The L duo and it belongs to a series of pieces for duos like The f duo, The C duo and Moving Sound (2016).
The score consists of 66 different verbally instructed parts. Performers are invited to make a group realization of the composition using any amount of this material. The order of actions should be decided collectively prior to the performance. The resultant realization should be the product of a conversation between the performers and it should by no means be decided by one single person.
The actions of The L duo may be combined in any manner (based on the performers’ choice), so that an action can continue while another starts, more than one action can be performed simultaneously etc. An action can be repeated by the same person provided that one or more other actions are inserted between repetitions to avoid successive appearances of the same action. The order in which the actions are presented in the score is random and reflects no structural preference on the part of the composer. The duration of the performance of the piece is indeterminate but it should not be less than 12 minutes.
Players are encouraged to perform your chosen action(s) as naturally as possible. Extreme displays and theatrics should be avoided at all costs. Each version should be agreed on for the specific performance; it may not be rehearsed or played at an earlier performance. Score can be found here



THE LIFE OF A FLOWER SHOT ON TAPE MULTIPLE RESURRECTION (2017)
for solo voice
Score with conventional notation
Poetry by Vassilis Amanatidis
Music by Alexis Porfiriadis
Performer: Olga Papakonstantinou, 'Music and Poetry Festival 2017', Trianon/Athens, 11/3/2017

During the Music and Poetry Festival Athens 2017, March 11-12 in Trianon/Athens I presented a piece for solo voice using a poem by Vasilis Amanatidis. The score was performed by Olga Papakonstantinou. An english translation of the poem can be found here

2016



The F duo (2010/11) for 2 good friends, laptop(s), mp3 recorder and instrument(s)
Verbal Score
Vu Symposium on experimental/electronic/improvised music, Park City, Jim Santy Auditorium, Park City Library Utah/USA, Version made by Matt Smiley and Ryan Seward, 7/7/2016

Matt Smiley and Ryan Seward performed a wonderful version of my verbal score The f duo. The aim of this composition was to make a piece that would be depended to its core by human relationships. The f-duo requires that the two performing persons have to be close friends. The main instructions concerning collective work between the performers for the structure of a version prior to the performance, remain the same like in all my verbal/graphic scores. Score can be found here 
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Love Song (2016) for a group of people
Verbal Score
Ensemble Wiener Collage's Christmas Concert in Arnold Schoenberg Center Vienna, 15/12/2016

What should an atheist do if s/he becomes a commission about a Christmas concert? I asked myself this question when Alexander Stankovski asked me to compose a piece for the Christmas Concert 2016 of Ensemble Wiener Collage. After months of consideration I decided that the best idea to achieve a connection with Christmas is to write something about Love. But what kind of love? Composing this piece was an opportunity to remind Christians their duty to be kind to strangers; support the refugees; to love the people in need; to be tolerant. These are attributes that their religion praises but people in reach Christian Europe like to forget and ignore.

I made an open form verbal score (meaning a score consisting of words) that has 3 parts. 14 Christian texts which performers have to use in various ways constitute piece's part 'A'. In part 'B' there are 28 verbal instructions for making different kinds of sounds and combinations of sounds. In part 'C' there are 14 verbal instructions that play, in humorous ways, with topics that have to do with Christmas time in general. The main performance instruction is that during each minute at least one action from category B and at least one from categories A or C should be performed simultaneously or in any combination. All decisions on the preparation and performance of Love Song should be taken collectively by the group (at least five persons) and without the help or guidance of any third person (conductor, director, manager, etc). The resultant realisation should be the product of a conversation between the performers and it should by no means be decided by one single person. Performers can use any amount of the material provided but their version has to be at least 6 minutes long. Score can be found here 

2015


One Minute is more than One Minute (2011/12) for a group of people
Verbal Score
Performed by Lee Wen-Cheh (Trombone) Mara Probst (Viola) Alexandra Radoulova (Piano) Renata Rakova (Clarinet) Antonis Rouvelas (Percussion, Recorder, Objects)
Prenninger Resonanzen, KulturPension in Prenning/Graz, Deutschfeistritz, 26/10/2015

In October 2015 I was invited in Graz/Austria for a concert organised by Elisabeth Harnik and Elfriede Moschitz, dedicated to my verbal/graphic scores. Elisabeth built a group of five wonderful musicians, who presented versions of two pieces from my collection of verbal scores People's Music (2008/09) and a version of my verbal score One Minute is more than One Minute (2012).
The aim of One Minute is more than One Minute was to compose a verbal score which dealt exclusively with the production of sound. I was interested to investigate how I could describe verbally the sounds I would like to hear. The different actions were composed without a pre-existing plan. It was simply written from one action to the next one trying to have a variety of different combinations of the material in an unsystematic way. Each member can perform only one action during one minute. Because of this requirement and the fact that one minute has 60 seconds I chose the number 60 for the total amount of the written actions. The main performance instructions remain the same with the majority of my verbal/graphic pieces asking for collective work between the performers without the guidance of any third person. The duration of the piece can vary between one minute and 60 minutes. The basic sonic material and playing techniques I used for the composition of the actions were: Pitch/Note, Instrumental burble, Noise, Scream, Sound/Percussive Sound, Use of text (Recitation of a text), Chord/Cluster, Glissando, Melody, Tremolo. The durations, dynamics and the arrangement are described as: Short, Very Short, Continuous, Slow, Fast, Quiet, Very Quiet, Loud, Played by 1/2/3/4/5 persons, Played by all the members of the group. 
The basic sonic material sometimes is given a specific ‘character’. I used the attributes: furious / aggressive / intense / waving / non-vibrato. Players are invited sometimes to play in a ‘synchronized’ way or to scatter themselves in the performance space. This was my first verbal score where I used the declarative mood for verbal instructions. Instructions written in this mood ‘need not be addressed to an agent’ and they are useful when one ‘wants to describe a procedure rather than give a command (Lely and Saunders 2012: 32). I decided to work this way because I wanted to show that the focus of the piece is more on the produced sound than on the presence of the individual performer on stage. The score can be found here



One Minute is more than One Minute (2011/12) for a group of people
State Museum of Contemporary Art in Thessaloniki as part of my talk 'From the Improvisational practices to the use of improvisation as compositional tool', Performers: Odysseas Gkallios, Yorgos Holopoulos, Dafne Mantousi, Yannis Milonelis, Stavroula Sotiri, Vassilis Voudouris, 7/1/2015