Sounds 2010-13

List based on performances dates.

2013



One Minute is more than one Minute for a group of people (2011/12)
Verbal Score
'One KEY for STC' - Concert with compositions by A.Porfiriadis, KNOT Gallery Athens/Greece, Version made by: Odysseas Gkallios, Georgia Koumara, Angeliki Mousiou, Olga Papakonstantinou, Stelios Tsairidis, 11/05/2013 

[See more details in the 'Sounds 2014/17' section]
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STC for a group of people (2012) 
Verbal and Graphic Score
'One KEY for STC' - Concert with compositions by A.Porfiriadis, KNOT Gallery Athens/Greece, Version made by: Odysseas Gkallios, Georgia Koumara, Angeliki Mousiou, Olga Papakonstantinou, Stelios Tsairidis, 11/05/2013

In STC I wanted to leave even more space for performers to act creatively. Thus in this score there is no fixed material that the group can use but group members have to build the material themselves. In addition to that I used terms like ‘square sound’, ‘triangular sound’, ‘circulate a sound’, to invite performers to find solutions and to have sonic or visual results that I could never thought of. The composition is for a group consisting by at least four performers. It includes 63 pages of graphic material.
Every page of STC contains one or two geometrical figures (square, circle or triangle). Inside of each shape there is a verb in the centre and words or small phrases scattered in it . Performers are invited to construct sentences individually or collectively. These sentences should be syntactically correct and be formed using the material provided inside each geometrical shape. The group can agree upon one solution or more than one, since the possible combinations concerning the material given within each geometrical figure are numerous.
Score can be found here
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KEYS for Keyboard Players (2012)
Verbal Score
'One KEY for STC'-Concert with compositions by A.Porfiriadis, KNOT Gallery Athens/Greece, Performers: Odysseas Gkallios, Angeliki Mousiou, Olga Papakonstantinou, Stelios Tsairidis, 11/05/2013

KEYS is a work for 2 to 4 players and one Keyboard instrument (piano, e-piano, cembalo, clavecin, etc). The score consists of 69 pages, with eight different instructions on each page. Performers should cut the instructions off the pages prior to the performance, in order to create a pack of 552 cards, with one indication on each. 
The performers should then choose collectively (prior to the performance) 52 to 552 cards to perform. Cards should not be chosen in random but following a system found by the performers or simply by collective work between the performers (in no case cards should be chosen individually). Before every rehearsal or concert the players should shuffle the pack of chosen cards so that there is no way of knowing the sequence of the cards in hand. All performers should play from this one pack of cards, which has been chosen collectively. This pack is to be placed on top of the piano, and all players are to read from the same card, found face up on top of the pack. Each player should take their own time to perform this card, regardless of whether this overlaps with the time of other players. 
The player who plays a card last should play first on the next card. Once all players have completed a card, this player should therefore be the one to turn to the next card and start playing this card attacca or after a very brief consideration. There should not be a pre-arranged sequence to determine which performer changes the card next each time. Players should remain completely still when not playing. 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

2012



Simultaneous Performance of 
Aria for voices (2010/11) and Words of Nothing for piano players (2010) 
Verbal/Graphic Scores 
INTIME Symposium 2012, University of Coventry/UK, Ellen Terry Building, Version made by: Sapfo Pantzaki (voice) and Andreas Papapetrou (piano), 20/10/2012

Words of Nothing is an open-form verbal score for at least two piano players, composed in 2010. The aim of this piece was to compose actions that explore the theme of a piano, at least two performers, and the emotional and physical space between them. Performers should follow the basic instructions concerning collective work presented in (almost) all my verbal/graphic scores. Words of Nothing can be also performed simultaneously with my verbal/graphic score Aria for voice(s) (2010/11). In this case both pieces can be played as solo pieces but the instructions for collective work prior to the performance remain the same. Score can be found here.

Aria for voices was to create a score to be performed by a performer/performers that make use of voice/voices as well as their bodies in regards to space. The performer(s) use as a tool a number of verbal and graphic notations to design their own performance. The graphic part of the work consists of 10 pages of collages, with letters and words from UK newspapers as well as quotes from texts by AndrĂ© Breton (Manifesto of Surealism, Mad Love, Nadja, Introduction to the Discourse on the Paucity of Reality) Jacques Vache, Hugo Ball ('Kandisky', Dada Manifesto) and Tristan Tzara (Dada Manifesto on Free Love and Bitter Love). If a performer decides to use the graphic scores in Aria, s/he should make use of the following ‘mood’ list for every action they perform. Every action resulting from the graphic scores has to appear in a different character (mood). The moods can be performed in one of the following modes: ‘normal’ (casual speaking), ‘whispering’, ‘nasal’ and ‘as fast as you can’. The graphic pages of Aria are an open field of opportunities for performance. The ways of performing the pages are endless. Score can be found here.
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Items from Environmental Pieces (2012)
Verbal Score
Lanscape Scores Workshop/Syros Sound Meetings (together with Dr.Danae Stefanou), Syros/Greece, Version made by: Andrew Raffo Dewar, Sofia Kamagianni, Eirini Karayianopoulou, Sebastien Marteau, Chrysi Parpara, Alexis Porfiriadis, Vassilis Tzavaras, Valia Christopoulou, 07/2012

Environmental Pieces (2012) is a collection of verbal and graphic scores that have no structural connection with each other. Their purpose is to give ideas for improvisation sessions and not to build a “piece” by combining these scores. Every score in Environmental Pieces is an autonomous unit. Score can be found here
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Simultaneous Performance of
Aria for voices (2010/11) and Words of Nothing for piano players (2010)
Verbal/Graphic Scores
'New Music for Voice and Piano', Trinity College of Music, Theatre Studio, Greenwich/ London/UK, Version made by Sapfo Pantzaki and Andreas Papapetrou, 18/05/2012


Complicity for voice and instrumental ensemble (2011)
Verbal/Graphic Score
Version made by the Ensemble for Experimental Music of Bath-Spa University 'Material', Bath/UK, 16/5/2012

Complicity (2011) is a verbal/graphic score for voice(s) and instrumental ensemble. Performers are invited to make a group realization of the composition using 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.
Minimum instrumentation: voice, 1 wind instrument, 1 string instrument, 1 percussion player. Maximum instrumentation: 3 voices, 3 wind instruments, 3 string instruments, 2 piano players, 3 percussion players. Any combination between the maximum and minimum is welcome with one restriction: the analogy between voice and instruments must always be 1 to 3 or more (1 voice → 3 players minimum, 2 voices → 6 players minimum, 3 voices → 9 players minimum)

Every page of Complicity has a duration of 1 minute. Pages 1 to 10 have to be performed. Pages 11-14 can be performed if the performers decide to do so. This means that the minimum duration of the work will be 10 min and the maximum 14 min. The process of determining the sequence of the pages has 3 stages:
- the ensemble chooses collectively the number and sequence of pages to be performed by the voice(s)
- the ensemble chooses collectively the actions to be performed by the instrumentalists
- if an instrumentalist decides to perform the “if” actions found on pages 7, 8 or 10, then the vocalist will only decide upon the manner of realization for her/his correspondent pages ad hoc, during each rehearsal and performance. It is preferable that the vocalist will alternate between different decisions during each rehearsal and leaves the decision for the final performance open.

Each version should be agreed on for the specific performance; it may not be rehearsed or played at an earlier performance. You are encouraged to perform your chosen action(s) as naturally as possible. Extreme displays and theatrics should be avoided.

- Instrumentalists
The actions for the instruments address each instrument player individually, except for the cases where a number of performers or the indication “all performers” is mentioned. Every action can last one whole minute or can be performed at any point within the one-minute duration of each page. The instrumentalists can also perform more than one action during the minute but they should play each action only once. The term “sound” is used when the exact nature of the sound (pitch, noise or something in between) is deliberately left unspecified, in order to be determined by the performer. It is essential that the performers should take special attention to the indications of registers (middle, high, low) when those are stated in the score.
- Vocalist(s)
The vocalist should not sing (with the exception of the Complicity Nr. 9 page, word: 'you”). It is desirable that the closest style to singing in Complicity will be a kind of “Sprechgesang”. Otherwise, the words are to be spoken, whispered or anything in-between. If the one-line notation appears, then it should be understood as: word on the line = middle register, word above the line = high register, word under the line = low register. The size of the letters indicates dynamics (or not).
Score can be found here
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Complicity for voice and instrumental ensemble (2011)
Verbal/Graphic Score
'Complicity - Concert with compositions by Alexis Porfiriadis', KNOT Gallery Athens, 5/5/2012, Version made by: Alexandra Karamoutsiou (Violin), Georgia Koumara (Piano), Penelope Papathanasiou (Flute), Olga Papakonstantinou (Voice), Antonis Rouvelas (Percussion)
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The F duo (2011)
Verbal Score
'Complicity - Concert with compositions by Alexis Porfiriadis', KNOT Gallery Athens, 5/5/2012, Performers: Yannis Kotsonis and Nikos Mardakis

The f duo (2010/11) is a verbal score consisting of 49 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 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 f 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 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 6 minutes. You 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 taking into consideration the unique characteristics of each performance space.
Score can be found here
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 People's Music (2008/09) No. 4
Verbal Score
'Right Place Wrong Town'-Concert with compositions by Alexis Porfiriadis, Protos Orofos, Thessaloniki, Version made by: Giorgos Zacharoudis (Violin), Penelope Papathanasiou (Flute), Alexis Porfiriadis (E-Piano, Melodica), Stelios Tsairidis (Trumpet), 7/4/2012

People's Music is a collection of 17 verbal scores that have no structural connection with each other. The purpose of these scores is to provide ideas for improvisation sessions and not to build a “piece” by combining them. Every score in People's Music is an autonomous unit. 
These improvisation exercises explore various important parameters in music-making, enabling performers to develop their own response to matters of melody, rhythm, solo playing, collectivity, form and structure, the human voice, ostinato playing, timbral exploration, inventive use of found musical material and the limitless creative investigation of instruments and objects.

2011

2010 


Before (2008) for voice and piano
Concert in KNOT Gallery Athens, Performers: Voice: Tasos Apostolou, Piano: Danae Stefanou, Texts by Katerina Gogou and Nikolas Asimos, 16/05/2010