Der Komponist Dimitri Papageorgiou

As a member of the Hermann Markus Preßl compositional circle and an admirer of Morton Feldman, Papageorgiou shares with them the same passion for timelessness, eternity, and nihilism. Such a background explains the concept of time shaping in his music: the slow paced motion – neither lazy nor heavy; not even the employment of rapid figures or dynamic edges disturb the impression of a rather serene atmosphere of metaphysical allusions. Action is not absent but rather emanent, unforeseen and hidden in some inhabited depth. This is reinforced by the strategic placement of silence, which is lent its own sonority as sounds faint but do not disappear. In this context, contradiction appears as an important feature, as evolutions break off before reaching their teleological goal and progressions dissolve, as they get arrested in time-loops. As the music implodes, resonance colors the silence. At the same time, timbral explorations, mixtures and nuances pursue the sensual out of the rational.

Quelle: http://www.myspace.com/dimitripapageorgiou

Enlacées (2010)

„,Memory itself is an internal rumour; and when to this hearsay within the mind we add the falsified echoes that reach us from others, we have but a shifting and unseizable basis to build upon. The picture we frame of the past changes continually and grows every day less similar to the original experience which it purports to describe‘, George Santayana poignantly remarks in The Life of Reason (1905/06). When we delve into the past, memories are highly unlike to return as substantially pristine copies of the original event. Most typically, they return as rumors: some of the facts have been switched, others are omitted or added; in some cases, accurate memories are mixed with inaccurate ones and, in other cases, facts are perhaps retained but their source is forgotten (memory misattribution). Sometimes, we cannot even tell memories apart from imagination.

The reconstructive nature of memory in its corruptive dimension (memory inaccuracy), in particular, and its role in musical narration, lies in the center of attention of the present project. The work is composed of structures of relatively complex musical events, which are constantly in feedback with themselves through their immediate perception in the present time, on the one hand, and through the vestige left in memory when they have transpired, on the other hand. The intrinsic conflict among the factual and its short- or long-term memory vestiges results into a series of present-minded reconstructions of the sound imagery of the past in present contexts. The initial sound images undergo perpetual transformations, transfigurations but also distortions, corruptions (even bastardization) of the factual, and ultimately dissolve in a movement of vestiges and shadows, which emerge and perish immediately in a tragic dance of the impermanence.