Theocharis Papatrechas

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Infused by the notion that momentum is firmly associated with, and driven by intuition, Theocharis' music deals with disembodied and fragile sonic elements laid out throughout rhythmically intricate environments, all under the scope of a dramaturgical sensibility. The effort towards fragility is realized through the simultaneous application of diverse unconventional instrumental techniques, coalescing into a singular musical event. Essential to his compositional process is the intuitive musical progression through a phrase-by-phrase approach, expanding and contracting phrasal durations while thickening and scattering the density of both its rhythmical and textural profiles. The elements of surprise and freshness within the musical narrative are prioritized, avoiding any sense of long formal linearities, amplifying the parameter of dramaturgy.

 

Theocharis has developed a serious commitment towards electronic music, integrating an electronic component upon this friable context to more fully blend and expand the acoustic sound. The interest in electronics is related primarily to granular synthesis, which is to be related to and compatible with the philosophy and character of the instrumental writing. Incorporating prerecorded synthesized sounds is a practice his music has been mainly focusing on. The electronics merge with the instrumental sonic landscapes, extract their most important elements (pitch/gestural behaviors), highlight them, or, in other cases, contradict them through extreme live manipulation or by playing back sound files with opposing textures. There is a strive for a wide, thick, and intricate sonic spectrum in which processed, fixed, and acoustic sounds mix and contrast, equally contributing to the outcome.

 

His current composition project is a chamber ensemble piece with electronics diffused through a 32-channel domain. This project, along with other five recent works, will be presented as part of his dissertation defense scheduled for the end of Spring 2020. 

 

Theocharis Papatrechas is a Greek composer, electronic musician, and music educator, born in 1988, currently a PhD candidate in composition at the University of California, San Diego working with Rand Steiger, Lei Liang, and Miller Puckette.

 

He holds degrees in composition from the Ionian University (BA) and the Eastman School of Music (MA). In 2010-11, he attended the Sibelius Academy. For his studies, he has received scholarships from the American Hellenic Educational Progressive Association, and the Onassis, Lilian Voudouri, and Gerondelis Foundations. 

 

Theocharis has participated in several renowned venues and master-classes such as IRCAM's The ManiFeste Academy, initially in the composition program with ensemble Intercontemporain in 2018, and then in the electronic music workshop AIME (Atelier d'Interprétation des Musiques Électroacoustiques) in 2019, FORUM with Nouvel Ensemble Moderne, SEAMUS 2019 at Berklee, Shanghai New Music Week with Mivos Quartet, Workshop for Young Composers in Tchaikovsky City, Etchings Festival with ECCE, IDEA Young Composers Workshop with Divertimento ensemble, receiving instruction from Chaya Czernowin, Brian Ferneyhough, Rebecca Saunders, Philippe Leroux, Franck Bedrossian, Beat Furrer, and Stefano Gervasoni.

 

Finally, since 2016, Theocharis, in collaboration with Michele Bianchini and the Italian new music ensemble Suono Giallo, is running ilSUONO Contemporary Music Week, a summer composition academy, which takes place annually in Città di Castello, Italy. ilSUONO forms a context for young composers to gather, create, learn, discuss, share, collaborate, and interact with leading composition figures and highly skilled instrumentalists.

Theocharis's music has been recorded by ArsPublica. His scores are published by Babel Scores.

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Ordered by year. Most recent works appears first

Chamber Group ( 2 - 4 instruments )


Now our world does descend for bass flute, trumpet in Bb, viola (2018)
Doomed to its paralysed eternity for alto flute, saxophones, percussion, piano (2016)
Indiscriminately for soprano, alto saxophone, piano (2014)
Tetractys for four violas (2013)
Le Radeau de la Méduse for String Quartet (2012)
Metrikon for 3 percussionists (2009)

Chamber Ensemble (5 - 9 instruments)


Nycto- for five double-basses (2017)
[d]ifférance III: aporetics for alto flute, saxophones, percussion, piano, cello, and bass (2015)
Trastorno for flute, clarinet, percussion, violin, cello (2013)

Ensemble (Instruments or Voices) and Real Time Electronics


Pictorial Fields: Traces in 1A for bass clarinet, violin, cello, and live electronics (2016)

Ensemble (10 - 19 instruments)


L'esprit de l'escalier for Large Ensemble (2014)

Solo Instrument


...aspettando... for staged amplified saxophonist, amplified alto saxophone, and a tenor sax mouthpiece (2014)

String Quartet


Le Radeau de la Méduse for String Quartet (2012)

Orchestral Music


Golgotha for orchestra (2011)
...aspettando... for staged amplified saxophonist, amplified alto saxophone, and a tenor sax mouthpiece (2014)
Doomed to its paralysed eternity for alto flute, saxophones, percussion, piano (2016)
Golgotha for orchestra (2011)
Indiscriminately for soprano, alto saxophone, piano (2014)
L'esprit de l'escalier for Large Ensemble (2014)
Le Radeau de la Méduse for String Quartet (2012)
Metrikon for 3 percussionists (2009)
Now our world does descend for bass flute, trumpet in Bb, viola (2018)
Nycto- for five double-basses (2017)
Pictorial Fields: Traces in 1A for bass clarinet, violin, cello, and live electronics (2016)
Tetractys for four violas (2013)
Trastorno for flute, clarinet, percussion, violin, cello (2013)
[d]ifférance III: aporetics for alto flute, saxophones, percussion, piano, cello, and bass (2015)