Theocharis Papatrechas

Play all audio recordings

Infused by the notion that momentum is firmly associated with, and driven by intuition, Theocharis' music deals with soft, 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, resulting in structurally complex trajectories with sudden tempo modulations and abrupt intra-sectional changes, amplifying the parameter of dramaturgy.

For the past four years, Theocharis has developed a serious commitment towards electronic music, integrating an electronic component upon this delicate, friable context to more fully blend and expand the acoustic sound. The interest in electronics is related primarily to live signal processing with a particular focus on granular synthesis, which is to be related to and compatible with the philosophy and character of the instrumental writing. Incorporating prerecorded synthesized sounds is also a practice his music has been extensively 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 projects include a work for piano and fixed media, a work for double-bass, fixed media and live electronics and a chamber piece with 3D electronics. The three will be presented as part of his dissertation defense scheduled for the end of Spring 2020.

Theocharis Papatrechas is a Greek composer, born in 1988, currently a PhD candidate in composition at the University of California, San Diego under the supervision of Rand Steiger.

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 ManiFeste l’Academie 2018 at IRCAM with ensemble Intercontemporain as well as IRCAM's AIME (Atelier des musiques électroacoustiques) workshop in 2019, FORUM with Nouvel Ensemble Moderne, ICMC 2019 in New York, 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, Raphael Cendo, Francesco Filidei, Beat Furrer, Georg Friedrich Haas, and Stefano Gervasoni.

Furthermore, Theocharis has won prizes in international composition competitions such as, among others, the 1st International Antonin Dvorak Composition Competition 2010 in Prague, Czech Republic (3rd Prize), 10th Sun River Prize Students New Music International Composition Competition 2014 in Chengdu, China (2nd Prize), Kanter String Quartet Composition Prize 2014 by Mivos Quartet in New York, USA (Finalist), ASCAP Morton Gould Young Composer Awards 2015 in New York, USA (Finalist).

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.

Website:
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)
Le Radeau de la Méduse for String Quartet (2012)

Chamber Ensemble (5 - 9 instruments)


Nycto- for five double-basses (2017)
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)

String Quartet


Le Radeau de la Méduse for String Quartet (2012)
Doomed to its paralysed eternity for alto flute, saxophones, percussion, piano (2016)
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)
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)
Trastorno for flute, clarinet, percussion, violin, cello (2013)