His compositional output consists of 43 works spanning from solo works to ensembles and orchestras. He is the recipient of major international prizes including the 2nd Henri Lazarof Commission Prize and the 1st Prize in Toru Takemitsu Award, among a long list of awards. ![]() His academic research explores the intersection between music composition, musicology of electroacoustic musics, and philosophy with special emphasis on the work of Luigi Nono and Martin Heidegger. He holds three university degrees: a Bachelor and Master of Arts from Aristotle University of Thessaloniki (2006-2011), where he studied composition in the studio of Christos Samaras, a Master of Music from Boston University, where he studied composition in the studio of Joshua Fineberg (2011-2013), and a PhD in Music Composition from New York University, where he studied composition with Elizabeth Hoffman and continental philosophy as a consortium student at the New School of Social Research (2013-2019). ![]() Ioannis Angelakis was born in 1988, and studied classical guitar and music theory in various private conservatories. His most recent and accomplished works are Bacchae’s Voice (2021), a concert-long (65’) music theater work based on Euripides’ tragedy Bacchae commissioned by the Greek Ministry of Culture DUST (2020), a short music drama (25’) based on Lord Byron’s love poetry commissioned by the Greek National Opera Bacchae’s Paralipomena (2018), a concert work (40’) commissioned by loadbang ensemble and Institution Imaginaire (2017), a major work (45’) for string quartet commissioned by Momenta Quartet, and the dance video KADIN (2021), commissioned by the Intercultural Orchestra and the Ballet of the Greek National Opera, in collaboration with the choreographer Nikos Kalivas. His works often call for long durations and extreme musical specialization, pushing against traditional concert formats of new music. His work is the result of extended research on idiosyncratic aspects of the mechanism of acoustic instruments, and aims to develop a new form of lived space. Ioannis Angelakis’ works embrace sounds that remain not fully controllable by the composer or the performer, are inherently unstable and constantly moving, come with their own logic of unfolding, presuppose a particular body-instrument relationship, and call for a new kind of listening attention, disentangled from traditional forms and parameters aiming to a sound-based encapsulation of timbre that pulls us toward the interior space of sound.
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