Duration: 33 hours +
10.30 - 11.30: interactive / group sessions
12.00 - 14.00: workshop sessions
17.00 - 19.00: interactivity among workshops
The seminar / workshop is aiming to explore what our attitude (as performers or listeners) towards a mixed artistic language might be and not to define what is polystylistics today. However, it is suggesting a way to perceive this language, and - above all - to avoid theoretical traps in the field of musicology and art-theory in general, which denigrate or deify these aesthetics. It is also aiming to identify the artistic event as result of mixed-aesthetics and to draw a line where this understanding could be overpowered by the theoretical approach. In other words the power of theory over act is unacceptable!
The seminar / workshop evolves in three stages:
Theory: Getting to know what polystylistics in music is. History, appearances, levels of understanding and interpretation of its concept. The problematics bound with the polystylistics and the idea of “postmodernism” as opposed to the idea of "pure aesthetics”.
Analysis: Presentation of works easily be described as polystilistic “face to face” with works that one could not immediately tell them as such. Confrontation with other works that clearly do not indulge in the aesthetics of polystylistics and compare to each other. When do borderlines disappear and a work can be interpreted regardless its stylistic language?
Creation: Composition-seminar with works of students and presentation of works by Liakakis. (Way of thinking, approach, composer's concerns, sketches compared to the final results).
All workshops will be interacting with one another during some time of the day.
Periklis was born in Athens, Greece. He has received prizes and scholarships for his work by the City of Vienna, the City of Graz, the University of Music and the Performing Arts in Vienna, the Austrian Office of the Federal Chancellor, the Greek Friends of Classical Music Society, the Thüringen Philharmonie etc. The growing interest for his “very unusual music language” (Thomas Daniel Schlee) that “has a very musical and distinctive sound” (Rodion Shchedrin) is revealed in his collaborations with renowned ensembles such as Ensemble modern, Ensemble „die reihe“, the greek National Orchestra, the greek radio symphony orchestra, Ensemble PHACE, Ensemble „Oktoplus“, dramagraz etc. He has been commissioned to compose works by, among others, the city of Trossingen in Germany, the Ensemble Modern International Academy, the Wiener Saxophonquartett, Sirene Operntheater etc. In 2017 his opera “Chodorkowski” was nominated as the best new production for music theatre in the Austrian Musiktheater awards.
In his work he blends different musical styles such as orchestral, operatic, electronics and pop/rock. The mix of this polystylism together with his dedication and deep understanding of the art of sound design as used in film and/or on the stage has led him to a very personal musical style.
He holds a teaching position at the University of Music and the Performing Arts in Vienna for over a decade and is a Senior Lecturer since 2010.