for ensemble · 2017


“Barley porridge, or a crust of barley bread, and water do not make a very cheerful diet, but nothing gives one keener pleasure than the ability to derive pleasure even from that.”

- Seneca


Klangforum Wien

Enno Poppe


Commissioned by Impuls Festival

Premiere: Helmut List Halle, Graz · 10 February 2017


video with score follower


fixed media 120 whistling tracks · 2016


120 whistling microtonal pitches, in a range of 2½ octaves

Composed for the Audio-DH project, curated by Francisco López.

iiinitiative - TodaysArt - Korzo Theater


Michalis Paraskakis · whistling


Recorded with a zoom in my apartment

Athens · 24 May 2016



for piano solo · 2015-16


While composing Cortex I found an article about the lateral intraparietal cortex of the brain, that is responsible for our perception of time, allowing us to play an instrument or regulating the ability of speaking.

I regarded "cortex" then the appropriate title for the piece, as it's based on the rapid changes of a melody's rhythms. The axis of the piece, this melody, is moving constantly fast, with small deviation of its rhythmic units, giving the impression of changing speeds.

The monolithic form of the piece, the rapid movement without resting, without breathing, is transforming it in chase for both the player and the listener.


Katerina Konstantourou · piano


Recorded live in Panteios Aula

Athens · 24 May 2016



for ensemble · 2015


Skostok is the name of an ancient king of the Odrysians.

We know he existed only from a few brass coins with laureate Apollo

and an equestrian with the inscription 'SKOSTOK'.


Nieuw Ensemble

Gregory Charette · conductor


Recorded live in Muziekgebouw aan 't Ij

Amsterdam · 12 February 2015



for ensemble · 2014


Frequency beating obscures clean, transparent melodies and insisting chords. In contrast to the static drone beatings of Terpnon, here the beatings emerge from moving melodies and harmonies, creating blurred contours and distortions to a familiar shape, as if you are looking through

a frosted glass, a kind of sonic "polution" on the clarity of the melodic

and formal structures.


ASKO|Schönberg Ensemble

Bas Wiegers · conductor


Recorded live in Bernard Haitingzaal

Conservatorium van Amsterdam · 14 April 2014



for positive organ and 5 performers · 2013


Terpnon means delightful. Maybe it sounds ironic, since the piece's main element is frequency beating, a phenomenon usually unwanted and considered annoying. But it is a sincere title, for frequency beating is a really delightful and addictive  sound phenomenon. piece for the positive organ,

it takes advantage of the instrument's ability to fine-tune the pipes, creating extremely subtle and controlled differences  to the beating speeds.

In unisons, clusters, closed and open chords, the beating layers, juxtaposed on top of each other, create a frequency beating 'polyphony' and at the same time the different lead to complex polyrhythmic patterns.

This static but active sonic world has an inevitable ceremonial quality, helped by simple but important staging instructions; The instrument is with its keyboard towards the audience, hiding the complex tubing system inside it. While the keyboardist is holding down the keys, the tuners are sitting

in dark, far behind the instrument. They come forward to the light when

they need to play, in solemn silence and bend over the instrument as if it is

a sacred object. They go back to darkness when the stop.


Vladan Kulisic · Tuner 1

Eugene A. Kim · Tuner 2

Assaf Gidron · Tuner 3

Noah Rektenwald · Tuner 4

Michalis Paraskakis · Keyboard


Recorded live during the Spring Festival 2013

Arnord Schönbergzaal,

Royal Conservatory of The Hague · 10 April 2013


video with score follower

video of the performance


for clarinet and string quintet · 2012/14


Not Yet II is a re-composed version of its first electronic version. The cold precision of the sinewaves is transformed to a warm, somnolent, seductive fluid, in which the clarinet is a soloist always moving in the shadow of the rest.


Momenta Quartet and friends:

Christa Van Alstine · clarinet

Emilie-Anne Gendron, Adda Kridler · violins

Stephanie Griffin · viola

Michael Haas · violoncello

Matthew Weber · double bass

Carl Cristian Bettendorf · conductor


16 April 2015 · The Kitchen · MATA Festival New York



for clarinet and 6 sinewaves · 2012


3 pairs of sinewaves. Each pair is playing one pitch, but not in unison – each pitch

is moving microtonaly around its center creating frequency beating - “imperfect" unisons that shape a constantly fluctuating chord. The clarinet is picking pitches

from the sinewaves, picking a melody out of the pattern. But it can't be as accurate and cold as the sinwaves. Until it decides to move independently.


Enric Sans i Morera · clarinet

Michalis Paraskakis · sinewaves


Recorded in my room · May 2012