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the Balkan project 

Ergon Ensemble's Balkan Project is an ongoing voyage around around key musical heritages, maintaining its focus on the people who draw both their inspiration and their sound world from tradition. This project in particular focuses on the search of the common denominator underlying the spatial and temporal continuity of the "Balkan", as well as the differences that term encompasses. Already in its second incarnation, Ergon plans for further concerts and educational activities for the near future.


women in contemporary music 

15, November 2017

at Megaron Concert Hall

Artemis Bogri, soprano
Vladimiros Symeonides, conductor

Featuring: Nikos Nikopoulos (flute)

Kostas Tzekos (clarinet) 

Dimitris Dakovanos (bassoon)

Babis Taliadouros (percussion)

Kostas Panagiotidis (violin) 

Panagiotis Tziotis (violin) 

Aggela Giannaki (viola) 

Dimitris Travlos (cello)

Nikos Tsoukalas (double bass)

Christos Sakellaridis (piano)


Zeynep Gedizlioglou (1977, TURKEY)
Wenn du Mich horst, klopf zweimal (2009)
Diana Rotaru (1981, ROMANIA)
Verde (2015)
Milica Djorjevic (1984, SERBIA)
In the Bottom of the Stone (2006)
Lina Tonia (1985, GREECE)
Deisis (2008)
Darija Andovska (1979, FYROM)
Zugzwag (2011, 7.30)
Alexandra Karastoyanova-Hermentin (1968, BULGARIA) 
Преболява (2016) 





The Ergon Ensemble presents works by six distinguished women composers from Rumania, Turkey, Greece, FYROM, Serbia and Bulgaria. New music combining the diversity and the character of the the Balkan peninsula, a melting point of civilisations. 



The project was presented 
at Onassis Cultural Centre Athens
on the 13th October 2013

Artistic coordination: Alexandros Mouzas

Conductor: Vassilis Tsiatsianis



Michalis Adamis: Alliostrofa [Irregular patterns] (1986)
Thomas Simaku: Réflexions de la Croix (2010)
Diona Rotaru: Clocks (2007)
Kamran Ince: Dreamlines (2008)
Derek Bermel: Tied Shifts (2004)


The Balkan Peninsula is where several of the world’s cultural tectonic plates meet, and the area has always been a melting pot of ethnicities, languages and culture whose coexistence and conflicts have actually necessitated, rather than preventing, the sharing of information and experiences which created the multicultural mosaic we find today.
Interpreted here by contemporary composers employing the wealth of timbres and techniques available to them, tradition—which includes the concept of continuity—is rendered intriguingly multifaceted. Imbued with a range of emotions, their music’s non-European underpinnings, asymmetrical rhythms and peculiarities of melodic line and performance make for a challenging and fascinating musical experience.



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