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Stratis Minakakis

Cambridge, MA   

Stratis Minakakis is a Greek composer and conductor. His compositional interests include memory, ancient and modern Greek texts, complex symmetries, and the exploration of language. 

As a composer, he has collaborated with leading performers and ensembles across Europe, North America and Japan, including conductor Rüdiger Bohn, recorder virtuoso Tosiya Suzuki, Noh performer Ryoko Aoki, the Hanatsu Mirroir ensemble, the Next Mushroom Promotion ensemble, the PRISM and Stockholm saxophone quartets, the Arditti String Quartet, Ensemble Counter)induction, and the Dolce Suono Ensemble. A recipient of numerous academic and artistic awards, he most recently received the 2010 Takefu International Composition Prize in the Takefu International Festival in Japan (Toshio Hosokawa, director) for his work Aggeloi II.

As a conductor, he has directed chamber ensembles in performances of early 20th century and contemporary music. He recently became Artistic Co-Director of Ensemble_NR, a Boston-based group of musicians dedicated to the performance, creation, and dissemination of cutting-edge contemporary music from around the world. Its wide range of activities encompasses performance, research, and outreach. Ensemble NR was established in the summer of 2013, and is the evolution ofNotaRiotous, the resident ensemble of the Boston Microtonal Society.

Also active in the field of music theory, his recent work focuses on analytical approaches to early Modernism and the music of Xenakis and Ligeti. 

Stratis Minakakis is a faculty member at the New England Conservatory Music Theory Department in Boston, Massachusetts. He lives in Cambridge with his wife Dolores, daughter Catalina, and cat Amalia.

Monteverdi Responsories by Stratis Minakakis

Performed by The Crossing Choir, conducted by Donald Nally, and the PRISM Quartet on 12, 2014 at The Icebox at Crane Arts in Philadelphia, PA.

The idea for creating Monteverdi Responsories was conceived in response to Claudio Monteverdi’s Piagn’e Sospira from the Fourth Book of Madrigals. Monteverdi’s original material is decontextualized and its pertinent qualities become malleable: the distorted sospiro gesture that initiates the piece is a characteristic example of such recasting. The text from from a poem by Yiannis Ritsos.

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