Diane Daher, Elena Ghigas, Daniela Angela Perez Marin, Jorge Ramos, Adam Stanović, Pete Stollery, Antoine Timarche, Luigi Turra

Program

• Arborescence, 7:38

  Diane Daher

  fixed medium

• Bolt (2025), 11:59

  Elena Ghigas

  multichannel fixed medium

• Le diable… encore et toujours?, 7:11

  Daniela Angela Perez Marin

  fixed medium

• An Aria for the Mallard (2025), 9:58

  Jorge Ramos

  stereo fixed medium

• Encircled (2025), 13:18

  Adam Stanović

  stereo fixed medium

• Sandhaven Jetty (2026), 4:14

  Pete Stollery

  fixed medium

  Cycle: Aides… mémoires…

• Trafic (2025), 10:39

  Antoine Tirmarche

  fixed medium

• Mnésie (2023-26), 9:20

  Luigi Turra

  fixed medium

Arborescense, 7:38,

fixed medium

1. Diane Daher

This work portrays the mental fog that "arborescent" (tree-like) thinking can induce. This way of thinking tends to connect seemingly disparate ideas, identifying correlations where others see none. One can easily get lost within their own thoughts, as their relentless flow transforms the tree-like structure into a noisy and exhausting experience that blends with the sounds of everyday life.

• Composer, harpist, and performer Diane Daher moves within a diverse musical universe that encompasses contemporary, electroacoustic, and improvisational music, as well as music for theater and cinema. With an interest in creating parallel worlds that draw from the richness of electroacoustic sound, she adopts an interdisciplinary approach, integrating dance, theater, and video into her works.

Bolt (2025), 11:59

multichannel fixed medium

2.Elena Ghigas

The work is inspired by a passage from Cormac McCarthy's novel Stella Maris, which states: "The liquor of being is leaking out onto the ground." The title Bolt is an anagrammatic acronym formed by reversing the order of the initial letters of the phrase "the liquor of being." Bolt is a reflection on the ecology of listening, seeking to recombine everyday sounds (such as those of an urban soundscape) with sounds that are almost forgotten or unheard (such as Gregorian chants recorded in an isolated monastery in Southern Italy). [1]

The composition explores sonic spatiality via impulse response capture, balancing symbolic and iconic dimensions as a meditation on existence, the violence of history, and a longing for peace. Its soundscapes evoke vulnerability countered by a persistent drive to begin anew, echoing a distant song lost among history's ruins. [1]

• Italian sound artist and composer Elena Gigante is a professor of Spatial Sound Design at the Academy of Fine Arts of Bari, Italy.

Le diable… encore et toujours?, 7:11,

fixed medium

3.Daniela Angela Perez Marin

"Will the devil live forever?" And the greatest trick the devil ever pulled was convincing the world he didn't exist. In this electroacoustic work, Daniela Angela Perez Marin examines the contemporary mechanisms of fear, manipulation, and power. In an era of overlapping crises—wars in Ukraine, Syria, Lebanon, Palestine, or surrounding Iran, climate disasters, population displacements, and constant media-fueled anxiety—the piece questions our relationship with information and the narratives that shape our perception of the world.

The composition oscillates between sonic abstraction and direct reference to reality, alternating prolonged periods of unsettling calm with sudden outbursts of violence that brutally rupture the acoustic space. This sonic dramaturgy reveals a landscape charged with the tensions of our time, where collective fear can function both as a tool of control and as a mirror reflecting our own vulnerabilities.

To create the piece, the composer draws material from a wide array of sounds that evoke the world of war and destruction: impacts, blades, explosions, human voices, fragments of conflict, and sonic traces of modern chaos. Created using Pro Tools, Csound, AudioSculpt, and MetaSynth, Le Diable… encore et toujours offers an immersive listening experience in which memory, violence, power, and resistance collide, creating a striking sonic reflection on the state of the world.

"I always start music from a personal story; I record sounds connected to events and to what I would like to communicate to people. I use a computer, but I am a composer and a pianist. After graduating from the National University of Music Bucharest, I obtained a degree from Paris-Sorbonne University and I now work in Madrid."

An Aria for the Mallard (2025), 9:58

stereo fixed medium

4.Jorge Ramos

The work An Aria for the Mallard redefines the aria as a meeting point between human expression and the more-than-human world. Situated in the south lake of the Gulbenkian Garden, a floating Corten steel sculpture functions simultaneously as a musical score and a resonating body, subtly integrating into the surrounding ecosystem. The composition blends electroacoustic textures with field recordings and the live presence of the soprano, creating a sonic environment where human and non-human voices merge into a single, fluid choir. Rather than representing nature, the work listens to it, inviting visitors to experience the garden as an active collaborator.

Through this intertwining of sound, sculpture, and ecology, An Aria for the Mallard offers a brief yet immersive reflection on coexistence and the fragile interconnections that shape our shared spaces. An Aria for the Mallard is a collaborative installation featuring visual artist Rosana Antolí and soprano Claire Rocha Santos, realized with the support of the Calouste Gulbenkian Foundation for the new garden of CAM – Centro de Arte Moderna.

Jorge Ramos is an award-winning Portuguese composer, sound artist, and researcher. He has composed music for solo instruments, chamber ensembles, choirs, and symphonic orchestras, as well as mixed-media works, electroacoustic pieces, live electronics, music for film and stage, installations, and commercials. His work has been presented at festivals and performed by orchestras, ensembles, and soloists in Asia, North, Central, and South America, and Europe, while he frequently collaborates with other artists and institutions on artistic projects and computer-aided music design.

Encircled (2025), 13:18

stereo fixed medium

5. Adam Stanović

In early 2025, staff and students from LCC's Sound and Music Programme traveled to the London Wetland Centre (part of the Wildfowl and Wetlands Trust - WWT) to undertake field recordings on site and in the surrounding areas.

The venture was inspired by the long-running soundLapse project at the Universidad Austral de Chile, where recordings of wetlands around Valdivia have inspired ecological, educational, and creative research.

During our project, we met with our counterparts in Chile and learned about their interests, methods, and research goals. We also met with the staff of the London Wetland Centre and were informed about the rapid shrinking of wetlands worldwide, as well as their plans to create 100,000 hectares of sustainable wetlands in the United Kingdom.

Arriving at the London Wetland Centre on the morning of February 11th, 2025, I was immediately struck by the relative quiet. For over an hour, I had traversed the hustle and bustle of central London using bus, tube, and train. And suddenly, I found myself among bare winter trees. I could hear the sound of my footsteps on the gravel paths and the distant caw of a crow. For a moment, it felt like an oasis of calm. However, as my hearing adjusted, I realized that London, the great metropolis, was ever-present.

I could hear its low rumble in the background, punctuated only by the roar of airplanes flying overhead en route to Heathrow. The more I tried to focus on the sounds of the centre itself, the more I realized the presence of the vast city expanding beyond it... I had the feeling that we were encircled...

Initially, this project aimed to traverse the city and the Centre, moving from the chaos of one to the calm of the other. As the work developed, however, I began to realize that it is not just London’s wetlands that are encircled; though their geographical features differ radically, most of the world’s wetlands are, in one way or another, equally encircled...

Adam Stanović composes music using recorded sound. In recent years, his music has drawn upon both studio and field recordings, utilizing both digital and analogue technology. His work falls into the tradition of "musique concrète", involving the direct (tangible) manipulation of sound in ways that have been likened to the visual arts, such as sculpture, painting, and ceramics. His music is always fixed-medium, though it is occasionally accompanied by live instruments, electronics, film projection, and animation.n

Sandhaven Jetty (2026), 4:14

fixed medium

6. Pete Stollery

[Sandhaven Harbour, Sandhaven, Aberdeenshire, United Kingdom - January 3, 2020]
Sheltered from the wind and the traffic noise of a nearby road, the serene atmosphere of Sandhaven Harbour invited me to listen more deeply. As the pier was floating and the movement of the water in the harbor was minimal, the gentle creaking of the wood and metal elements often sounded like an animal—at times reminiscent of a whale song and at others like injured or dying creatures taking their last breath. I processed these "animalistic" sounds, transforming them to create new sonic expressions.

The work is part of the project Aides… mémoires… in collaboration with Jonty Harrison, which includes short compositions (3-6 minutes) based on single field recordings.

Pete Stollery (born July 24, 1960 in Halifax, United Kingdom) is a British composer specializing in electroacoustic music. He served as chair of the Sonic Arts Network from 1985 to 2003 and edits the organization's annual publication, Journal of Electroacoustic Music. He is a founding member of the Scotland-based sound artist collective invisiblEARts, which also includes Simon Atkinson, Robert Dow, Alistair MacDonald, Pippa Murphy, Nick Virgo, and Pete Dowling. Stollery is among the founders of the Sound Festival in North East Scotland, a month-long festival of new music.

Trafic (2025), 10:39

fixed medium

7. Antoine Timarche

Antoine Tirmarche studied jazz at the IREM in Bordeaux. He then took courses in orchestral composition and electroacoustic composition at the CRD in Angoulême, where he graduated in electroacoustic composition in 2023. He collaborates with the contemporary dance and theater scenes (SUPERAMAS, Agata Maszkiewicz), as well as short film and video game productions. Focusing less on the nature of the sounds themselves and more on the void between them and how they interact, he works primarily with systems and structures, silence, rhythm, and repetitions, attempting to convey the wide spectrum of anxiety, anger, and stress that he imposes upon himself.

Mnésie (2023-26), 9:20

fixed medium

8. Luigi Turra

MNÉSIE is an acousmatic composition lasting approximately ten minutes that explores the boundary between memory and oblivion, between presence and disappearance. The title evokes an impossible archive, where sound emerges only to dissolve, fragile and unstable.

The work combines the noise, whispers, and interference characteristic of shortwave radio with whispered voices, poetic fragments, breaths, and vocal traces, which frequently overlap and are out of sync. Subjected to electronic processing, the voices emerge as uncertain and degraded signals, while noise functions as a continuous layer of signal cancellation and decay.

The composition is built on the principle of the fragment, the cornerstone of my work: every sound is an unstable remnant, prone to distortion, repetition, or dissolution. The structure is non-linear and articulated within temporary sonic spaces, devoid of narrative direction.

MNÉSIE is shaped as an oblivion machine: it does not preserve, but rather erodes. Acousmatic listening highlights the spectral nature of the materials, transforming sound into a trace without origin, into a fragile echo of that which can no longer be held. The work contributes to contemporary electroacoustic research by examining noise, voice, and signals as unstable and irreversible processes.

• Luigi Turra (b. 1975) is a composer of the minimalist/electroacoustic school. His primary interest focuses on the acoustic balance between silence, the tactile perception of sound, and research into aleatoric music. Through the processing of human voices, as well as digital, concrete (musique concrète), and acoustic sources, he shapes sonic paths where listeners experience continuous pauses and harsh sonic intensities, touching the boundaries of experimental sound poetry. Starting from the recording of tiny sounds and noises, Luigi Turra creates musical works that highlight the beauty of imperfection. The goal of his poetic approach is to reduce elements to a minimum in order to reveal their archetypes.

Russolo Prize 2025 – The Innovation of Sound at Restart Theater Athens, Greece
Saturday, 8 November 2025, 18:00

On Saturday, 8 November 2025, at 18:00, the international Russolo Prize 2025 was hosted in Athens at the cultural theater space Restart Theater Athens (Koilis 23, Ano Petralona, 5 minutes from Petralona ISAP Station), in a unique evening dedicated to acousmatic and electronic music.

The Russolo Prize is delighted to present to the Athenian audience the innovative works of eight young finalist composers selected from around the world, inviting attendees to actively participate by voting for the winner of Prix Russolo 2025. The works were introduced to the audience by the acousmatic composer Philippe Blanchard, who also serves as co- President of the Prix Russolo with composer Louise Rossiter

Admission was free.

In each city hosting the festival, the audience listens to the finalists’ works and votes.

Among 208 composers from 33 countries, Claude Hermitte stood out with his powerful and committed work “The Amazon Is Burning”, (8’53’’) a sound creation that draws attention to the fragility of ecosystems and the urgency of the climate crisis.

Since 2017, the Russolo Prize has been awarded by the public.

Voting was also available online via Bandcamp

ABOUT THE RUSSOLO PRIZE
Since its founding in 1979, the Russolo Prize has explored new sound landscapes, inspired by the composer, painter, and visionary Luigi Russolo (1885–1947).

With his manifesto The Art of Noises (1913), Russolo established the idea that the sounds of the modern world—even the most industrial—can serve as a source of musical creation.

His famous inventions, such as the Intonarumori, the Rumorharmonium, and the Russolophone, paved the way for acousmatic and electronic music, inspiring generations of creators.

INTERNATIONAL PROGRAM PRIX RUSSOLO 2025
Presenting and hosting organizations this year were :

• Geneva, Switzerland – Galerie Analix – 07/09/2025 (Barbara Polla)

• Faverges, France – Concert Bruit de la Neige – 21/09/2025 (Studio Nautilus)

• La Monnerie-le-Montel, France – L’Acousmonef – 05/10/2025 (Les sons dans l’air)

• Milan, Italy – Teatro Arsenale – 10 & 11/10/2025 (Audior + NoMus Festival Parade Électronique - MMT Creative Lab)

• Milan (Teatro Arsenale, Audior,

• Athens, Greece (Restart Theater Athens)

• Prague, Czech Republic (Nova Alternativa)

• Kyoto, Japan (Hayashi Kyohei)

Restart Theater Athens brought the Prize to Athens FOR THE FIRST TIME on 8 November 2025, before it continued in November in Prague and Kyoto Japan (Phonothèque, Kyohei Hayashi)

French Composer Claude Hermitte, winner of this year's PRIX RUSSOLO, L’Amazonie brûle (8’53’’) at Restart Theater Athens

Listening of this year's finalist works and getting ready to vote

FINALIST COMPOSERS – PRIX RUSSOLO 2025

1. Claude Hermitte – L’Amazonie brûle (8’53’’)

2. Bernadette Johnson – Disturbed Waltz (6’22’’)

3. Felipe Otondo – Makuta (8’10’’)

4. Adam Stanović – Between Pictures (9’20’’)

5. Nikos Stavropoulos – Par une belle fin d'après-midi (8’20’’)

6. Petr Studeny – Poema elettronico futurista (7’07’’)

7. Willard Van de Bogart – Eleventh Ave. Willard 9-8-24_Mix (11’10’’)

8. Berk Yagli – The Cycle of Life and Decay (7’59’’)

PRIX RUSSOLO JURY COMMITTEE FOR THE 2025 EDITION

Jean-Louis Belmonte, Piero Bielli, Philippe Blanchard, Jean Marc Duchenne, Juraj Duris, Olivier Falcou, Pierre Jolivet, Jan Kruml, Hayashi Kyohei, Nicolas Malevitsis, Joachim Montessuis, Cameron Naylor, Gabin Noir, Louise Rossiter, Peter Stollery, Dante Tanzi.

"For more than four decades, the PRIX RUSSOLO has championed innovation in sound and creative freedom, sustaining the avant-gardespirit of Luigi Russolo, author of The Art of Noises (1913). This award affirms the position of its laureates and finalists, since 1979, among composers who continue to extend the boundaries of sound art.'

Louise Rossiter & Philippe Blanchard

Co-Presidents, Prix Russolo 2025

23 Koilis street, Athens, 11852, GREECE

Registration Number: 168287301000

VAT Reg. Number: EL 996599389

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