Ion Marmarinos (b.1975) is a Greek composer based in France. His music has been described as "self-contained well-defined...with a strongly characterised writing style...some of the most up – and – coming composers of today” [RMN Classical], “instaure une dimension théâtrale’’ [ResMusica], “une musique toute en volutes, avec de belles atmosphères, toute de douceur” [Thierry Vagne], and  "one of the highlights of the show” [The Guardian]

Inspired primarily by phenomena, imagery and patterns of temporal formations in nature while at the same time focusing on the presence and absence of memory, his music narrates stories of contrasts of complex structures. They attempt to create an experience of temporality that gradually camouflages the conscious perception of an organized time and therefore one that becomes personal to the listener.

Ion’s music has received numerous awards and distinctions such as the Matan Givol international composition competition (Israel), the Bruno Maderna International composition competition (Ukraine), the Kaleidoscope international competition (USA), King’s College London’s Collaborate and Engage innovation award (UK), the Ablaze Records’ New Choral Voices Series international competition (USA), RMN Classical’s Contemporary Chamber Music international competition (UK) and the Ierapetra and Zografou national competitions for original theatrical score (Greece).

His compositions have been performed internationally, among others by the Lumina String Quartet, The Winds of The Americas, Lontano, EXAUDI, L’ Ensemble Alternance, L’ Ensemble Court – Circuit, Meraki Chamber Players, Unicamp Symphony Orchestra, Vertixe Sonora Ensemble, Phoenix Ensemble, Roadrunner Trio and Coro Volante, in England, France, Italy, Ukraine, The Netherlands, America, Brasil and Greece in venues such as the Frederick Lowe Theatre (New York), The Black Box Theatre (New York), Salle Cortot (Paris), Teatro Comunale di Bologna (Italy) and Lviv Philharmonic Hall (Ukraine). Working primarily in Greek and American independent productions, he occasionally composes music for the theatre, short films and contemporary dance.

As a professor and teacher of music he taught theory, composition and percussion in England, America and Greece for 8 years, at King’s College London, The National conservatoire of Greece, Delfiko conservatoire, Athena conservatoire, Ouranio conservatoire, but also at several musical institutions and secondary schools in New York as well as privately.

Ion began his musical studies at the age of 5. At the age of 9 he started composing while studying piano and Hindemith theory at the Athenaeum conservatoire in Athens. He continued his musical studies in New York, London and Paris with Justin Dello Joio, Rob Keeley and Michel Merlet. He holds a BSc in business from the American College of Greece where he also studied psychology and mathematics, an MBA from the State University of New York at Albany, an MA in composition from New York University, a Certificat de Perfectionnement, composition from L’ École Normale de Musique de Paris “Alfred Cortot” and a PhD in composition from King’s College London.

His music is published by the Composers Edition and distributed worldwide by Ablaze Records, RMN Classical, Naxos Music Library and Albany Records of America.

 

Par Ciel


Par Ciel (by sky), a wordplay on partiels (partials), is inspired by the rain. Structured on multiple temporal groupings of pitches as well as on combinations of different registers of harmonics derived from the pitches of the three motifs utilised, the music reflects various sounds of drops initially resembling accidentally occurring tones. They conspire, combine with each other and accumulate to create snapshots and fragments of rainfall that is gradually transformed into blocks of moving, overlapping and palindromic harmonic progressions.

The piece highlights the breakdown of the orchestra’s aggregate sound and color into thin instrumental combinations set against thick(er) harmonic blocks. I perceived drops of rain as particles of a larger water mass and I compared them to partials of sound. They emerge and vanish as entities, which create their own structure, duration, density of texture, intensity, register and patterned formations.

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Patron Program

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Patron Levels: 

  • Orchestra - $40,000 AUD+
  • Chamber - $20,000 AUD - $39,999 AUD
  • Quartet - $10,000 AUD - $19,000 AUD
  • Solo - $5,000 AUD - 9,999 AUD

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For more information about Patron Program please contact us:

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The more generous the level of support, the more exclusive the benefits, and may include:

  • access to dress rehearsals
  • client entertaining opportunities through meet and greet (composers and orchestra)
  • product display and marketing handouts
  • VIP tickets
  • recognition opportunities - social media, advertising programs at the concert
  • private event sponsorship opportunities
  • employee discount ticket program

Corporate Sponsorship Levels:

  1. $2500 Corporate Strings
  2. $5000 Corporate Woodwind
  3. $10,000 Corporate Brass
  4. $20,000 Corporate Percussion
  5. $40,000+ Corporate Orchestra

These are generally corporate sponsorships and tax deductible to the business as a business expense.

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No one else in Sydney is doing this, and you are providing a great contribution to our musical scene.

Steven Machamer - Timpanist 

 

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....an amazing energy, funding and collecting works is needed to organize and realize an orchestra such as SCO and all these wonderful concerts, you make the quality of music rise in every musical work and there are not a lot of you out there.

Trimor Dhomi - Composer (Kosovo)

 

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The SCO has been doing very interesting work indeed and certainly worthy of support.

Prof  Stuart Geoffrey Andrew Greenbaum - Composer (Australia)