Filon - Filimon Lamprou (b.1959) is an avant-garde composer, sonic artist, sound designer & researcher in sound synthesis and music technology. He started learning classical piano at 6 and he attended higher studies in piano, classical guitar, classical singing as well as in Music Theory, Harmony and Composition. Furthemore he studied physics and electronics. He also studied electroacoustic & electronic music composition with Nigel Morgan and Roderick Watkins and he holds a Dip.Mus. in Composition (N.T.U.A) and an MPhil. in electroacoustic Music (University of KENT).
His work extends on a wide range of compositional techniques, from traditional tonal to extreme atonal, electronic and experimental creations. His music includes compositions for symphonic, chamber, choral, vocal and cinematic music, as well as pieces for piano, harpsichord, guitar and one opera. Moreover his electroacoustic, experimental and intermedia works explore the interconnection of the contemporary music creation in the 21st century with music technology, digital visual arts and modern dance. Since 1995 he is collaborating with various companies in the stock audio market.
As an educator and Dean of studies, he has collaborated with National Conservatory of Athens, National Technical University of Athens and other institutions of accredited secondary and higher education, since 1984. He is an elected member of the Association of Greek Composers since 1997 and in 2007 he has been awarded as a registered member of the WHO is WHO encyclopedia. Moreover he has been a member of the British Organization, Sonic Arts Network and he worked as sales consultant and demonstrator for Roland products of music technology and as music radio producer at NITRO RADIO 102.5, Athens.
One of his most prominent piano works Reverie, has been presented and recorded at the Smolny Cathedral Church in St. Petersburg, in May 2005, by the internationally renowned Cypriot pianist, Plotinos Micromatis. Reverie is the result of a long term project from 1978 until 1988 incorporating a collection of ten piano pieces. From 1992 until 1998 he composed a significant number of works of electroacoustic music, in the frame of research programs, as scientific collaborator of the Music Department and the Conservatoire of the National Technical University of Athens (N.T.U.A), where he studied composition. Most of his electroacoustic music works composed from 1998 until 2005, are based on a particularly pioneering aesthetic and scientific aspect. Some of these works have been presented as part of his MPhil studies (University of KENT, UK), in the frame of Composers Concerts of Canterbury Contemporary Music Festival (UK), at St Gregory' Centre for Music.
His reputation as an electronic & electroacoustic music composer has been established after the presentation of Angel, an acousmatic composition for two sampled recitors (male, female), one recorded soprano voice and electronic sounds. This experimental piece has been presented in the Canterbury (UK) Festival in 2001. The soprano part has been composed with the aid of algorithmic vectorial data processes, based on a poem written by Ray Kurzweil's Cybernetic Poet software, after analysis of poems by Patricia Camarena Rose and Sue Klapes Kelly. The electronic parts of the piece do not contain any artificially generated (synthesized) sound, all sounds have been composed by digital processing and resynthesis methods of the sampled natural human singing and utterance. Angel has been recorded in Athens with the participation of the soprano Gina Poulou, an internationally renowned artist, and the editing has been completed at the studios of Canterbury Christ Church University with Metasynth and Pro Tools software.
His work Sphere’s Song, for multi-channel digital tape and piano, has been presented and recorded in the Canterbury (UK) Festival in 2004, by the composer, in live multi-channel tape mixing, and the pianist Plotinos Micromatis. This is a piece based on the natural environment around us, where simple and complex phenomena produce a mesh of data that cannot be directly perceived by human senses. This data constitutes a source of continuous and intense activity with particular laws and balances, and includes a wide spectrum of electromagnetic waves that human beings cannot perceive. The concept is based on the ''Interactive NASA Space Physics Ionosphere Radio Experirnents" (INSPIRE) project, investigating very low frequency (VLF) radio signals in the earth's magnetosphere. These include natural radio waves coming from such common phenomena as lightning, but there are also VLF emissions that reach us from over 20,000 mίles away, as VLF emitted from meteors. VLF radio emissions are at such low frequencies that they can be received, amplified and turned into sound that we can hear. The objective of this experimental composition is to project in the fίeld of human senses a small part of this unperceivable universe that surrounds us with its constant hypercosmic activity. The indeterminacy of the open form of the live piano part metaphorically reflects the interactive relation between the human and the natural which governs the aesthetic and formal concept of this composition.
Sonographies Ι is an experimental composition, presented in the Canterbury Contemporary Music Festival in 2005, for multi-channel digital tape, that explores the conversion of visual shapes into sound-objects. The overall shape of the piece is a complex transitional modulating form, resulting from visual mathematical models and from the simulation of visual natural models by mathematical formulas.
Natura Madre – Natura Morta is an innovative biomusic project presented, for its world premier, at the Cultural Capital City of Europe, Patras 2006 (Greece), during July 2006 and attracted about one thousand visitors. One year later, in September of 2007, the work was presented in Nicosia (Cyprus), by commission of the cultural centre of the Hellenic Bank and the cultural foundation Avantgarde, sponsored by the Ministry of Education & Culture of Cyprus. The success was exceptional as more than one thousand five hundred people, from many countries, visited the installation in three weeks (the biomusic project-I).