Composer

Evagoras Solias Apokidis



Performance still, three performers reading from lit scripts on stage

Evagoras Solias Apokidis (b. 1996, Athens, Greece) is a composer whose work explores the intersection of music, speech, and theatricality. He moved to Cyprus to pursue his initial music studies — including private composition studies with Tasos Stylianou — earning a Bachelor's degree in Music from the University of Nicosia. He later continued his education in Denmark, completing a Master's degree at the Royal Danish Academy of Music, followed by an Advanced Postgraduate Diploma.

His pieces often begin with ordinary situations that gradually become obsessive through repetition, contradiction, and self-imposed rules — until performers find themselves trapped inside the structures they've created, and familiar actions slowly turn unfamiliar.

Evagoras' music blends the absurd with the theatrical, often centering on speech and its fragmented, irrational qualities. Drawing inspiration from the directness and vulgarity of "in-your-face" theatre and the fractured logic of Samuel Beckett, his works frequently cross boundaries between music, theatre, and spoken language.

His compositions investigate speech as musical material, emphasizing absurdity, fragmentation, and theatrical presence, frequently combining spoken voice, performative gesture, and unconventional sound production — challenging listeners' perception and blurring the boundaries between music, theatre, and narrative.

Portrait of Evagoras Solias Apokidis
Education
Advanced Postgraduate Diploma & Master's, Composition — Royal Danish Academy of Music
Bachelor's — University of Nicosia, Cyprus
Collaborated with
Arctic Philharmonic Sinfonietta, DR Symphony Orchestra, DR Vocal Ensemble, Klart, Ligeti Quartet, Trio Sol Ensemble, Klangforum Wien, Lore Linxemberg, Marco Blaauw, Francesco Rista, Marco Pomelli
Festivals
UNM (FI), KLANG (DK), Njord (DK), Outhear Music Days (GR), Uhørte Klange (DK), Giorki Project (CY), Pulsar Festival (DK)
Performed in
Cyprus, Germany, Denmark, Finland, Greece — including Koncerthuset (DR Byen), broadcast on DR Radio
Karesansui I2016 — piano, violin, cello
Electric Wind2017 — flute and tape
Emperor Moth2017 — electroacoustic
EP ON SIL2018 — mezzo-soprano and tuba
Bleiche Nacht2019 — soprano, alto flute, contrabassoon, percussion
Antanaclasis2019 — sinfonietta
Κικλισμός2020 — string quartet
Just Two2020 — solo clarinet
Karesansui II2020 — guitar, cello, piano, percussion
Un----2021 — vocal ensemble
Less2021 — two cellos
Morphes2021 — orchestra
Swears and Wonders2022 — soprano
Duet2023 — solo trumpet
Apokrousto2023 — piano and guitar
Not I2023 — solo trombone / mouth
Perhaps, Not't Say?2023 — three performers
Perhaps It Was Less2024 — solo double bass and speaking voice
Half-Framed, Half-Spoken, or Something Like That2025 — string trio
This Is a Lament, Apparently2025 — percussion, bass flute, voice
Watching One's Life Is a Nasty Habit of Yours (Not Mine), Nasty Indeed2025–26 — bass flute, Foley percussion, electronics
yes, no, perhaps, yet maybe, then yes again, and no, naturally…2026 — soprano, bass clarinet, viola, violin

Earlier works also streaming on SoundCloud.

Solo double bass performance still

Perhaps It Was Less

2024 — solo double bass / voice — 18–20 min

A fragmented examination of memory, voice, and relational disorientation. Speech and sound emerge as unstable traces of events that can no longer be fully recalled.

watch on YouTube
String trio performing at a lit table

Half-Framed, Half-Spoken, or Something Like That

2024/25 — string trio, electronics, voices — 43 min

A question that cannot be answered — or perhaps cannot be remembered. The work unfolds within the suspended space between inquiry and response, where language gradually loses its stability.

watch on YouTube
Three performers reading from lit scripts on stage

Perhaps, Not't Say?

2023 — three performers — 12 min

A music-theatre work built from anticipation without arrival. Through contradiction, hesitation, and recursive linguistic structures, three performers attempt to articulate an event that never fully emerges.

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Trio performing with flute, percussion, and voice

This Is a Lament, Apparently

2025 — voice, bass flute, percussion — 8–10 min

A fluctuation between approval and disapproval articulated through minimal language. Meaning shifts through repetition, hesitation, and the smallest possible verbal gestures.

watch on YouTube