Panagiotis Liaropoulos

Assistant Professor
Affiliated Departments
Composition
pliaropoulos@berklee.edu
Telephone
617-747-8069
Personal Websites
Artist website

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Career Highlights
  • Commissions and performances with the Boston Pops, Albany Symphony, ALEA III, Louisiana Sinfonietta, Cassatt String Quartet, Aspen Music Festival Chamber Ensemble, New Paths in Music Festival Chamber Orchestra, and Greek Ensemble for Contemporary Music
  • Recordings include Music for Solo Flute
  • Publications include "Lament" for String Quartet and "Martyria" for Chamber Ensemble and Mezzo Soprano
  • Leader of the Greek Music Ensemble
Awards
  • Second Prize in the Dimitri Mitropoulos International Composition Competition (2005)
  • First prize in the ALEA III International Composition Competition (2002)
Education
  • Boston University
    Massachusetts
    Doctor of Musical Arts (D.M.A.)
    Music Theory and Composition
  • Aristotle University of Thessaloniki
    Greece
    Bachelor of Music (B.M.)
    Music Education
  • New Music Conservatory of Thessaloniki
    Greece
    Artist Diploma (A.D.)
    Music Theory and Composition
  • National Music Conservatory
    Greece
    Artist Diploma (A.D.)
    Piano Performance
In Their Own Words

"I'm teaching Harmony 1 and Counterpoint 1, six sections. The level of the students who take this type of course is relatively high. I was expecting something much different. They do have to go over reviewing stuff that they have some knowledge of. This was a pleasant surprise, I'd have to say."

"Before I came here, my initial idea about Berklee was that it was a music education supermarket, that anybody who could afford to pay the tuition was admitted, but that's not the case. And obviously when this is not the case, the level of the students is much higher. I get to deal with dedicated musicians. This is the first thing that makes the difference from other schools. A second thing is the intensity of the programs. The laid-back atmosphere does not apply to the actual work that the students have to do."

"In my classes, the composer's view is there always. I insist that people think of even the most insignificant technicality in the creative sense. What is it that you can do with this specific sonority? Where can you go with that? I try to inspire in the minds of the students the creative approach, not just the approach of the performer who has to deal with a set of notes. How would they write things? What is their own interpretation of a given musical text?"