Hellenes composers of Thrace (1 από 7)

REGION OF EASTERN MACEDONIA AND THRACE

REGIONAL UNIT OF EVROS

DEPARTMENT OF PUBLIC HEALTH AND SOCIAL CARE

GEORGE CONSTANTZOS

THOMAS TAMVAKOS

ATHANASIOS TRIKOUPIS

HELLENES COMPOSERS OF THRACE

ALEXANDROUPOLIS 2017

Title:

Authors:

Hellenes Composers of Thrace

George Constantzos, musicologist, researcher

Thomas Tamvakos, music writer, critic and researcher

Athanasios Trikoupis, composer, musicologist, postdoctoral researcher

Version Coordinator:

Evangelia Kosmadaki, economist

Chryssi Pardalidou, archaeologist

Despina Branes, economist

Eleni Skeva, administrative officer

Athanasios Trikoupis

Editor: Editing Cover:

Copyright:

Anna Papayannaki-Divani, musicologist

Dimitrios Bachtsevanidis, music teacher

Athanasios Trikoupis

George Constantzos

Region of East Macedonia and Thrace

Regional Unit of Evros

Department of Public Health and Social Care

Version:

Publisher:

Alexandroupolis, 2017

Region of East Macedonia and Thrace

Regional Unit of Evros

Department of Public Health and Social Care

19 Dimitras str., 68132 Alexandroupolis ygeia.evrou@pamth.gov.gr www.peevrou.eu

English Translation:

English Publication Editing:

ISBN 978-960-89575-6-5

Marina Nikolakopoulou, Robin Jeffrey, Athanasios Trikoupis

Marina Nikolakopoulou, Athanasios Trikoupis

All rights of translation, reproduction and adaptation reserved for all countries by the world

Pilgrimage to Thrace of Hellenes

CONTENTS

Greetings……...……………………………………………………………………....…...………...……………………………………………………......

Letter of Archbishop of Athens and All Greece, Ieronymos II ……………………………………………………….……………….…………………

Extracts from the Critical Commentary on the Book……………………………………………

FOREWORD…….…………………………………………………………………………………………… ……...........................................................

ABBREVIATIONS……………………………………………………………………………………………………........................................................

INTRODUCTION: THE MUSIC IN THE HELLENIC EDUCATIONAL INSTITUTIONS AND HELLENIC ASSOCIATIONS OF THRACE ……..

The music in the Hellenic Educational Institutions of Thrace...………………………………….……….……………………………….………...

The music in the Hellenic Associations of Thrace…………….…………………………………………………………….…………………….….

COMPOSERS OF BYZANTINE AND ORIENTAL MUSIC……………..……………………………………………………………….………..…...…

CD CONTENTS

(The presentation of the works is in first recording)

1. Grigorios the Protopsaltes (1777-1821): “Defte Ellines Gennaioi (Come, oh brave Hellenes)”, musical arrangement by Grigorios Stathis

Nikos Konstantinopoulos (voice), Peter Tampouris (kanun)

Males’ Choir and traditional instruments from Constantinople

2. Vasilios Nikolaidis (1915-1985): “Axion Estin (It is truly meet)”

Dimosthenis Fistouris (solo voice and isocrates)

3. Anthimos Nikolaidis (1795?-1865): “Tou deipnou sou tou

mystikou (Of Your Last Supper)” (harmonization by Gottfried Preyer)

Choral Workshop of Athens

John Trevit (organ)

Giannis Mantakas (choir director)

4. Georgios Soutsos (1817-1875): “Madelaine”

Antonia Kalogirou (voice), Athanasios Trikoupis (piano)

5. Pericles Matsas (before 1860-?): “Nannarisma (Lullaby)” no. 28

Antonia Kalogirou (voice), Athanasios Trikoupis (piano)

6. Pericles Matsas (before 1860-?): “Nannarisma (Lullaby)” no. 33

Antonia Kalogirou (voice), Athanasios Trikoupis (piano)

7. Pericles Matsas (before 1860-?): “He Monaxia (The Solitude)”

Antonia Kalogirou (voice), Athanasios Trikoupis (piano)

8. Constantinos Charikiopoulos (before 1860-?): Allegro moderato

Athanasios Trikoupis (organ)

9. Pierre Zachariades (1860-?): Valse Impromptu op. 1, no. 2

Athanasios Trikoupis (piano)

10. Themistocles Polycrates (1862-1926): “Ena fili sti mana mou (A kiss to my mother)”

Antonia Kalogirou (voice), Athanasios Trikoupis (piano)

11. Vasilios Gounaropoulos (about 1865-?): “Sto mnimion tou Falirou (At the monument of Faliro)”

Antonia Kalogirou (solo voice)

Female choir of the Phaeton Conservatory of Alexandroupolis

Sopranos: Antonia Kalogirou, Lito Tzitzika, Ioanna Tripsiani, Altos I: Anna Papagiannaki-Divani, Katerina Spanopoulou, Marina Teratourova, Altos II: Lousine Gasparian, Ioanna Bezanidou, Pelagia Xondrou

Lousine Gasparian (choir teaching)

Athanasios Trikoupis (choir director, piano)

12. Georgios Pachtikos (1869-1915): “Pou navro go vassiliko (Where can I find some basil)”

Sopranos: Antonia Kalogirou, Lito Tzitzika, Altos: Anna Papagiannaki-Divani, Marina Teratourova, Tenor: Savvas Gritzelis, Bass: Vagelis Mammos

13. Giovanni Ingenito (1876-1933): “Serenata d’ Amore ”

Antonia Kalogirou (voice), Athanasios Trikoupis (piano)

14. Loukianos Cavadias (1879-1970): “Xemialistra (Enchantress)” Kalamatianos

Antonia Kalogirou (voice), Athanasios Trikoupis (piano)

15. Orestis Tsalapatanis (1884-?): “Mi me ligonis (Don’t tempt me)” op. 361

Antonia Kalogirou (voice), Athanasios Trikoupis (piano)

16. Grigoris Constantinidis (1893-1979): “Pantrevoun tin agapi mou (My love is getting married)”

Antonia Kalogirou (voice), Athanasios Trikoupis (piano)

17. Notis Santorinaios (1912-1976): “He psichoula (Little soul)”

Antonia Kalogirou (voice), Athanasios Trikoupis (piano)

18-20. Elias Xanthopoulos (1923-2005): Guitar Work (Prelude, I, II)

Vangelis Kapsalis (guitar)

21. Telemachus Metallinos (1926-2011): “Apikoniseis III (Portraits III)”

Athanasios Trikoupis (piano)

- Sound engineering, Sound processing, Mastering: Giannis Ampatzoglou (18), George Arapakis (2), Telemachus Goudas* (4-7, 9-17, 19), George Constanzos (8), Peter Tampouris (1).

- Place, Year of sound engineering:

Private Studio of G. Constantzos – P. Tampouris, 1992 (1)

Private Studio of G. Arapakis, 2005 (2)

Studio Columbia, 1987 (3)

Catholic Church of Saint Paul in Kifissia, 2013 (8)

Private Studio of G. Ampatzoglou, 2013 (18)

Recording Studio of Alexandroupolis Music Society, 2013 (4-7, 9-17, 19)

-Reproduction of CD: T. Goudas – E. Rigga G.P. (Computer Action), Alexandroupolis

-CD design: G. Constantzos an d T. Goudas. – E. Rigga G.P.

*Warmest thanks by Telemachus Goudas to his teacher Dionysios Batzakis for his help during the sound processing and the mastering of the songs.

“HELLENES COMPOSERS OF THRACE”

GREETINGS (for the first publication in English, 2017)

This album, "Hellenes Composers of Thrace", is the first recording of Thracian composers of the modern Hellenic history, who put their personal stamp on the musical firmament of the urban centers of their time. Influenced by elements of Byzantine, Ottoman and European civilization that historically coexisted in Thrace, the composers expressed themselves through notes and melodies, unknown to the public until today.

Their life and work are brought to light by this research essay, the publication of which was undertaken by the Region of Eastern Macedonia and Thrace - Regional Unity of Evros in an effort to promote the Hellenic historical and cultural heritage of Thrace. The work received rave reviews and comments from scientists of the field and lovers of Thracian music and history.

By choosing to publish the "Hellenes Composers of Thrace" in English, we "open" the historical and musical gates of the region to the English-speaking and English-learning public. We really hope it will be a valuable helping tool to every visitor - scholar, lover of history, music, tradition and folklore.

The Deputy Head of Regional Unit of Evros

Dimitrios Petrovits

GREETINGS (for the first publication in Hellenic, 2013)

Most often, when we talk about music of Thrace, our mind goes to the traditional sounds and to our well-known and beloved musicians. We forget, however, that in the region of Thrace there were important urban centers, even from the Byzantine period, up to modern times, with great economic and cultural development, where the arts and literature were flourishing. Music was one of those arts.

Unfortunately, we have no knowledge of the urban art music of Thrace, simply because, so far, no research has been conducted on this subject. That is why we were happily surprised when we came in contact with the initiators of the book you hold in your hands. We immediately decided to include it in the publications of the Region of East Macedonia and Thrace – Regional Unit of Evros, because the idea of a scientific essay on the Hellenes composers of Thrace, as well as their work, written by such successful researchers, not only will fill the existing gap, not only will be a new research field for students of music, but will also give prominence to our place, globally, since this original and important musicological study will be distributed in schools, conservatories, universities and libraries in Hellas and abroad.

Congratulations to all coefficients!

In particular, we express our thanks to the writers: a) Dr. George Constantzos, musicologist and researcher, b) Mr. Thomas Tamvakos, music-writer, critic and researcher, and c) Dr. Athanasios Trikoupis, composer and musicologist, who, all together, worked selflessly, offering their knowledge, their data files and their scientific training, in order for us to have today in our hands t his excellent edition.

From now on, history of music will be richer!

Deputy Head of Regional Unit of Evros

Georgia Nikolaou - Mavranezouli

The

The promotion of the cultural wealth of Thrace and its diversity is the key concern of the Sector of Culture of the Regional Unit of Evros. With that in mind and aiming to contribute to the acquaintance of the citizens, especially the young ones, with our country, we have already, since last year, planned and implemented certain actions in which, in many ways, we have "invested" our hopes, in order to achieve these goals. The publication of this book is one of them.

This issue proves the constant presence of the local musical culture, which unfortunately has been in obscurity, until now. Many thanks, from the bottom of our hearts, to the authors, for their serious and meticulous work, especially to Dr. Trikoupis for the excellent cooperation he had with our services. We are confident that this project will retrieve from oblivion old and younger composers of T hrace, as well as their work.

The Head of Department of Public Health & Social Care (Regional Unit of Evros, Section of Culture)

Evangelia Kosmadaki

Region of East Macedonia and Thrace

Regional Unit of Evros

68100

Alexandroupolis

Ieronymos II

Archbishop of Athens and All Greece

Athens, September 27th 2014

Dear Gentlemen,

I would like to sincerely thank you for your kind gesture to send me the research essay issued by the Regional Unit of East Macedonia and Thrace titled “Composers of Thrace”. This elegant essay – a result of many years of research by its writers –consists a pilgrimage to our glorious Thrace, as it highlights important historical and artistic information for the musical creators from the field of the literary and Byzantine music. Through this, we can now step on inspired musical roads of well-known, as well as inconspicuous composers from Thrace and its musical tradition, while valuable information emerge on the philanthropy of their art and era.

I congratulate you because in these times of spiritual poverty, you highlight a treasure of a research effort which is and will remain meritorious for the promotion of Hellenic music. May it become a valuable tool to the younger musicology researchers, so they can bring to surface more details on the course of our mu sical history, as well as to help the cultural authorities in the field of musical education.

Cordial Greetings

Ieronymos II

Extracts from the Critical Commentary on the Book

"In a difficult, miserable era, that few of those in power are able to discern what is pretentious and what is worthwhile, ... I find this publication very important, not only because it is a treasure of research labor but also because it is supported by official bo dies."

Efi Agrafioti, «Hellenes Composers of Thrace», Kathimerini, insert ZOE. POLITISMOS-ATHLITISMOS (LIFE. CULTURESPORTS), 3/5/2014, p. 5.

"This invaluable offer is a real ark of musical creation - creators, to be more precise - of a rather neglected part of Hellenism. ... The authors offered their many years of experience, the findings of their research, their established knowledge and their selfless love."

George V. Monemvasitis, “Apo to thelo kai mporo sto pratto (From wanting and being able, to action)”, Eleftherotypia , Critics of Music, 13/5/2014, p. 22.

«Μια περιήγηση λοιπόν στην έντεχνη δυτικοευρωπαϊκή, βυζαντινή και ανατολίζουσα μουσική της ενιαίας Θράκης των Ελλήνων (Ανατολικής και Βορείου συμπεριλαμβανομένων), που συγκροτούν ένα πλουσιότατο μωσαϊκό καλλιτεχνικής έκφρασης Αναφέ-

ρεται σε ανθρώπους που, ακόμη και με πενιχρά

"A tour in the western European, Byzantine and oriental art music of the unified Thrace of Hellenes (Eastern and Northern included), which constitute a rich mosaic of artistic expression. It refers to people who, even with meager means, in adverse sociopolitical conditions, created local wonders, setting up orchestras and choirs in few but generous Hellenic communities, upgrading their culture."

Leonidas Kanaris, “Vivlioparousiasi. Nees ekdoseis (Book presentation. New Editions)”, Polytono, iss. 64, 5-6/2014, p. 49.

"A praiseworthy publishing initiative, mainly because it proves that local government units can offer more than routine work and bureaucratic service, but also because it offers the public a valuable work."

Leandros Slavis, "Hellenes Composers of Thrace. Book Presentation ", Nea Anchialos, year 21, no. 84, 7-9 / 2014, p. 13.

"The warm and plentiful welcome of the book “Hellenes Composers of Thrace” demonstrates not only the need for such an essay that was lacking in the relevant literature, but also the desire to make the colorful variety hidden in the musical spectrum of Thrace more widely known. ... Finally, it made us remember that Thrace had once broader geographical boundaries and always remains a real crossroads of cultures whose ferments create spiritual food for all the Balkans."

Athanasios Vavlidas, "Hellenes Composers of Thrace, an important musicological essay", Odos Panos , year 34, iss. 165, 1-3 / 2015, p. 162.

FOREWORD

On Saturday, March 17, 2012, the Music Teachers Association of East Macedonia and Thrace, the Alexandroupolis Artistic Group (KOA) and Thomas Tamvakos’ Archive of Greek Classical Composers, under the auspices of the Association of the Cultural Institutions of Ev ros (ΕΠΟΦΕ), organized a lecture given by Thomas Tamvakos, music writer, critic and researcher, at the Municipal Theatre of Alexandroupolis, entitled: “Art Music Composers, Hellenes or hailing from Hellas, of the wider Thrace, from antiquity to the present day".

The specific speech, which was the result of a specialized research that was accomplished by Thomas Tamvakos upon the request of the Music Teachers Association of East Macedonia and Thrace, brought in the limelight, for the first time, important elements, unknown to date, about dozens of composers hailing from wider Thrace –Eastern (part of today’s Turkey), Northern (part of today's Bulgaria) and Western (in today's Hellas)–, whose work and biography were in obscurity. The research was focused on the deceased composers and the presentation included rare audiovisual material as well as musical examples, interpreted by members of the Music Teachers Association and by the Choir of the Alexandroupolis Artistic Group. Forgotten composers and teachers, from the Byzantine and the Ottoman period, as well as the modern periods, hailing from Constantinople, Adrianople, Eastern Rumelia [Philippopolis (now Plovdiv), Sozopolis (now Sozopol), Stenimachos (now Asenovgrad), Pyrgos (now Burgas)], Xanthi, Komotini, Alexandroupolis and from many other cities, were retrieved from oblivion through a thorough study of the researcher.

The event was repeated in the Cultural Multicenter of Orestiada, on Sunday, March 18, as collaboration between the Municipality of Orestiada, the Municipal Public Benefit Organization for Cultural Development of Orestiada and the Music Teachers Association of East Macedonia and Thrace. In fact, it was so popular, not only to music lovers and musicians, but also to all those who are interested in the Thracian history and culture and its strong relationship with the Hellenism, that the Music Teachers Association decided to submit a pro posal, regarding the issue of a relevant book, to the Administrative Region of Eastern Macedonia and Thrace, Regional Unit of Evros (Department of Public Health and Social Care), Section of Culture. The positive response of the Head of the Department, Mrs. Evangelia Kosmadaki, but mainly the approval of the Deputy Head of the Regional Unit of Evros, Mrs. Georgia Nikolaou, led to the publication of this essay, which is the first attempt to chronicle the musicians of Thrace of modern Hellenic history in the field of artistic musical creation, at specialized study level.

The geographical and cultural characteristics of the Thracian land obviously affected the structure of the book’s contents. The rare coexistence and common course of the characteristics of both the Eastern - Byzantine and Ottoman, and the European culture that has been existed from the time of the Enlightenment and has been intensified from the 19th century onwards in the major urban centers of Thrace, creates a special artistic production. The culture and preferences of each composer are reflected in his music creation, which is part of a global spectrum where all categories and kinds of music coexist. Indeed, there are cases of composers who are knowledgeable in both, Byzantine and European music and they express themselves bilaterally in their artistic creation, writing works of both styles.

Based on the above, this book is divided into two main sections. The first, elaborated by the musicologist researcher Dr. George Constantzos, refers to composers, as well as some important musicians (performers, writers etc.) of the secular oriental music. The second section, elaborated by Thomas Tamvakos, lists the western classical music composers, as well as those who used both styles. That is, in total there is a recording of all the secular art music composers, who were identified and acted in Thrace (Thracians or not) during the period of modern Hellenic history, since the Fall of Constantinople onwards.

No particular emphasis was given to the composers of Byzantine ecclesiastical music, at least to those who dealt exclusively with this, because, on the one hand, both their biography and work require multiple documentation space, while on the other hand, their actions have mostly been studied regarding the Byzantine musicological essays. It is also useful to clarify that the term "art music", in the present study, indicates the signed music, i.e. the musical works bearing the personal stamp of their composers, unlike the folk music, of any kind and quality. That is, the composers of "serious" music, "light" mu sic (entertainment music), the composers, the transcripts, the modificators and others are included, while comprehensive critical assessment of their work can exist only after a detailed analytical study and after the collection of a representative sample of their works, given the failure to find most of them in the present time.

The enclosed digital compact disc (cd) contains musical examples of all kinds, from various eras by numerous composers, who were selected from a primary existing collection created during this research, just to emphasize the existing various genre. The examples are mainly works for voice and piano, indicating the importance of the Hellenic language in the Thracian artistic creation. As far as we know, all the examples of western musical styles have been recorded for the first time.

The writer worked on a brief general introduction, which briefly listed the development of the musical education and the formation of the collective musical activity within the Thracian civil society, factors which contributed decisively to the creation of the human artistic resources, mainly of western orientation, as described in this essay. Also, he dealt with the comments on the cd’s examples in the western tradition, which is presented in the third final section of this essay and it was considered expedient as a first indicative present ation of unknown works, something that will definitely interest all students and teachers of music.

The collected material for the present essay exceeded the limit t hat had been firstly set for this first edition. Additionally, due to the presentation as a scrapbook, particular emphasis was given to the submission of many photographs, facilitating the average reader to form a clearer picture of people, places and time. As a result, several elements remained available either for a later enlarged edition, or for personalized studies on specific composers.

On the other hand, the inability to have access to archival material, that there is in northern and eastern Thrace, due to lack of relevant financial assistance that could support such research, creates a substantial gap, which we hope will be filled in the futu re. Fortunately, important findings were collected in Vienna, as part of post-doctoral research, which aims at documenting the European influenc es on the modern Hellenic art music. However, seeing the great number of existing data, we are sure there are even more important Hellenes composers of Thrace who have not yet been recorded, as well as significant data that will fill the gaps of the existing biographies and bibliographies, when once the fieldwork in lost Thracian hearths of Hellenism will be prosper.

It is worth noting that efforts were made to homogenize the texts, in order to facilitate the reader, since each author has his own personal writing style. Nevertheless, some idiomatic expressions were kept intact, particularly regarding the registration of archival data and some personal choices about writing and wording.

Warmest thanks to:

-his Eminence the Greek Orthodox Metropolitan Dr. Arsenios of Austria (Ecumenical Patriarchate of Constantinople), the Archbishop Protopresbyter father Ioannis Nikolitsis, as well as the operators of the Hellenic Communities of Vienna for facilitating our access to the historical archives of the Hellenic Orthodox Communities of the Holy Trinity and St George, where we found evidence for the first Hellenic composer who completed composition studies at the Conservatory of Vienna, Peter Zachariadis from Constantinople and for Anthimos Nicolaides from Ganochora of Eastern Thrace, one of the first Hellenic musicians who were involved in the harmonization of the Byzantine ecclesiastical music according to western standards,

-the professor of the Institute of Byzantine and Modern Greek Studies of the Vienna University, Dr. Maria Stassinopoulou for placing in our disposal the archival lists of the above files, drawn by students of the Institute under her supervision, making our resear ch, as well as the location of the requested manuscripts, much easier,

-the Chairman of the Department of Music Studies of the University of Athens, professor Dr. Nikolaos Maliaras and the lecturer of the same department Dr. Flora Kritikou, for facilitating our access to the archive and the music library of Constantinos Psachos, located today in the Department's library,

-the responsible faculty member of the School of Music Studies’ Library of the Aristotle University of Thessaloniki, deputy Professor Dr. Evi Nika-Sampson, for the availability of the musical instruments (publications and manuscripts) of the above mentioned library,

-all those who contributed to our research, by disposing relative material either from their personal archive or their libraries.

We also owe gratitude to all those, living and deceased, whose textbooks and articles, in press or internet, became for us valuable source of information about the Hellenic historical and cultural heritage of Thrace, as the Professor of Modern Hellenic History of the Aristotle University of Thessaloniki, Dr. Constantinos Vakalopoulos, the emeritus professor of the University of Athens, Dr. Gregorios Stathis, the counsel researcher, Dimitris Stathakopoulos, the late Myrtilos Apostolidis, Nikolaos Vafidis, Constantinos Kourtidis, Georgios Papadopoulos, Polydoros Papachristodoulou and many others.

In conclusion, allow me to thank personally and cordially my older colleagues, George Constantzos and Thomas Tamvakos, not only because without their generous contribution the outcome of this project would be impossible, but mainly for their exemplary dedication to the continuous thorough investigation and the study of Hellenic music, result of their inex haustible love for the Hellenic spirit, while at the same time they are role models of morality and scholarship.

Athanasios Trikoupis

November 2013

ABBREVIATIONS

ACH: The Athens Concert Hall

AMS: Alexandroupolis Music Society

ATFLT: Archive of Thracian Folklore and Linguistic Thesaurus

AUTΗ: Aristotle University of Thessaloniki

c.: century

CL: Central Library, Aristotle University of Thessaloniki

DTA: D. Tatarakis Archive

CPL: Constantinos Psachos’s Library, Faculty of Music Studies, University of Athens

e.g.: exempli gratia (for example)

edit.: editor / edited

EIR: National Radio Foundation (Ethniko Idryma Radiofonias)

EPON: United Panhellenic Organization of Youth (Eniaea Panelladiki Organosi Neon)

ERA: Hellenic Radio (Elliniki Radiofonia)

ERT: Hellenic Broadcasting Corporation (Elliniki Radiofonia Tileorasi)

etc.: et cetera (and so forth)

HLHA: Hellenic Literary and Historical Archive, National Bank of Greece Cultural Foundation

HMA: Hellenic Music Archive (Administrator: George Constantzos)

HPL: Hellenic Parliament Library

Ibid.: Ibidem (The same)

iss.: issue

KMS: Kentro Mikrasiatikon Spoudon (Centre for Asia Minor Studies)

MA: Master of Arts

MGA: Music-Gymnastic Association

MGFMI: Museum of Greek Folk Musical Instruments

MLLV: Music Library of Greece “Lilian Voudouri”

MOTSA: Motsenigos’s Archive, National Library of Greece

ms: Manuscript

MSD: Musical Studies Department

n.d.: no date

NLG: National Library of Greece

no.: number

Op.: Opus

Op. cit.: Opus citatum (The work cited)

p.: page

PHA: Philological Association

publ.: publications

RPC: Research & Publications Centre (of Byzantine Ecclesiastical Music)

RU: Regional Unit

TTA: Thomas Tamvakos Archive of Hellenes Classical Composers

UC: University of Crete

USA: United States of America

vol.: volume

INTRODUCTION:

THE MUSIC IN THE HELLENIC EDUCATIONAL INSTITUTIONS AND HELLENIC ASSOCIATIONS OF THRACE

Regulation of the “Eumolpus” Philharmonic Association in Dedeagatch, 1905 .

Regulation of the first musical association of Alexandroupolis (founded in 1904), Archive of rare documents, MLLV.

Athanasios Trikoupis

The music in the Hellenic Educational Institutions of Thrace

The first reports we have on organized teaching of music in the first half of the 19th century include the teaching of Byzantine Chant to groups of children, by priests or chanters, along with teaching of read ing and writing, as well as religious texts (Apostle, Octoechos, Psalter etc.).1 The courses, also existed in the previous centuries, after the fall of Constantinople, were done privately at first or in the church. The Patriarchal Music Schools were the exception, since from the early 18th century onwards, became teaching centers of the Byzantine ecclesiastical music. With the development of the educational system and the school buildings, the lesson of ecclesiastical music was included in most schools of Thrace.2

Since the second half of the 19th century the music (vocal and instrumental) was taught at the elite schools for girls in Constantinople, such as the private school of the Musical Company "Pallas" , founded in 1874, the Zappeion National Girls’ School, founded in 1875 and the American College in Scutari. The lesson of music was also taught in Zografeio High School of Hellenic Orthodox Community of Stavrodromio.3 The lesson of Singing was already included, from 1894, in the official curriculum drawn up by a special seven-member committee under the supervision of the Patriarchal Central Educational Committee with a view to its implementation in the primary schools of the Archdiocese of Constantinople. Indeed, as is evident from the valid curriculum of the local schools, the lesson of Singing / Music was taught in most of the classes (if not all) in the overwhelming majority of schools in the early 20th century. At the same time, vocal and orga nic music were taught at the National Orphanage in Prinkipos to students who were considered qualified enough to engage professionally with musical art.4 Through the detailed program of the Hellenic-French Lyceum, founded in 1910 in Peran of Constantinople, we see that the lesson of singing was taught at the seven-class Astiki School, in all years, as well as at the four-year Gymnasium of Hellenic Department.

1 Myrtilos K. Apostolidis, "The Hellenic Schools in Philippopolis during the Turkish and Bulgarian regime until the catalysis of the Hellenic Community", Thrakika, vol. B’, Athens 1929, p. 100-101 and G. Constantinides, "The Hellenic Community in Adrianople. 2) Schools and Corporations", Thrakika, vol. 19, Athens 1944, p. 39-40. See also Constantinos D. Vafidis, "Analects of Callipolis", Thrakika, vol. 44, Athens 1970, p. 51 and Moschos Chr. Terzidis, "The Residents of Monastiri of Eastern Rumelia", reprint of the first volume of the journal Annals of the Province of Domokos , Athens 1980, p. 37. About the School of Ainos, see Trifon E. Evangelidis, "The schools of Thrace under Turkish rule", Thrakika, Annex vol. C’, Athens 1931, p. 67. Regarding the foundation of the Music School in Constantinople in 1815 by Patriarch Cyril VI, where teachers were the reformers of the notation system of Byzantine music Chrysanthos Madytos, Grigorios Levitis and Hourmouzios Chartofylaka s, see also. K. Amantos, "Scholars of Thrace. Cyril VI", Thrakika, Annex Vol. C’, Athens 1931, p. 111-112 and G. Lampousiadis, "About Cyril the VI’', Thrakika, vol. 19, Athens 1944, p. 89.

2 Ioannis Adamantiadis, "Condition of Hellenic Schools in Thrace at the beginning of this Centenary", ATFLT, vol. F', Athens 1939-1940, p. 139.

3 Regulation of the Zappeio National Girls’ School in Constantinople founded in 1875 , Constantinople 1885, p. 33-41 and Korinna Kanouta, Three Years in Vienna. Memoirs of a Hellenic Student, Estia, Athens 2001, p. 9, 13 and 23, as well as Vasilios G. Vetsopoulos, “Our Town (as it used to be...)”, ATFLT, vol. 33, Athens 1967, p. 250-251.

4 Sotiris G. Palaskas, The Hellenic education in Constantinople in the early 20th century: the municipal and urban boys’ schools and the correspondin g mixed schools (1900-1915), Kyriakidis Bros Publications S.A., Thessaloniki 2001, p. 51-52, 147, 218 and 247-297.

During the first two years of the Astiki School, the monophonic chants were taught, the two-voice chants were introduced in the third year, while in the fifth year the three-voice chants were also introduced. Chants of three and four voices were taught at high school, while there was a provision for the teaching of instruments (piano, flute, violin and other string instruments) as well as the theory of music. 5

In Adrianople, the Byzantine ecclesiastical music was taught already since 1880. In a related study on the education system of that city, there is a reference to Panayiotis Papaefthimiou, who was teacher of Byzantine music, among others, at Hellenic primary schools.6 Indeed, the teaching of music, even as vocal practice without theory, is confirmed that existed before 1880 in both, the kindergartens and the Massaliote Primary School (founded in 1879 with the donation of Hellenes expatriates from Marseilles) of the Educational Association of Adrianople, since the accountability of the Association shows that toddlers and students of the before mentioned institutions participated in the annual anniversary celebrations of the Association by singing hymns. 7 The accountability of 1889, where there is detailed record of the curriculum of the Massaliote Primary School, refers also to the lesson of singing in all three classes of the School, as well as the teaching of songs in kindergarten Yeni Imaret of the Association.8 We also know that, since the beginning of the 20th century, the Hellenic High School (Gymnasium) of Adrianople had department of instrumental music, while both the Gymnasium and the Zappeion Girls’ School had student orchestras that participated in school events, presenting various musical pieces.9

5 Regulation of the Hellenic-French Lyceum in Peran of Constant inople, printing shop of Gerardos brothers, Constantinople 1910, p. 24-51.

6 Constantinos G. Kourtidis, “The literature in Adrianople under the Turkish rule (1365-1912)”, ATFLT, vol. F΄, Athens 1939-40, p. 128-129.

7 Paschalis I. Valsamidis, The Hellenism of Adrianople. Since end of the 19th to the beginning of the 20th century Regulations - Articles of AssociationsAccountabilities-Formal Documents, publ. Ant. Stamouli, Thessaloniki 2008, p. 273, 305 and 364.

8 Valsamidis, p. 371-372.

9 Peter A. Georgantzis, Consular Archives of Thrace , vol. C΄, House of Literature and Fine Arts of Municipality of Xanthi, Xanthi 2000, p. 232 and Anonymous, “Indigenous”, newspaper Evros, yr. 16, no. 1149, Adrianople June 13th, 1907, p. 1.

Orchestra of the Hellenic Gymnasium of Adrianople, Demetrios Gentsidis Archive.

Additionally, Mr. D. Sarros, Headmaster of the Hellenic High School of Adrianople, with his report, dated June 4, 1907, regarding the school education in the region of the Consulate of Adrianople, stated that singing lessons were included in the elementary schools of the area [in Adrianople and its suburbs, Karaağaç (Karaagach) and Yıldırım, in Didymoteicho, in Saranta Ekklisies (now Kırklareli), in Skopos (now Üsküp), in Ortaköy, in Vize, in Makra Gefyra (now Uzunköprü) etc.], while chants were taught at the kindergartens of the region.10

In Soufli, the Primary Schools and the High School were teaching music (singing and instruments), perhaps even from their establishment. This is certified by the numerous photos and documents, that we have in our disposal, showing mandolin orchestras of primary schools from the first decades of the 20th century and by oral testimonies of old residents of Soufli, who became carriers of a musical tradition that was unfortunately lost over the time. There are photos from the 1920s, showing the mandolin orchestra of Soufli’s Gymnasium under the direction of Stavros Vrachamis and the mandolin orchestra of the Second Primary School, which was formed by George Tsitsipapas.11 This wonderful man and musician founded a youth mandolin orchestra also in Didymoteicho, where he was teaching music selflessly to children. He discovered the vocal talent of the tenor, Nikolaos Chatzinikolaou, the voice which graced the Greek National Opera for about twenty years. Through an oral testimony by Chatzinikolaou, we know that Tsitsipapas taught him a repertoire that included Schubert's lieder and arias from famous Italian operas, a highly qualitative musical anthology which he used also in his mandolin orchestras.

10 Gkeorgantzis, p. 233.

11 Michalis E. Patelis, Soufli, Travelogue to yesterday , Soufli 1994, p. 66.

Mandolin orchestra of Gymnasium in Soufli, 1927. The conductor Stavros Vrachamis is in the center and the musician George Tsitsipapas is in front of him. Michael Patelis’s Archive.

In Archigenia (Archigeneion Institute) and Eleneia (Eleneion Institute) Schools (Girls' and boys' schools respectively), established in Epivates (now Selimpaşa), the first one in 1857, by Doctor Sarantis Archigenes/Archigenis (Serandi Arşizen, 1809-1873) and the second one in 1868, by his wife Helen Fenerli-Archigeni/Archigenous (18231891), all male and female students were learning Byzantine and European music. Indeed, the same benefactor built, in 1863, exclusively for the students, the Church of the Forty Martyrs, where the female students were chanting at the left side and the male students at the right. European music was taught by Theodore Kountouras, from Epirus, who had studied in Switzerland.12

At Skopos of East Thrace (region of Saranta Ekklisies), the Byzantine church music was taught by Εkonomos Papastavris, who had studied in Constantinople. There, he was one of the first students of Chrysanthos of Madytos, one of the introducers of the new neumatic notation system in Byzantine music in 1814. Papastavris was teaching during 1860-1880, mostly to cover the needs of the Church Choir.13

Eastern Rumelia was one of the main financial centers of the Ottoman Empire during the 19th century. The Hellenic community had developed a bourgeoisie with exceptional economic potential, through the occupation with handmade and industrial production, trade and transport.14 European music and European dances were introduced to Philippopolis from the beginning of the 19th century by the Hellenes merchants who traveled to Europe and mainly to Vienna. In the 1830s

12 Katina Veikou-Serameti, “Epivates. History, habits and customs, glossary”, ATFLT , vol. 26, Athens 1961, p. 188-189.

13 K. N. Konstantopoulos, “Educational and Social of Skopos of East Thrace”, ATFLT , vol. J΄, Athens 1943-44, p. 76-77 and 100-101.

14 Stelian D. Sterionov, “Demographical and financial development of the Hellenes of the Eastern Rumelia during the XIX century XIX century (until 1878)”, Records of 1st National Hellenic Conference of the National Hellenic Federation of the Eastern Rumelia Corporations “Eastern Rumelia (North Thrace). History and Civilization”, Kyriakidis brothers publ., Thessaloniki 2009, p. 195-241.

The General, Alexander Mazarakis-Ainian and the Mandolin orchestra of "The Theodorideia" Girls’ School in Rhaedestus, in July 1920.

Ioannis Fourtounatos from Zakynthos settled in Philippopolis and founded a music school where he taught guitar, mandolin and European dances.15

Regarding Zariphios School of Philippopolis (today’s Plovdiv), founded in 1875, we know that music (vocal and instrumental) was included, since 1879, in the curriculum of both the Central Hellenic Girls’ School and the Boys’ school The pupils were being taught vocal music throughout their seven years of apprenticeship, while the boarders were provided with the ability to learn instrumental music. Teacher was the German musician, Adolf Gebauer. After Gebauer’s death, the lesson of music was taught by the French Tort and the Czech Teiner. The teaching was continuously maintained until the closure of the Schools, after the dissolution of the Hellenic Community by Bulgarians, in 1906. The music, among other artistic lessons (calligraphy and drawing), was introduced as innovation during the reorganization of all the Hellenic schools in Philippopolis in 1874, according to the latest European standards. This may mean that also other Hellenic schools of the city were teaching music, something for which, unfortunately, we have no information.16

From the curriculum of the Hellenic schools of Stenimachos in 1881, we know that Singing was taught in all three, the elementary school, the Girls' School and the Gymnasium of the city. 17 Also, from the program of the celebration organized by the Hellenic schools of Stenimachos for the end of the school year 1905-06, which was published in the “Philippopolis” newspaper, we know that there was a threepart mixed school choir performing works by important composers such as Handel and Bizet. Indeed, some of the works were performed with the accompaniment of the Orchestra of the Hellenic Philharmonic Society of the city.18

In 1889, a special school for girls was established in Varna, the Institut de Musique et de langue française Piano Forte, where the main courses were the music and the French language. Also, in Philippopolis, in Varna and in other cities of Eastern Rumelia, vocal and instrumental music lessons, as well as related theoretical courses, were taught also at the music departments of Associations that had musical ensembles (bands, cameratas, choirs, etc.). Indeed, there was the possibility of teaching many instruments (piano, mand olin, guitar,

15 Kosmas Myrtilos Apostolidis, The History of Philippopolis from the ancient years until ourdays, Union of all Hellenes from Eastern Romelia, Athens 1959, p. 617-618.

16 Apostolidis, "The Hellenic Schools in Philippopolis during the Turkish and Bulgarian regime until the catalysis of the Hellenic Community", p. 106-111 and “Songs from Philippopolis (East Rum.) during the 19th century”, ATFLT, vol. A΄, Athens 1934-35, p. 226. See also Nik.Moutsopoulos – Kon.Vakalopoulos –Arist. Kesopoulos (edit.), Unforgetable Countries of Thrace , Tziambiris Pyramid, Thessaloniki n.d., p. 372 and 423-424 and Apostolidis “Memorial Services. Theseus A. Pindios”, Thrakika, vol. 5, Athens 1934, p. 366.

17 Xanthippe Kotzageorgi-Zymari, The Hellenic Education in Bulgaria (1800-1914): its history, its structures and its role , Faestos, Thessaloniki 1997, p. 217218.

18 Themistocles E. Moutsisis, Society and Education in Stenimachos of Eastern Romelia (19th c. – 1919). Educators’ activity and Vlasios Skordelis, Eastern Romelia Library 3, Despoina Kyriakidi, Thessaloniki 2015, p. 147.

flute, recorder, piccolo, oboe, clarinet, horn, violin, viola, cello, etc.), as well as Byzantine church music, since the choirs of various Associations often chanted in communities’ churches. 19

Even after the Asia Minor catastrophe, as soon as circumstances permitted, the lesson of music was introduced by inspired directors, especially for musical practice. A typical example was the Boys’ Orphanage in Xanthi, where, in 1923, the headmistress Terpsichore PsaltouIoannidou accepted 350 children of all ages, 325 of which had sores on their bodies due to lice and lack of basic hygiene. Within a few years, the unforgettable teacher managed to operate, within the Institute, a primary school spanning six years and a high school, where she also organized music departments.20

19 Xanthippe Kotzageorgi, “Music and Theater in the Hellenic communities of Bulgaria (end of 19th cen– beginning of 20th) as an “enjoyment national and artistic”, Balkanika Symmeikta, Foundation of Studies of the Aimos peninsula, issue 8, Thessaloniki 1996, p. 93.

20 Koula Xirathaki, From the archives of the Court of Audit. Girls’ schools and Teachers of the enslaved Hellenism , Athens 1972, p. 63-65 and 81-86.

The music in the Hellenic Associations of Thrace

The Musical Association of Constantinople, which was dealing mostly with the Byzantine church music, was founded in Constantinople, in 1863, ten years before the founding of the respective Association of Athens. Its members were distinguished chanters, musicians and music teachers of the city, many of whom produced significant writings and compositions (e.g. George Violakis, Panagiotis Kiltzanidis and Ioannis Zografos).21 In 1896, the Patriarchal Musical Commission was established. In 1898, the Ecclesiastical Music Association of Constantinople was founded by members of that committee, aiming, in accordance with Article 1 of the Regulation, to the theoretical and practical study, the development and the cultivation of the Hellenic national music, ecclesiastical and secular, the study of its history from antiq uity to modern times, the comparative study between Hellenic music and the music of other Eastern or Western nations, ancient and modern, as well as "the exact correction of the Hellenic music, scientifically and technically, but also its elevation to the ancient and authentic chant and the complete learning of it". The Article 2 provided for the establishment of Music School, as one of the means for the achievement of the Association’s goals, which, according to Article 47, dealt exclusively with the systematic teaching of church music to the Hellenic orthodox youth, as well as the education of cantors and music teachers. To achieve the objectives of the Association, scholars and music teachers were sent to Europe to learn European music, but also to find ancient musical manuscripts in order to issue the work of the ancient Hellenes music writers. The Music School operated immediately, as shown in the revised regulation that was adopted in February 1902, which referred to the dependent, by the Association, Music School.22

Similarly, the western music showed great development and dissemination. In Makrochori (now Bakırköy) of Derki (now Durusu) province, the “Korais Educational Society" created, in 1885, a youth music school. The “Orpheus” Musical Association, founded in 1889 at Phanar, organized concerts with its famous Choir under the direction of the well-known Italian musician R. Ricci. He also set to music the anthem of “Orpheus” by the poet Alexander Rangavis. The high musical activity was also reinforced by the "Mandolin Orchestra of Phanar" under the direction of Stephen Stangalis, by various Associations of music lovers who were playing evening serenades in the narrow streets and by many female pianists (Emilia Papadimitriou, Helen Kesisoglou, Argiro Antoniades, Sophia Spanoudi, etc.) who were interpreting works mainly of famous European composers. In 1910, a Mandolin orchestra was also founded by M. Marοnitidis,23 at the community of Xyloporta.

21 Anonymous, About the celebration for the 60 years of the Musical Stadium and the 25 years since the first chanting in the Great Church of the Archon Protopsaltes G. Violakis on the 4th of December 1900, upon the second yearbook of the Church Musical Association, from the anne x of the Church Truth, Patriarchal Printing shop, Contantinople 1900, p. 32-34.

22 Regulation of the Church Musical Association of Constantinople, Patriarchal Printing shop, Constantinople 1899, p. 3-5 and 20-21, as well as Regulations of the Church Musical Association of Constantinople, founded in 1898, Patriarchal Printing shop, Constantinople 1903, p. 9 and 22.

23 Chariton Misailidis, “The historic Phanar of Constantinople”, ATFLT, vol. 31, Athens 1965, p. 325 and 331-332.

Additionally, in Tatavla, the "Astir" (Star) Football and Musical Club, founded in 1908 and the "Amphion" Musical Association, founded in 1911, took action in teaching instrumental music.24

In Adrianople, the Educational Association of Adrianople25 established a music department with string and wind instruments, in 1887. In the same city, the "Orpheus" Musical Group of Y ıldırım had already a band, at least from the first decade of the 20th century. At Saranta Ekklisies (now Kırklareli), there was the Camerata of the "Arion" Musical Group since the late 19th century, as well as the Mandolin band of the “Eve” Association of Ladies and Girls, at least since the second decade of the 20th century. 26 The "Arion", founded in 1895, invited the music teacher Giorgio Frangesketti, from Italy, who formed the aforementioned Camerata with wind and string instruments, an ens emble of very high standards for the time and place.27

Scouts’ Band of Saranta Ekklisies in Panathenaic Stadium of Athens, 1920

In 1908, the “Elpis” Association of Ladies and Girls was founded at Skopos (now Üsküp), which very soon established a female Mandolin orchestra under the direction of the President of the Association and Director of Girls’ school, Elpiniki Alexiadou. The Association

24 Nikos G. Isteklis, History of Tatauli from antiquity to present , publ. Eptalofos, Athens 2011, p. 440.

25 Valsamidis, op. cit., p. 380.

26 Nik. Moutsopoulos– Kon. Vakalopoulos– Arist. Kesopoulos (edit.), Unforgetable Countries of Thrace , p. 220, 235, 240 and 294.

27 Ioannis Magriotis, “Cultural Notes of the County of Saranta Ekklisies”, Archive of Thrace , vol. 34, Athens 1969, p. 239.

was giving theatrical performances, during the breaks of which, the Mandolin orchestra was performing. There was a Camerata with string instruments (mainly violins) in Arcadiopolis (now Lüleburgaz), which was participating, upon invitations, in festivals and ball s, even in other cities, entertaining the audience with European music (waltzes, polkas, quadrilles and mazurkas). 28

The Thracian Educational Association, founded in 1871, had a Band in Rhaedestus (now Tekirdağ). After the shutdown of the associations by the Turkish authorities, it was reestablished in 1897 as a Reading Hall named "Bisanthe" and operated the "Orpheus" Band. The town had also a female mandolin orchestra under the direction of Michael Maronitidis from Constantinople. The European musical preferences of the residents of Rhaedestus is evidenced by the widespread use of waltzes, quadrilles, polkas, mazurkas, apart from the Hellenic dances, during balls and other cultural activities, as well as by the existence of piano in many houses of the city.29

The band "Orpheus" of Rhaedestus, Music

The "Orpheus" Musical Association was founded in Philippopolis, in 1892 or 1894, aiming to spread music and culture, as well as to develop the musical feeling of the residents. The Association formed an Orchestra of wind and string instruments, as well as a youth choir,

28 Apostolos D. Psathas – Vassiliki Mitrakli-Psatha, “Skopos of East Thrace», Archive of Thrace , vol. 35, Athens 1970, p. 254-255 and 349.

29 Philippos Manouilidis, “Rhaedestus”, Thrakika, vol. 24, Athens 1955, p. 121-125 and Theodosia Manuil-Korfiatou, Rhaedestus of East Thrace (The ancient Vissanthi), Thessaloniki 1985, p. 16-17.

which participated in concerts and dances that were organized by various institutions of the city. Music teacher at "Orpheus" was the Czech Anton Teiner, whose students were the violinist Christos Erastis and the pianist Theseus Pindios. The level of instruction must have been quite high, since both aforementioned students became leading musici ans: Erastis was admitted, in 1906, in the Conservatory of Vienna to perfect his knowledge on the violin and Pindios was admitted in the Athens Conservatory, from where he graduated in Piano with a gold medal and then continued his studies in Berlin next to the famous pianist Egon Petri. 30

In Anchialos (now Pomorie), music lessons were conducted by “Proodos” (1899-1906), a Hellenic society that had a musical department with instrumental and vocal music and also by the Hellenic society of youth “Filikos Desmos (Friendly Bond)” (1905).31 In Varna, there were the "Musical Club" (Mousikos Omilos), the "Philharmonic Association" and the "Apollo Philharmonic Society". In Stenimachos (now Asenovgrad) there was the "Hellenic Philharmonic Society", in Py rgos (now Burgas) the Hellenic philharmonic association "Proodos"(Progress) and in Mesembria (now Nesebar) there was the musical and educational association "Orpheus", with a library of 3.000 books, which was destroyed by the Bulgarians in 1906. All the above Associations had musical ensembles (mandolin orchestras, choirs, bands, etc.), that were performing concerts or they were participating in celebrations, theatrical performances, balls etc. Their repertoire included works of classical music, works of Hellenes composers (e.g. George and Napoleon Lambelet, Paolo Carrer, etc.), even indigenous (e.g. Vasilios Gounaropoulos, etc.), as well as Hellenic folk songs. Hellenic schools had also many artistic activities, such as special evenings and events for the celebration of national anniversaries.32

Around 1900, in Xanthi, the first informal mandolin orchestra and chorus were formed by a group of Hellenes musicians. In 1903, the music association "Orpheus" was founded, which created the first official musical core of the city. However, in 1906 the Turkish authorities prohibited its operation. Upon the recognition of the Association that was made after the proclamation of the Turkish Constitution in 1908, the mandolin orchestra, the Choir and the Band started their formal appearances. It is proved that in the same year, there was also an Orchestra with also bowed string instruments (violins, etc.) under the direction of Constantinos Spathis.33 After the liberation, in 1920, upon the arrival of the Hellenes refugees, strong musical artistic activity started by many newly created associations: the "Arion" with its mandol in orchestra, the

30 Apostolidis, "The Greek Schools in Philippopolis during the Turkish and Bulgarian regime until the catalysis of the Hellenic Community", op. cit., p. 117118 and “Songs from Philippopoli s (East Rum.) during 19th century”, op. cit., p. 226 and “Memorial Services. Theseus A. Pindios”, op. cit., p. 367. See also . Statistischer Bericht über das Konservatorium für Musik und darstellende Kunst für das Schuljahr 1906-1907, Verlag der Gesellschaft der Musikfreunde, Vienna 1907, p. 30.

31 Xanthippe Kotzageorgi-Zymari, “Hellenic Communities at the Blac k Sea Coast: Education - Social Life - Spiritual Movement - Culture (end of 19th – beginning of 20th c.)” in Charilaos V. Mertzanis (ed.), History and Culture of the Hellenes of Anchialos. One hundred years from the holocaust , Conference Miutes of the Municipality of Nea Anchialos, Eurasia, 2006, p. 44.

32 Nik. Moutsopoulos– Kon. Vakalopoulos– Arist. Kesopoulos (edit.), Unforgetable Countries of Thrace , op. cit., p. 414-416 and 426· Xanthippe Kotzageorgi, “Music and Theater in the Hellenic communities of Bulgaria (end of 19th cen– beginning of 20th) as an “enjoyment national and artistic”, op. cit., p. 91- 94. Panos Panagiotounis, “The power of the Hellenism in Eastern Rumelia before the catastrophes”, Archive of Thrace, vol. 37, Athens 1974, p. 208.

33 Thomas P. Exarchou, Xanthi 1861-1911. History Elements, Xanthi 2005, p. 137 and 155-187.

"Atlas" and the "Ergatiki Proodos" (Labor progress) with their Bands, the Choir of the Girls’ Orphanage of Xanthi, etc.34 In 1930, the Band of the “Pan” Music-Gymnastic Association was founded, upon the dissolution of which, its instruments were taken by the Municipality of Xanthi. In 1934, the Band of the Municipality of Xanthi was founded, which was dissolved in 1936, upon order by the dictatorial authorities and in 1938 the E.O.N. (National Youth Organization) Band was founded, which was also dissolved in 1940, right after the declaration of war. The Band of the Municipality of Xanthi reopened after the liberation, in 1946.35

34 Panagiotis D. Mouchtaris, Xanthi of today and yesterday , Xanthi 1979, p. 6.

35 Stavros Zalimidis, Xanthi, Xanthi 1959, p. 45 and Stefanos Eu. Ioannides, Vartalamidi with texts about Xanthi’s culture , vol. B΄, Municipality of Xanthi, Xanthi 1994, p. 671.

36 Stephanos Eu. Ioannidis, Vartalamidi, vol. A΄, p. 338.

The Music School of "Orpheus" Music and Gymnastic Association of Xanthi in 1906 with the bandmaster Constantinos Spathis and the trainer. 36

Already, around 1905, the Musical Group of Soufli had an orchestra with string (violins, mandolins, cello, and bass) and wind instruments. In 1904 the first musical association named "Eumolpus Philharmonic Society" was founded in Dedeağaç (today’s Alexandroupolis). According to Article 1 of its Regulation, the purpose of the Association was the cultivation of music and the development of musical feeling to the families and the people, as well as the compilation of orchestra and choir to support charities. According to Article 3, the Association, if allowed by its financial status and if circumstances required, could operate a School for church and European music, which would provide music teaching for free. The active members of the Association, as well as the students, according to Article 13, were obliged to attend the classes three times a week (Monday, Wednesday and Friday) from 8 to 11 pm. The first hour of each three-hour session was for music theory and the rest hours for the orchestra rehearsals.37

After the liberation of Alexandroupolis, in 1920, a Municipal Band was founded, for the first time, in 1928, with Constantinos Karatziolas from Constantinople, as bandmaster. According to the written evidence of Alexandroupolis’ Mayor, Mr. Constantinos Altinalmazis, they used the old wind instruments of the Hellenic Gymnasium’s Band of Adrianople, which had been transferred to Alexandroupolis during the evacuation of Adrianople in 1922. This first Municipal Band was disbanded in 1941, upon the invasion of the Germans and the Bulgarians during the Second World War.38

With the mutiny of Bulgarians in 1906, against Hellenism, 77 Hellenic schools in Eastern Rumelia stopped operating and about 8,300 Hellenic children were left without Hellenic education. The Bulgarian government put again in force the inactive school law of 1891, under which primary education should only be made in Bulgarian language (Article 10) and teachers of primary schools should be only Bulgarian citizens (Article 58). Bulgarians occupied the buildings of Hellenic schools and the majority of Hellenism of North Thrace fled to motherland.39 Upon the Hellenic-Bulgarian Treaty of Neuilly, the final phase of the uprooting of the Hellenes from northern Thrace took place in 1919.

Upon the Hellenic-Turkish War (1919-1922) and the Asia Minor Catastrophe, the final phase of the uprooting of Hellenes from the East Thrace also took place. All the above outbreaks of Hellenism (Adrianople, Rhaedestus, Saranta Ekklisies, Makra Gefyra, Arcadiopolis, etc.) were deserted by every Hellenic element, upon the application of the compulsory exchange of Hellenic and Turkish Populations under the Treaty of Lausanne, in 1923.

37 Regulations of the Philharmonic Associatioon “Evmolpos” in Dede-Agats, Dede-Agats 1905, p. 1-2 and 4.

38 Constantinos Altinalmazis, “Report about the Band of the Municipality of Alexandroupolis”, Alexandroupolis Feb. 8, 1948, Historical Archrive of Modern Hellenic Music by Motsenigos , f. 550, no. 3, National Library of Greece. The Mayor of Alexandroupolis, Constantinos Altinalmazis, during 1922, was the President of the Educational Association of Adrianople and certifies the facts as an eye witness.

39 Spyridon Sfetas, “The education as a lever of Bulgarization of the Hellenes of Eastern Rumelia: the school law of 1891”, Proceedings of the 1st Panhellenic Conference of the Panhellenic Federation of Eastern Rumelia "Eastern Rumelia (Northern Thrace). History and Culture ", Kiriakidis brothers publ., Thessaloniki 2009, p. 178 and 193, as well as Xanthippe Kotzageo rgi "The last resistance to cultural and ethnic assimilation: hopes and actions to revive the Hellenic educational network in Northern Thrace (1906- 1912) ", Proceedings, op. cit., p. 251.

Regarding the following events of 1955, 1964 and 1974, they were complementary, minimizing the remaining Hellenes in Constantinople, while approximately 120,000 Hellenes Christians, who remained in 1924 in Turkey, have been decimated in 5.000-7.000 today.40

Someone can easily discern the consequences of the tragic outcome of the Hellenism from north and east Thrace, by reading the biographies of the composers who were born there and experienced that dreadful time. Most of them migrated to urban centers of Hellas, the majority of them in Athens, as well as abroad.

40 Frankos S. Frankoulis What Turkey? Which Turks?, Livanis Publ., Athens 2012, p. 386 and 413.

COMPOSERS OF BYZANTINE AND ORIENTAL MUSIC

George Constantzos

General Overview

Thrace, and especially its big cities, has always been the crossroads - along with the corresponding areas of Asia Minor - where western music has creatively met eastern: that is, the music of ancient Hellas and Byzantium as these were transformed through the centuries, incorporating some Arabic-Persian influences. The places where this music was developed were chiefly the houses of the upper middle class and the palaces of the Phanariot and Turkish rulers, but also the circles of educated young people who were bearers of new ideas and gradually formed the new bourgeois class. Certainly, church music and its teachers were the main source of theoretical knowledge for the dissemination of this music, since many great protopsaltes (head cantors) were trained in both European and Arabic-Persian music, and were at the same time composers of both church and secular pieces.

The epicentre of this movement was Constantinople. The presence of the Ecumenical Patriarchate with its strong interest in music, the Ecclesiastical School of Halki, the various music schools, the artistic societies which were founded in the 19th century, the great commercial activity of the port with numerous ships visiting every day, the meyhanes or music taverns (run by Christians, since such proprietorship was forbidden to Muslims), the tekkes or lodges of the Sufis, Mevlevi dervishes and others, and finally, the opulence of many of the Constantinople Hellenes, which allowed their children to study music, allowed them to buy pianos and other instruments, scores and gramophones, and to attend various musical events. Among the other cities, Adrianople, Philippopolis, Varna, Xanthi and after its liberation, Alexandroupolis stood out. Here we should remember that Thrace has its own rich and very varied traditional music, whose origins are lost in the distant past.

The musical history of Thrace begins in mythical times and reaches its peak the Byzantine period. The musical art remained intact after the Fall of Constantinople, although its development was halted for about a century. From the 17th century onwards, however, under the patronage of enlightened Patriarchs, it was organized and disseminated throughout the Hellenic world, which reached from Venice to the Caucasus, the Balkans, Tsarist Russia, Hellas, Cyprus, Asia Minor and the numerous Hellenic communities in Central and Western Europe, and later, America, Australia, Egypt and the rest of the Middle Ea st and Africa. Even the Orthodox nations speaking other languages adopted the church music of the Hellenes, simply translating the sacred texts into Romanian, Arabic, Turkish (Karamanli) and other languages. Meanwhile, from the 17th century onwards, Hellenes composers and virtuosi in

Ecumenical Patriarchate

classical oriental music increasingly held prominent positions in the Ottoman palaces, cultivating a new music, which was devel oped simultaneously by Hellenes, Arab, Armenian and Persian teachers, flourished both in the Sultans’ palaces and in the Mevlevi and Sufi lodges, was increasingly adopted by the Ottoman nobility – gradually replacing the traditional music of the nomadic Seljuk Turks - and is performed today by distinguished Turkish artists. At the outset, we should note that this music was not born from nothing in the Sultans’ palaces. Some of its genres, such as the kratima and the kalophonic eirmos, 41 also existed in Byzantium before the Fall. They were also created there, however, through the fertile interaction of the Hellenes with their neighbouring nations. In conclusion, we could say that it is a matter of two different views of Ancient Hellenic music: as it was preserved by the Byzantines, and as it was spread by the Arabs, with the continual variations which it underwent in every nation through which it passed.

The kratima (pl. kratimata) is a composition with the basic characteristic of having meaningless syllables as a text, such as anané, terirem and so on. It constitutes a link between church and “external” music.42 Some of these pieces took their names from places ( Persian, National, Thessalian, Bulgarian ), musical instruments ( Violin, Psaltery, Kettle Drum) or elsewhere (The Priest’s Daughter, Dance, Spinning Wheel). The kratimatario constitutes a particular musical genre, although often kratimata follow the last verse of a kalophonic eirmos. Kratimata were incorporated into divine worship, largely thanks to Ioannis Koukouzelis, who carried them from the palace to the Holy Mountain (Mount Athos.)

The so called kalophonic verses43 were already known from the 13th century, the works of master protopsaltes of that period - Xenos Koronis, Ioannis Koukouzelis and others. At that time the kalophonic stichirarion (or mathimatario of the stichirarion ) began to take shape. Manouil Chrysaphis, the last lampadarios of Hagia Sophia, gave it its definitive form, which later Chrysaphis the New and Germanos of New Patras perfected and embellished. This genre was cultivated also by Petros Glykis (the Sweet), Balasios Iereas (the priest), Theophanis Karykis and others. In accordance with the church’s principles, at least under the Byzantines, this took the form of a plain, not a flamboyant psalmody. It was, however, often performed "thyrathen" (outside) – that is, in areas surrounding the main church. Alongside the kalophonic eirmos, other genres were also developed, such as oikimatario, the polyeleos, the koinonika and so on.

41 See: Annex (Orthodox Church Musical Terms).

42 Pavlos Erevnidis, “The Kratimata and their history”, in The rejoicing of the angels by the St. Nicolaos Intellectual Centre of Petra ‘s Holy Monastery, 2000.

43 Pr. Georgiou Tzavla, “Prophets-Hymnographers, Composers-Singers’, in The rejoicing of the angels by the St. Nicolaos Intellectual Centre of Petra ‘s Holy Monastery, 2000.

But what constitutes this "external" music – that is, the secular and non-religious music (at least for Christians) of the east ? We are considering a complex musical system with many and varied in fluences, and many and varied terms for similar musical forms. Without delving too deeply, we will try to describe briefly its principal features. From the outset, we must remember that it is not limited to major and minor scales, but follows the tones of ancient Hellenic and Byzantine music, greatly enriched by Arab-Persian modes. Thus are formed the so-called makams. These are essentially twelve in number, but with the addition of the variant soupiedes their number reaches about sixty,44 while some writers raise the number to ninety.45 The rhythms or usûl are not limited to a simple duple or triple meter, but much more complex ones are found, with 28, 32 and even 64 beats. The music is divided into instrumental and vocal. 46 Among the instrumental forms the peshref takes first place. Each peshref is divided into four sections or hâne (Hellenic, oikos). Each hâne ends in a subdivision called the teslim (Hellenic, ipakoi). There is a complex process of transition from one hâne to another, so the pesrevs are usually of long duration. The instrumental semai is the last part of every fasil (series of instrumental pieces in the same makam). This has also four hânes of which at least three are in the aksak semai rhythm, or 10/8. The syrto has also hânes and teslim like the preceeding forms, and it is in a fast duple or quadruple rhythm ( giourouk sofian).

Finally, we have the instrumental girismata or ritornelli, short melodies which precede, are inserted into or follow the vocal compositions; the taximia or free improvisations on the makam; and the oyun havasi or dance compositions. Progressively, the instrumental forms also incorporated influences from the military music or the Balkan countries of the Ottoman Empire, such as the Romanian Longes and Chores, and indeed the Türkü, the folk songs of Anatolia.

44 Aydemir Mourat, The Turkish Makam. Trsl. S. Kombotaki, Fagotto, Athens 2012.

45 P. Kiltzanidis, Methodical Teaching, Theoretical and Practical, for learning and disseminating the genuine secular melodies of our Hellenic Music in contrast to the Arabic-Persian, A. Koromilas‘s printing house, Constantinople 1891.

46 We took much of this information from the book Hellenes (Romioi) Composers of Constantinople (17th-20th century) by Christos Tsiamoulis and Pavlos Erevnidis, Domos, Athens 1998.

Bendir, Sazi, Nei.

Among the vocal compositions we have the beste, which are divided into four stanzas, each of which is followed, instead of a teslim, by a teneroum or a gialeli with incomprehensible syllables (something like the church terirem). Another kind of vocal composition is the semai, categorized as slow (agir) or fast (giourouk). First a slow semai is performed, followed by a sarki, a poem set to music in four stanzas which correspond to its four hâne, and the sequence (fasil) ends with a fast semai. The gazel and the manes (probably derived from either the ancient Hellenic word maneros,47 meaning a mourning song, or from the Turkish aman (mercy) is a vocal improvisation on a makam, with or without an instrumental introduction or coda, and finally, other forms of vocal music, include the canto (song with western influences).

This music is performed by the so-called “orchestras of refined instruments” ( ince saz), among which the kanun ( Byzantine epigonion) plays the dominant role, since it can accurately tune the ma kam being played with the help of movable bridges (mandalia), which can also can also be changed during the performance. The tambour or tamboura (a word borrowed from the ancient Hellenic pandourida) has a long neck divided by berdedes or frets (bindings, made in the past of gut and nowdays of nylon) at distances that allow the intervals of each mode to be performed. The tambour is played with a plectrum (mizrapli tambour) or bow (yayli tambour). There are frets also on the saz, an instrument with three pairs of metal strings of different sizes, and the lafta, the Constantinople lute. In contrast, the oud, the violin and the politiki (Constantinople) lyra have no frets, so tonal accuracy depends on the ear of the performer. The same applies to the plagal reed flute (ney) on which, although there are holes, the notes are tuned by the player. The orchestras are completed by various percussion instruments such as the bendir (a large tambourine without jingles), the kountoum (paired shallow kettle drums) etc. In contradistinction we must remember that traditional Turkish orchestras consist mainly of zournas (shawms) or clarinets and drums, far from the spirit of Arabic-Persian art music.

The Hellenes cultivated this music because it pleased them, being related to church music, but also because it offered, particularly for the musicians, opportunities to earn a living. However, as a consequence of the Hellenes’ gift for creatively blending Eastern and Western cultural elements, a progressive transformation took place. They gradually combined this music with certain new western models that only they (and various Levantine communities) knew. Thus, we see that the songs with Hellenic verses acquire a strophic form, with, the equal distribution of musical beats to each poetic verse, the half-close on the

47 Georgios Faedros, Pragmateia peri tou Smyrneikou manes i tou par’ archaiois manero (Treatise on the Smyrneic manes known to the ancients as maneros), Smyrna 1881.

Ioannis the Sweet

dominant (ouvert, or sub-tonal in modal terms), and final cadences on the tonic ( clos).48 Likewise, more and more songs bear the label "in European style", that is, in a major or minor scale and a simple duple or triple metre. There were no few occasions, certainly, when the Hellenes adopted and hellenized compositions by Turkish or Armenian composers, which matched the taste of the particular time.49

These songs were collected in pocketbook manuscript collections, the Mismagies (from the Turkish word mecmua, periodical), where, in most cases, the name of the poet or composer was not included in the title of each poem, perhaps because these were generally known, and usually only the makam and the usûl, were written – in other words, the mode and the rhythm. Later, when western scores were spread through the east, i.e. from the beginning of the 19th century, we often see the indication 'this is performed to the tune..." and indeed it is striking how well known the various melodies from the operas of the time were to the urban populations of Constantinople and Smyrna. Apart from these manuscript mismagies , we also have several printed collections, such as that of Zissis Daoutis, entitled Moral and Comical Verses , which circulated in 1818, in Vienna.50 However, poems from the songs of the period are also found in older editions incorporated within the text, such as the School of Delicate Lovers (Vienna 1790) by Rigas,51 Love’s Consequences (Vienna 1792) by his partner, doctor Ioannis Karatzas52 and the New Erotokritos by Dionysios Photeinos (Vienna 1818).53 From 1830, with the publication of Euterpe, we have printed mismagies, with the music of their songs written in Byzantine notation.

Rigas Velestinlis, School of Delicate Lovers, Vienna 1790.

The songs in the mismagies are almost always concerned with love or the vanity of the world. During the 18th century they were exceptionally widespread. In the flowery gardens of Psomathia, in the salons of Stavrodromi, but also during romantic boat trips on the Golden Horn and the Bosphorus,

48 The terms ouvert and clos are very old and are used for the cadences of musical phrases from the middle ages, particularly for western dance music, as it was formed after the crusades.

49 Risto Pekka Pennanen, “The Hellenization of ottoman folk music”, Moussikos Loghos, no. 8, Corfu 2009.

50 Various Moral and Comical Poems, edited by Zisis Daoutis from Tyrnavos of Thessaly and printed at the cost of his sincere and patriotic friends, Mr. Parisis Demetrios Pamphyllos from Tyrnavos of Thessaly and Mr. Demetrios Ch. Soter Malkotzoglou, from Rhaedestus of Thrace. Vienna, Austria, from the printing house of John Varth, Zvekios, 1818.

51 School of Delicate Lovers. From the French Dialect translated here by Rigas Velestinlis of Thessaly. In Vienna, Austria. By the Printing house of Josephus Vaoumeisteros, 1790.

52 I. K. Erotos apotelesmata, ( Love’s Consequences ) or a moral- erotic history with songs from Constantinople, written in our simple language for the gaiety and cheer of the young nobility. In Vienna, 1792. By the Printing house of George Ventottis.

53 New Erotokritos by Dionysios Photeinos, vol. First. In Vienna 1818, by the Hirschfeld printing house..

in the cafes, the clubs and the music taverns, everywhere these songs were heard. Many such scenes were enthusiastically described by various foreign travellers, such as Guys.54 Among the poets and composers, we encounter the names of Alexander Kalfoglou (1725-1795), George Soutsos Dragoumanakis (1745-1816), Nikiphoros Naftouniaris the Archdeacon (+1830), Athanasios Christopoulos, Petros Lamp adarios and many others.

For a concise overview of musical history after the fall of Constantinople, we must note some landmarks and personalities which influenced its course. Although our book is devoted to the learned composers of music in the western style, it seems opportune also to mention the composers of the oriental music which is more characteristic of the region. However, an extended account of church music composers and their work would require a multi-volume treatise. So we will stay with those who were also involved with secular music, setting to music poems by modern poets, or composing instrumental pieces that were performed in the Ottoman courts. Many of these composers were at the same time virtuosic instrumentalists and sweet-voiced church cantors ( ieropsaltes), and also teachers who left us valuable theoretical treatises, books of ecclesiastical compositions and song collections. Likewise, we should note that many of these composers were not born in Constantinople or the wider Thrace, but moved there for study, and spent much of their lives in activity around the Patriarchate, the various music venues or aristocratic houses.

Starting with the last Lampadarios of Hagia Sophia, Manouil Chrysaphis, Gennadius Scholarius, the first Patriarch after the fall of Constantinople and Constantinos Laskaris, who escaped and taught in Italy, as well as many others who were active until the end of the 16th century, we find that while we have plenty of information on their ecclesiastical compositions, we know nothing about their involvement in secular music. On the contrary, regarding Theophanis Karykis, Protopsaltis of the Great Church in the first post-Byzantine years –who later became Patriarch– we know that he contributed to the evolution of a genre of “external” melody, the kratimata. As regards Karykis’ musical activity, we know that aside from being Protopsaltis , he was the first post-Byzantine who composed “national” pieces.55 Kratimata had been written also before the fall, such as the Psaltira of Prasinos. The whole of Karykis’ work should be considered the starting point for new musical trends, which began to appear at the end of the 16th century, toward a release from the established traditional forms.56 Mohammed the Conqueror himself was interested in the Hellenic musical notation system, and summoned two cantors, Georgios and Gerasimos, to write down

54 Guys M., Voyage litteraire de la Grece ou Lettres sur les grecs, anciens et modernes avec un parallele de leurs moeurs . A Paris, chez la veuve Duchesne. 1783.1.

55 E.g. after his “national” kratima in the MS 305 of the Holy Monastery of Xiropotamos, sh. 310, comes a “Persiko” in the plagal mode of the fourth (Rast).

56 Christos Tsiamoulis and Pavlos Erevnidis, Greek (Romioi) Composers of Constantinople (17th-20th cen), Domos, Athens 1998.

the melodies sung by the Persian hanedes (singers) of his palace.57 This Persian music, however, was also liked by the Hellenes; consequently, we encounter Persian melodies in church music codices of the 16th and 17th century from Mount Athos.58

From the early 17th century the art of ecclestiastical song reenters a course of artistic development, beginning with the lampadarios (and subsequently protopsaltis) Georgios Raidestinos the First, who created the preconditions for new musical settings of poetry, followed by a galaxy of outstanding musicians of the 17th century, starting with his pupil Panagiotis Manouil Chrysaphis the New. Three other musicians also played a very important role in this recreation of church song - Germanos, Bishop of New Patras, Balasios the priest, and Petros Bereketis, psaltis of St. Constantinos in Psomathia. Constantinople once again became the main centre for music. The search and the desire for learning led many music lovers there, from Mount Athos, Thessaloniki, Sina, Lesbos and other centres, to study with the music teachers59 of the Patriarchate. Furthermore, it is often mentioned that various ecclesiastical composers were also trained in European music. Perhaps this explains some experimental attempts made by certain of them in the composition of polyphonic music on the European model. We have examples of this already from the 15th century, by Manuel Gazis,60 Ioannis Plousiadinos61 etc. Certainly, Frankish and Venetian rule influenced the creation of these experimental compositions, which however had no effect, either ideologically or aesthetically. Nevertheless, we sporadically find such attempts, such as the one by a pupil of Zarlino, the Cypriot composer Ieronymos Tragoudistis (the Singer), who wrote a treatise on the reform of Hellenic music.62 Later, the Russian Orthodox Church created its own kind of polyphonic music, which influenced also the Orthodox Hellenes of the diaspora, resulting in the creation of modern church tetraphony (four-part harmony) during the 19th century.

As regards the secular music of the same period and even earlier, we have transcriptions of folk songs in manuscripts from Mount Athos. A little before Theophanis Karykis, in 1562, another scholar monk, Leontios, known as Koukouzelis, transcribed two compositions in Codex 1189 of the Holy Monastery of Iviron, one with Hellenic and the other with Ottoman verses. These are two literary compositions, since from the structure of the verse and the interspersed "terenoum" it is evident that these are not folk songs. As P. Tabouris63 mentions, compositions of this kind were transcribed in other codices, such as Codex 1080 of the Holy Monastery of Iviron, written by the monk Kosmas Makedonas of Iviritis in 1668.

57 Testimony of the chronicler Dorotheos of Monemvasia.

58 Monastery of Iviron, codes 1189 and 1562. Much more information given by Nektaria Liaskou in her diploma thesis Se cular music written in Byzantine notation in manuscripts from the middle of the 15th to the beginning of the 20th century, Thessaloniki, 2000.

59 Dimitrios Balageorgos, Ecclesiastical music in Constantinople, 2008.

60 The two-voice “Aeneite ton Kyrion” (praise the Lord) found in the MS 2401 f. 328 of the National Library. See Michael Adamis, “Polyphonic Ecclesiastical music in Byzantium of the 15th century” Musicology, 1986, iss. 1. p. 51.

61 The hymn “O Εorakos eme” found in the MS 215, f. 67 of the Monastery of Docheiario of Mount Athos. See Dimitri Conomos, Experimental polyphony in late Byzantine psalmody, 1982.

62 The 5-voice motet “Oh, Pascha, to Mega” (Oh, Easter the Great”).

63 Petros Tambouris, recordings “Mismagia” and “Thyrathen”, FM Records Nos. 623 and 624.

In Constantinople we have transcriptions of works bearing the signature Pappas (Papaz) from the Polish palace musician and translator, Wojciech Bobowski (Ali Ufki), a composer who is also mentioned by Cantemir. A little later, it seems that Angelis, known as the Great (1610-1690), composer and virtuoso on the tambour, was working at the palace. Demetrius Cantemir (1673-1723), a Hellene in the broad sense of the word, - he was of Tatar-Moldavian origin and son of Voivode (Prince) Constantinos, of Moldavia - learned music from Angelis and Ahmed Çelebi. He was a virtuoso ney (Arabian end-blown flute) and tambour player. He was an important composer and musical theoretician, and he invented his own musical notation system. At the same time he was a historian, geographer, ethnologist, novelist and politician. He wrote many books, among which the famous Kitâbu 'İlmi'l-Mûsiki alâ Vechi'l-Hurûfât, Mûsikiyi Harflerle Tesbit ve İcrâ İlminin Kitabı , which includes a theoretical part as well as 350 notations of musical compositions by himself and others.

From the mid-18th century begins a new great period of fruition and high achievement in church music. In the ecclesiastical chant of Constantinople, there reigned a new group of four musicians: Ioannis Trapezountios the Protopsaltis , Daniil the Protopsaltis, Petros the Peloponnesian the Lampadarios and Iakovos the Protopsaltis , who formed the vigorous modern cantorial practice, and contributed decisively to the form of musical notation. It is especially appropriate to mention Petros the Peloponnesian, since most of the repertoire in today’s psalmody is either his personal composition, or is owed to his interpretation and notation. His activity also extended to secular music. He was a well known virtuoso on the tambour and the ney. Gifted with exceptional musical inspiration, diligence, vocal ability and intelligence, he influenced his own era, but also the musicians who followed him, so we speak of him as the greatest musician of the 18th century, and one of the most distiguished names of the post-Byzantine and Ottoman period in general. His work was continued by his pupil Petros Byzantios, a well-known composer and interpreter as well as a productive writer of codices. In the same period another Hellene, the violinist Myronis, is referred to - who, along with the Jew Isaak Fresco Romano, who played the tambour, were the most important musicians of their era. Myronis’s pupil was Giovaniskos of Moldavia-Wallachia, teacher in the palace of Sultan Mahmoud. During the same period there was also active one of the most important composers of secular music, Zacharias the Hanede (singer) (1680-1750). Of Constantinople ancestry, he was a virtuoso on the tambour, and friend of Daniil the Protopsaltis. He was a courtier musician and composed many songs and mathimata

Wedding in Constantinople.

During the 18th century there lived three or four musicians with the name Giorgis (George), two of whom were blind. Consequently, references to their activities and their compositions in the various sources are confused. We can say, though, that before Stravogiorgis, who died in 1810 and who introduced the great violin - in other words the viola d 'amore - into the palaces, there was another who was active half a century earlier. Somewhere between the two of them, there was also the singer, Sevelioglou Georgakis, who was probably identical with the aristocrat Postelnikos (Minister of Foreign Affairs) Georgios N. Soutzos Dragoumanakis. Finally there was Giorgakis the Hanede, identified with Giorgios Pantzoglou, whose works are included in Keivelis’ Apanthisma (Anthology) and in Vlahopoulos’ Armonia. Another composer and violinist, who lived in the palace with Stravogiorgis, was Ilias (after 1799), who is considered by the Turks as the most important Romios (Hellene) composer after Zacharias.

During the 18th century, there was written in Constantinople a masterly musical composition, entitled in Turkish Makamlar Kiari , whose Hellenic title was Mega Systima (The Great System), which included all the Arabic-Persian Makamlar in the order that they were taught and with verses that described exactly all the musical progressions and modulations. This is a very clever way for someo ne to understand all the makamlar and the transitions from one to another. The music was written by the Tzelebis (educated gentleman) Giagkos the Theologian and the verses by Beizades (aristocrat) Giagkos Karatzas. It was arranged in the new musical notation by Constantinos Protopsaltis and published by Theodoros Phokaeas, but it was also included in the method of Kiltzanidis.64 The Ecumenical Patriarchate officially took care of the preservation and dissemination of church music by establishing patriarchal music schools. In 1727, the First Patriarchal Music School was founded by the Ecumenical Patriarch Paisios II. I oannis Trapezountios was appointed as its teacher. During 1776, the Second Patriarchal Music School was established by the Patriarch Sofronios the Second, In this taught Daniil, Petros the Peloponnesian and the then Domestikos Iakovos. In 1791, the Third Patriarchal Music School was founded by the Patriarch Neophytos VII, where Iakovos the Protopsaltis and Petros Byzantios the Lampadarios were appointed teachers. The fourth was founded in 1815, by the Patriarch Kyrillos VI. In this taught the creators of the new written music system, Grigorios, Hourmouzios and Chrysanthos. This school was unfortunately disbanded in 1821, as a result of reprisals after the outbreak of the Revolution. Hellenic music schools existed also in Ainos, Adrianople, Kydonies, Mytilene, Smyrna and Trebizond, as well as among the various musical associations.

The first two decades of the 19th century were among the most fertile in the history of the cantorial art during the Ottoman Period. During these years, a large number of musicians were active in Constantinople, as well as many scribes of music books. Most memorable are four important musical personalities: the doctor/philosopher Basilios Stephanidis, known primarily as a theorist, who tried to reunite ancient Hellenic theory with church music; Apostolos Constas from Chios, the most prolific Hellene writer of manuscripts, Giorgios the Cretan and the cantor Manouil Byzantios. Two events, however, decisively determined the subsequent course of the cantorial art: the invention and establishment of the New Method of analytical notation (1814) by Grigorios the Protopsaltis, Hourmouzios Hartofilakas (the Archivist) and Chrysan-

64 It has been masterfully recorded by Nicos Constantinopoulos in the CD “Thyrathen” edited by Petros Tambouris (FM Records 624).

thos the Archimandrite (“The Three Teachers“), as well as the invention of musical (Byzantine) printing. Among the last important composers active in Constantinople during the 19th century, we should list Constantinos Protopsaltis (1821-1855), Ioannis Protopsaltis (1831-1866), Stephanos Lampadarios (from 1864), Georgios Raidestinos the Second (from 1889) and Georgios Violakis the Protopsaltis (1911). In 1866, the Fifth Patriarchal Music School was founded on the initiative of the Ecumenical Patriarch Sophronios the Second, although its activity was brief because of economic difficulties. Two years later, in 1868, the Sixth Patriarchal Music School was established, under Patriarch Grigorios VI, with Stavrakis Grigoriadis, Georgios Raidestinos, Stephanos Byzantios, Ioasaph the Russian, Dimitrios Byzantios, Panagiotis Kiltzanidis and Onouphrios Byzantios as teachers.

In 1863, the Music Association of Constantinople was founded and in 1880, the Hellenic Music Association. In 1896, the Musical Committee was established by the Patriarchate, for the settling of various musical questions and the practical preservation of genuine ecclesiastical psalmody. A few months later, the Seventh Patriarchal Music School operated for a short time. The preservation and dissemination of the cantorial art were the main concern of several musicians and literary associations, such as the Musical Association “Orpheus” and others, which were established in Constantinople, gathering around themselves an important music-loving public, while they developed an enviable publishing activity. In 1899, a music school was founded by the Ecclesiastical Music Association of Constantinople, doing important work. Its director was Georgios Papadopoulos, and its teachers were Constantinos Psachos, Aristidis Nicolaidis, Nileas Kamarados, Iacovos Nafpliotis, Petros Philanthidis and others. Its psalmody was served by a series of master cantors, with excellent vocal technique and wonderful musical understanding. We may particularly mention Iacovos Nafpliotis, Efstathios Vingopoulos, Constantinos Priggos, Thrasyvoulos Stanitsas, Basileios Nicolaidis etc.

At the same time, some notable composers of secular music were active in Constantinople during the 19th century. Among these was Ioannis the Hanede (singer), known as Tsorbatzis, who also played the Constantinople lyra. Likewise, the Tatavla-born Stavrakis (Byzantios) the Hanede (from 1835), who chanted in Galata with Theodoros and was with him the co-publisher of "Euterpe" - of which Kyriakos Philoxenous, perhaps rather exaggerating, remarked that it contained works exclusively by Zacharias Hanedes. Another Stavrakis was Grigoriadis, who played the lyra and tambour and sang in Pera, and later in the Patriarchal Church. Many more musicians who were possibly also psaltes (cantors) were also active in the 19th century, mainly in the meyhanes. These were, as already mentioned, music taverns where the habitués listened in per-

Rule of the Ecclesiastical Music Association, Constantinople 1899.

fect silence to outstanding artists performing highly demanding music.The most famous were on the Great Road of Pera, which was the centre of economic life in Constantinople. Many names have come down to us through frequent references in contemporary sources, such as Mikes, Georgis from the Phanar who played the lyra, the brothers Ioannis, Christos and Antonis Kyriazidis, Vasilakis and Nicolakis. From the end of the 18th century, there increasingly appeared distinguished Turkish composers, living in harmony and in mutual respect with their Hellenes colleagues, teaching and being taught by them, while some, the boldest, followed the innovations of the time. We simply m ention Çemil Bey, Ismail Dede Efendi, Haci Arif Bey, Sevki Bey, Rifat Bey etc. Important Turkish musicians also existed before, since Mustafa Itri was active during the 17th century.

Antonis Kyriazis or Kyriazidis (Lavtaci Andon) played the lafta and the oud. He wrote some songs and many instrumental compositions. With his brothers he made frequent appearances at the Palace. With them they had the lyra player and composer Nikolakis. Ioannis (Tzivannis) Kyriazidis (from 1910), an outstanding composer, played the laouto and sang. Highly knowledgeable in theory and the musical modes, he was the teacher of great musicians of his time. His younger brother, Christos Kyriazidis (Hristaki Effendi) was perhaps the greatest songwriter of his time, and also composed a good number of instrumental works. He went mad and committed suicide in 1914. Finally, there was Vasilakis, who was born in 1845, in Litros near Silivria. At first he played the clarinet in various festivals. In 1870, he settled in Galata playing the lyra, and later he performed with Kyriazidis’ band. He was a friend and collaborator of Çemil Bey. At the same time other musicians and composers were also active, such as the violinist Antonis, another violinist and also composer Zaphirakis (from 1920) who published a method for the violin in 1901, Vasilakis the laouto player from Diplokionio (Besiktas) and the outstanding lyra player Anastasios Leontaridis, whose recordings survive. His sons, likewise lyra players, were Paraschos and Lambros - who became a legend due to his participation in the recordings of the first rebetiko songs. Anastasios’ nephew was Sotiris Tsantalis from Silivria (from 1939), also a lyra player. Anastasios’ and Sotiris’ nephews were Alekos and Giorgos Batzanos, children of the laouto player Haralambos Batzanos (1860 - 1915). Alekos was born in 1888, in Silivria. He played mainly the lyra but also the violin. He composed songs and participated in recordings. Giorgios was born in Constantinople, in 1900. From childhood he played the oud, and with his proficiency established it as a highly demanding instrument. He died in 1977. We can say that he was the last important Hellene musician active in Constantinople.

Finally, we should mention that as well as the Hellenes, there were also many other musicians and composers active in Constantinople, such as the Armenians (who competed hard with the Hellenes), Jews and various Levantines, mainly Italians. Let‘s not forget that the official leader of the military musicians of the Sultan, for about half a century was Giuseppe Donizetti Pasha, brother of the famous composer Gaetano. The Arabian and Persian musicians, who ruled up until the 18th century were gradually reduced in number, while distinguished young Turkish musicians constantly appeared. After the revolution of the Young Turks, Kemal opened a new chapter in the musical affairs of Turkey, trying to give a European character to the musical education of the country. A first blow was the closing of the Turkish monasteries and the restriction of the non-religious activity of Hellenes musicians. Soon, however, it became understood that this music was an insepara-

ble part of Turkish heritage, without being identified with th e anachronistic, theocratic past. Thus, later on, the state helped in its preservation and dissemination.

Meanwhile, the urban populations of the region had developed their musical tastes toward a greater diversity, gradually creating a new kind of song that would later evolve into the so-called rebetiko and the popular song. In this development also, the Hellenes played a leading part. Several composers, masters as much in European as in Byzantine and Arabic-Persian music, with a profound knowledge of the musical modes (the makams), avoiding the strict formalistic restrictions imposed by the academic teachers, wrote accessible masterpieces, short in duration to fit the recording means of the time, but substantial in musical wealth and thought. In Constantinople, and later in Athens as refugees, were active Antonis Diamantidis or Dalkas (18921945), Grigoris Asikis (1890-1967), Costas Karipis (1890-195;), Costas Skarvelis or Pastourmas (1880-1942 ), Agapios Tompoulis (~1890-1967), Lambros Leontaridis (1898-1965), Lambros Savvaidis (1886-;), Georgios Mitsakis (1921-1993), Prodromos Moutafoglou - Tsaousakis (1919-1979), Roza Eskenazi (1883-1980), Marika Frantzeskopoulou the Politissa ( of Constantinople) (~1895-1977), Anna Pagana (19101943), the Hellene-Armenian Markos Melkon-Alemserian (~ 1890-1975) and Tetos (Theodotos) Dimitriadis (1895-1968?) - who were active in the U.S.A. and elsewhere. In Constantinople were also born Sperantza Kalo (Kalogeropoulou, 1885-1949) and Panagiotis Seitanidis, while Sophia Vempo (1910-1978) was of Gallipoli ancestry.

As we mentioned before, in the biographies of these composers we will mainly focus on those occupied in secular, not church music, since they often left us works in both eastern and western style. We include brief footnotes, suggesting other treatises for further information. We drew most of our evidence from George Papadopoulos’ valuable book, Contributions to the History of our Ecclesiastical Music , Athens 1890 and 1904 and the Dictionary of Greek Music of Takis Kalogeropoulos. We also used other books and websites, listed where applicable. Besides the composers, certain others are recorded, such as singers, writers,, musical scribes and so on, who in their work served the music of wider Thrace, Some of the church composers, since they also wrote works of European music, are accommodated in their own chapter with reference to the corresponding page. Finally, for some of the mentioned composers, we have little or no biographical information. They are mentioned, however, in the expectation that more will be discovered in the future. Explanations of the Hellenic Orthodox musical terms in the composers’ biographies can be found in a Glossary at the end of the book.

Meyhane in Constantinople, 16th Century.

Dancing in Constantinople.

Biographies of Composers

Agapios, the Paliermos65: He was born in Chios in the middle of the 18th century, and died in Bucharest in 1815. He knew well both the polyphonic music of the west and Byzantine music. Wanting to simplify the notation of music – complicated before the reform of 1814 - he created a musical manual, using European notation, which he also taught. In 1797, he showed this system to Patriarch Grigorios V and the Holy Synod in Constantinople, and as an experienced musician and teacher, he persuaded them to establish it. He taught his system for some time at the Patriarchate, but when Iacovos the Protopsaltis pointed out its weaknesses, Agapios left for Europe to perfect it. Later he attempted to teach another system of his, in alphabetical form, at Mount Athos, but without success. He tried the same in vain in Ephesus and again in Constantinople, and finally withdrew to Wallachia where he died.

Panagiotis Agathoklis66: He was born in 1800 in Ainos, lost his parents while he was little and was raised by a clergyman relative from Kios, Asia Minor, where he was taught literature and music. During the Revolution, he fled to Mount Athos, where he handed over his valuable music library. He was later in the Peloponnese, perhaps as a fighter. He studied with Georgios Gennadios and became a teacher in Kranidi. He was a psaltis (cantor ) at St. Peter’s Cathedral in Argos and music teacher at the music school there. In 1855, he published a book of music theory in Athens, based on the Theoretical of Chrysanthos, whose gaps he attempted to fill. An opponent of four-part music in church, he taught many students the practice and theory of music. In 1870, he moved with his family to Athens, where he continued to teach. He died in 1880.

Anastasios, the violinist (Kemani Anastasios) (middle of the 18th century): The viola d 'amore was played at that time in taverns by various musicians and, as reported by travellers, the best known were the Hellene Anastasios and the Armenian Stephanos.

Anestis Hanedes of Adrianople: A contemporary of Myronis and Giovaniskos of Moldavia, born after Stravogiorgis. He was an altar boy at St. Nikolaos in Galata and was taught church music by Theodoros Phokaeas. He also liked secular music, so he studied with Georgakis Pantzoglou Hanede (singer). He quickly developed into an excellent melodist and teacher of rhythm. He composed many songs using the Byzantine notation, but was murdered by certain Armenian Hanedes who envied him, and died in 1858.

65 Iannis Plemmenos, The musical portrait of the Neohellenic Enlightenment, Psepheda (Digital Library & Institutional Repository of University of Macedonia), 2002.

66 Nicolaos Constantopoulos, The musician from Thrace, Panagiotis Agathoklis , Reprint from the Archive of Thracian Folk and Linguistic Treasure, 1941.

Panagiotis Agathoklis

Georgios Angelidis, the Tagos: Protopsaltis in Ainos, Thrace, and teacher of Stavrakis Grigoriadis the Protopsaltis. An expert in both the old method and the new, which he had been taught at the Fourth Patriarchal Music School. A Koinoniko of his has been found, the "Gefsasthe" (Come and taste) in the Fourth Mode, written in Smyrna in 1830, a Polyeleos "Logon agathon" (the good word) by Petros the Peloponnesian, interpreted by himself, and other things.

Angelis (c.1610-1690)67: Musician, music teacher and composer in the Ottoman Empire during the 17th century. He played the tambour and knew both Byzantine and Ottoman music, as well as early folk music. He was a musician in the Palace, indeed the highest-paid, since he received a daily salary of 40 akçe. In the sources he is referred to as “tanburi Angeli”, and he is the first court musician called "tanburi". He was nicknamed "the Great Angelis” (Koca Angeli), a title which was later also earned by Petros Lampadarios. Younger researchers such as Stathakopoulos say that he was a furrier from Kastoria. It is very likely that Angelis played an important role in the standardisation of the tambour, since he was not only a performer but also a teacher at the Palace. Among his pupils was the prince Dimitrios Cantemir. Five of his compositions (pesrevs) have been preserved. He died around 1690.

Anthimos Ephesiomagnis, the Archdeacon68: Protopsaltis of Missolonghi. He was born in Magnesia, Ephesus, in 1794. He was a pupil of Georgios the Cretan and later of the three teachers. An icon painter and great musician, he knew the ancient and the new methods and secular music, and was a virtuoso on various musical instruments. When Protopsaltis of Magnesia, Ephesus, he taught music to many of his countrymen. Because of his involvement in revolutionary movements, he was forced to leave Turkey. During the time of Capodistrias, he was a deacon in Aegina and later in Messolonghi, and in 1832 he moved for seven years to Ithaca as a psaltis. Finally he went back to Missolonghi where he chanted until his death in 1879. He occupied the post of General Archieratic Commissioner. He composed hymns, Eirmoi, Megalynaria and others. He was gifted with a rare baritone voice and was inimitable in his recitation, vigorous and compassionate, and taught music without payment.

Dimitrios Antoniadis, Byzantios: He was a pupil of Nicolaos Georgiou, Protopsaltis of Smyrna and expert in the notation system of Georgios of Lesbos. He was second Domestikos of the Great Church and afterwards joined the Church of the Presentation of the Virgin at Pera, where he chanted for 43

67 Christos Tsiamoulis and Pavlos Erevnidis, Romioi (Hellenes) Composers of Constantinople (17th-20th century) , Domos, Athens, 1998.

68 Iannis Daskalakis, Arcdeacon Anthimos Ephesiomagnis the Cantor and the Byzantine Music School of Aetolia 1837 – 1991, Mesologgi 1991.

Anthimos Ephesiomagnis the Archdeacon