Gennadios Themelis: Deacon of the Church of the Presentation in Pera. He came from Kalymnos, where he acquired his first musical knowledge from his brothers, and later he became a student of Protopsaltis Nicolaos in Smyrna. He completed his studies in theory in Constantinople with Ioasaph the Russian. He composed and published the Gospels for the Vespers of the Resurrection (1883) and books of a teaching method for Byzantine music. He left a collection of traditional songs, Papadika and secular songs. As a poet, he publi shed Poems on the death of Zanis Skylitsis (1886), For the victims of the fire in Megalo Revma (1887) and Satirical Poems (1899). He and Ioasaph announced the publication of the periodical The Muses, which probably never took place.
Theophanis I, the Karykis (16th century):103 Patriarch of Constantinople, distinguished as a writer and musician (from 1577 to 1578, he was Protopsaltis of the Patriarchate). He came from the eminent Athenian family of Karykis and was highly educated. To him is attributed the creation of the Kalophonic Eirmologion and the first eponymous composition in the genre. In 1585, he succeeded Theoliptos, who became Patriarch, to the Episcopal throne of Philippopolis. In 1593, he succeeded Nikanoras as Bishop of Athens. After the death of Patriarch Gabriil (1596), he became locum tenens of the patriarchal throne, and in 1597 he was elected Ecumenical Patriarch (until his sudden death on Easter Saturday of 1597). There are Mathimata of his in the Papadiki, Sticherarion and Kratimatario. He composed lengthy Cherouvika and Koinonika "with kratimata". G. I. Papadopoulos has said that Theophanis was profoundly learned in the rules of composition. Other authors, indeed, consider him also a master of secular music (judging by his kratimata with secular titles, such as the Ismailitikon, etc.). According to Gr. Kambouroglou, Theophanis Karykis composed in both the ecclesiastical and the Persian style, and he had even chanted in the mosque.
Theotokis Vatopedinos104: A scholar monk, composer and sweet-voiced psaltis, he was born in Mytilene around 1800. He studied with Hourmouzios Hartofilakas. At the age of twenty he went to Mount Athos where he became a monk at the Monastery of Konstamonitis. He was a psaltis in Constantinople, Thessaloniki, Athens, Wallachia and fi nally Protopsaltis at the Holy Monastery of Vatopedi, where he died in 1884, past the age of 80, still in possession of the sweetness and versatility of his voice. He was an expert in the old notational method, ArabicPersian music and the system of Georgios of Lesbos. Some of Theotokis’ Mathimata were published in the anthology Kallikelados Aidon (sweet-voiced nightingale). He trained many students.
Thodorakis, the Violinist (kemani Todoraki Ağa): We know that he died in 1860. Some of his songs are still played and recorded today.
103 Monuments of the History of Athens , published by Demetrios Gr. Kampouroglou. Athens, by the printing house of Alexander Papageorgiou, 1889-92.
104 Andreas Ioakeim, The post-Byzantine composers of Lesbos and their work , Lamia 2008.
Theodoros Thoidis (Tsakaloglou): Priest and professor of music theory at the Ecclesiastical Music Association in Constantinople. In the early 20th century he chanted in Vathyrakkas on the Bosphorus. In 1926, we find him as a priest in the Church of the Assumption in Podoniftis (New Philadelphia). From 1929, he published the periodical Musical World, with topics and scores relating to Byzantine music. He composed several church and school songs. Already from 1906 he was participating in the musical competitions of Phorminx, under the pseudonym Terpandros. The song Sta Xena (In a foreign land) was published in Georgios Pachtikos’s Music magazine.
Evstratios Tiannidis:105 Born in Ortaköy, in 1878. He studied at the High School of Adrianople where he attended the Music Faculty, being taught European music in particular. He served in his home region as a teacher and psaltis and later in LouléBourgas, Adrianople. From there he left for Constantinople where he studied with Nileas Kamarados, with whom he completed his studies in Byzantine and Ottoman music. He graduated from the Music School of the Ecclesiastical Association with Distinction and in 1906, he was appointed psaltis and director of schools in Mihalitsi, Nikaea and later in Iraklea, Propontis (Sea of Marmara.) He was involved in the collecting of traditional songs, while a composition of his took the prize in the musical contest of Forminx.
Agapios Tomboulis: He was born in Constantinople, around 1885. From an early age, he was a master of the oud and a composer. Tomboulis’ family, reportedly,was of partly Armenian origin, which is why we find him also with the name Agop Stambolian. He began his career in music as an instrumentalist in the court of the Ottoman Sultan, Abdul Hamid II. He remained in the palace after Mehmet V came to power. Later, however, during the Hellenic-Turkish war, he expressed himself in favour of the Hellenic side. So he was forced to flee to Hellas to save himself. He worked with all the important singers of Smyrneic songs, both on stage and in recordings, and he was the foremost oud player in the field. He also left some remarkable recordings as a soloist.
105 Phorminx, period B’, year C’, no. 8-9-10, Athens 07-21-1907.
Sotiris Tsantalis (Kemençeci Sotiri): A famous lyra player in Constantinople during the first decades of the 20th century, he hailed from Silivria. He was the nephew of Anastasios Leontaritis. His brother, Nicolakis Tsantalis was also a lyra player. He was considered the best lyra player of his time, and he was compared to the great Cemil Bey. He played in taverns and participated in recordings of the company “His Master's Voice”. He died in 1939.
Stylianos Tsolakidis: Born in Constantinople in the early 20th century. From the age of six, he chanted in the Patriarchal Church as kanonarch, and from 1910 in the Church of St. Ioannis of Chios. Then he returned to the Patriarchal Church where he chanted with Iacovos Nafpliotis. He studied also with Nileas Kamarados. At the time of the population exchange, he went to Athens, then to Sparta and finally to Montreal in Canada, where he died in 1988. His student Georgios Michalakis has valuable recordings by him.
Marcos Tsolakoglou (Marko Çolakoğlu): Born in Niğde, Cappadocia in 1896, he went with his family to Constantinople at the age of four. At first he played the violin, but subsequently he took up the oud. He was also a psaltis, a student of Iacovos Nafpliotis (as Domestikos at the Patriarchal Church) and of G. Vinakis at St. Ioannis in Galata. From time to time he exercised various professions (broker, money changer etc.). He used to play in taverns, and he composed 15 songs. He died in Constantinople in 1957.
Vasilakis (kemençeci Vasilaki, Silivria 1843(5) - Constantinople 1907): A famous lyra player and popular composer of Constantinople. Initially he played the clarinet. He learned the violin from Georgios Phenerlis. Later, he came to Galata, where he learned the lyra, was taught the Ottoman repertoire by Yiannis and Antonis Kyriazis and joined their orchestra. He made his mark as a formidable virtuoso. It is said that he introduced the Constantinople lyra into classical Turkish music and he experimented by adding a fourth string to the instrument. He was also described as a serious and self-contained artist, whose living requirements did not allow him to create an extensive body of work. Among his pupils was the famous Turkish musician and composer Tanburi Cemil Bey (1873-1916). His instrumental composition "Kurdili Hicazkiar Pesrefi" is considered a very important work
Vasilakis, lafta player (Lavtaci Vasilaki) from Diplokionio (Besiktas). No further biographical information.
Vasilakis
Marcos Vasileiou (1856-1919):106 Gifted musicologist of Constantinople. He was born in Siatista, Macedonia and at the age of 17 he went to Constantinople, and worked at the Patriarchate as secretary to the Holy Synod and director of the Civil Bureau of the Ecumenical Patriarch Ioachim III. He chanted with the Protopsaltis of the Ecumenical Patriarchate, Iacovos Nafpliotis (1864-1942). He was even chosen to write the first Doxastikon hymn for the first liturgy in Hagia Sophia after 1453,. He was a member of the Patriarchal Commission of 1895, which was later transformed into the Musical Association. Many of his compositions, which were performed by the later singers I. Nafpliotis and C. Priggos, such as the "Patriarchal" liturgy in the First Mode, were erroneously attributed to them. Some of his Mathimata (lessons or studies) are included in the Musical Treasury of the monk Nektarios Kanaros from Mount Athos, while in 1905 he published a number of songs entitled Church and School Songs
Efstathios Viggopoulos (Kandylli, Bosphorus 1882 - Constantinople 1938): He studied with Mihail Pavlidis at the School of the Hellenic Musical Association in Galata. He chanted at various churches until 1913, when he was engaged by the Patriarchal Church as Second Domestikos, and in 1916 became Lampadarios. He chanted for 22 years with Iacovos Nafpliotis. He taught at the last Patriarchal School and strongly fought against four-part church music. He composed many chants (chiefly Koinonika) that remained unpublished in the hands of many of his students and admirers. The list of his works, according to his manuscript notes, is: 1) Anastasimatarion, 2) Eirmoi for Kanones, Kanones, Kontakia, Apolytikia, 3) Κanones for Matins on Holy Thursday, 4) Doxastika for major festivals, 5) Three Doxastika of Pammakaristos, 6) One “stasis” (set) of Cherouvika in all the modes, 7) Two sets of Koinonika hymns (Praise the Lord) in all the modes, 8) All the Koinonika for the year, abridged 9) For the Liturgy, and Axion Estin in all modes, 10) Salutation Anthems and Hymns to Patriarchs and Bishops. Among his main pupils were Eleftherios Georgiadis, Nikolaos Daniilidis, Alexandros Margaritopoulos, Theoharis St. Anestidis etc.
Georgios Violakis:107 He excelled as Protopsaltis of the Great Church and as a music teacher. He was born in Siphnos around 1810. He spent his childhood in the island, where he was taught the theoretical part of music by Meletios Monachos (monk) and Nicolaos Poulakis. It is said that his surname was originally Siphnian, while Violakis was given to him for his "sweet and mellifluous" voice. Subsequently he went to Constantinople where he was taught, by Grigorios Constantas and chiefly by Theodoros Phokaeas, the complete course of music lessons, studying also European music. At the same time, he chanted in different churches, especially at St. Ioannis’ of Chios in Galata. In 1875, he was engaged as Protopsaltis of the Patriarchate. He taught music at the School of Halki and at the Fifth and Sixth Patriarchal Music Schools. Among his students were Constantinos Kyr. Klavvas, Petros Maneas, Iacovos Nafpliotis, Constantinos Sakellaridis Thettalomagnis etc. A pupil of his on the tambour was the Frenchman Bourgault Ducoudray. His contribution to the construction of the musical instrument Psaltirion, as well as to the settling of the intervals of Byzantine music, was very valuable. He participated in the committee that revised the previous Rituals of the Church and he later issued a corrected Rituals that is observed today. Believing that existing compositions were sufficient and that the Church had no need of new ones, he published very few of his ecclesiastical works. In 1869, he published his setting of the Children’s Hymn to Christ of Clement of Alexandria. Many of his secular songs were published in 1872, in the Selection of Ioannis Zografos Keivelis. In 1900, he was honoured for his 60 years’ contribution and 25 years service as Protopsaltis, in a brilliant ceremony. He remained Protopsaltis until 1905. He died in 1911, in Constantinople. Of his death, it was written that “the only living musical monument, respected by a whole century, is lost forever ".
Sotirios Vlachopoulos: Musician and psaltis from Constantinople, student of Hourmouzios Hartofilakas, known mainly as a composer of Kalophonic Eirmoi. He also composed "Hellenic and Turkish" songs that he published under the title Armonia (Constantinople 1848) and three songs which were published together with those of A. Soutsos, in 1856. He was secretary to Hanede Georgios Pantzoglou. He seems to be one of the introducers of national elements into church music, a trend that was particularly apparent during the second half of the 19th century. He taught music theory at the Sixth Patriarchal Music School. He died in 1870.
Nektarios Vlachos: Student of the three teachers, he was born in Wallachia, and he was famous for his sweet voice and his musical experience. For half a century he remained Protopsaltis in the Romanian Hermitage of John the Baptist on Mount Athos. He composed "mellifluous songs" (ecclesiastical works, according to G. Papadopoulos), some of which were published in the anthology Kallikelados Aidon (sweetvoiced nightingale) and other musical manuals. He died past the age of 90.
107 Byzantine chant: http://www.ec-patr.net/gr/psaltai/violakis.htm
Dimitrios Voulgarakis, the Macedonian: Student of the three teachers, psaltis in Thessaloniki, an experienced and sweet-voiced musician. He trained many students, and composed various works.
Margaritis Vretos Papachristou (named also Drovianitis due to his origin ): He was born in 1800. He was distinguished for his education, his musical knowledge and his fine voice. He worked as a teacher of Hellenic in Tatavla. In 1860, he published in Constantinople his Theoretical and practical treatise on our music. He died past the age of 60.
Kleopas Zachariadis: He is mentioned as a composer who died in 1925.
Zacharias of Varna: Metropolitan, an initiate of the Philiki Etaireia , he was also called “Fugitive” because in 1828, during the Turkish- Russian war, he triumphantly welcomed the Emperor of Russia to Varna, so he was forced to flee after the handover of Varna to Turkey. A fterwards he became a monk in Mount Athos, where he died in 1850. He composed artful Koinonika for Sundays, concise and without kratimata, which he sent to Ioannis for publication, in 1835. It is assumed that Ioannis, after elaborating them, published them as his own works in his one-volume Musical Anthology.
Zacharias Hanede (singer) (Zaharya, 1680-1750): One of the most important musicians in secular (ArabicPersian) or oriental music. He was born and lived in Constantinople; a member of a wealthy family involved in the fur trade, and was active there during the 18th century. It is said that he made his home in one of the Bosphorus suburbs, between Bebeki and Therapeia, where he lived a solitary life away from the crowd, constantly occupied by music. According to Turkish sources, he was a singer at the Serai during the reign of the Sultans Ahmet III (1703-1730) and Mahmout I (1730-1754). He was a friend of protopsaltis Daniil, from whom he learned church music and to whom he taught secular music. In the manuscript journals of his time he is mentioned as "Mir Cemil" ("Sublime Lord") leading to the theory that he became a Muslim at the end of his life. In his unpublished biography, Rauf Gekta Bey (1871-1935) wrote that Zacharias chanted also at the tekkes (monasteries) of the Mevlevi Dervishes. Turkish scholars agree that he was the most important composer of vocal works in Ottoman classical music. According to the student of his work Kyriakos Kalaitzidis, the information, from certain Turkish writers, that Zacharias became a Muslim at the end of his life is mistaken, as there is no such evidence or indication in Hellenic sources. According to Nikiphoros Navtouniaris, Zacharias was very little involved with church music, but he had exceptional success in oriental music. Indeed, he never held a place as a psaltis, while few of his ecclesiastical compositions have survived – among which, Kalophonic Eirmoi, such as Frikton to Vima Sou (Your Dread Step), found in Codex 277 of the Xeropotamos Monastery, with the announcement "... melody by Mr. Zacharias, the leading musician of the Persian Art". However, his musical gift was expressed in the composition of numerous artful urban songs which, as regards their technique and
rhythm, are considered unparalleled. Of his more than a hundred secular compositions, only twenty- one survive. According to Ky riakos Philoxenis, he had prepared a collection of his own songs, the Euterpe, which was published by Theodoros Phokaeas and Stavrakis Hanedes without mentioning his name anywhere. His works were presented by Kyriakos Kalaitzidis in a relatively recent publication of the musical editorial house En Hordais (On Strings) in Thessaloniki, in 2005.
Zaphirakis (Kemani Zafiraki): He was a famous violinist, by whom only six works have survived. He taught at an official Music School in Vezneciler. He published a method for violin in 1901, the first of its kind, and died in 1925.
Zaphirios Apostolos Zaphiropoulos:108 Of Peloponnesian origin, he grew up in Smyrna. A learned musician, he was a pupil of Georgios the Cretan in Constantinople, and subsequently with the three teachers of the new method. In 1826, he went to Aegina where he taught free of charge at the Orphanage founded by Capodistrias, and continued teaching in Nafplion, serving at the same time as Protopsaltis at the Orthodox Cathedral of St. George. Later he was appointed by King Otto to the Athens Teaching School, while remaining a protopsaltis in the Church of St. Irene. He set to music several Mathimata. He published the Anastasimatarion of Petros the Peloponnesian and in 1842, a study against the Lesbian system, Georgios of Lesbos and his Lesbian system. He died in Athens in 1851.
Zinovios Monahos (the Monk): He was born in Prusa (Bursa) and studied with Chrysanthos. He died in 1868, while he was priest in Psomathia. He was an excellent calligraphic scribe of ecclesiastical chants and a learned musician, and he composed several skillful songs.
Ioannis Zographos Keivelis: Born in Keive, Bithynia. He was a renowned musician and sweetvoiced singer, learned both in Arabic-Persian music and rhythmic theory. He learned Church music from Grigorios Levitis and Arabic-Persian from some Hanede. Keivelis was head cantor in several churches in Constantinople and taught many students, chiefly at the Fifth Patriarchal Music School. He also taught Arabic-Turkish music. Probably he is the same person as Ioannis G. Zographos Nikaeas, who published in Constantinople in 1856, in imitation of Pandora and Euterpe, his book Anthology or Medzmouai Makamat , containing various Turkish songs edited by him and checked by Spyridon Anastasiou of Pisidia. He used the nickname Keivelis (with which history remembers him) in a two-volume Anthology, the first of which contains Turkish songs (1872), while the second contains Hellenic (1873). Many names of prominent artists and scribes are mentioned in this Anthology, such as G. Violakis, Th. Phokaeas, Georgakis (Pantzoglou) and Zacharias Hanede, Georgios Betsos of Kastoria, K. Philoxenis, Constantinos Protopsaltis, Ioasaph the Russian, Stephanos Lampadarios etc. Additionally, in 1867, published a Song for the Sultan’s Return from Europe . His death should be placed around 1880.
THRACIAN COMPOSERS’ SCORES AND MUSICAL BOOKS
SCORES WITH SONGS OF THE COMPOSER THEMISTOCLES POLYCRATES FROM PHILIPPOPOLIS
Autumn Night Dream, MOTSA
SCORES WITH SONGS OF THE COMPOSER SPYROS BEKATOROS
My happiness and joy, MOTSA. I will go away my daughter, MMLV. The abandoned woman,
SCORES WITH SONGS OF THE COMPOSER X.X. (SOTIRIOS GREG) WHO LIVED IN CONSTANTINOPLE
SONG SCORES OF THE COMPOSER ORESTIS TSALAPATANIS FROM CONSTANTINOPLE
Only with you, Veiliktsidis’s Archive. To her beauty, MLLV. I leave with my heart aching, op.
SCORES WITH SONGS OF THE COMPOSER GRIGORIOS CONSTANTINIDIS FROM CONSTANTINOPLE
Hellenic dances and songs,
SCORES WITH SONGS OF THE COMPOSER THEODOROS PAPADOPOULOS FROM CONSTANTINOPLE
SCORES WITH SONGS OF THE COMPOSER OF ITALIAN ORIGIN GIOVANNI INGENITO FROM CONSTANTINOPLE
Valse de Constantinople, NLG.
Heartless, NLG. Me and you, NLG.
SCORES WITH SONGS OF THE COMPOSER NIKOLAOS BALDIS FROM CONSTANTINOPLE
Don’t ask me, Sp. Papaioannou ‘s Archive. Dances Orientales: Kalamatianos, HMA. Chaϊdo, P. Kounadis’s Archive.
SCORES WITH SONGS OF THE COMPOSER LUCIANOS CAVADIAS FROM CONSTANTINOPLE
SCORES OF THRACIAN COMPOSERS
MUSICAL EDUCATIONAL BOOKS
SONGS COLLECTION
EARLY PRINTED ECCLESIASTICAL BOOKS
ECCLESIASTICAL COMPOSERS
MUSIC IN CONSTANTINOPLE THROUGH ENGRAVINGS OF FOREIGN TRAVELLERS
PICTURES FROM THE MUSICAL TRADITION OF THRACE
TRADITIONAL
ORCHESTRA AND CHOIR OF THE “ARION” MUSICAL ASSOCIATION OF SARANTA EKKLISIES
From the recording edition Treasures of Lyrics and Music of the Pan-Hellenic Federation of Thracian Unions, by G. Melikis, Thessaloniki 1993.
MANDOLIN ORCHESTRAS OF THRACE
ORCHESTRAS AND BANDS OF THRACE
THRACIAN COMPOSERS’ RECORDINGS
GEORGIOS PONIRIDIS’S WORKS
SCORES OF OTHER COMPOSERS HAILING FROM THRACE
COMPOSERS OF THRACE
COMPOSERS OF WESTERN MUSIC
Adam Akritas: scholar, composer and musician in the early decades of the 20th century He was born in Pyrgos (now Burgas) of Eastern Rumelia around 1880, where he studied Byzantine and European music. He was a partner and correspondent of the magazine Music (1912-1915) of Georgios Pachtikos (1869-1915) regarding issues of Byzantine musicology and traditional music. 109 He composed songs for voice and piano, works for choirs and church music in Byzantine parasemantic notation and European notation which were published in Music . From his works the known ones are the following: a) Axion Esti in quadruple rhythm, b) O aggelos evoa (The angel was crying) (“ melodic composition and strictly in rhythm ”)110, c) Aema kai pyr kai atmida kapnou (Blood and fire and smoke), Doxastikon which is sung during Sunday’s Praises after the Birth of Christ and d) Polychronion of His Magesty Sultan Abdul Hamid Khan, the Second in Hellenic verse and six-beat rhythm. Here, the structural design is clearly focused on the established religious standards, both in terms of melody and lyrical content. The setting to music of that Polychronion follows the standards of Fimi eis Archierea (Reputation of Priest) in second or plagal fourth tone, while it remains within the established hymnographic form of Polychronion. 111 He also collected and harmonized several folksongs of Eastern Rumelia and the Hellenic islands (it is unknown if they were issued). Well known is the Vradyazei, ximeroni (It’s getting dark, it’s getting dawn), traditional song from Kastellorizo in European notation, for which Georgios Pachtikos wrote that it was transcribed in parasemantic by the well-known for his painstaking musicological work 112 Known are his interventions to the Ecumenical Patriarch to take action for a “ uniform and more steady teaching of our music ”,113 meaning the Byzantine music, causing this way the caustic commentary by G. Pachtikos that “… the Patriarch is not a director of conservatory, so that he can deal with musicological issues ”.114 He died in Pyrgos, probably before 1950.
Adam Akritas, Polychronion of His Magesty Sultan Abdul Hamid Khan of the Second , HLHA
109 Georgios Pachtikos, “O Methysmenos Manolis” (The drunk Manolis), Music, vol. 29, Constantinople 5/1914, p. 149.
110 Pachtikos, “Asmatologika ”, Music, vol. 29, Constantinople 5/1914, p. 147.
111 Nikos Andrikos, “Turkish-language Polychronia and Chants Laudatory to the Sultan Abdülhamit the Second, set in musich by eccle siastical compsers”, web site: http://www.academia.edu
112 Pachtikos, “Asmatologika”, Music, vol. 14, Constantinople 2/1913, p. 46.
113 Adam Akritas, “A Memorandum”, Forminx, vol. 23-24, Athens 15-30/6/1912, p. 7-8.
114 Pachtikos, “Music throughout Hellenism. Domestic”, Music, vol. 9, Constantinople 9/1912, p. 280.
Rigas Akritas: Musician with no biographical information. He acted as mandolinist for some time in Constantinople and Rhaedestus (now Tekirda ğ ). Known are his folk songs and dances arrangements, such as: a) He voskopoula (The shepherdess), b) Karsilamas , c) To Rinaki and d) Vassiliki prostazei (Vassiliki orders) for mandolin and piano. The date and place of his death are unknown.
Petros Amiras: Conductor and composer with incomplete data. Born probably in Constantinople before 1890 (maybe in 1886). He studied at the Conservatory of Constantinople. He taught music at the Educational Society ‘Pronia (Welfare)’ of Neochorion in B osphorus 115 and led the Mandolin orchestra of the ‘Amphion’ Association of Sirkeci in Constantinople in a successful concert (“... the Mandolin orchestra of the 'Amphion' Association under the right direction of Mr. P. Amiras flooded the audience with the performance of various melodramatic works ”).116 He composed choral songs, as well as songs for voice and piano. We know his composition Eos pote?! (Until when?!) subtitled “Hellenic Song” for voice and piano, which was arranged by Georgios Xanthopoulos (p.1867-1915) for guitar. 117 His musical archives were never found. The date and place of his death remain unknown.
115 Aristoxenos, “Music throughout Hellenism”, Music, vol. 25, Constantinople 1/1914, p. 32.
116 Aristoxenos, “Music throughout Hellenism”, Music, vol. 26, Constantinople 2/1914, p. 58.
117 Pachtikos, “Asmatologika”, Music, vol. 11, Constantinople 11/1912, p. 352.
Akrivi Anemogianni: pianist and composer, she graduated from the Paris Conservatoire. She composed more than 120 compositions for piano, voice and piano and chamber music, until 1915. She is mentioned here because she occasionally lived in Constantinopl e (before 1920) where she presented publicly her compositions [one of them was the march Eros (Love) for piano (1913)]. After 1920, she lived in Thessaloniki and then in Athens. Together with her husband, scholar and also composer, Charalambos Anemogiannis, she tried -without success- to create a popular conservatory and offer their musical services selflessly.
Christos Antonoglou: Amateur musician from Soufli (born before 1900), student of Stavros Vrachamis (1880?-1950) and teacher at schools of primary education. He created school mandolin orchestra and choir in elementary schools of Soufli. He also dealt -as director and stage designer- with theatrical performances. It is presumed that he has composed school songs for mandolin orchestra.
Nikolaos Baldis (N. Baldi): Composer and conductor, unknown if he hailed from Hellas or Italy. He is mentioned here because he acted in Constantinople, where he composed the Danses orientales , op. 23, collection of 20 harmonizations and arrangements for piano of authentic Hellenic (such as Kalamatianos ), Bulgarian, Romanian, Turkish and folk melodies. They were published by the music house “Edition Internationale’ in Constantinople.
Spyridon Bekatoros (Spiro Beccatoro): Violinist, conductor, music teacher and composer. Hailing from Constantinople, he was born in Cephalonia around 1860. He was among the first and most talented students of the Conservatory of Athens in violin and theory.118 Upon graduating, he went to Dresden for higher studies in violin with a scholarship by the music lover, Vasilios Melas. On his return, he joined the Conservatory of Athens as a teacher (he is listed among the faculty, in the Yearbook of the Conservatory, from 1880 until 1891 and again from 1893 to 1894). In 1888, in order to present the opera O ypopsifios vouleftis (The parliamentary candidate) by the Corfiot composer Spyridon Xyndas (1812-1896), he worked with the melodramatic troupe, established by Antony Landis, as conductor (although he had no piano knowledge), following the refusal of Napoleon Lambelet (1864-1932) to participate. The first presentation of Xyndas’ opera took place in the Apollo Theatre, in Ermoupolis of Syros, on 06/04/1888. 119 In September of 1888, the Hellenic Melodramatic Troupe was established and sponsored by Ioannis Karagiannis (it was called arbitrarily A’ or B' Hellenic Melodrama. It oper-
ated, however, as a forerunner of the Hellenic Melodramatic Troupe of Dionysios Lavrangas [1860-1941]) of which he re-took over the management.120 He worked with faith and enthusiasm enriching the choir with soloist women, an effort that was considered successful.
He conducted flawlessly all the performed works, giving emphasis on the Hellenic repertoire, such as the Hellenic operas Marcos Botsaris and Kyra Frossyni by the composer Pavlos Carrer from Zakynthos (1829-1896) and the comedy-idyll Mylonades (Millers) by Andreas Seiller (1834-1903), touring in Hellenic communities of the Mediterranean. 121 He also conducted operas of foreign composers, as the Betly of G. Donizetti at first presentation (for which “ ... the actors and the choir of both sexes met all the expectations of the public that did not cease to applaud and to cheer... ”)122 having at the same time the responsibility of the rehearsals and the preparation of the troupe’s members. However, for various reasons (disputes between members, as well as departures) he was disappointed and left the Hellenic Melodramatic Troupe (11/1889). He decided to stay in Constantinople, where the troupe was, taking on the posi tion of music teacher at the ‘Hermes’ Musical Association, developing important artistic activity. During his stay in Constantinople, h e composed several works. Known is his composition March-Hymn of Zografeion (in poetry by Zacharias Alexiou) 123 .
He returned to Athens –after 1902– where he worked as a teacher of singing, giving private lessons. Among his disciples was George Anastassiou and many others. In 1904, he published the Elementary theory of European music in five parts subtitled "Historical development of Music in general. The most famous Europeans and Hellenes musicians. The music in Hellas". In 1910, he went to America as choir director of the Hellenic Church in New York. In 1914, he published in Chicago a book with his compositions for violin and piano (mainly new harmonizations of Hellenic ( Tzanem potame mou , Pervolaria , Syrtos Dance from Constantinople , Kalamatianos ), Romanian ( Hora rumanesca ) and Turkish folk dances and songs ( Sou guevlouloun ) and arrangements of works of other Hellenes composers (Mantzaros, Carrer, Seiller). Before 1916, he came to Athens for a while, but he left again in 1918, permanentl y for Chicago of USA, where he developed significant artistic activity by creating orchestras, which he also conducted (Greek Philhar monic Symphony Orchestra) and associations (Greek Philo Music Society. He was its Founder and Chairman).
He composed several songs for voice and piano, the most popular of which are the: a) If I don’t die for you in his poetry (1886. It is dedicated to "Miss A.A.")124 b) I told you, you told me and Blonde (dedicated to A. Tsitsopoulos. Published by the music house Christidis in Constantinople), c) Few words in poetry by D. Economou, d) My happiness and my pleasure , e) With flowers and wreaths f) The abandoned in poetry by N. Vlyssidis (the a-f were published by the publications Fexis) and g) A priest's wife on the loom in folk
120 Nea Efimeris (New Newspaper) , Athens 09/09/1888, p. 3.
121 Kalogeropoulos, “Spyridon Bekatoros”, The Dictionary of the Hellenic Music, vol. 4, Giallelis, Athens 1998, p. 249-250.
122 Efimeris (Newspaper) , Athens 20/12/1888, p. 2.
123 Music, iss. 28, Constantinople 4/1914, p. 107.
124 National Calendar by Ioannis Arsenis in the magazine Poikili Stoa, vol. f’, Athens 1886.
poetry. Also, by the music firm Apollo Music Co. of New York (Artistic Publications Apollo) were published, in the period 1923- 1935: a) the Hymn of the New Generation for female choir and piano in poetry by A. Vlachos (1927. It was written in honor of the Association of Hellenes Women of southern part of Chicago 'The New Generation'), b) the march Evzonaki (Evzone), (arrangement for violin and piano), and c) the songs (most in arrangement of pre-existing folk melodies) for voice and piano (or violin): Ah!! My doctor!! in folk poetry (78 rpm recording), At the shore , Katinaki in poetry by I. Schizas, The Shepherdess (Italian folk song in poetry by G. Zalacostas), The Grapes , The Cigarette , The dawn is chasing , My daughter, I 'll leave abroad (first edition by the musical house Christidis), Volga Boatmen , An eagle (arrangement of the famous Tsamikos folk dance), Samiotissa ( arrangement of the popular folk song with violin accompaniment), The poor donkey , Your innocent beauty , Chaido Romanian melody (1932), I wanted to find a heart (melody in poetry by I. Polemis, 1932), I crave and adore one and only (folk song, 1933), Karotsieris (Carter) folk song (1935) and Come together in poetry by I. Drosinis (1937. Arrangement from the original composition of Panagiotis Tsampounaras). Also, the collection Labour songs was published by the Hellenic Workers Press (before 1925), which contains his own arrangements for voice or male choir, mandolin, viol in or clarinet, of seven known labour / communist hymns ( The Internationale (left-wing anthem), Kokkini simea (Red Flag), The song at work , Funeral hymn , Bandiera Rossa and May Day ). He died in New York, on 13/11/1938, forgotten by the motherland.
Constantinos Carikiopoulos / Harikiopoulos: 125 Composer, music-teacher and organist with very little biographical information. He was born in 1859, in Constantinople where he studied music. His family was Catholic (possibly, his father Nikolaos was also a composer and organist). 126 He probably continued his musical studies in Milan of Italy (composition and organ). He returned to Constantinople around 1885 -and since then, until 1915- he is mentioned as teacher for piano and singing, but also as organist, in the annual lists of Saint Anthony Church of Padova, the largest Catholic Church in Constantinople.
Some of his compositions are the: a) Tu es Petrus for baritone, choir and organ (before 1880), 127 b) Allegro moderato for organ (1890. His first -in chronological series- known composition for
125 The entry’s data are from the research material of the file “C. CARIKIOPOULOS” of TTA.
126 In the TTA there is a publishment on the acceptance of the agreement between Nikolaos Carikiopoulos and the music house D’Andria for the payment of the first upon the delivery of his complete musical composition. The London Gazette, sh. 2933, London 06/06/1865.
127 It is in the Biblioteca Nazionale Braidense of Milan.
organ),128 c) Hymne de la Constitution (Hymn of the Turkish Constitution) for voice and piano, dedicated to Sultan (1908) 129 and d) Chaire o theia, pou magia tosa dichos milima skorpas (Ave devine, you who enchant without words), or The music for voice and piano or organ in poetry by Gerasimos Markoras (1913). 130 These works demonstrate his solid musical knowledge and his great talent. He composed also other works for organ, songs for voice and piano and choral songs, all missing. After 1922 he came in Athens. He was organist in Catholic Church of Saint Therese at Kipseli, Athens. He died in 01/11/1939, in Athens.
Joseph Carikiopoulos / Harikiopoulos: 131 Composer with very few biographical details. He was born in Constantinople, around 1890. He is son of the composer and organist Constantinos Karikiopoulos/Harikiopoulos. He studied music probably with his father. He dealt with the light theater writing music for variety shows, piano works based on the dances of his time and songs for voice and piano. Some of these were issued by the music firm D'Andria of Constantinople. Known is his composition Mon Petit Bijou , tango for piano (1926) which shows what an important composer he was. He died in Adana, Turkey, in 1954.
Lucien Cavadias: Composer and conductor. He was born in Constantinople, on October 5th 1879 and he was hailing from Cephalonia. 132 He took his first music lessons at the Ballia Music School (Balia-Karaintin, a town near Panormos of Asia Minor) from the Corfiot conductor, Konstantinos Zafiropoulos. He also participated in Estudiantina (mandolin orchestra with singers) of the city (1906-1910). He traveled to big cities of Hellas (Athens, Thessaloniki), Egypt (Alexandria) and Turkey (Smyrna), willing to learn the musical action and to acquire adequate experiences. 133 In 1910, he was invited by The Vysanthi Reading Room of Raidestos to organize the formed Band Orpheus . Thanks to the sponsorship of the local merchant Constantinos Mimikos and his effort, the Band, consisting of amateur musicians, was able, after 2 years, to interpret important works from the classical repertoire, composed and arranged by him, such as the Hymn of Raidestos for wind orchestra (1912).
128 Published by the music house C.G. Röder of Leipzig, with works of Caspard, Couperin, Grosjean and Haydn.
129 Located in the collection of patriotic songs and hymns of Ferdinard Beyer, publ. Brünn, ex Czechoslovakia, 1940.
130 Dedicated to the baritone I. Katazas from Constantinople. Published in Music, iss. 19-20, Constantinople 7-8/1913 with Pachtikos’s comment on p. 179: “This composition by the distinguished expatriate composer is so nice and inspired, so rich in expression and various technical shapes, that any kind of critique is unnecessary ”.
131 The entry’s data come from the research material in the file “J. Carikiopoulos” of TTA.
132 The birth and death dates were identified in the web site www.ancestry.com in combination to his activities (i.e. marriage with Olga Kavadia, 1893-1986).
133 Anonymous, The Band ‘Orpheus’ of Rhaedestus”, Music, iss. 8, Constantinople 8/1912, p. 250.
Among the noumerous highly praised comments in the newspapers and magazines, it is worth mentioning the one in Music : “... the musician of the ‘Orpheus’, Mr. L. Cavadias, is surely one of the most methodical and hardworking teachers of the magician a r” 134 , “... his work here, for the last two and a half years, gives us great hope for the future of our brilliant young composer” 135
His ardent desire to enrich and refine his musical knowledge brought him to the Academy of Music in New York (private conservatory) where he was enrolled in conducting classes. With overexertion -and after he amazed his teachers with the talent and ability- he finally got the diploma of conductor with honors (1914). He also took private composition lessons from some unknown professor. He remained in New York and made a career as a professional musician, orchestrator, arranger and composer. During the period 1920-1945, he composed many and varied works from the whole range of musical creation: art (works for orchestra, chamber music, works for piano, violin or mandolin and songs, based on Hellenic folk themes and motifs), light (operettas, songs for variety shows and dance of the era: tango, valse and foxtrot), popular (rebetika songs and also songs in zeibekiko and chasapiko rhythm, most in lyrics by his wife Olga, singer of rebetiko). He also arranged dozens of works and songs of other composers (especially from the field of comedy-idyll and operetta) as of Nikos Hatziapostolou (1884-1941), Theophrastos Sakellaridis (1883-1950), Grigoris Konstantinidis (1893-1979) and Thanos Zachos (18841946). In the early 20s he created, in New York, the musical publishing house “L. Cavadias” and he published many of his compositions and arrangements of other composers’ songs.
In 1924, his editorial house released 3 issues with 8 compositions each, entitled Music Collection by L. Cavadias for mandolin, violin or clarinet, with lyrics . The first issue contained six of his arrangements of operettas of Hermes Pongis [“Xenichtides” from Peirasmos (“Night owls” from Temptation )], of Sakellaridis [“Po!Po!Po!” from Arlekinos (Wow! Wow! Wow! from Harlequin ) and “Thelo san prota” from Diavolopaido (“I want, as before” from Devil’s child )], of Hatziapostolou [“Mono m’ esena” (“Only with you”) and “San oneiro” (“Like a dream”) from the Apachides ton Athinon ( Apaches of Athens ), “Agapis logia” (“Words of love”) from Erotevmenoi (Sweethearts)] and 2 popular songs ( Samiotissa ( Girl from Samos ) and Prosfygopoula ( Refugee girl )]. The second issue contained 7 arrangements from operettas of Sakellaridis [“Sto stoma, sto stoma” (“In the mouth, in the mouth”) from O Vaftistikos (The Godson ), “I glikia Nana” (“Sweet Nana”) and the “Trive trive” (“Rub, rub”) from Glikia Nana ( Sweet Nana ), “M’ ena fili sou” (“With a kiss
134 Anonymous, “The Band ‘Orpheus’ of Rhaedestus”, Music, iss. 7, Constantinople 7/1912, p. 222.
135 Ibid., p. 25.
from you”) from Kapetan Tsanakas ( Captain Tsanakas ), “Ta trella poulia” (“The crazy birds”) from Thelo na do ton Papa ( I want to see the Pope )], of Hatziapostolou [“I paichnidiara” (“The playful girl”) from To koritsi tis geitonias (The girl from the neighborhood ), and “Poso s’ eho simpathisei” (“How much I like you”) from the Apachides ton Athinon ( Apaches of Athens )] and his duet He agapi ( The love ) in lyrics by O. Kavadia. The third issue contained his composition for voice and mandolin or violin or clarinet: a) Anamniseis ( Memories ), tango, and b) Xemialistra ( Temptress ), kalamatianos dance. Also, his arrangements: Mian moni potho (I desire only one ), I gynaika pou skotonei (The killing woman ), tango (music and lyrics by Themis Naltsas), Stin erimi remmatia ( At the deserted ravine ), valse, Ah! Giatre mou ( Ah! my Doctor ), I Smyrnia ( The Smyrnaean girl ), and Enthimisou sklira ( Remember hard ), valse. His afore-mentioned works were also published in arrangement for voice and piano. The musical house also published his foxtrots: a) Egyptiana , and b) Mexicana Known are also his published compositions: a) the mazurka Apo kardia pros kardia (From heart to heart ) for mandolin and mandola or guitar, b) the Politissa (Constantinopolitan woman ), syrtos (dance) for voice and piano or mandolin (after 1930), c) the Chassapiko ( Chassapiko dance ), d) Zeibekiko ( Zeibekiko dance ) for piano (1940), and e) the recorded song Ta poulia san kelaidoun ( When the birds are singing ) in lyrics by his wife (1941).136
In 1925, he established the phonographic company “Hellas” which -until 1940- released at least 40 phonographic publications in discs of 78 rpm. Also known are the phonographic versions of the phonographic company “Acropolis” where he recorded, with his orchestra, the works Thalia, Polka Mazur by Josef Strauss, Balos, Ellinikos choros ( Balos, Hellenic dance ), Laterna tis polis ( Barrel piano of the City ) and the Mavro Yemeni ( Black Yemen ) by M. Kalomiris (unknown if the other two are of his own. Release year: 1924). He collaborated with the Pantopoulos’s Operetta creating a hearth of culture (with composers like Demosthenis Zattas, Ierotheos Schizas and the singer Petros Kyriakou) for the expatriates in the U.S. with various activities (performances with operettas, comedy-idylls, concerts, etc.). However, he greatly reduced his activities after the '40s, due to health problems. He died in Astoria of New Y ork, in March of 1970.
Theodoros Charalampidis: Music teacher and mandolinist with incomplete biographical information. He acted in Western Thrace (Soufli, Alexandroupolis) where he taught music at primary schools (as the 3rd Primary School of Alexandroupolis) and establish ed school mandolin orchestras and choirs. Since 1955, he was co-directing, along with Chr. Papadopoulos, the mixed choir and the m ale church choir of the Ethnikos Alexandroupoli F.C. He arranged folk songs for mandolin. He may have composed works for plucked st ring instruments.
136 Mentioned in the “Part 3: Musical Compositions” (New Series, Volume 36, Part 5) of the “Copyright Entries ” catalogue of the Congress’s Library, U.S.A. 1941.
Elisabeth Chelmi: Pianist and composer with unknown biographical information. She was born in Constantinople in the late 19th century. She studied piano and composition at the Vienna Conservatory, graduating with respective degrees (around 1910). During he r studies, she composed works for piano and chamber music. They are probably in some unknown archive or they are lost. She return ed to Constantinople where she worked as a piano teacher at the Conservatory of the ‘Hermes’ Society, at least until 1920. After t hat, her tracks are lost. It is unknown where and when she died.
Nikolaos Christodoulidis: Composer and pianist with unknown biographical information. He was born probably in Constantinople, around 1880, where he probably studied music. He created the ‘Christodoulides Estudiantina’ with which he recorded urban folk songs of the era, mostly his own, such as: I mikroula (The little one), Liakouras , Eleni mou (My Helen), I Critikopoula (The Cretan girl), Ela matia mou (Come, my eyes) and Mi distaseis (Do not hesitate) (1905-1910). He composed works for piano and songs for voice and piano or mandolin orchestra. Known are his compositions: a) Lambeis mes to yalo (You glow in the shore) issued by Apollo Music Co. of New York, b) S’ ekini (To her) and c) Eine dyo eti (It‘s two years) song for voice and piano which was published by the Christidis music house in Constantinople, in 1911. He died in Constantinople, unknown when.
Lily Economidou: Pianist and composer with unknown biographical information. He was born probably in Constantinople. Known is her composition Songs without Words for piano. She was a member of the Greek Composers’ Union during the 60s.
Antonios Eptaminitis: Composer, music teacher and mandolinist with incomplete biographical information. He was born in Raedestos before 1880. He studied music, probably in Constantinople. He worked as music teacher in the Second primary school of Soufli, from 1900 to 1914, creating mandolin orchestras and children's choirs, 137 with which he also presented his own compositions and folk songs arrangements. His low profiled work was continued later by Georgios Tsitsipapas (1900?1967?).
In 1914, he was appointed to the Primary School of Redestos and to Georgiadis‘s Boys' School, developing artistic activity by creating children's choirs and mandolin orchestras 138. Well known is his composition of theater music (mostly choral parts), with borrowed elements from the folk tradition, for the theatrical drama The daughter of Agathon which was successfully performed by the students of the School on 16/03/1914 139. He also harmonized folk songs, some of which [ Sta Salona (At Salona) and Panagiotitsa ligeri (Panagiotitsa lissome)] were published in the U.S.A. in the 30s, by Apollo Music Co. of New York (Apollo Artistic Publications) of Spyridon Bekatoros (1860-1938). His archive was never found. We don’t know when and where he died.
Anthonios Eptaminitis, Arrangement of folk songs (for voice and piano), Apollo Music Co., New York, St. Zerbinos’s Archive.
137 Michael E. Patelis, Soufli: Itinerary on yesterday , Dioskouri, Thessaloniki 1994, p. 64.
138 Regarding the concert on 25/01/1914 the special correspondent G. Giannakakis wrote inter alia: “ …in little time, Ant. Eptaminitis, through a methodical teaching, managed to educate and adapt the children of the school”. George Giannakakis, “Music throughout Hellenism”, Music, iss. 27, Constantinople 3/1914, p. 88.
139 Rhaidestenos, Special correspondence in the “Music throughout Hellenism”, Music, iss. 28, Constantinople 4/1914, p. 125.
Alexandre Eustathiadis: Composer with no biographical information. It is unknown when and if he was born in Constantinople where he acted in the late 19th century as a musician (pianist) of the Ottoman Imperial Orchestra, in the service of the Sultan Abdül Hamid the Second. He probably studied music in Italy. The only known composition of his is the Marche Triomphale for piano, a work dedicated to the Sultan. He died in Constantinople after 1930.
Epameinondas Floros: Violinist, composer, arranger, conductor, music teacher and music critic with considerable artistic and pedagogical contribution to the musical life of Thessaloniki. He was born in Constantinople, in 1892. He had his first music lessons with the Polish violinist Jarosky (private), as well as at the American Robert College of Constantinople. In 1911, he traveled to Berlin for essential musical studies at the Musikhochschule (Music Academy) of the city. He studied violin with Joseph Joachim (1831-1907), music theory with Engelbert Humperdinck (1854-1921) and orchestra and choir conducting with Arthur Nikisch (1855-1922) and Arno Kleffel (1840-1913).140 He graduated in 1914, with diploma in violin and orchestral conducting. He was appointed conductor to the Lessing Theater in Berlin (it was destroyed in 1945, by bombing).
In 1916, when Turkey entered the First World War, he was forced to return to his hometown, where he became director of the symphony orchestra of the Sultan Re ş at’s palace. As its leader, he made in 1917, under the command of the Turkish Government, a tour in the capitals and major cities of the then allies of Turkey (Sophia, Berlin, Dresden, Munich, Vienna and Budapest). For this tour, he was honored
with five medals (German, Bavarian, Austro-Hungarian, Hungarian and Bulgarian). Immediately upon the cessation of conscription in 1918, he resigned from his position, despite the tempting proposals he had.
Until 1922 and the Asia Minor catastrophe, he was music teacher at the Great School of the Nation, the Robert College, the Zappeion School for Girls, the National Teaching Schools, the Zografeio High School and at the Central School for Girls. In 1920, he founded the Philharmonic Orchestra of Constantinople, with foreign musicians mainly from Germany, Spain and Russia. He became its conductor and gave regular weekly concerts with great success, mainly in Théâtre des Variétés. In 1922, he fled to Berlin while Kemalist police was already searching for him (due to his intense work and propaganda in favor of Hellas). Although the conditions to excel were favorable, he stayed there only two years. In 1924, he settled in Thessaloniki and took over the direction of Grekos Conservatory (founded in 1911 by Sotirios Grekos, student of the composer, Demetrios Lal[l]as).
In 1926, reacting to the "war" declared by the rival State Conservatory of Thessaloniki, he founded and took over the management of the Macedonian Conservatory (it had the name Macedonian Music School up to 1927).141 He stayed in this position until his death, teaching violin, theory and orchestral conducting. He founded annexes of the conservatory in Touba and Kalamaria, regions of Thessaloniki, as well as in the towns of Florina, Veria, Katerini, Kilkis, Edessa and Kozani. In 1936, he was appointed to the State Conservatory of Thessaloniki where he taught, until 1952 142, history of music and direction of orchestra and choir. During that period he came several times in conflict with Al. Kazantzis, director of the conservatory, for personal reasons, such as his desire to become its director.
This desire was partially fullfiled thanks to the Legislative Decree 1445/1942 during the German occupation, through which he actually took over the direction (based to the article 13, §4, regarding the demanded qualifications). He remained in this position until 1944, when a new Legislative Decree (1781/1944) canceled “… the paragraph 4 as if had never been applied ”. He was accused then of misbehavior and illegal activity, in order to get the position of director of the Conservatory. But no further action was taken and after a while this issue was totally forgotten. 143 In 1939, he founded the National Choir. During the German occupation he was conducting the 80-member mixed choir of the radio station founded by Germans, giving concerts every Sunday (together with the station’s orchestra) at the then Royal Theatre, for the German army. He worked tirelessly to create choral and orchestral ensembles, such as the Macedonian Symphony Orchestra [its first concert was given on 20/12/1931, with works of Liszt and Beethoven and with the pianist and composer Loris Margaritis (1895-1953) as soloist] and the Macedonian Mixed Choir (its first concert was given at the ‘Alexander the Great’ theater in Thessaloniki on 20/07/1930) with which he presented remarkable works (oratorios, cantatas, Requiems, symphonies, concertos, etc.) that were unknown to the city. At times, he was directing also the orchestra of the State Conservatory of Thessaloniki, mainly with opera excerpts.
In 1955, while he was about to take over again the direction of the State Conservatory, he resigned, retaining only his position in the Macedonian Conservatory. The same year, he was hired as conductor of the Philharmonic Orchestra of Thessaloniki. In this position he remained until 1964, when he left due to illness followed by his retirement. With his systematic and intensive work, the orchestra had concert achievements, as well as charity and educational work (as the concert given for the construction of the scorche d wing of the Municipal Hospital, in the presence of the then King George the Second, as well as the repeated concerts especially for pupils and students). The orchestra begun giving concerts, for the first time before audience –mainly at the then Royal Theatre– with the participation of string instruments and mixed choir formed by himself 144
Concert Program, CL AUTH.
The first concert was held on 26/12/1955 with works of Chr. Dellas, M. Kalomiris, J.S. Bach, L.van Beethoven, J. Strauss II and Verdi. The reviews on the first concerts were positive: “... Mr. Floros conducted with absolute understanding ... In the final 'Alleluia',
143 Efthalia Leontief, “Floros’s Problem”, The Thessaloniki State Conservatory 1915-1951. Bachelor's thesis in MSD of AUTH, Thessaloniki 1991, p. 72-73.
144 E. Mitroulia, op. cit., p. 52.
the choir, along with its conductor, transmitted to us the pulse of the higher art ”.145 Additionally, he formed the Municipal Choir of Thessaloniki. Almost all of the concert works were in his own arrangments for choir and wind instruments orchestra. Due to great audience impact, the municipality decided, in 1958, to establish the Municipal Symphony Orchestra under his direction.
The orchestra, in which the performers of the wind instruments were members of the Municipal Band, gave only five concerts (from November 1958 to March 1959) and then ceased to exist due to financial difficulties of the municipality. But it was the base for the creation of the Symphony Orchestra of Northern Hellas (1959) which was later renamed to Thessaloniki State Orchestra. He also directed other ensembles, presenting his works, as the National Choir of Thessaloniki (10 of hi s compositions and harmonizations were performed under his direction, during a concert on 17/12/1939), the choir of the 'Thermaikos' Railway Association (1951-53), etc.
He worked hard with all kinds of musical works putting also his personal expression. 146 Thanks to his musical talent and his eagerness for learning, he defeated the obstacles and managed to realize his dream to conquer a remarkable position among the g reat artists and teachers of Thessaloniki. 147 Being combative, he could not accept any compromise and this brought him a few times in disputes with his colleagues. As a teacher, he was very strict, expecting the very best from his students. 148 Through his editorial interventions in various publications of Thessaloniki, he was fighting for the correct teaching of music in schools. He also wrote seve ral notes, criticizing, with a rather strict and torrid way, presentations of works of Hellenes composers.
As a composer, he is classified in the so called National Music School. Since 1925, he composed some small works for violin and piano and choral songs (or he arranged them for choir and brass band or just for brass) being excellent connoisseur of the choral
145 Magazine Art, Thessaloniki 6/1956, p. 51-52.
146 Costas Mertzianidis, “Musical mournings. Epameinondas K. Floros”, Hellenic North, Thessaloniki 5/1966.
147 Ibid.
148 John Mantakas, “Ep. Floros. Biographical note”, Archive of J. Mantakas, Thessaloniki 1966, p. 119-122.
writing and technique (mainly from the folk tradition of Thrace, Halkidiki and East Macedonia) 149, among others: Agrotiko tragoudi , Kapetan Lucas , O pothos ton Ellinon tis Tetartis Avgoustou , Ta fantarakia (for male choir), Theodora , Hymn to Thassos , Pano st’ alonia , Apo xeno topo , Mantzourana , Karagouna , Malamo , Mena i gynaika mou , Lemonaki , I Militsa , Tria paidia voliotika , Sgouros vasilikos , As chamilonan ta vouna , Stous leventes tis Makedonias (an arrangement of the homonymous song of N. Kokkinos), Egia Mola (arrangement of M. Kalomiris’s song), Vradini galini (arrangement of D. Lal[l]as’s song), Psarovarka (arrangement for soloist and seven-part mixed choir of D. Lavrangas’s song), and Tsigganiki zoi (arrangement of the song Gipsy life of Schumann). He also harmonized the hymns and chants: a) I Parthenos simeron (The Virgin today) (1965), b) Hymn of St. Demetrius c) Holy God and d) the Akathist hymn . Among his many students were Υannis Mantakas, unforgettable choir director (1932-1998) and George Hatzinasios, known composer (b.1942). His son, Constantinos Floros (b.1926), is an eminent musicologist and professor at the University of Hamburg and his daughter, Angela Florou, piano soloist in Toronto of Kanada (in April of 1958, she interpreted the J.S. Bach's concerto in three concerts, accompanied by the Municipal Philharmonic Orchestra of Thessaloniki under her father's direction). He died in Thessaloni ki on 14/04/1966; so he missed the festive concert for the celebration of the 40th Anniversary of the Macedonian Conservatory, 150 at the end of the month. The ‘Epaminondas Floros Sinfonietta’ of of the New Conservatory of Thessaloniki was created in his memory.
Panteleimon Formozis: Multifaceted personality: musicologist, researcher, academic, scholar, writer and composer with incomplete biographical information.151 He used to sign as P.E. Formozis. He was born in Komotini, in November of 1902. In 1913 or 1914, he came to Thessaloniki, where he completed his secondary school studies. It is unknown when and where he began his musical studie s. In 1920, he came to Athens and enrolled at the Philosophical Faculty of the Athens University. He graduated in 1927. In 1928, h e was appointed director to the library of the Thessaloniki University. Also, during the period from 1928 to 1935, he was teaching an cient and modern Hellenic language at the higher classes of the German School of Thessaloniki.
He studied music in Heidelberg of Germany (theory, composition and musicology), from 1935 to 1938, along with doctoral studies on ancient Hellenic and Latin literature and philosophy at the there university. In 1938, he wrote the study De la chanson et de la musique populaire grecque . 152 In 1939, he returned to Athens where he became doctorate of Philosophy at the University of Athens.153 In the 40s, he collaborated with the German ethnomusicologist Georg Eckert (1912-1974) and they wrote together the studies:
149 “His arrangements, for male choir, of the folk songs, maintain their character with the delicate shades of the intervals of the folk music and the expressive colouring with the frequent exclamations hai hai, ainte ainte and the changes of rhythm and tempo”. Mantakas, The first concert of Thermaikos , Hellenic North, Thessaloniki 1951.
150 Kalogeropoulos, “Epameinondas Floros”, The Dictionary of the Hellenic Music , vol. 6, Giallelis, Athens 1998, p. 377-378.
151 Most of the biographical details come from his autograph biographical note, located by Athanasios Trikoupis (2013) in the Archive of Thracian Studies.
152 Published in Thessaloniki in 1938, by the printing house of Korn. Theodoridis, in 43 pages.
153 Autograph biographical note from him to the Deanery of the Philosophy School of Thessaloniki‘s University.
a) Beiträge zur mazedonischen Volksmagie (106 pages),154 b) Regenzauber in Mazedonien (98 pages), c) Mazedonischer Volksglaube , d) Geister- und Dämonenglaube im Pontus , e) Lieder und Märchen aus Kozani und Siatista and f) Das Hirtenleben in der Chalkidike (32 pages).155 During the 40s and 50s, he worked as a teacher of chamber music, music history and music analysis in the Macedonian and National Conservatories of Thessaloniki.
In 1966, he announced his grandiose plan on Hellenic musicological publications in collaboration with the editing house of V. Rigopoulos, in Thessaloniki. These publications were divided into 4 categories: a) studies on church music, b) studies on European music, c) studies on modern Hellenic music and d) studies on music in the era of great civilizations. But eventually only six books were released: two for European music, three for church music and a study on The special historical position of Western European music (1959),156 translated by the German musicologist Walter Wiora (1906-1997). The 3 books of the second category are considered reliable and comprehensive historical-musicological treatises. They are:
a) The choral versions of church music in European music writing in the two Hellenic Orthodox churches of Vienna , devoted to G. Asvestas, precentor at the Church of St. Dionysius (1967), b) European science texts on our church music, translated into our language (1968) and c) The scientific roof for the study of the church music and the musicology chair in our universities (1969). He was director of the European Music Academy of Vienna Institute. He wrote also several literary and philosophical studies which remained unpublished. The only published study, of 210 pages, is titled: The form and action of Medea of Euripides (1935). It is based on the “Medea” tragedy of Lucius Annaeus Seneca (4BC-65AD) and it was published in Athens by the ‘Nea Alitheia’ (New Truth) editing house, in 1939. Additionally, the historical study Lorenzo Mavilis: the patriot and the poet was published in Thessaloniki (1938). His compositional work is small. He composed solo works, chamber music (mainly) and orche stral which were not presented in public and are in some unknown file. His file, which is in the Library of the Aristotle Univer sity of Thessaloniki, contains one of his works for orchestra. He died in Athens, in the mid 70s.
Publication of study, TTA.
154 Published in Thessaloniki in 1942, as the 1st volume of the “Volkskundliche Beobachtungen und Materialien aus Zentralmazedonien und der Chalkidike“.
155 Published in Thessaloniki as issues of the Ethnomousicological series “Volkskundliche Miszellen aus Mazedonien“, in 1943 (b’, c’ and d’) and in 1944 (e’ and f’).
156 Original tittle: “Die geschichtliche Sonderstellung der abendländischen Musik“.