mately 4,500 volumes (museum of rare books, musical publications, manuscripts and codes of Byzantine music of each era) which f ortunately, since 1996 and after many "doublespeak" of the State, consists a treasure of the Music Department of the Athens Unive rsity.446 He spent his entire fortune on the purchase of books and music manuscripts, in order to create it. However, the Hellenic state refused to pay him what he had promised, a monthly paltry sum “ as a pension ”. He nurtured many students of chanting, during his career. He taught them the patriarchal style of Constantinople chanting, which was unknown to Athens with the Bavarian Quadrophony. Among his students were: M. Theoharidis, Ch. Dalakos-Theocharopoulos, D. Koutsoyannopoulos I. Margaziotis, D.H. Mavropoulos, I. Panagiotopoulos-Kouros, K. Panas, N.G. Pappas, Sp. Peristeris, K.G. Polenta, D. Sourlantzis, P. Stoikidis, A. Trakas, Th. Chatz itheodorou, N.A. Chrisochoïdis etc. He died blind (he was already from 1945) and forgotten in Athens, in 1949. Much later a street in Nea Smyrni, Attica was named after him, in his honor.
Panagiotis Raidis : Conductor, probably from Philippoupolis of Eastern Rumelia (1905?). He was bandmaster in Doxato of Drama and in Grevena (before 1950). His march entitled “Grevena” is well known.
George Sagkounov : Prolific composer, music teacher and conductor of bands and orchestras. His name is closely connected with the development of the Bulgarian military song and the music life of Pyrgos (now Burgas). He was the first conductor in the history of Bulgarian music. He was born in Philippoupolis, on 15/03/1873. His father was trader with Hellenic-Pontiac origin,447 amateur musician and folklorist, and his mother 448 was Hellene with musical education. Naturally, everyone in the family spoke the Hellenic language. Unfortunately -due to the exasperating indifference of the Hellenic state- he was strongly disputed by Bulgarian nationalist histori ans and musicologists. He took his first music lessons 449 at the St. Augustine Catholic College of the city. His talent became obvious very early and he composed his first works 450 at the age of 10. At the age of 15 he could play at least six instruments. In 1889, he went to Lyon of France to study medicine, motivated by his family. He enrolled at the Medical Lyceum Saint-Jean (forerunner of the School of Me dicine), but he decided to study music; so he gave up medicine. In 1890, he enrolled at the Conservatory of Lyon where he studied horn, trumpet, theory, conducting and composition (with the composer Alexandre Luigini [1850-1906]). Before graduating, he was working for 2 years as assistant conductor at the city’s band. In 1895, he returned to Philippoupolis starting his career as a conductor of several
446 However, a significant part of the file is considered looted by chanters, musicians, etc.; so its location is unknown.
447 Based on the writter’s research work, the hellenic last name of the composer‘s grandfather was Sagkounidis but, for unkown reasons, he changed it to Sagkounov (around 1860).
448 His mother was Loukia Stamati or Stamatiou, hailing from Thessaloniki.
449 His first teachers were the abbe and organist Alfonse and some French horn player Basil Ober.
450 Two mazurkas and a waltz for piano, lost today. Mentioned by the composer in his letter to the colonel Ivan Stoitsev (1910).
military bands, mainly the band of the 3rd Cavalry Regiment (until 1910), at first in his hometown, in 1897, in Lom and a few months later in Pyrgos of Eastern Rumelia 451 where he lived for the rest of his life.
It is known that during 1906-1907 he served in the military band of the 39th Infantry Battalion based in Thessaloniki. 452 He was also conductor of the bands of the 2nd Cavalry Regiment and of the 30th Siptsenski 453 Regiment. He gave hundreds of concerts with all the bands and he made parades in the city streets, especially in Pyrgos, causing emotion to the citizens. He also created at least 10 choirs, the more famous of which was the Gusla Women's Choir with which he gave successful concerts also abroad (Poland, Hungary and Romania) from 1933 to 1935. Since 1910, he was one of the founding members of Pyrgos’s Music Society 'Rodney Svoutzi' as director of the string orchestra, concert organizer and music teacher (theory, instrumentation and wind instruments) at its musical department (until the beginning of World War II). During the 60 years of his creative activity, starting from the age of 16, he composed about 2000 works working all day long (it was written that he was sleeping no more than 4 hours per day). Unfortunately, from all this musical treasure, only 350 works 454 -with small but existent references to Hellas- were saved from a disastrous (and probably deliberate) fire -in 1949, after his death- in the basement of the Pyrgos’s Town Hall, where his archive was being kept. 455 Among his known compositions are: a) the six symphonies for orchestra [no. 1 “Of the Balkans”, no. 2 “Maritsa” (1931), no. 3 “The Journey in the Dream” (1933), no. 4 (1935), no. 5 (1946) and no. 6 (1948)], b) 7 orchestral works 456 [“Woman of Macedonia” (1903), 457 “Emmanuel Manolov” (1907), “Fantasy for Christo Botev” (1922), “Symphonic Suite for woman of Bulgaria” (1927), "Fantasy for Liljiana” (1927), "Peja Giavorov" (1944) and “Ouverture of the natural sounds” (1945)], c) five overtures for orchestra [(1910), (1915), (1922), “Official” (1926) and (1933)], d) works for s tring orches-
451 He served as bandmaster of the 24th Infantry Regiment, located in Pyrgos (until 1930, when he retired).
452 We know that he met his mother’s relatives several times. He avoided any interference in political or military conflicts, etc, that were very intense between Hellenes and Bulgarians at that time, adopting a neutral position due to his Hellenic origin.
453 During the First Balkan War.
454 In all of his works -which are mainly at the type of programme music- there is the influence and borrowed elements from the folk tradition of Bulgaria, Hellas and Romania.
455 It is assumed that deliberate action was taken by the supporters of the then ruling Communist government because the musical material of the composer was regarded as "fascist". The Bulgarian Composers Union was treated the same way, until the democratic change in the country's governance (1989).
456 All refer to existing persons and historical events.
457 Dedicated to his Macedonian mother.
tra [“Traditional Dances” (1907), “Piece” (1915), “Ratchenitsa” (1922?) and “Farewell to Vitosha” (1943)], e) concerto for cell o and string orchestra (1925), g) for brass band [“Kaval” (1900) and “Gerda” (1905)], h) chamber music: “The Ultimate Hour” for brass sextet, 1901, “Sweet Country of Ancestors” fantasy for violin and piano (1942),458 and “Burgas” for woodwind quintet (1948). 459 He composed hundreds of marches for choirs and military brass bands of which approximately 240 were rescued, with the famous Hymn of Independence (1908), Hymn to the Russian Tsar (1908), Trust (1915), Will (1919. The best known of all), Marsh for Balkan Heroes (1926), Hymn for conductor Mikhailov (1931), Song of the motherland (1932), The Wolf (1935), Young children of the sea (1935. For students of the Vaptsarov State Naval Academy. It was established as its anthem, from 1989 onwards), March for the musicians of the Guard (1938), Hymn for the people of Bulgaria , and We Are Coming ) (1939) and i) for solo instruments: Ahead for horn (1900), March for piano (1921) and Tender song for violin (1931?). He also composed several entertaining dance songs of light music, for voices and ensembles of strings and brass, which became hits in prewar Bulgaria.460 Being an ardent patriot, although he never publicly supported anti-Hellenic positions, he was honored several times with awards, medals and other distinctions such as the supreme Medal of H onor for his contribution to the arts and culture (1938). Unfortunately, after the Second World War and the period of communist rule , he fell in disgrace until the change of the regime. Because of this, his son came to Thessalonica where he lived working as a dentist. Since 1990 onwards, his surviving music file became subject of several surveys and studies which highlighted its importance. He died in Pyrgos, on 10/11/1948. There was no official authority at his funeral, although he was known as the “ father of music ”, because he was considered royalist 461 and anti-communist.
Eugenia Salpa-Papathanasiou: Flaoutist, composer, with artistic offer in the USA. Daughter of the merchant, Chr. Salpas from Constantinople, she was born in Constantinople in the early 20th century (probably in 1902). She studied, encouraged by her father , initially at the Conservatory of Constantinople, continuing with flute and theoretical studies in Berlin. During her studies, she partici pated in early music concerts as a performer of flute with beak. During the 30s, she composed works for piano, flute, flute and piano an d a few songs for voice and piano or flute which are lost. Before the Second World War she moved with her family to Washington, USA.462 She worked at the Hellenic music club Orpheus of the city and dealt with the organization of musical events. She took part in several of them as a musician.463 She died in Washington after 1983.
458 Dedicated to the Hellenic country of his mother.
459 His last work.
460 Only 14 of his works of light music are preserved.
461 Many of his marches praised the then King of Bulgary.
462 Efi Agrafioti, The music is not female? , Dromon, Athens 2004, p. 126.
463 There are two concert programs in the TTA that show her participation as flutist in French composers’ works (10/2/1956 and 23/5/1959).
Notis Santorineos: Multifarious personality of literature and arts: composer, violinist, guitarist, painter, psychologist and prolific writer with Hellenic origin. He was born in Constantinople, on 08/08/1912. In 1918, his family moved to Italy. He began his musical studies at the Conservatory of Genoa, with the conductor Giacomo Avanzi (theoretically) and Alfredo di Piramo (violin). In 1923, he appeared as soloist in the Concerto No. 4 for Violin by Vieuxtemps. In 1924, he returned to Athens. In 1926, he started painting. In 1933, he enrolled at the National Conservatory and studied composition with M. Kalomiris and violin with Antigone Copsida, taking the corresponding diplomas. In 1934, he became a member of the Symphony Orchestra of the Conservatory of Athens under the direction of D. Mitropoulos with whom he studied orchestration and techniques of composition. He also took lessons for technique and interpretation of violin from the Spanish Joseph Bustindui (1882-1960). In 1935, he began his rich literary work, beginning with the plays: a) “Otan afypnisthei i psychi" (When the soul awakes) and b) “Kykneia Chora” (Swan country).
From 1936 to 1939, he was in Milan for higher studies at the today’s Giuseppe Verdi Conservatorio and he studied with the Italian composer Giorgio F. Ghedini (1892-1965). In 1940, he returned to Hellas and worked as deputy conductor at the Athens Military Music. In the period from 1940 to 1945, he wrote the “O Eonios odigos” (Eternal guide), psychological essay of 40,000 pages (!), as a democratic response to the Nazi manifesto “Mein Kampf” of A. Hitler. In 1953, he took over the artistic management of the Municipal Conservatory of Kavala. There, he founded and conducted the Eastern Macedonia’s Symphony Orchestra. In the following 15 years, he worked on the revision of several of his preceding musical works. He began composing since the 20s.
His first composition entitled Utopies d'enfance subtitled "Elegiac introduction" for string orchestra op. 1 dates back to 1923, when he was 11 years old. It premiered in 1927, in Naples of Italy with orchestra in which he participated as a violinist. Know n works of his are: a) Aeolian Suite for acc. orchestra, in three parts (“Geraneios dance”, “Monologue of the wind” and “Aeolic Dance”), " inspired by Aeolus and his sister, Sea ", op. 2 (1926. There is also in transcription for piano interpreted by the well known pianist, Thalia Moira, during a concert at the Parnassos Literary Society on 13/02/1976), b) Serenade for Strings, op. 3 (1928. Presented in 1931, in Milan) c) La grand-mere ( The grandmother ) for voice and orchestra with lyrics by V. Hugo (1929), d) Symphony no. 1 entitled “Nuclear” (“L'âme au microcosmos de sa vie Angelique”) 464 for small orchestra, op. 4 (1930) 465 e) Symphony no. 3 entitled “Eis ton Elikona” (To Helicon or
“Bucolic”) for large orchestra, op. 7 (1931, presented on 25/11/1936 in Cologne of Germany with the Symphony Orchestra of Cologne under the direction of the F. Lanner), f) Symphony no. 4 entitled “Posidonia” (1932), g) Concerto for cello and orchestra, op. 12 (1934), h) Robinson Crusoe ballet for chamber orchestra, op. 13 (1935), i) Chansons enfantines ( Children's Songs ) op. 14 (1939), j) Symphony no. 5 entitled "Eiriniki" (“Peaceful”) for orchestra, op. 15 (1940. His longest work, 45 minutes. It was presented in 1955, in Washi ngton of USA, by the National Symphony Orchestra of the city under the direction of H. Mitchell),466 k) Symphony no. 2 , entitled “To Aedoni kai to Triantafyllo” (“The Nightingale and the Rose”) symphonic fairy tale with narrator (optional) based on Oscar Wilde’s text s, op. 5 (1945. First writing for strings: 1928. First performance: Attikon Theater, Kavala, 19/04/1954).
Also the not dated works: a) 4 songs in poetry by D. Solomos [“O Thanatos tou voskou” (“The death of the shepherd”) op. 9/1,467 "He phychoula" (“Little soul”) op. 9/2,468 “I Xanthoula” (“Blonde girl”) op. 9/3, and “Agnoristi” (“Unrecognizable”], op. 9/4), b) Two songs for voice and piano [“Foni tou Vounou” (“Mountain’s Voice”) op. 10/1, on H. Heine’s poems, and “To Tragoudi tes Bamperin” (“The song of Bamperin”] op. 10/2, in poetry by Alfred Musset], c) Thalassines Eikones ( Sea pictures ) for piano, op. 16, d) Pâturages caches ( Hidden pastures ), op. 17, e) Concerto for piano and orchestra , op. 18, f) Concerto for violin and orchestra , op. 19, g) Sonata for piano , op. 20, h) Melancolique mer inconnue ( sad sea ) for choir, in poetry by Jean Moreas, i) Miniatures j) Koryvantios Dance for violin and piano, k) String quartet , etc. A great part of his file is contained in the file of the composer, musicologist and historian Joseph Papadopoulos-Greca (1897-1981). 469 He was member of the Greek Composers’ Union (60s and 70s).
He has also written extensively in many areas, such as: i) music, with the essays "He Psychologia tis Mousikis” (The Psychology of Music) in five volumes (Athens, 1958-1969) 470 and "Oi Mousikoi kanones sti synthesi mousikis" (The Musical rules of the music composition) (1970) and many articles ("Pos askeitai i mousiki techni” [How to practice the musical art], "He poreia tis Ellini kis mousikis" [The course of Hellenic music] [1971]) etc, ii) aesthetic / psychology, with the trilogy: a) "He epistimi tes sympantikis syneidisis" (The science of cosmic Consciousness), b) "Telikos Logos" (Fanal word) and c) "He demeourgiki syneidisi” (The creative consciousness) (1945), as well as with the 16-page manual "Epistimoniki exegesi tes agapes sten kardia kai te fysi” (Scientific explanation of Love in heart and nature), epitome of the afore mentioned trilogy (publishing bookstore 'To Nomikon', Athens, 1946 ), iii) astr onomy, astrophysics, biology and physics, with the: “Theoi – theates ouranion atomon: Oi protes ennoies sten atomiki kai thematiki epi stemi
465 Inspired by the dropping of the atomic bombs to Japan in August of 1945.
466 The 4th part of the Symphony no. 5, entitled “Peace Bells” for choir and orchestra, in his own lyrics with intense antiwar content, is a separate Work. Later, with his letter to the General Secretariat of the Press (Athens, 19/3/1973) gave the tittle “1821” with the suggestion: “to awake the folk soul of the Nation”. In Hellas, it was first performed by the Symphonic Orchestra of the National Foundation of Radio-Television under Stelios Kafantaris on 17/5/1973.
467 In the edition Songs of Hellenes Composers for voice and piano , Musical Publications of the Ministry of Culture and Sciences, Athens 1983, p. 55-63.
468 Ibid., and p. 64-69.
469 In HLHA.
470 Published in 1970 in France by La Pensee Universelle publications.
ton proestorekon panellenion” (Gods - viewers of celestial atoms: The first concepts on individual and thematic science of preh istoric Panhellenic) (Athens 1966) and "To pagkosmio theama ton statikon nomon sta ourania somata” (The global sight of the static laws in celestial atoms) (Athens 1966), “Proestoriki biologia” (Prehistoric biology), “Ousiastikoi nomoi eis tin atomekin physikin” (Es sential laws of the atomic physics) (1968. Issued in French language by the Saclay Nuclear Research Centre in France) and iv) literature, wi th the romantic novel "To iero tes gynaekas” (The holiness of woman) (1935). He died in Athens on 10/06/1981.
Publication’s forefront with compositions by Georges Soutzo, G. Soutzo Archive.
Georges Soutzo: Composer, with incomplete biographical information, of the famous Soutsos family from Phanar. He was born in Constantinople on 12/04/1817, son of Michael Soutsos, Secretary, Great Dragoman of the Sublime Porte and Voivode of Moldova, also known for his musical activity (1784-1864). He followed his father to Romania (18181821) and Austria (1821-1825) where the second had been exiled 471. Perhaps he followed his older brother John, former minister who served as a diplomat (ambassador) of the Hellenic state in St. Petersburg (1813-1892). He probably studied music there. It is very likely that he followed his father to Athens (from 1839 to about 1850). During 18501875, he was living in Iasi and Bucharest, following a military career. Known is his collection Recueil Valses et de Romances with short compositions for voice and piano or solo piano 472 which he composed in the period from 1841 to 1850 and dedicated to his father. It contains 15 waltzes for piano and the romances: “Il pianto”, “Madelaine” in poetry by V. Doinnet, “La tomba”, and “L 'ultimo sospir” for voice and piano. He died in Iasi of Romania on 26/09/1875.
471 Unknown (par un phanariote), Livre d'or de la noblesse phanariote en Grèce, en Roumanie, en Russie et en Turquie , Vlastos publ., Athens 1892.
472 Published, probably in Athens, in 50 pages by the Editing house of E. Papastavros. It is very likely that he followed his father to Athens (from 1839 appr. until his death).
Sophia Spanoudi: Well known in the field of Hellenic Literature and Arts, musician, journalist, music critic and scholar who was born in Constantinople, in 1878 (daughter of St. Ioannidis, accredited of the patriarchates of the Sublime Porte) and died in Athens, in 1952. She is mentioned here because allegedly she composed a few piano works, while she was studying piano and musicology at the Conservatory of Dresden, but not yet identified and the Prole son di nereide for voice and piano. She may have presented them when she was a piano teacher of the sultan’s daughter (around 1905-1910). She was also a piano teacher of M. Kalomiris.
Constantinos Spathis: Bandmaster, music teacher and composer with activity in Western Thrace and Macedonia.473 He was born in Athens, in 1876. He was the youngest son (the 17th) of Athanasios Spathis, conductor of the Palace’s Wind Orchestra, brother of Spyridon Spathis, composer, choir director, music teacher (1852-1941) and uncle of Theodore Spathis, violinist, conductor and composer (1883-1943). 474 He took his first music lessons from his father and his brother. Then, he improved his knowledge in Athens and in Paris under the supervision of his brother.
In 1903, being an ardent patriot and fearless fighter, he came to Xanthi that was under Turkish rule. He created the first musical breeding ground in Western Thrace, by creating a Band (with 48 performers, almost all amateurs), a mandolinata and a choir at the “Orpheus” Music and Gymnastic Association of Xanthi, 475 with the musician Michael Loudovikos from Xanthi, as his assistant. However, when he tried to extend his cultural action to the villages of the region,476 he was persecuted by the Turks 477 and in 1909 he had to resort to Monastir (now Bitola). He also
473 One of the first music teachers of Northern Hellas.
474 Father also of Menelaos (1912-;) and Alekos (1915-1970), exceptional composers and conductors of light Music, as well as the musicians, Antonios and Thalia.
475 Founded in 1903, by Constantinos Kaleiras or Kalevras, merged with the newly founded athletic Union “Hercules”.
476 Being very active (as in Music) the Association had already become leader of Eastern Macedonia and Western Thrace in Literature, art and athletics.
worked as a teacher of Singing at the Schools of the area. There, he taught music at the high school of Monastir and founded the Band of the “Lyra” Society, as well as a choir-mandolinata. After the occupation of the Monastir by the Serbs (1912), he fled to Ede ssa, where he stayed and worked until 1914. After that, he settled in Thessaloniki where he remained until 1917. Due to a large fire that destroyed the city, he went to Constantinople, hometown of his wife Angeliki Gkiali, where he taught music for three years at community schools.
In 1920, he went to Kios and created another Band. There, he also taught music and Singing at primary schools. During the Asia Minor Campaign (1921-1922), he and his orchestra were entertaining the soldiers and residents of the surrounding areas. In 1922, he came to Drama and took over the Band of Choristi (Tsataltza). He stayed there until 1924, when he was appointed conductor to the Municipal Orphanage of Prava (now Eleftheroupoli) in Kavala, setting up, in parallel, the Municipal Band of the city. In 1927, he was transferred to Xanthi as a music teacher at the High School, taking over again his work in 'Orpheus' with more means and prospects: wind orchestra, mixed orchestra, mandolin band, choir and theater 478 Finally, in 1930, he was transferred to Thessaloniki’s Girls School, where he remained until his death. 479 He composed several works for symphony orchestra, brass band and choir.
477 The action of the Music School of “Orpheus” had almost been banned during the period 1906-08.
478 Charilaos Blatsios, “Additional information on the history of the foundation of the MGA Orpheus”, Thracian Chronicles, vol. 31/1974, p. 16-17.
479 Spyros Motsenigos, ‘Constantinos Spathis”, New Hellenic Music, Athens, 1958, p. 19, footnote 1.
Among these, the marches are the most dominant (both patriotic and ecclesiastical). His work, Hymn to His Grace, St. Polycarp of Xanthi for four-part mixed choir, was presented by the inmates of the Xanthi’s National Orphanage for Boys, on his name day.480 Other works of his are: Hail Mary for four-part mixed choir, in lyrics by Chrysanthis Zitsaeas, Se tin faeinin lampada (Bright candle To You ) (9th Ode of the Thomas’s Sunday –following Sunday of Easter) for two or four-part male choir 481 and also 68 compositions of polyphonic sacred music for male choir. He also wrote songs, such as: Sto taxidi tis ( In her journey ), Ela ( Come ) (both in Monastir, in 1910), Ta thalassopoulia ( The seabirds ), Protos palmos ( First pulse ) duet for tenor and baritone with piano (1923), 482 etc. He composed also a collection of 25 school songs entitled Ta kanarinia ( the canaries ) (one-, two-, three- and four-voice songs) (1936). He had started to compose also a second similar collection, but he didn’t make it. He died in Thessaloniki in 1940.
Stefanos Stagkalis: Composer, musician and conductor of mandolinatas in Constantinople, in the early 20th century with incomplete biographical information. We know that he was born in Plaka of Athens before 1885. He probably studied music at the Conservator y of Athens.483 He went to Constantinople perhaps after 1905, where he developed great artistic activity. Before 1910, he founded and directed the mandolinata of Phanar with which he gave dozens of concerts that made history due to its perfection, making it one o f the best at the time. 484 Additionally, in 1912, he founded the mandolin orchestras: a) of the ‘Pheidippides’ Sports Club of Mesachoro, in Bosporus and b) of the ‘Proodos’ Association of Tataula. He also directed the mandolin orchestra of the associations: a) “Arion ” of Sikerci, b) 'Ajax' of Diplokonio (Besiktas) etc. He regularly participated, with his mandolin orchestras, in events and dances of the afore mentioned associations, as well as other Hellenic clubs and unions of Constantinople (the French Union, the St. Therapon of Sikerci etc.) always causing chills and excitement due to his repertoire of patriotic content. 485 He also created musical educational departments at which he was teaching selflessly. It is also known that he and his mandolin orchestras presented several works based on Hell enic rhythms (“Hellenic dance”, “Heroic song” etc.) as well as harmonization of folk songs [“Sta xena” (In foreign land), etc.].
After the Asia Minor catastrophe, he returned to Athens, financially damaged. We know very few about his later artistic action, as that he composed some songs based on the rythms of the era. He also wrote guitar learning methods and he was giving private lessons. In 1928, the barcarolle Ela-ela ( Come-come ), for voice and guitar, was recorded on 78 rpm by the Odeon of Germany with the lyrical artist and composer, Titos Xirellis (1897-1985).
480 On 23/02/1929.
481 Among them the “Polychronio” for four-part choir which was chanted in the Cathedral of Xanthi on 23/04/1909, name day of George the First, by the 24member choir of the Musical Association, causing great excitement.
482 First performed in Xanthi on 24/11/1923, during the first winter concert of the “Orpheus” Association.
483 He is probably identified with Stefanos Stagkalis, student of composition at an Naples Conservatory, Italy, in 1905 (information from the TTA).
484 A picture of his in 1912, show Stagkalis with the female part of the Mandolin band of Phanar. Music, Constantinople 1/1913, p. 26.
485 “During this soiree, the Mandolin band of the Association, under the well known music teacher St. Stagkalis, performed various pieces, which riveted the crowded audience”. See: Pachtikos, “Music throughout Hellenism”, Music, iss. 2, Constantinople 2/1912, p. 65.
In 1930, the Gaitanos’s music house published his brochure “Stangalis’s acompanimments” which contains guitar lessons based on compositions of the Italian composer and guitarist, Ferdinardo Carulli (1770-1841). Unfortunately, his music archive w as lost since he had no descendants. He died poor and forgotten almost by everyone in his house on Pireos street, amid the German Occupation (1943?).
Constantinos Thal(l)idis: Composer and musician, connosseur of the new Byzantine system and the European music. Also a lyric poet. He was born in Sozopol of Eastern Rumelia, in 1816. His family name was Mastronikolakoglou. In 1828, when plague spread i n the region, his family fled to the Monastery of St. Anastasia, in the island opposite Pyrgos of Derkoi. After the attack of the Laz pirates, he managed to escape -with his uncle Venediktos- to an unknown Monastery in the Peninsula of Cyzicus. Due to the murder of his uncle, for which the twelve-year Constantinos was accused, he escaped to Piraeus with the new surname Thal(l)idis, as a stepsonservant of the Moutsopoulos family.486 This environment helped him unfold his musical talent. The family introduced him to the queen Amalia who put him under her protection and sent him to Italy for musical studies.
Indeed, during the period 1840-1847, he studied flute and composition, writing also his first compositions that were never found. In 1847, he returned to Athens and worked at the palace as a secretary and flutist,487 at least for 12 years. During this time, he composed ecclesiastical musical works, since he knew also Byzantine music. He was awarded with several medals due to his offer and value.488 He also set to music his poems, probably for voice and piano (Never found. They were probably destroyed by the people of the palace due to their supposed reference to Queen Amalia). However, it was considered that his erotic lyric poems were about the Queen, so he was accused and fell in disfavour. He was forced to resign. It is speculated that he was suffering from tuberculos is and he returned home, under suggestion of the doctors, where he died in 1861. 489 Unfortunately, his relatives burned all his manuscripts considering them as a source of infection from the disease. Among his few surviving poems, the “Lament” and his 21 couplets wer e included in the Anthology of Thracian poets of modern times of the Thracian Centre (publication Thracian, Athens 1936).
K. Theocharidis: Musician and mandolinist from Constantinople, with no biographical information. He was the first who created mandolin bands in Soufli, around 1903, with which he attempted to perform remixes from operettas and folk songs. Unknown if he was also a composer.
486 Anthology of Thracian poets of modern times of the Thracian Center, Thracian, Athens 1936, p. 11-12.
487 He had one of the best flutes, which, after his death, was sold for 200 Turkish liras.
488 Georgios Papadopoulos, Historical review of the Byzantine ecclesiastical Music, Athens 1904, p. 213.
489 Another point of view is Christmas of 1860. Georgios Papadopoulos in the Historical review of the Byzantine ecclesiastical Music, Athens 1904, which is full of inaccuracies, wrote that he died from gout in the feet, in 1867.
Avra Theodoropoulou: Multifaceted personality of the Hellenic music field (pianist, music teacher, musicologist, writer and intellectual with significant social contribution. Also a composer). She was born in Adrianople on 3rd of November, 1880, from a wealthy family. She was daughter of Aristomenis Drakopoulos, General Consul of Hellas, wife of the politician, writer and poet Spyros I. Theodoropoulos (known as Agis Theros) and sister of the poetess Myrtiotissa. She studied the piano at the Conservatory of Athens from which she graduated, in 1900, with the silver medal of Andrew and Iphigenia Syggrou. In 1900, she was appointed teacher and later professor to the Conservatory of Athens (19041919). A few appearances of her as a soloist were enough to impress audience and critics, especially in works of Beethoven and Grieg: “... Mrs. Theodoropoulou does not only have the technique and the feeling during the execution but she also understands and attributes in a unique way the musical thought ... I reveal that her acquaintance with Beethoven ... appears in the stable and interpretive playing, in the simplicity and the lack of demonstrations, in the accuracy and the restrained feeling ”.490 In 1919, along with a group of other professors [among them Theseus Pindios (1886-1934)], she founded the Hellenic Conservatory, where she taught piano and music history. 491 Some of her many disciples were the composer Emilios Spiliotopoulos (Spilios) (1893-1981) and the pianists E. Damascou, E. Proiou, M. Pisani and An. Filtsou. In 1936, she was appointed professor of piano and music history to the National Conservatory. She taught for 52 consecutive years. Although it is not known, she composed at least ten works for piano and one sonata for violin and piano (before 1920) which, although she presented them to her pupils, have not been found to date. 492 She also transcribed a set of Cretan Mantinades for violin and piano, issued at Chania by the publisher Gorgias Fortsakis (before 1930. Followed by a second –reacher and improved- version by Gr. Constantinides publication s, in 1935). As a specialist in the history of music, she published the studies: a) "The music through centuries" (lecture at the Con servatory of Athens on March 25th, 1911), b) Musical studies: Iambs and Anapaests of Palamas-Kalomiris (1913),493 c ) “Music speeches: Bach, Beethoven, Wagner” (1915. she wrote, inter alia, in her speech about Beethoven: “... the simple language and the aesthetic force of the
490 A.M., “Music. Musical figures”, Panathenea , iss. 200, Athens 31/1/1909, p. 236.
491 Kalogeropoulos, “Theodoropoulou Avra”, The Dictionary of the Hellenic Music, vol. 1, Giallelis, Athens 1998, p. 380-381.
492 Signed autograph (in the “TTA”) by the composer Emilios Spilios (Spiliopoulos) with reference to his musical studies. The works are probably in an unknown place of the Athens Conservatory, heritage of her music archive.
493 First publication in Hellenic Literature, vol. 2, no.17, Alexandria of Egypt, 1913, p. 273-282.
konferansier gave unique moments to the worshipers of the great soul of the nobler teacher of the musical art ...”),494 d) “History of Music” in two volumes (Volume I: 1924. Published by the Hellenic Conservatory and Volume II: 1937), e) “The first lessons for pia no” (1924. In collaboration with M. Kalomiris), f) “Parents and musical education” and g) “Ten Great Composers” with critical biogr aphies, from Bach to Wagner (1957. Published by Kedros).
She cooperated, for more than 50 years, as a music writer and music critic, with several newspapers ( Acropolis, Ethnos (Nation), Mache (Battl)e, Asyrmatos (Radio) , magazines ( Numas, Gallery, New Home, Literature, Postman, Panathenaea English-Hellenic review Musical Chronicles ) and encyclopedias ( World Biographical Dictionary of the Great Hellenic Encyclopaedia ) by writing hundreds of critics for concerts and also portraits of Hellenes composers.
During her long professional career, she always promoted, with true affection and joy, the actual talents, those encountered in young students of music. She often signed her articles as Avra Therou using the nickname of her husband [she also signed as Despo Thalassinou (mainly in Panathenaia). She was an active member of the Association of the Hellenes Theatrical and Musical Critics . We know very little regarding her writing of theatrical plays, starting from the three-act ethography “Spithes pou svinoun” (Faded spark) (prior to this, there was a first failed attempt, in 1901, with the “Tychin e thelisin” [Fortune or will] that has been lost).
This play was characterized as a family social drama and it was performed by the New Scene of Marika Kotopouli in music by Armand Marschick (1877-1959), under the conducting of the composer Georgios Sklavos (1886-1976) on July 2nd, 1912, but it was commented negatively by all the conservative theatrical critics because of the new ideas (female emancipation) presented in the play (“... its base is christian and mildly socialist”495).
Avra Theodoropoulou, “Cretan Mantinades” Fortsakis Publications, Chania, HLHA.
494 Mia (unknown’s pseudonym), “Lecture on Beethoven”, Hellenic Review, iss. 53, Athens 31/03/1912, p.132. 495 N.K., “From the theaters”, Estia, Athens 03/07/1912.
Her social service and action was rich. She was working in hospitals during the Balkan Wars. For her social action, she was awarded with the medals of Queen Olga, the Balkan War and the Hellenic Red Cross. In 1911, she founded the Kyriakos School of working women and in 1918, the Federation of the Soldier’s Sister, utilizing the climate of the socio-political situation and aiming to women’s contribution to the dealing of the problems caused by the continuous wars. 496 In 1920, due to the inclusion of the Association in the Ministry of Welfare, she took the lead on the establishment of the Association for Women's Rights of which she was president from 1922 to 1957 (in 1958, she was declared honorary president). In 1920, she also played a leading role in the establishment of the National Housing orphanage. In 1925, along with Mary Svolou, she founded the Night Trade School for Girls and in 1929, the Papastratios Vocational School. In 1935, together with Alexandra Ioannidi, Agni Roussopoulou and Fani Sarigianni, operated the Countrysides for Working Women in Ekali, which were dissolved by the dictator Ioannis Metaxas, due to their denial to join E.O.N. 497 She also directed the bulletin of the Association "The struggle of woman". She took part in at least 18 international feminist conferences. During the ninth conference of Rome, she was elected member of the administration of the International Union “ for the vote and equal rights of women” (5/1923). Many important people of the Hellenic intelligentsia, from the entire spectrum of arts and Literature, were visiting her every Sunday for many years, in her constantly welcoming house in Kifissia 498. Her residence was the incarnation of the Hellenic house, as she described it in an article published in the first issue of the magazine The Struggle of Woman : “... full of sun and air, founded upon equality and mutual respect between man and woman ” (1923). Until the end of her life, she was watching all the intellectual and artistic action and she was fully informed about any significant event and the latest trends, despite her fragile health. She died in Athens, on January 20th, 1963, from acute pulmonary edema.
496 Aleka Boutzouvi, “Woman’s movement 1909-22”, History of New Hellenism, vol. 6, Hellenic Literature, Athens 2003.
497 Stavros Papathanakis, publisher- director of Vorea of Orestiada. Statements in the AMNA, Orestiada 2005.
498 Web site: http://www.24grammata.com/?p=24013
Orestis Tsalapatanis: Prolific composer, songwriter and pianist, “ …enthusiastic supporter of our ancestral music ”499, with incomplete biographical information. He was born in Karlovasi of Samos, in 1884. It is unknown when he came to Constantinople (perhaps before 1890) where he studied music (“... from an early age, he focused on the study, theory and practice, being tireless servant of music in general” ).500
He was director and organizer of orchestral music at the court of Sultan Abdülhamit the Second, for three years. After 1922, he came to Hellas. He taught at the Music School of the Ministry of War. He wrote theoretical books on European and Byzantine music with musicological analysis, unknown if they were ever published. Until 1955, he composed 837 works, 501 numbering every score, from chamber music and pianistic to simple songs for voice and piano, in both scholar and light genre. Studying the few of his known compositions that were issued, mainly in Constantinople, we see that he was a composer with great talent and solid musical knowled ge. Known works of his are: a) Une nuit a St. Stefano polka mazourka for piano, op. 2, b) Ι kamomatou (Τ he artful ) song for voice and piano in lyrics by P. Lambrinidis, op. 3 (dedicated to Miss I. Karali), c) La Jeunesse (The youth ) big waltz for piano, 502 op. 6, d) L 'Infidelite ( Infidelity ) polka lounge (“Polka de Salon”) for piano, op. 7, e) Par’ tin kardia mou (Take my heart ) song for voice and piano, op. 11 (?), f) Stin evmorfia tis ( To her beauty ) song for voice and piano in lyrics by G. Lamprynidis, op. 15, g) Deniz march for brass band, 503 op. 33, h) Orfaneia (Orphans ) song for voice and piano in lyrics by A. Zampelis, op. 34, i) Fevgo me ton pono stin kardia (I am leaving with pain in the heart ) serenate for voice, flute or violin and piano in lyrics by N. Vlyssidis, op. 195, j) Le plus doux baisers ( The sweetest kisses ), waltzes (“Valse lente”) for piano, op. 214, k) Tes epochis ta koritsakia (modern girls) Foxtrot song for voice and piano in lyrics by F. Stefanidis, op. 219, l) Mono se me ( Only to me ) for voice and piano, in lyrics by N. Vlyssidis, op. 261, m) Mi me ligonis ( Don’t be so sweet ) song for voice and piano in lyrics by X.X., op. 361, n) I Birbilio arrangement of the folk song for choir and mandolin orchestra or mandolin and guitar, op. 493, o) Vah çoban y ű z verdin Emineye (alas to the shepherd who gave Emine away ) Turkish song for voice and piano in lyrics by A.I. Şensoy, op. 573, p) To nisiotaki tis Konstantinoupoleos ( The island-boy of Constantinople ) song for voice and piano in D. Vitalis’s lyrics, devoted to the National Music Collection Committee (1915), q) Trelli xanhtoula ( Crazy xanthoula ) song for voice and piano in G. Lamprynidis’s lyrics, with unknown number and r) Mian monin potho kai latrevo ( I love and desire only one ) song for voice and piano in lyrics by I. Tsakasianos (1935). 504 He arranged, also for voice and piano or for choir, several folk songs, using the pseudonym Ts. Tsero. 505 Several of his works were issued by the music houses Andria, Nomismatidis and
499 Panagiotis Antonellis, “Orestis Tsalapatanis”, The Byzantine ecclesiastical Music. Historical review and its evolution during our times , Athens 1956.
500 Ibid.
501 Ibid.
502 On the cover of the score there is the subtitle “Grand Valse de Salon”.
503 “Marche orientale”. Written during his service as musician in the Court of the Sultan Abdülhamit the Second and published by the composer himself.
504 The o), p) and q) with unknown catalogue number.
505 As in “Tataulian”, op. 290.
Christidis in Constantinople, Gaitanos and Fexis in Athens and Apollo Music Co. in New York. We also know his two voice-recordings at 78 rpm of the works of Thelo monacha ( I only want ) for choir and mandolin orchestra, 506 op. 398, Me xehases ( You forgot me ) with N. Moraitis and “Bakaliaros” (Cod) comic song with the singer George Savaris (1880- 1949). Unknown where and when he died (in a ny case, after 1956).
Georgios Tsitsipapas: Composer and founderdirector of mandolin orchestras. He was born in Didymoteicho around 1900. He was taught music by Stavros Vrachamis (p.1880-1950) in the 20s, when he was in Soufli as teacher of physics. There, serving in the Second Elementary School, he formed mandolin bands 507, just like his teacher. He was the main responsible for the musical spring in the Thracian town (“... the era of Georgios Tsitsipapas is filled with music. Young, old and children, all inspired by him and all happy, sing and play music. Alongside, teachers are performing plays with Tsitsipapas’s music ”).508 He continued his artistic activity in Didymoteicho by serving the Treasury and by selflessly teaching the children music. He created three mandolin bands and gave several concerts in cities of Western Thrace (especially during the 20s). Among the students was the famous Thracian lyric artist, Nikos Chatzinikolaou (b.1922).
In the late 40s, he was transferred as director of Treasury in Sappes. There, he created the women guides’ mandolin orc hestra, achieving great participation by young girls of the region. It is known that during their performances, the mandolin orche stras were interpreting also works that have not been identified. He composed at least fifteen works for plucked instruments, comedy-idyll, stage music for theatrical performances and some choral works. In 1955, he arranged the barcarolle He epistrofi ( The return ) for mandolin
506 From 1928 in the company Homokord with the Athenian Estoudiantina.
267 orchestra, a work for choir by N. Kokkinos (1861-1920).509 In 1963, he was transferred to Chryssoupoli of Kavala. Though he was an excellent servant, he did not check the irregularities of some subordinates; therefore he was penalized financially and crimina lly. But his biggest punishment was moral. He could not endure the vilification and after a few years he died in Kavala (1967).
Sophia Vembo: Her real name was Bempou. Born at Κ allipoli (now Gelibolu) of Eastern Thrace (02/02/1910), the so called "singer of Victory" is mentioned here because she composed some light music songs for which she also wrote the lyrics, such as the “De s’ agapw –de se latrevo” (I don’t love you – I don’t adore you), “To zari” (The dice), “Sou dothika” (I gave myself to you) and the "Astati kardia” (fickle heart). Also, in collaboration with the composer Apostolos Moschoutis, she composed the: “Sti Larissa vgainei Avgerinos” (The dawn in Larissa), “Dyo louloudia se mian akri” (Two flowers on a tip) etc. She died in Athens, on March 11th, 1978 and her funeral turned into a public rally.
Costas Vogiatzis: Composer, music teacher, choir and mandolin band director in Soufli and Kallithea of Athens. He was born in Drama in 1917, "with a song in his mouth", as he wrote in his autobiographical note. From the age of five and for more than forty years, he had been living in Soufli, birthplace of his parents, offering invaluable service. His teacher at school (Second Elementary school), Christos Antonoglou, introduced him to music by teaching him songs of Mozart, Schubert and Mendelssohn.
He started as a member of Stavros Vrachamis’s choir (1880-1950), who was then teaching music at the Gymnasium of Soufli, while he also collaborated with Georgios Tsitsipapas (1900?-1967?). The special quality of his voice charmed the audience. During a concert of Vrachamis’s choir in Didymoteicho, he was called several times to interpret the solo song with which he participated. The music had dominant role in his house which was always full of people that were enjoying the feasts organized often enough by Costas and his four brothers – also Vrachamis’s students.
509 Performed in a concert of the choir and mandolin orchestra of the MGA “Ethnikos” of Alexandroupolis, at the Municipal Hall of Sappes on 20/02/1955. Sofia Vempo (U.S.A. 1947), http://polemikomouseiothessalonikis.blog spot.gr/2013/01/blog-post_17.htmlIn the early 30s, he formed his first mandolin band. He studied guitar on his own, as well as harmony, theory and he began writing his first songs.510 In 1935, he entered the Pedagogical Academy of Alexandroupolis. There, he was taught violin and theory (1935-1938) by the violinist John Dianellos, from Volos. In 1938, he returned to Soufli creating his second mandolin band. During the German occupation, he served as soldier in the Middle East (El Alamein) with the Hellenic army that left for Egypt after the German invasion in the country. His older brother, Dimos, was a reservist major in the Sacred Band and fought at El Alamein and Rimini. After the war, he was important economic factor with strong political influence on Soufli. In 1949, he enrolled at the Hellenic Conservatory and took higher theoretical lessons from the great composer Marios Varvoglis (1885-1967). In 1949, he was appointed director of the Fourth elementary school in Soufli, which was artistically flourished during his mandate (until 1954). In 1950, he created his third mandolin band, with a choir consisting of sixty children. He gave many concerts throughout Thrace, up to Thessaloniki, presenting his own compositions and arrangements of traditional songs of Soufli (among them: “Mia paschalia” (A lilac), “Soufliotissa” (Girl from Soufli), “Sultana Souflioutouda” (Soultana from Soufli) and “Poios petheros” (Which father in law) cheering people up.
The internationally renowned musicologist and music critic, Fivos Anoyianakis (1915-2003) wrote in the newspaper Apogevmatini: “... one of my recent journeys to Soufli gave me the opportunity to meet this great band, which, if it were in Athens, would honor our music life ... The tireless director K.
Vogiatzis, with his wonderful and guaranteed harmonious conception for the process of our folk songs and with excellent musical abilities, has managed to create this ensemble that knows how to play and sing in a way so soft and so musical, that one wonders if he is in a Hellenic region or in a city of a foreign state with musical tradition ”.511 Alongside -in 1950- he created the mixed Music and Dance Group of Soufli with which, for a decade, he presented songs and dances from the region of Soufli. The appearances of the group at the International Fair of Thessaloniki and at the Ancient Theatre of Piraeus (1951) remained in history. The two ensembles work ed together on the presentations of the operettas “I tichi tis Maroulas” (Maroula's Fate), “I lyra tou gero-Nikola” (The lyre of old -Nikolas) in his own arrangements.
In 1963, the fourth ensemble (mandolin band and choir) named ‘Children’, following an official invitation, toured -for three months–in major US cities (New York, Boston, Philadelphia, Rochester, Dallas, Los Alamos) and Canada (Vancouver, Toronto, Montreal) presenting -in 65 performances- Thracian folk songs, as well as his own choral compositions in crowded halls (in the Orchestra Hall of Illinois, there were more than 6,000 spectators) winning excellent reviews ( “... this program, as everyone admitted, was one of a kind, leaving charming and unforgettable impressions ”). 512 The event in New York, which took place on 30/11/1963, in the presence of the Archbishop Iakovos, broadcasted -through radio- across the world. Despite the invitation by Morini Company, the ensemble could not extend the tour for another three months in Japan and the Pacific Islands, due to the compulsory school attendance of the ensemble’s child ren.513
511 Fivos Anogianakis, Apogevmatini, Athens 1955.
512 Unsigned, Atlantis, New York 30/11/1963.
513 The title ‘Paedia’ was given by the American organizers, becaus e Costas Vogiatzis used to call the members of the Association “Paedia mou” (My children).
The excellent choral presentation of the musical tradition of Soufli opened the way for dozens of invitations by radio stations, academies and schools, such as the Arsakio School of Athens (60s). In 1967, he came to Athens for family reasons. He stayed in Kallithea of Attica where he established the Musical and Literary Association ‘Orpheus’, in which he integrated the Choir and the mandolin band of Kallithea, consisting of girls from 8 to 20 years old and which he encouraged and directed from 1979 until his death. He never forgot, however, his favorite Soufli which he visited regularly (he gave a memorable concert with ensembles on 13/04/1991).
He also collaborated with the Company for Thracian Studies in Athens, by organizing concerts. Among them, the one in the Pallas Theatre before 1.600 teachers, as well as concerts in the Parnassos Literary Society, the Hilton hotel, the grove of New Smyrna, etc.
Costas
He also worked as a music teacher at the “Plato” private high school. He composed -from the 30’s onwards - many choir songs, inspired by Soufli and Thrace, such as the “Hail Mary” (1942), “Soufli variations”, “Soufli”", "My Thrace", "Awakening of Ivy" and “Soufliotisa”, most in his own lyrics 514. Other works of his are based on ancient tragedy (“Aktis aeliou” [Beam of the sun], “Above the crests of the twin peaks” and “O love, invincible in battle!” from “Antigone” of Sophocles), the patriotic character 515 (“The march of dream” [1938], “O orkos mou” [My oath], “I parelasi ton nikiton” [The parade of winners, El Alamein, 1942], “The orfanoula” [The orphan girl]) and those for one or two-part children's choir (“Tou Mayiou louloudia” [Maya flowers], “Theos gennietai” [God is born], “Myromeno
514 Costas Vogiatzis, Song and love, Costas Vogiatzis’ publication, Athens 2001.
515 Web site: http://www.rizospastis.gr/page.do?publDate=14/9/2003&id=3870&pageNo=8&direction=1
louloudaki” [Scented flower], “Se cartero” [Be waiting], “Petalouda” [Butterfly], “Ela” [Come], “Gyrise” [Turned], “Avgoula” and “Antio” [Goodbye]).
Additionally, he arranged known works of classical repertoire (Symphony no. 94 by Joseph Haydn, “Radetzky Marsch”, work 228, by Johann Strauss Sr., etc.) and folk songs presented under the general title “Poimenika”. According to Menelaos Gouvetas, educator and collaborator of the newspaper Rizospastis, Vogiatzis composed revolutionary songs in lyrics by Takis Kapsalidis, memb er of the EPON. In August of 2001, he published the book Song and love with scores of 65 works. He passed away in Kallithea on 13/08/2003.
Stavros Vrachamis:516 Composer, music teacher, scholar and physicomathematician. He was born before 1880, in Constantinople where he studied music. He also graduated from the Physics Faculty in which he excelled. Since the end of the first decade of the 20th century, he worked as a cantor of ecclesiastical chants harmonized in four parts, with the musical departments of various associations (mandolin bands, choirs), as the ‘Group of Erasimolpon’.
It is known that during 1914, he was leading the Mandolin band of the Association “Astir” in Constantinople, trying at the same time to establish a conservatory in Tataula. 517 He was also vice president of the Hellenic Philological Association (1904-07) and secretary of the Ecclesiastical Music Association of Constantinople
516 Takis Kalogeropoulos, “Stavros Vrachamis” Hellenic Music Dictionary, vol. 1, Giallelis, Athens 1998, p. 412. 517
(1914-1916). He signed a conviction for the four-part harmonization of ecclesiastical chants and thus he was sharply criticized by Pachtikos’s Music. 518 He was also a member of the twelve-member Second Patriarchal Music Committee and chairman of the artistic Brotherhood “Proodos” (Progress) of Tataula.
Also well known is his activity as a music educator and founder / director of mandolin bands in the county of Evros (Soufli, Orestiada) during 1910-1930. He particularly acted in the High school of Soufli where he was appointed physicist. There, he created from scratch a children's choir and mandolin band which was staffed with a sufficient number of students. He enriched his repertoire with works of literary music, but also with his own choral songs. His concerts throughout Thrace, during 1918 to 1922, also left exc ellent impression. After managing to form the Band of Soufli, he came to Athens. He worked as a professor of Byzantine music in the Co nservatory of National Music of Constantinos Psachos (1866-1949) by teaching the Byzantine tonal system of Nileas Kamarados (184 71922).
Already since the 1910s, he worked closely with Psachos, as physicomathematician, on the precise definition of the tonal intervals of Byzantine music, in order for Psachos to create the “new Panarmonion”. Since 1912, the Patriarchate of Constantinople appointed him to determine the sizes of the "Hellenic" intervals. He experimented with the piano in different tunings. On 31/01/1918, he and Psachos presented their work at the hall of the Parnassos Literary Society, with two pianos, one tuned to give Hellenic music intervals and the other tuned in equal integration 519. In September of 1922, he accompanied Psachos to Germany where this instrument was designed.
However, their cooperation was not in good faith, resulting in strong confrontation with serious accusations from both sides. 520 Eventually, the instrument was constructed by Steinmeyer Ettingken Company in Germany, in 1924, primarily as a defense against the introduction of western harmony in the Hellenic churches.521 During 1932-1933, he was conductor of the Alexandroupolis’s Band. He composed a few songs for voice and piano and choir, works for mandolin bands and toned ecclesiastical chants. Among his several students were Chris Gkaifyllias (his successor in t he
518 Anonymous, “Music throughout Hellenism”, Music, vol. 30, Constantinople 6/1914, p. 176.
519 Romanou Kaeti, “Hellenic key organs”, Musicology, iss. 7-8, Athens 1989, p. 34.
520 Psachos Constantinos, “Refutation of truths”, Hieropsaltic Vima, iss. 14, Athens 01.02.1939, p. 1.
521 Romanou, “Hellenic key organs”, Musicology, iss. 7-8, Athens 1989, p. 26.
Band of Soufli), Georgios Tsitsipapas, Dimitris Papadopoulos, Venizelos Kontodaimon and Alekos Gkirtzis (all creators and direc tors of choirs). In addition, there was Simon Karras (1903 to 1999) who experimented with him on musical intervals of By-zantine music (soft diatonic 9/8 x 54/49 x 15/14). 522 He died in New Smyrna of Athens, in 1950.
Elias Xanthopoulos:523 Guitarist and composer. Born in Prince ( Büyükada) of Propontis on 16/01/1923, son of Ioannis Xanthopoulos (from Constantinople) and Catherine Moschovou (from Avdimi of East Thrace). Although he wanted to learn music since he was very young, he didn’t make it until he became 16 years old, due to various reasons (economic, environment). Then, he took -for almost three years- classical guitar lessons with the guitar teacher Andreas Paleologos, from Constantinople, who taught him a lot about the art and technique of the instrument. He stopped again his occupation with music for a decade, for various personal reasons, although he had become a capable soloist earning the admiration of his teacher. He returned to it in 1947, fully prepared and he gave, during the next two years, successful guitar recitals with works of Bach, Giuliani, Tarrega and his own (1948 and 1949) -for the first time before public- which were commented favorably by the Hellenic and Turkish press, as well as by the Philharmonic Society of Guitarists of London. 524 This success was decisive for his final decision to devote himself to Music.
In 1950, he studied theory with Edgar Manas (1875-1964. Turkish composer of Armenian origin), composition with the also Turkish composer Cemal Rasit Rey (or Rasit el Abed, 1904-1985) and piano with the Austrian piano teacher, Ferdinand (Ferdi) von Statzer (1906-1974) at the Constantinople Conservatory (1950-1957). In 1952, he became organist at the Catholic Church of Sanctus Pacificus in his birthplace, where there was a harmonium with small pipes. He also worked as a guitar teacher at the Cultural Associa-
522 Spyridis Charalambos, “Simon Karas – 10 years from his death”, speech in the MLLV, Athens 12/11/2008.
523 The entry’s data come from oral testimonies of Elias Xanthopoulos, given to the writer during 1992-93, as well as from the following entry: Kalogeropoulos, “Elias Xanthopoulos”, The Dictionary of the Hellenic Music, vol. 4, Giallelis, Athens 1998, p. 407.
524 The composer showed (during one of the three meetings at his house in Koukaki of Athens, in April/May of 1996) to the writer, at least four different articles in Turkish newspapers with eulogistic critics on his recital in 1949.
tion of Prince. He began to compose already from the 40s. In 1960, his Sonata for two guitars and a transcription for guitar of Schumann’s song “Rundgesang” (No. 22 from the collection “Album für Jugend”) were puplished by the erstwhile Hladky publications in Vienna (with a list of works for plucked instruments), followed by the publication of the Prelude for Guitar in 1969, by Polskie Wydawnictwo Muzycne publications in Katowice, Poland. The same year, he composed the Sonata in E minor for violin and guitar (it was performed by him and the violinist Alexandros Palamidis, from Constantinople, in the hall of the Athletic Association of Peran, in 15/4/1976). Additionally, the tenor Leonidas Asteris and the pianist Popi Michailidou-Panagiotidou (mother of the known pianist Natalia Michailidou from Constantinople) interpreted two songs for voice and piano: a) “Enas geros” (An old man) in Cavafy's poetry and b) “To xero” (I know it) in poetry by Simiriotis, during a concert at Zografeio Gymnasium of Constantinople on 04/04/1969. Among his appearances, the composer preferred the one at the Austrians’ Cultural Center in which he interpreted his work “Capriccio” for guitar and two pianos cooperating with Turkish pianists (1974). In 1977, he presented his symphonic poem "Arion" for two guitars and orchestra in transcription for two guitars and piano. His varied musical activity in Constantinople was focused on: a) his performances as g uitarist, b) his duties as organist at the Sanctus Pacificus and c) his educational contribution as a classical guitar teacher (having mo re than 30 students, mostly Turks). He also appeared as a guitarist in several literary and artistic concentrations in Constantinople, pro viding, from time to time, background music in recitations.
In 1979, he recorded, at the Radio Station of Costantinople, works of Bach and Sor that were broadcast several times. In 1981, he moved to Athens, where he continued dealing with music, trying to become famous, but without success. Besides the afore mentioned, he also composed 70 more works (1948-2000), most important of which are the: a) “Allegro” for 3 guitars, b) “3 melodies" for guitar, c) "Ftohi mou agapi” (My Poor Love) in poetry by Porfyras and "Lethe” (Oblivion) in poetry by Mavilis for voice and orchestra, d) "Prelude", "Aria", “Little Scherzo” and "To trafoudi tis tavernas” (The song of the tavern) for piano, e) "I psyches ton geronton” (The souls of the elders) and "Tichi” (Walls) in Cavafy's poetry and "To tragoudi pou argise” (The late song) in lyrics by Simiriotis for choir, f) 11 songs ("Anadyomoun” [I was emerging], "Otan me ide” [When she saw me], "Poly dialogistika” [I meditated enough], "Apotherizontas" [Harvesting] and "Ola osa" [Everything that] in poetry by Vretakos, "Tote pou se ida na rxese” [When I saw you coming] and "Pie stou gialou” [drink at the shore] 'in poetry by Porfyras, "I agapes mou” [My loves] in Drosinis’ poetry, "Perases” [You passed by] and
“Ihes pi” [You had said] in lyrics by Hatzopoulos, "Erotas taha” [Supposedly love] in poetry by Mirtiotissa) for voice and pian o, g) 4 vocals ("proceeds" for voice, cello and piano, "My soul" for voice and string quartet and "your roaring" for voice, two clarinets , horn and bassoon in poetry by Vrettakos) and "More hard" for voice, 4 clarinets, two violas and two cellos in poetry by Polemis, and h) "Fantasy" for piano and orchestra. He also transcribed piano works of great composers for guitar (such as “Waltzes” work.69 / 1 and 70/2 by Chopin, the work 12 / 2 by Grieg). Finally, the following were published in Athens: the song "Pie stou gialou" (drink by the shore) and the issue with the "Prelude" and "3 melodies" for guitar. He died in Athens, in 2005.
Georgios Xanthopoulos: Composer, conductor of mandolin bands, musician (violinist, guitarist, mantolinist), music educator and scholar with incomplete biographical information. He was born in Constantinople around 1865. He studied music in Constantinople and Italy. He acted in Eastern Thrace, mainly as founder and conductor of several mandolin bands, such as the “Hermes” mandolin band and the mandolin band of Phanar. He created the Theatrical Library, in which he issued -in small leaflets- studies and translations of theatrical plays. He collaborated with the Magazine Music of Pachtikos. He composed dozens of works for plucked instruments with or without piano accompaniment. Due to their publications, the most prominent are the following: a) “Le refrain des Vosgiens” march, work 8, b) “Loin du bal” intermezzo, work 70 and c) “I leventia” (The gallantry) for mandolin band, based on folk song of Macedonia 525, d) “The Boat” 526, e) “Minerva-Mazurka”, work 23, f) “Trieste-Polka”, work 27, g) “Marche de la Pere-La-Victoire”, work 67 and h) “Unter dem Doppeladler”, march, work 80, for two mandolins or violins and guitar. He also transcribed and arranged more than 150 extracts from Hellenic works and international repertoire - mainly extracts from Italian and French operas - but also works of Hellenes and Italian composers. Many of them were issued by him in Constantinople, in different orchestrations, either for mandolin and piano or for two mandolins or violins and guitar, or for solo guitar or for mandolin band.
Known arrangements of his - in sequence number - are: a) “Non m’ 'ama più”, work 1 527, melody by F.P. Tosti, b) “Preludio e aria” (Addio dell 'passato), work 11, from the opera “Traviata” by Verdi, c) “Scena, preludio e aria” (Ma dall' arrido stelo divulsa), work 17, from Opera “Un ballo en maschera” by Verdi, d) “Piccolo divertimento”, work 21 528, from the opera “Mose” by Rossini, e) “Potpourri” for mandolin orchestra, work 24 529, from the opera “Lucrezia Borgia” by Donizetti, f) “Le rêve”, work 25 by L. Gozlan, g) Introduction, work 28, from the opera “Calife de Bagdad” by Boildieu, h) “L'Abandonnée! Mélodie russe”, work 31, by P. Lacome, i) “Aria e miserere”, work 35, from the opera “Trovatore” by Verdi, j) “Patriotic march”, work 55, by F. Parron, k) “Marche” for guitar, work 57, from the opera “Bocace” by Suppe, l) “Aufbruch zur Jagd” for two mandolins, mandola and guitar, work 59, by A. Jugdman, m) “Marche le diable”, work 61 by Suppe, n) Prelude and introduction (“Allegri! ...beviamo! ...”, work 90 530, from the opera “Ernani” by Verdi, o) “Tenor melody arranged for guitar", work 126 531, from the opera “Tosca" by Puccini, p) "Elegy" from the opera “Les Erinyes” by Massenet 532, etc. He worked passionately and selflessly for the music education and the promotion of the musical art, giving many concerts for charity. Unfortunately, this constant engangment deprived him of his sight, a few months before his death. A few days before he died, he gave to Pachtikos his latest composition titled “To tsombanopoulo” (Shepherd boy) for guitar. He died in Constantinople, in 1915.
527 It is his first famous Work. Published in three different orchestrations.
528 Work dedicated to Virginia Grammatopoulou.
529 Work dedicated to the “excellent guitarist Eugenios Grammatopoulos”
530 Work dedicated to Hellen Zervoudaki.
531 Published in Music, iss. 6, Constantinople 6/1912.
532 Published in Music, iss. 15, Constantinople 3/1913.
Nikolaos Xanthopoulos: Music teacher and composer, probably hailing from Komotini (?). We know twelve of his harmonizations, for voice and piano, of known folk songs (among them: “Enas aetos” (An eagle), “Choros Thessaliotikos” (Thessalean Dance), “O Rovas” and “Bate koritsia sto choro” (Girls, join the dance).
Pierre Zachariades: Composer, pianist, conductor and music teacher with incomplete biographical information. He was born in Phanar of Constantinople, in 1860. He was the son of Constantinos Zachariades, professor of archeology and history in the Great School of Nation (1881-1905).
He studied music at the Vienna Conservatory from which he graduated with diplomas in composition and piano (before 1890), having already presented his own works. 533 He returned to Constantinople, around 1890, where he developed artistic action. Since 1894 -unknown until when- he taught music (s inging) at the Zografeio Gymnasium of Peran. For the needs of his music teaching, he wrote the essay The Foundations of Singing according to the new music system, subtitled “First knowledge of music”. It was published in two issues in Constantinople, in 1897, by the Patriarchal Printing House. 534 He was appointed music teacher to the 10th Patriarchal Music School (established in 1899) and taught European notation.
He was awarded by the Society for the Propagation of the ancient Drama, for setting to music the choruses of “Oedipus Rex” by Sofocles, on January 14th, 1901. 535 It is known that the tragedy, with his music on the choruses, was performed in the High School of Heraklion, in 1902. Nikos Kazantzakis 536 also participated. He also taught European music at the Great School of Nation (at least
533 See: “Composition of the Hellene P. Zachariades, student of the Vienna Conservatory, performed by the orchestra of the Conservatory, under the composer, who after his successful conducting, he graduated with honors”. Week, no. 28, Constantinople 15/07/1889.
534 Anonymous, List of the supervised and approved educational books, as no reprehensible, by the Patriarchal Central Educational Committee , Patriarchal Printing House, Constantinople 1901, p. 58.
535 Kaeri (Times) , sh. 4354, Athens 16/01/1901.
536 Web site: http://www.cretalive.gr/history/view/mia-theatrikh-parastash-tou-gumnasiou-hrakleiou-to-1902-me-ton-kazantzakh/52788
during 1905). In 1913, he taught at the Ioakeimio Girls School of Phanar, using the numerical notation system. In 1922, he gave three lecrures at the Athens Conservatory entitled “The Music of the Hellenes” 537 with musical examples (such as the “Hymn to Apollo”). 538
537 The lectures were given on 27-28/03 and on 01/04/1921. 538 Unknown if this belongs to him.
279
He composed works for piano influenced by the German romanticism (Schumann and Brahms), especially during his music studies. They were interpreted by the pianist Zenobia Constantinidou and her daughter, in many successful concerts in Constantinople. 539 Among them: a) “Andante” for piano, op. 1, no. 1, dedicated to Queen Olga, b) “Valse impromptu” for piano, op. 1, no. 2, dedicated to his friend, Stavros Kepetzis c) “Valse” for piano, op. 1, no. 3, d) “Bagatelles” for piano, op. 2, no. 1, e) “Treize variations” for piano, based on a German folk theme, op. 2, no. 2 and f) Sonata for piano, op. 4.
Besides the piano, also known are his works: a) "O lykos kai t’ arnaki” (The wolf and the little lamb) for soprano, basso, choir and piano in poetry of A. Paraschos, op. 3 540 and b) “Proanakrousma” (Prelude), introduction for large orchestra or piano, based on the novel of Alexander Rangavis (1810-1892) Excursion to Poros , op. 5. The composer had also proposed to Rangavis to write the libretto for an opera. Instead, the author suggested the theatrical play “Dios episkepsis” (Visit of Zeus), which however the composer didn’t like, 541 apparently because it was inappropriate for stage presentation. In addition, the work forn piano and voice “S’ agapo” (I love you) was published by the music house Christidis of Constantinople. He died probably in Athens, after 1922.
Christos Zikidis: Music teacher and creator of school choirs in Western Thrace (Soufli, Orestiada), with no biographic information. It is unknown if he was also a composer. However, he harmonized folk songs for children's choir.
539 Chariton Mishaelidis, “The Historic Phanar of Constantinople”, Archive of the Thracian Folk and Linguistic Treasure , vol. 31, Athens 1965, p. 339.
540 On the work “The wolf and the little lamb” there was a report in the newspaper Acropolis, Athens 07/11/1886. Also, in the Asty magazine it was written “the best young and fruitful composer” issued in Vienna, in 1886, his first compositions in “a very elegant edition”. No.61, At hens 16/11/1886, p. 8.
541 Letter by Pierre Zachariades, Ragkavis’s Archive (file 44). Written in the article of Stella Kourbana “An unknown letter from Spyros Filiskos Samaras to Alexander Rizos Ragkavis”, in the magazine Mousikos Ellinomnimon , iss. 3, Corfu 5-8/2009, p. 15-16.
Pierre C. Zachariades, Valse Impromptu , op. 1, no. 2, MOTSA.
INDICATIVE PRESENTATION OF MUSICAL WORKS (COMMENTARY ON THE MUSICAL EXAMPLES OF THE ENCLOSED CD)
Vienna, October 26th, 1882: Excerpts from the autograph letter by the composer Pierre Zachariades, from Constantinople, to the Hellenic Orthodox Community of St. George in Vienna (community of Hellenes Ottomans Citizens), with a request for financial support for his music studies. Zachariades completed his studies in 1889 with a Diploma in Composition. He was the first Hellene graduate from the Vienna Conservatory. Archive of Hellenic Orthodox Community of St. George in Vienna.
Grigorios Protopsaltis (1777-1821): “Devte, Hellines Gennaioi” (“Come, brave Hellenes”) for solo voice, male choir, kanun and traditional instruments (arrangement by Gregorios Stathis).
Defte, Ellines gennaeoi, agomen prothimos, nei, eis ton Thion Parnasson.
Patrikin klironomian, ehontes tin efiian
kai filian ton mouson.
Come, brave Hellenes, young men, we are readily going to Divine Parnassos. Paternal heritage, having the wittiness and the friendship of the muses.
Ellines, agomen, fos analavomen, to zoferon tis amathias as lipsi to dinon.
Hellenes, we are going, to receive the light, may the dark evil of the ignorance go away
Grigorios Protopsaltis set to music a section of the long poem of Nikolaos Pikkolos (1792 - 1865), which was written on the island of Chios in February 1817 and was first published with the tittle "Paean", signed by P. T. (Pikkolos from Turnovo) in the book of Constantinos Pittakos
Mytilineos (nickname): Basic knowledge.542 The setting to music was found in the manuscript brochure Songs Collection as "Hymn paean with lyrics written by some music lover and set to music by Grigorios Protopsaltis." The chant is in plagal second tone.
Vasilios Nikolaidis (1915-1985): “Axion Estin” (“It is truly meet”) for solo voice and ison.
Axion esti os alithos makarizin se
tin Theotokon, tin aimakariston kai
panamomiton
kai mitera tou
Theou imon
It is truly right to bless thee, O Theotokos, thou the ever blessed and most pure, and the Mother of our God.
Tin timioteran
ton Herouvim
kai endoxoteran asigritos
ton Serafim
tin adiafthoros Theon
Logon tekousan, tin ontos Theotokon, Se megalinomen
Thou the more honorable than the Cherubim, and beyond compare more glorious than the Seraphim, who without corruption gavest birth to God the Word, thou the true Theotokos, we magnify thee.
Anthimos Nikolaidis (1795? -1865): “Tou dipnou sou tou mysticou” (“Of your Mystical Supper”) for mixed choir and optional accompaniment of keyboard instrument (four-part harmonization by Gottfried Preyer).543
Cherubikon of Holy Thursday
Tou deipnou sou tou mystikou, simeron Yie Theou koinonon me paralave ou mi gar tis exthris sou to mistirion ipo
Of Thy Mystical Supper, O Son of God, accept me today as a communicant; for I will not speak of Thy Mystery to Thine enemies,
ou filima si doso kathaper o Ioudas. Allos o listis omologo si Mnisthiti mou Kyrie en ti vasilia sou.
I will not give you a kiss, like Judas did. But like the Thief will I confess Thee: Remember me, O Lord, in Thy Kingdom.
Anthimos Nikolaidis was one of the first Hellenes musicians involved in the harmonization of the Byzantine church music according to the western standards. Nikolaidis, being Protopsaltis and deacon in the Hellenic Church of St. George in Vienna, wrote the original Byzantine chant in European notation, trying to maintain the maximum possible fidelity of the original chant. Then, the Director of the Vienna Conservatory and professor of composition, Gottfried Preyer (1807-1901) proceeded to its four-part harmonization in homorhythmic (blocked chordal) texture, as a chorale.
George Soutsos (1817-1875): “Madelaine” for voice and piano.544
Avant qu’aux flots je m’abandonne
Ta voix jette en mon coeur l’oubli viens t’asseoir à l’abri du vent. des maux que la misère entraine.
là bas où j’ai révé souvent, Ah! Chante Madelaine et chante moi ta chanson Bretonne. ton refrain si joli.
The poem that Soutsos set to music was written by his coeval French writer, Victor Doinet. The poem consists of three 8-line stanzas that lead to the poetic refrain: “Ah! Chante, Madelaine, ton refrain si joli ”. The setting to music by Soutsos is in strophic form and therefore, at the end of each musical stanza, the composer set the repeated poetic refrain with a recurring musical refrain.
The musical stanza consists of three sections (ternary form). The first part, which corresponds to the first four lines of each stanza of the poem, ends with a cadence in dominant (D major) of the main tonality (G major) of the work. The middle section, which corresponds to the
543 Anthimos Nikolaidis and Gottfried Preyer, Hymnes of Divine and Holy Liturgy , vol. 3, Vienna 1847, p. 117-119.
544 Grigorios Soutsos, Recueil de Valses et de Romances , Royal Lithography of Athens, Athens n.d., p. 23-24.
third couplet of each stanza, is moving by third relation modulation - characteristic of the romantic era - to B flat major, wh ile at the end, it reverts to D major. The third section, which was before featured as refrain, corresponding to the final 2 lines of each stanza, is in the main tonality of the work (G major).
Ingenious is the chromaticism used by Soutsos in the accompanying voices of piano at the end of the first part and in the second part, also a characteristic of the romantic era, during which this work is composed. In the relevant musical example, included in the enclosed cd, only the first stanza of the work has been recorded.
Pericles Matsas (before 1860-?): "Nannarisma" (“Lullaby”) no. 28 for voice and piano. 545
Ela ypne k’ epareto ela kai apokimise to na to pas st’ aga t’ ampolia kai st’ aga ta perivolia
Come sleep and take him come and make him fall asleep take him to the vineyard of Aga and to his gardens
Pericles Matsas: "Nannarisma" (“Lullaby”) no. 33 for voice and piano.546
Kimat’ o haidemenos mou kimate to paidi mou. Ela ypne k’ epareto. Ela ki’ apokimiseto.
na to dos’ agas stafyli k’ i agadena to rodi kai I sklava to mykili nani, to pouli mou nani.
Let the Aga feed him grapes and his wife the pomegranate and the slave the mushroom lulla, my bird, lulla.
My pampered is asleep my child is asleep. Come sleep and take him Come and make him fall asleep
The two Lullabies, harmonized by Pericles Matsas, were selected as musical examples, both because they are authentic representatives of the certain kind of our folk song and because it is worth to study the respectful approach by the composer. Their melodic line, which is a natural derivative of the maternal voice, has a deliberate simplicity and a strophic form in a monotony that is needed to bring about the desired effect: the falling asleep of the child. The melody is developed with a sound range less than an octave, as large fluctuations are undesirable. The melody of the one lullaby moves within a sixth and the other one moves within a seventh. The melodic line does not end on the tonic, since the baby will fall asleep if it feels the unending repetitive song, while its mother can not know how many times she will have to repeat the
545 Pericles Matsas, 80 Hellenic Folk Melodies collected and harmonized by P. Matsas , Constantinople 1883, p. 64-65.
546 Matsas, op. cit., p. 74.
stanza of the song. The dynamic range is limited from p to ppp. The melodic lines of both Lullabies are written in modes that have intervals of augmented second: in the Lullaby no. 28 between sixth and seventh degrees and in the Lullaby no. 33 between third and fourth degrees. The augmented second is an indication of the eastern origin of the songs (e.g. Thrace, Asia Minor). Indeed, in Lullaby No.28, the poetic content proves that it dates back to the time of the Turkish slavery (Aga, slave).
Interesting is also the fact that both lullabies end with the verse " Sleep, come and take him, come and make him fall asleep " typical verse of this kind of Hellenic folk song, set to music in various alternative melodic forms. In both arrangements - harmonizations by Matsas, the base is the monophonic texture. In Lullaby no. 33, the pianist plays the main melody in the right hand simultaneously with the solo voice, an octave higher with the dynamic marking “ppp” purely for timbral reasons, while the left hand plays a fixed double ison on the tonic and the dominant of the mode. In Lullaby no. 28, the right hand plays the main melody simultaneously also in unisono with the solo voic e. The left hand plays either the main melody an octave lower, or a second voice in parallel tenths and only at the end of the musical phrases creates chords, in combination with the right hand, which support the function of the tonic and the dominant on the cadences.
The simple harmonization by Matsas, who, as becomes clear through his entire collection, knows how to use many alternative techniques in arranging songs (folk and urban), is based on his intention to maintain the style of lullabies and the clear presenta tion of their mode. It indicates that one of the first Hellenes composers, who attempted to record and issue the musical texts of our folk traditio n, has great respect towards the pure presentation of the original material and the salvation of the plain and austere style of the folk creation. It is no coincidence that the monophonic texture, ie the simplest musical texture, is used by Matsas in selected folk songs, composed in modes apart from the major-minor Tonal System of Western music. In contrast, his harmonizations on urban songs for example, the melodies of which belong to the major and minor modes, are based purely on the functional harmony of the tonal system.
Pericles Matsas: "He Monaxia” (“The Solitude”) for voice and piano (1878).547
Dyo, dyo ta poulia, me tragoudia ke hares ktizoun tin kini folea is mirsines anthires
K’ is xiro, gymno kladi ena erimo pouli
547 Matsas, op. cit., p. 84-87.
Two birds together with songs and joy build their common nest at thriving myrtles And on a bare branch a single bird
Ein’ h fisis skotini horta ki’ anth’ ine xira ke farmak’ in’ ta near ki h kardia mou me poni
Kala m’ elthoun h kaka an haro, an agapo
The nature is dark the grass and the flowers are dry and the water tastes like poison and my heart hurts
Either good or bad things happen to me if I feel joy, if I feel love
lipimeno kelaidi
kai san anthropos lali
Afou petaxes, ki edo
Ego meno monaho mono thrinous kelaido
kai stenazo stin hxo
is singing with sadness kai calling out as a human being
Since you flew away I am left alone singing with plaint and sighing in the echo
an lipoume mistika is pion eho na to po
Ixous valte s’ ta kladia i ktipate, kinigi
Eho mesa stin kardia tin vathiteri pligi
if I secretely feel sad to whom can I say it
Put traps on the branches or shoot, you hunters I have inside my heart the deepest wound
The song, in poetry by Alexander Rangavis (1809-1892), has strophic form. Each musical stanza corresponds to two poetic stanzas. The entire structure, which is based on classical models, is built on four-bar phrases that harmonize the poetic couplets. Every second four-bar phrase is repeated slightly altered, resulting to the repetition of the second couplet of each four-line poetic stanza. In this way, there are 12bar musical periods that correspond to each stanza. After the brief piano introduction that defines the main tonality (E minor), the first 12-bar period of the first music stanza begins. The second 12-bar period of the first stanza is built on the Parallel Major (G major) of the original key and it cadences back to the main tonality (E minor). A 2-bar instrumental bridge leads to the second music stanza that is identical with the first, just like the third.
The whole piano accompaniment is developed based on the repetition of a constant and monotonous rhythmic pattern by the right hand of the performer, which normally consists of broken triads in eighth notes in the compound meter time signature of 6/8, while the left hand presents statically the bass notes in dotted half notes, at least in the first 12-bar period of the music stanza. This monotony is obviously connected with the song title and the plaintive mood of the poetic content. Similarly the melodic line of the solo voice in the first period of the music stanza remains static during the first four bars, repeatin g the same note, but also then its mobility is limited with emphasis on the reiteration of the tonic and the dominant. The second period of the musical stanza, passing in major mode, goes a little faster (poco più), and uses dotted quarter notes in the bass line. Also, the main melodic line clearly shows more variety, in terms of pitches. The overall melodic peak is reached in the final cadence of the period. This is also the overall dynamic climax of the musical stanza. Interesting is the similarity between the opening bars, after the instrumental introduction, with the corresponding initial bars of the first movement of the Piano Sonata op. 27 no. 2 of Ludwig van Beethoven (the so-called Moonlight Sonata), to the point that the main melodic line enters immediately after the introductory four bars: the two accompanying voices are constructed in similar way, while the main voice (regardless the fact that in one case is interpreted by the solo voice and in other by the piano) remains static on the fifth degree of the original minor key until the accompanying harmonic succession (I - V – I) is completed.
Constantinos Charikiopoulos (before 1860-?): Allegro moderato for organ. 548
Charikiopoulos’s work follows a ternany form (ABA΄). The last section A΄ is identical to the first A, and the whole form ends with a five-bar coda. The formal divisions are clear-cut both because of the distinct closures (two quarter rests between the end of the A and the beginning of B and fermata-prolonged final chord of B before the recapitulation of A), and because of the use of the same initial motif with the only difference that in the beginning of the middle section B the motif is used in the minor mode.
The main tonality of the work is A major, while the middle part is in A minor. The monomotivic development of the whole and the closures of the individual sections (A and B) in the dominant strengthen the internal coherence of the work.
At the same time, the use of polyphonic texture and the strict construction with similar successive phrases, which are grouped into periods of homogeneous internal structure that are clearly separated from each other by specific dynamic, rhythmic and harmonic changes [e.g. the initial 6bar period of section A has the dynamic marking “f” while the second has a dynamic marking “p”, the third and final period of Section A (bars 19-31), which begins with the repetition of the same phrase with which begins also the second period of the same section (bars 7-18), is separated from the second period with a clear indication of tempo change (poco rit., bar 18 - a tempo, bar 19) and an interrupted cadence, where the secondary dominant of the VI degree is followed by the tonic chord] serve as evidence of the Charikiopoulos’s compositional intention. That is, we could say that this work of Charikiopoulos for Organ follows the standards of the Western European composers of church music, according to which the serious nature of the religious music is being yielded partly by a strict form, usually symmetrical, if only for symbolic reasons. For example, the use of the ternary form could be connected with a symbolism of the Holy Trinity. Further symbolic assumptions for this work could be done regarding the main motif [A (quarter) - B (quarter) - C sharp (quarter) - B, C sharp (eighths) - A (quarter)] created by three notes (A - B - C sharp), which clearly form the shape
288 of a triangle, as well as the numbers of bars of the two main parts of the work: A (31m) and B (13m that comes as a result, considering that the initial bar of the part is incomplete, since it starts identically with part A). That is, in the total 2-digit number of the sections’ bars, the digits 1 and 3 are used in the two possible permutations between them. Similarly, the final 5-bar coda is formed in terms of melodic and harmonic phrasing as follows: 5 = 1 + 3 + 1. Therefore the entire work is structured as: [A - B - A] - coda = [31m – 13m – 31m] – (1m – 3m – 1m) where the specific combinations could be a subjective symbolism of consubstantial and indivisible Trinity, under the assumption that the numbers 1 and 3 alternate equally. But it is surely no coincidence the fact that the dynamic and melodic climax of the work is done exactly at its midpoint (out of 81m, the climax is built from the bar 40 towards the bar 41), which, combined to the opening and closing of the main melodic line (at the beginning and end of the work) with the same pitch on the G-clef, creates three melodic points, joined in upright isosceles triangle, that is a common symbolism of the Holy Trinity.
Pierre Zachariades (1860-?): Valse Impromptu for piano. 549
From what we know through the surviving archives of the Society of Friends of Music in Vienna, Pierre Zachariades, from Constantinople, was the first Hellene who received a diploma in Composition from the Conservatory of Vienna. Zachariades was enrolled in the aforementioned institution in September of 1883, where he studied harmony (1883-1884), counterpoint (1884-1885) and finally composition (1886-1889). The discontinuation of his study during the academic year 1885-1886, was probably due to economic reasons, as the following year he continued his studies as a scholarship from the legacy of the national benefactor Stergios Dumba.550 The scholarship was maintained until the end of his studies, in 1889. We can understand the quality of his studies if we consider that his professor at the Conservatory was the Austrian composer Franz Krenn, who, a few years earlier, taught composition to Zachariades’s coevals, Gustav Mahler and Hugo Wolf.551
The Valse Impomptu, op. 1 no. 2 in E flat minor for piano by Pierre Zachariades, although an early work, had all the characteristics of a high artistic creation and guaranteed the composition studies at the Conservatory of Vienna, both substantial reasons for the composer to proceed, with boldness, in its publication. With a simple overview of the pianistic writing, is obvious the composer’s cellent knowledge of the instrument and the relevant experience in the study of the pianistic repertoire of the top composers of the classical and roman tic period, while the expert can see the quality with which Zachariades composed with his dual role as composer - performer. Observing the meticulousness
549 Zachariadès Pierre C., Valse Impromptu pour piano op. 1, no. 2, Musikaliendruckerei von Jos. Eberle & Co., Vienna n.d.
550 Besides, we know his financial inability to accomplish the musical studies by a handwritten request submitted by himself to the Orthodox Community of St. George of Vienna in 1882 for financial assistance, that is one year before the beginning of his studies.
551 Matrikel des Schülers Zachariades Peter , Conservatorium für Musik und darstellende Kunst der Gesellschaft der Musikfreunde in Wien and Jahresberichte über das Conservatorium 1883/84 bis 1888/89 , Archive of Assiciation of Friends of Music in Vienna.
289 with which the dynamic-, the phrase-, and the rhythmic markings, and other musical terms (maestoso, scherzoso, dolce, etc.) are imprinted on the musical text, we can refer to a composer who respects both, himself and his creation.
Analyzing the macrostructure of the work, we are facing a compound ternary form, strictly divided, through the melodic and harmonic progression, in 2- and 5-bar phrases, which make sentences and periods with lengths of 8 bars, 16 bars, and 32 bars The accompanying title Improptu could only be justified by some parameters that concern the middle part of the work N, such as the metrical deviations in relation with the overall structural model outlined in B1 (20m = 12m + 8m) and the virtuosic variations with improvisational character, developed in B2. Below there is a brief analysis of the macrostructure of the work in a level of sentences (antecedent and consequent) and periods of each part:
(20m) = N1a (12m) + N1b (8m)] – [N2 (32m) = N2a (16m) + N2b (16m)] – [N2΄ (32m) = N2a΄ (16m) + N2b΄ (16m)] –[N1 (20m) = N1a (12m) + N1b (8m)] – [N2b΄΄ (16m)]} –A ΄ {[И1΄ (32m) = И1a΄ (16m) + И1b΄ (16m)] – [A1b (16m)]}
The symbols И in the first part A and N for the second part of the work, are used intentionally to show the existing motivic correlation that strengthens the internal coherence of the work. The outline of the macrostructure clearly shows the truncated repetition of parts and sections. The third part of A is limited only to the appearance of the consequent sentence (A1b) of A1.
The second part (N) does not bear many truncations, as the variations N1, N2 and N2’ are marked in tempo “vivace” with increasing intensity and virtuosity, the recapitulation of N1 is done for consistency reasons in order to avoid a large divergence from th e original thematic material, while there is a final abbreviated appearance of N2, just as a variance of its consequent sentence (N2B’’). The most important truncation occurs in the recapitulation (A΄) of the first part of the work (A), where A1 is completely omitted.
Finally, commenting on the microstructure of the work, we will refer to some details, since these are the determining factor proving the aesthetic distinction of the creator, as well as his expertise on composition and lead to a high work of art, worth to be admired and thoroughly studied. The unexpected short modulation into E flat major, in the middle of A1a and A1b, which certainly surprises the listener, especially in its first appearance in bars 7-8, that is at the end of the first 8-bar antecedent sentence of the work, where the E flat minor is clearly expected, is an imaginative portent of the tonality of the middle part (N) of the work.
The beginning of И1 with the first inversion of the tonic chord (bar 33) is a clear indication, for the conscious listener, that this is not the beginning of an independent part of the work, but a new period of the first part. The short appoggiatura at the beginning of bar 55 on the bass, in И1, which is accompanied by a clear indication of the use of the pedal, shows that despite the distance of the main melodic line, given by the same hand in the middle voice of the texture, the composer has no intention of abandoning the dynamic climax at this point, which wants to be attributed with an octave to the low voice, preceding in time. Even the brief appearance of the dominant’s sustained tone in the middle voice, with the characteristic syncopated rhythmic figure (bars 57-59) in И1 of the first part (A), is clearly related to the pattern of the rhythmic accompanying sustained tone of the middle voice of N1 of the middle part (N), which here acts as the stable propellant pattern of tempo change into vivace. The harmonic transition into the parallel key of E flat minor (G minor) at the ends of all N2 periods (e.g. bar 125) which constitutes its climax, is another interesting element of personal choice of the composer, one of many more that could be mentioned.
Themistocles Polycrates (1862-1926): "Ena fili sti mana mou” (A kiss to my mother) for voice and piano.552
Me kathe fisima mikro pou fernei h droseri notia sou stelno mana mou fili gemato dakri kai kardia
With each small whiff brought by the cool south I send you, my mother, a kiss full of tears and heart.
Me kath’ ahtina asteriou thelo na ‘rtho sima sou na ‘do to agio stoma sou n’ akousw ti lalia sou
With each ray star I want to come near you to see your holy mouth hear your voice
Na gonatiso mia stigmi kai mia na se filiso ke istera as efevga as giriza opiso
This song of Themistocles Polycrates, in poetry by Ioannis Damvergis (1862-1938), follows the ternary form (ABA΄), where each part of the work corresponds to one of the three stanzas of the poem. The main tonality of the work is E flat major, while the middle part (B) is performed in the subdominant (A flat major). The part A is divided into two distinct subsections, A1 and A2, each of which corresponds to half stanza. Both subsections A1 and A2 end with perfect cadence in E flat major, though A2 stays mainly in the relative minor (C minor).
Analytically, the form of the song is as follows: A1 (piano introduction) - A (A1 - A2) - B – A΄ (A1΄ - A2΄). The style of work is similar to the Italian bel canto, in both the characteristics of the melodic line of the solo voice (plain line mainly with stepwise motion in which the occasional leaps, that serve expressive purposes, are compensated mostly by steps in contrary motion, using mainly chord tones, embellished with expressive appoggiaturas and passing tones), and in the characteristics of the harmonic accompaniment of the piano (simple harmonic writing of broken chords in notes of equal value or in similar steadily repeated patterns, as in A1 and A1΄, sometimes in combination with the simultaneous duplication of the basic melodic line, as in B1 and B1 ΄, or even in combination with a second contrapuntal line in the lower voice as in B).
The melodic line of Polycrates is made with fine aesthetic criteria and his harmonic writing is really imaginative. The rich use of secondary dominant chords and interrupted cadences, the use of the Italian augmented sixth chord and the harmonic appoggiatura (e.g. on the downbeat of bar 6 where the subdominant (IV) creates a sense of interrupted cadence after the secondary dominant of VI degree that preceded at the end of bar 5, until the VI degree in the second half of bar 6 proves that the preceding chord of the subdominant had simply the role of harmonic appoggiatura, which is compensated, with stepwise motion, into the resolution of the preceding dominant which is the VI degree) are some of the key elements of the harmonic enrichment used by the composer.
What could be considered a weak point of the composition is the relationship of text and melody. Polycrates is driven to multiple repetitions even of secondary elements of lyrics, but also in presentation of incomplete words ("to ki-, kiss you"), unknown characteristic for this style of Western European music, according to the standards in which this work is written, to the extent that one could assert that the composer wrote the music at an earlier time and then put it together with the lyrics or that he focused entirely on achieving a high musical structure, which he edited separately from lyrics and then combined them into "Procrustean" bases.
To kneel for a moment just to kiss you and then I would leave I would go back
The assumption, of this improper relationship of text and melody is strengthened also by the frequent use of the intervening exclamation "Ah", which is placed also in points with musical climax such as the beginnings of A2 and A2’, but also in points where there is no obvious reason for its use. It is easily demonstrated that this is an addition by Polycrates, in the poetic text, where he deems it appropriate, in order to match lyrics and music, since it’s related neither to the poetic rhythm, nor to the poetic verses of 8 syllables. In other words, it seems that there was a violent adaptation of the stanza to the length of each music part.
Vasilios Gounaropoulos (about 1865-?): "Sto mnimio tou Phalerou” (At the memorial of Phalero), Op. 3 for solo voice, female choir and piano.553
Psalle phixi m’ elliniki se touto t’ akrogialli sti glossa tis manoulas sou kai tis pallikarias isos akousi to skopo stou ipnou tou ti zali me tous nekrous syntrofous tou ki o gios tis kalogrias
Ah! nai an den ehinane meronihta ekini to ema tous t’ atimito edo stalia stalia drosati den tha fountone sto Phalero mirsini ke thrinos the n’ akougeto ki arapiki lalia.
Chant, my Hellenic soul at this beach in your mother’s language and of intrepidity maybe this song is heard, in the dizziness of his sleep, also by the son of the nun, along with his dead companions
Ah! yes, if they had not shed, day and night, their priceless blood here trickle by trickle, would not have blossomed cool myrtle in Phalero and neither wail would have been heard, nor Arabian word
Vasilios Gounaropoulos graduated from the Conservatory of Athens. He was a director of the choral department of Varna’s Philharmonic Association.554 The poem by Achilleas Paraschos (1838-1895) that he set to music refers to Georgios Karaiskakis’s monument in Phalero. The poem has patriotic content with explicit references to the Hell enic soul and language versus to the "Arabian word", as well as to Georgios Karaiskakis himself ("son of nun") and his companions who shed their blood for the freedom of Hellas, more specifically of the Phalero beach.
The composer set to music the first stanza of the poem for solo voice and piano, while the second stanza is performed by two-part children or female choir and piano. The main tonality of the work is the F major, while only the setting of the third verse of the first four-line stanza, which is referred to the eternal sleep of the "son of nun", is in A minor. The entire song is built with 8-bar phrases, which correspond to
553 Vasilios N. Gounaropoulos, At the Memorial of Phalero , printing house of L. Nitse, Varna 1901.
554 Nik. Kon. Vakalopoulos – Arist. Kessopoulos (edit.), Unforgetable Homes of Thrace, Tziampiris Pyramid, Thessaloniki n.d., p. 416 and Xanthippe Kotzageorgi, “Music and Theater in the Hellenic communities of Bulgaria” (end of 19th century – early 20th) as “national and yet artistic pleasure”, Valkanika Symmekta, Institute for Balkan Studies, issue 8, Thessaloniki 1996, p. 92.
musical sentences forming two 16-bar periods, regarding the setting to music of the first stanza and a 16-bar period, regarding the setting to music of the second stanza. This occurs because the first stanza of the poem is in tempo Larghetto and in simple triple meter (3/8), while the second in the fastest tempo Allegro moderato and in compound duple meter (6/8).
In this way, the 8-bar instrumental introduction, which gives the main thematic material that sets to music the second stanza (i.e. a cyclic form is created), is built in 3/8rhythm and in slow tempo, while the same motivic material at the beginning of setting to music of the second stanza is in 6/8-ryhthm, which is equivalent in its content to the material of two bars of the introduction and it is performed faster in duple meter, where every dotted quarter note corresponds to the 3 eighth notes of the original bar.
The intention of the composer is to change the doxological character of the music of the first stanza, which refers to those who sacrificed themselves for Hellas (that is why it is performed simply by a solo voice and relatively in slow tempo), into a more triumphant and joyful way, in which the second stanza is yielded, where the vocal ensemble majestically and in faster tempo refers to the successful conclusion of the sacrifice of the brave ones.
Gounaropoulos’s simple melody –that in two-part choir is doubled in thirds or is accompanied by ison, in combination with simple piano accompaniment, in which the left hand firmly maintains the rhythm with broken chords and the right hand doubles the voices, all or part of their lines–, as well as its musical structure, –which, in total, consists of 8-bar sentences and periods–, clearly follow the standards of the classical era of the Western music.
Georgios Pachtikos (1869-1915): "Pou na vro ego vasiliko” (“Where can I find basil”) for mixed choir, arrangement of folk song by Trigleia of Bithynia.555
Pou navro ‘go vasiliko psilo, louno kai fountoto gia na plejo mia frokali san ke sena den in’ alli.
Where can I find basil tall, amusement and tufted to knit a broom there is no one else like you
Georgios Pachtikos did not compose music of special quality. His representation is, however, appropriate, even with his arrangement of a short folk song, in order to highlight his significant contribution in both the collection and the rescue of our traditional mu sical heritage, as well as the information and the varied musical material that came in our possession through the short-lived magazine, entitled Music, that he published in Constantinople, the circulation of which was interrupted by his sudden death in 1915.
Pachtikos was teacher at the Great School of Nation and member of the editorial team of the weekly Church magazine Church Truth in Constantinople.556 He collected more than 500 folk songs during 1888 – 1904, from different places: Asia Minor, Thrace, Macedonia, Epirus, Albania, Hellas (that is within the geographical boundaries of his time), Crete, Aegean Islands, Cyprus and coast of Propontis. It is worth mentioning the point of view that he formed through his thorough research, on the performance of the folk song "The Hellenic people never sing through the nose, as I have particularly observed during my musical tour. In some places, this cacophonous nasal singing is used only by ignorant chanters and no one else." 557
IngenitoXypna, ah min argis
evga gia na se ‘do
I poulia tremosvini
ke ‘go sou tragoudo
Neraida mou chrissi
gia ‘sena xenixto
ton pono tis psihis mou
s’ esena gia na po
Wake up, ah don’t be late get out so I can see you
The stars are flickering and I sing to you
My golden fairy I stay awake for you to tell you about the pain in my soul
558
T’ aidoni tin avgi
gia sena kelaidi
k’ ego m’ afto glika
sou psallo ‘rotika
tragoudi haropo
Ah! xypna na sou ‘po
k’ ena fili gliko
ah! dos mou s’ agapo
During dawn, the nightingale sings for you and with it I sweetly chant to you erotically a cheerful song
Ah! wake up, so I can tell you and a sweet kiss
ah! give me, I love you
The Serenata d'amore by Ingenito, poetry by Vitalis, is written in strophic form, like most of the popular songs of his time, using refrains. The main tonality of the work is the F major, which is used in the refrain, while the alternative poetic stanzas are harmonized in the homonymous minor key (F minor). Both, the musical stanza and the refrain are structured as 16-bar periods consisting of two similar 8-bar sentences (antecedent and consequent). Typical is the piano introduction, used also as a coda, in which the singer, murmuring the melody, coexists with the
556 Church Truth , yr. 15 (1/3/1895-29/2/1896), Constantinople 1896.
557 Georgios D. Pachtikos, 260 Folk Hellenic Songs by the mouth of Hellenes , vol. A΄, edit. Anastasios N. Maltos, Maraslis’ Library, Athens 1905, p. 70, n. 1.
558 Ingenito Giovanni, Serenata d’Amore, publ. S. Christidou, Constantinople n.d.
295 piano, an octave lower than the introduction. Indeed, we can not ignore the similarity of the introduction of this song with the introduction of the Neapolitan song “Torna a Surriento” by Ernesto de Curtis. Curtis (1875-1937) was Ingenito’s coeval and his song, which became a great success, was written around 1902. It is possible that Ingenito borrowed the characteristic opening phrase of the Neapolitan song, as a trademark of his origin or as an indication of longing for his beloved country, according to the song title ("Come back to Sorrento", which is a beautiful little seaside town on the Gulf of Naples).
Lucien Cavadias (1879-1970): "Xelogiastra” (“Temptress”), Kalamatianos dance for voice and piano.559
Galanomata mou treli
xemialistra mou
mou pires fos mou ti zoi vaggelistra mou.
Me magepsan ta filia
pou sou pira mia vradia
kai mou pes diki sou
tha ‘me pia
s’ orkizomai stin Panagia
My crazy blue-eyed girl my temptress my light, you too away my life my Lady.
I was enchanted by the kisses that you gave me one night and you told me I will be yours from now on I swore to Mother Mary.
To meraki arhina na rizoni stin kardia ma ‘si xehases kakia ta logakia ta glyka
kai me afises na kew se mia atelioti fotia
The longing beggins deeper into the heart but you frorgot, you vicious, the sweet talk and you left me burn in an eternal flame
Lukianos Cavadias established his own musical editing house in New York, where he published mostly Hellenic works –mainly succeded Athenian songs of his era, Hellenic opera and operetta, his own arrangements of famous folk melodies and compositions of his own– for piano, for voice and piano, for violin, for clarinet, for mandolin and mandolin quartet (first and second mandolin, mandola and guitar). He also had his own orchestra, in which he played the piano entertaining others during excursions, evenings etc.560
The Kalamatianos (folk dance) entitled Temptress, music by Lukianos Cavadias and lyrics by his wife Olga, belongs rather in the field of popular music, since it is written in 1924, in New York, aiming to serve the needs of the expatriates in music entertainment, satisfying at the same time the longing and the memories of the fatherland. As becomes clear from the score, the composer must have had go od piano playing technique, which is evident from the continuous doubling bass octaves, by the rich chordal formations interpreted by the right hand
559 Lukianos Cavadias, Xelogiastra. Kalamatianos, New York 1924.
560 Tetos Dimitriadis (edit.), 1001 Songs, vol. A΄, Musical Printing House L. Cavadias, New York, 3/1926, p. 39-40 and Apostolos Kontaratos A. (edit.), 1001 Songs, vol. B΄, Musical Printing House L. Cavadias, New York 1924, p. 31-32.
along with the performance of the main melodic line simultaneously with the solo voice, while there is presence also of an inner voice moving in parallel thirds or sixths, or in contrary motion.
Despite the grandiose piano accompaniment, that contrasts with the agility of the main melodic line, ranged from D below the staff to A flat above the staff of the treble clef, Cavadias easily handled the contradictory coexistence of the conventional harmony of the Western tonal system and the oriental scale with the characteristic augmented seconds between III - IV and VI – VII degrees. Furthermore, imaginative and interesting is the connection of the lover's discourse with the harmony. The first part of the song, in which the " crazy blue-eyed" has infatuated the miserable man, is developed in minor mode, very heavy, full of minor and diminished chords, with only exception the harmonization of the "magical kisses" by the blue-eyed, made by the bright chord of E flat major (relative major of the main tonality C minor). The dynamic climax of the part is given with a fermata on the melodic climax of the voice that sings the exclamation "Ah", harmonized with diminished chord, since the man realized that he was left alone!! The second part of the song is developed in major mode since the poor man is getting better and finds a way to avenge the blue-eyed by marrying the black-eyed... The work is completed with minor mode, its original tonality, by setting to music a phrase, a folk wisdom apothegm "don’t forget that in this world everything is borrowed ", while the final half cadence, ending on V, symbolizes this exactly, the expectation that the man will take revenge in the future!!
Orestis Tsalapatanis (1884-?): "Mi me ligoneis" (“Don’t be so sweet”), op. 361 for voice and piano.561
Otan stin agalia sou
horevo to tango
den vriskome ston kosm’ afto, to ti patheno
pos na se to ‘po
ki oso se nioth’ olokliri therma na spartaras
me kamis na s’ arpaxo na se filiso, na se filis’ oso mporo
When I am in your arms dancing the tango I am not in this world, how can I tell you what happens to me and as I feel you hot and shivering you make me wanna grab you and kiss you, kiss you as much as I can.
San dio poulakia zilefta
na zisoume mazi
na s’ agapo, na m’ agapas
kai na perasoume zoi chrissi
the’ na ‘maste san louloudia
tou kampou dialehta
tha se drosizo panta
me ta filia mou
ke me logakia trifera
Like two enviable birds let’s live together to love you, to love me and spend a golden life let’s be like pretty flowers of the plain I will always quench you with my kisses and tender words.
Mi me ligoneis, haidemena mi kittas
flogera mh les logakia erotica me ta dio sou ta hilakia, hilakia sou glika
mi me ligonis, mi mou milas
giati me sklavonis
otan mou les pos m’ agapas
Don’ t be so sweet, don’t look tenderly don’t say hot and loving words with your lips, sweet lips
Don’ t be so sweet, don’t talk to me because you make me your slave when you tell me that you love me.
The song "Mi me ligoneis" by Orestis Tsalapatanis is a sample of quality popular song. Written in E minor and in the typical, f or this kind, binary strophic form with the refrain in the homonymous major key, it bears melodic, harmonic and structural characteristics which worthily represent the author. The 8-bar piano introduction sets the tonal area of the work by using all three main functions (tonic, dominant and subdominant), while structurally is based on the sequence of the opening motif of the refrain. The 6-bar period of the couplet is harmoniously enriched with the cadence to the relative major key of the main tonality (G major) with which the 8-bar antecedent sentence ends. The melodic and harmonic climax of the work is kept for the refrain. Completing the 8-bar antecedent sentence of the 16-bar period of the refrain, exclusively in E major, the 8-bar consequent sentence begins with VI degree (relative minor, C sharp minor), preparing an elegant harmonic climax in C sharp major, which will come through the use of common secondary dominant and will accompany the climax of the melodic line (G sharp) in the fourth bar of the consequent sentence.
Grigorios Konstantinidis (1893-1979): "Pantrevoun tin agapi mou" (“They marry my love”) for voice and piano, arrangement of folk song. 562
Pantrevoun tin agapi mou, to kanoun gia ginati mou.
Ke tis dinoun ton ohtro mou gia to pisma to diko mou.
Me proskaloune sti hara, vasta kaimeni mou kardia.
Sth hara na stefanoso, dio kormaki na enoso
Vazo ta stefana chryssa, voitha Christe kai Panagia.
Ka lampad’ apo asimi, klafte me diki mou fili
They marry my love, they do it for my obstinacy. And they give her to my enemy, for my stubbornness. They invite me to their joy, hold on my poor heart. To crown during joy, to unite two bodies.
I lay gold wreaths, help me Christ and Virgin Mary. And a silver candle, cry for me my friends.
Grigorios Konstantinidis worked in a quasi-Impressionistic idiom. The 8-bar piano introduction predisposes melodically and harmonically to the harmonization style of the folk song. Its melodic line is structured on motives of the solo voice and its texture is interlarded by four and
five-note chords of particular variety, with free use of all inversions. The chords are created as a free harmonic supplement to two basic external lines that define a contrapuntal frame. These chords have functional role only in opening and ending points of the musical sentences and the main musical phrases, enough so to determine the tonal frame of the tonality of the work (D minor).
The whole work is structured in 4-bar phrases corresponding to the verses of the folk song. The relaxed manner of the impressionistic idiom, as regards the tonal functions of the chord progression, as well as the free use of dissonance and the nonharmonic tones, creates the appropriate background for the coexistence of the minor home key and the inherent modal characteristics of the melody of the folk song, which lies in D minor mode with a raised fourth scale degree (G sharp) and natural sixth and seventh degrees (B and C).
Notis Santorineos (1912-1976): “He Psichoula” (“The little soul”) for voice and piano.563
Osan glykopnoo
drosat’ aeraki
mesa s’ anthotopo kio to pedaki tin isteri evgale anapnoi. Ke he psichoula tou is ton aera
glirora anevene pros ton ethera san lianotremouli spitha mikri.
As a sweet cool air in the garden that child left his final breath. And his tender soul to the air was quickly rising up to the sky as a trembling little spark
Ola tin ekrazan ola t’ asteria ki ekini exaplone dili ta heria. Giati den ixevre se pio na mpi. Alla na tou ‘dose ena aggelaki to fili t’ athanato sto magoulaki pou exafna elampse san tin avgi.
All were shouting to her, all the stars. And she was shyly spreading her hands. Because she didn’t know which one she should go to. But a little angel gave him the immortal kiss on the cheek and suddenly glowed like the dawn.
Santorineos, using a simple and rhythmically monotonous writing in minor mode, gives under a special and personal "color" the heavy conceptual content of the poem by Dionysios Solomos (1798-1857). The musical work is developed in three tonal areas: the main tonality of D minor, the minor dominant of its (A minor) and in F minor. The long piano introduction already presents the thematic material in the first two related tonalities (D minor and A minor). The first stanza is setting in the home key. The use of G sharp creates characteristic dissonances that prepare enharmonically the coming of the next tonality, F minor, the tonic chord of which encloses the enharmonic equivalent of G sharp
(A flat). The second stanza is harmonized in F minor. The new tonal space, associated with a chromatic mediant relationship with the previous one, delivers symbolically the change of the image of the poetic space. The airy presence of the child’s soul that goes up into the sky is described by the F minor, in contrast to the main tonality (D minor) that yielded the poetic space of the first stanza, that is the earth garden. In fact, the soul’s ascending course is symbolized by the sequentia l rising of the main motif sung by the solo voice "gligora anevene pros ton ethera (was quickly rising up to the sky)." This point is accompanied also by the first use of 3-note major chords that symbolize the hope of the freely rising soul. The abrupt dynamic and rhythmic change of the next bar, where quarter notes with fermatas are in monophonic texture, leads to the initial quiet and monotonous style of minor mode for setting to music the final couplet of the second stanza that imputes, through similes, human weaknesses to the childish soul: “san lianotremouli spitha mikri ” (“as a trembling little spark ”).
The third stanza is harmonized in A minor and describes the dilemma of the child’s soul regarding his choices. The composer prolongs the agony for the evolution of the scene repeating most of the piano introduction before the presentation of the last stanza. The repeating motif of the left hand with the accented medium quarter note retains the tension. The final sequence of the introduction that prepairs the entering of the main tonality (D minor) is contradicted this time. Solomos’s "little angel (aggelaki)" will be yielded with the tone used by the composer for the sky and in general for the image of the second stanza (F minor). The sequential rising of the main motif that yelds the ascending path of the soul is used here identically for the performance of the couplet: " to fili t’ athanato sto magoulaki ” (“the immortal kiss on the cheek"). Two changes, similar to the above described one, are coming next to yield the climax of the poem through the musical emphas is of words "exafna” (“suddenly") and "elampse” (“glowed"). However, this particular emphasis is done through the pause of the musical flow and not through the accentuation of the words, which are accompanied by a mild eerie climate that fades the work, symbolising the "fading" of the soul while rising up to the sky. The work ends in F minor, that symbolises the above-ground world, with the triple repetition of the tonic chord without third and with the highest note used throughout the work, the F above the treble staff, symbolising the image of the final "glow" of the poem.
Elias Xanthopoulos (1923-2005): Work for guitar (Prelude, I, II).
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Xanthopoulos’ work consists of three parts: a prelude in binary form, in the main tonality (A minor), and two parts (I and II), in ternary form, the first in the area of minor dominant of the main tonality (E minor) and the second in the homonymous major of the main tonality (A major). The work, as a whole, presents a course of increasing complexity. The prelude begins in a monophonic manner with the presence of a single voice in the first five bars, while then there is a simple combination of a 2-voice counterpoint with a small inline appearance of 3-note chords in homophonic texture. At the part I, which is in ternary form (ABA'), the chordal (homophonic) texture (three-note chords) dominates. The time
signature used by the composer is based on the alternative writing of the 3/4 time, sometimes as usual and sometimes divided in to a bar in 2/4 time and a bar in 1/4 time to highlight the interruption of eighthnote motion with the quarter-note chord, which conventionally would have been on the upbeat in the 3/4 time, while now, according to the writing of the composer, is emphasized by being on the downbeat. The part II, which is also in ternary form (ABA'), has mostly chordal texture (four-note chords), which is the densest throughout the work. Regarding the structural, harmonic and melodic characteristics, the work is written according to the standards of the late classical period of the tonal system.
Telemachus Metallinos (1926-2011): “Apeikoniseis (III)” (“Portraits (III)”) for piano.565
Telemachus Metallinos is the main carrier of the avant-garde music in Thrace, perhaps the only one of his era. In this study, he is represented with a work that demonstrates his searches, his personal aesthetics, but also his philosophical attitude towards the maze of modern musical currents. The "Apeikoniseis", consisting of three parts, was completed on April 16, 1992. Here, we present the third part of the work. The "Apeikoniseis" is an essential spiritual testament of a creator who consciously opposes the easy solution, that is the commercial music and the popular song; a creator who decided to offer to an outlying region, starting from scratch, being aware of his self-sacrifice, which led him to sarcasm, pervasive in this work; a composer from the Ionian islands, who struggled with his own cultural heritage, a tonal system that produced a unique culture, which should overcome in order to be a holdover of the pioneering spirit and not just an imitator of the widely accepted and widespread tonal music.
The work could be described as a collage, parts of which are proved to have more coherent links between them than those probably allowed to be shown during the first hearing. Two similar four-note clusters of the extreme registers of the instrument open the work. Each cluster has two main components, a group of adjacent notes which are separated by semitones and a perfect fourth interval that serves as basis of the cluster and has on top the lower note of the aforementioned three-note group. The clusters grow rhythmically in typical marching motives through appropriate changes of groups of sixteenth and eighth notes (bars 1-2), a first attempt for conscious internal confrontation of the tone material, which simultaneously combines the modern view of pitches on coherent musical structures with the classical view of rhythm, by using bold, dynamic motives, composed of binary relationship note values. In bar 3, the clusters are transferred to the central register of the instrument and they become a totally compact set of ten notes resulting from the expansion of the note groups of the initial clusters in the interval of a perfect fifth, that is, in the whole area covered by the perimeter of the initial clusters. The initial rhythmic formations are maintained through new dynamic combinations of the two primary components: the eighth and the sixteenth note (bars 3-9). Already in bar 10 there is the first strong internal confrontation of tone material, to an extent of a composing self-sarcasm. The 3-note initial group of adjacent