Levidou, Katerina & Vlastos, George (eds.) Revisiting the Past,...
Sakallieros, Giorgos Dimitri Mitropoulos and His Works in the 1920s. The...
Xepapadakou, Avra & Charkiolakis, Alexandros “Interspersed with...
Nikos Skalkottas (1904-1949) Suite for violin and chamber orchestra...
Dimitri Mitropoulos (1896-1960) Burial (1915) Full Score Published in...
Dymiotis, Phanos (1965-2007) Antithesization and Continuity in Sibelius’...
Kalogeropoulos, Takis (1946-2009) Epirote Chronicle for woodwind quintet...
Giorgos Koumendakis (b. 1959) Forget Me Not, for solo alto saxophone...
Ph.D. in Musicology (Department of Musical Studies of the University of Athens). He is arranger / orchestrator and supervisor of the music library of the Greek National Opera, chief editor of the musicological Journal Polyphonia, member of the Hellenic Musicological Society and pianist of “Mikis Theodorakis” orchestra. He specialises in Greek music and in particular composers of the Greek National School of Music.
He graduated from the Department of Musical Studies at the University of Athens in 1998. The following year he received a scholarship from the National Scholarships Institution in order to carry out his Ph.D. thesis with the subject “The Chamber Music of Manolis Kalomiris”, which was completed in 2004.
During the period 2004-2013 he worked as a Research Assosiate of the Faculty of Music Technology at the Technological University of Epirus (Arta). Since 2004, iin collaboration with the publishing house “Philippos Nakas”, he has undertaken the editing of a part of the orchestral works of composer Yannis A. Papaioannou. Since 2002 he has been one of the chief editors of the most dominant musicological journal in Greece, Polyphonia (www.polyphonia.gr) and during the period 2008-2010, he maintained a column in the newspaper Real News, as a music critic.
He has actively participated in international musicological conferences in Greece and Europe, in some of which he was a member of the organizing committee. His articles and papers have been published in Greek and foreign scientific journals, collective editions, newspapers and in program notes of the “Athens Concert Hall”.
In 2012 the Hellenic Music Centre published his book titled Chamber Music in Greece in the first half of the 20th century. The case of Marios Varvoglis (1885-1967). He has participated in many concerts as a musician, and he has collaborated with numerous Greek composers, theater and symphonic orchestras in order to orchestrate and arrange various musical works.
Alexandros Charkiolakis was born in Athens. He studied music at the Hellenic Conservatoire and the University of Sheffield. He is the editor of the following books: Manolis Kalomiris – 50 Years After. Athens: Fagotto Books, 2013 (with Nikos Maliaras); Autobiography and Archive of Alekos Xenos. Athens: Benaki Museum Publications, 2013; and Music Information Resources and Ιnformational Education, Athens: Fagotto Books, 2015 (with Charis Lavranos). He has worked as a musicologist and coordinator for educational projects at the Music Library of Greece “Lilian Voudouri”. In January 2013 he became Head of the “Erol Üçer” Music Library, and adjunct Lecturer in Historical Musicology at the MIAM (Center for Advanced Studies in Music) of the Istanbul Technical University. In May 2017 he returned to Athens in order to take up the position of Director of the “Friends of Music Society”.
Composer and violinist Phanos Dymiotis was born in Nicosia, Cyprus, on 3 April 1965, when the country was in the 5th year of its independence, for the first time since the 12th century A.D. He was the second of the three children of Stella Dymiotou, a literature teacher, and Nikos (d. 1990), an exceptionally talented sculptor, who, according to Stella, “loved classical music and was even more modest than Phanos”.
In that environment, the rare intellectual and musical abilities of Phanos were apparent very early. He attended the primary schools of Agia Marina and, subsequently, Chryseleousa, in Nicosia (1970-1976), and excelled in all subjects, while participating in all the vocal and instrumental ensembles. He played the mandolin, and, at the age of 10, he started violin lessons. He continued his schooling at the “Pankyprio Gymnasio Kykkou”, where music teacher Maro Skordi helped him to enrich his knowledge and distinguish himself, recognizing his progress in the violin as well as the artistry of the works he had already composed, studying from books “in his free time”, as he himself wrote. His composition Marcia Funebre was written in 1977 on the death of Makarios III, one of the world’s most popular leaders, whose funeral was a stirring public event. It is the first of Dymiotis’s works that attest to his constant interest in the unequal struggles and political deadlocks of his country, part of which was invaded by the Turks in 1974.
While still in high school, Dymiotis also composed a String Quartet (1979), which was chosen and performed by a professional ensemble in Sofia, on 20 August 1979, as part of the events for the International Year of the Child. The quartet and Marcia Funebre impressed Philip R. Pfaff, the English examiner in Cyprus of the Royal Schools of Music Associated Board, who, upon the insistence of Maro Skordi, agreed to examine Phanos Dymiotis in the violin and look at his compositions. As a result, Dymiotis completed his secondary education in one of the best music schools of England, Chetham's School of Music in Manchester, which prepares gifted children for Higher Education.
While attending Chetham’s School of Music (1979-1983), he composed ten works, some of which are the work of a mature composer, like the Divertimento for chamber orchestra, and the oratorio The Last Apostle, inspired, too, from Makarios III, parts of which were performed in Nicosia on 19 January 1983. Dymiotis made equally spectacular progress in his violin studies. And, in every phase of his studies, he was also active as an organizer and performer of music.
In Manchester, he formed a deep friendship with Greek pianist, conductor and musicologist George Hadjinikos (1923-2015). Through him, he became acquainted with the work of Nikos Skalkottas (with whom he probably identified to some degree). Hadjinikos also gave him the opportunity to show his performing skills by inviting him to replace at the last moment the soloist of a concert he was conducting, and he impressed both audience and critics in Lalo's Symphonie espagnole.
Being, at the age of 18, an accomplished composer and violinist, he easily got into Cambridge University (Trinity Hall) in 1983, and graduated in 1986, having received the highest distinction, first-class honours for two consecutive years, “a double first class, a most unusual achievement” according to a university certificate. In 1986-87, Dymiotis pursued postgraduate studies (Master of Philosophy) in Musical Composition. His teachers were Robin Holloway and Alexander Goehr (son of Walter Goehr, Schoenberg’s pupil in Berlin and fellow-student of Nikos Skalkottas), with whom Dymiotis had been having lessons since 1984-85.
The last phase of Dymiotis’s studies was in 1987-1993, at Princeton University, U.S.A., where he acquired a doctorate in composition. Thanks to one of the many scholarships that he had received, in 1993 he attended classes in advanced composition at the Aspen Music School, under the director himself, Greek-descended composer George Tsontakis. His participation in a composition contest for the 1992 inauguration of the University of Cyprus renewed his ties with Cypriot musical life. His composition Academic Overture (after Brahms’s Akademische Festouvertüre) won first prize and was performed in Nicosia in October 1993.
Dymiotis’s professional career started with a three-year contract (1995-98) as Lecturer at Goucher College in Baltimore. In 1993-95, awaiting the beginning of the contract, he was in New York, active as a performer and composer. However, as he wished to have plenty of time for composing and performing, he soon abandoned his academic career. From 1998 onward, he lived in Lutherville, outside Baltimore, Maryland, a state on the densely populated East Coast, which afforded him the possibility of collaborating with the musical ensembles of many cities: he was Concertmaster of the Mid-Atlantic Symphony Orchestra at Easton (where he was also Composer-in-Residence); he played in the Annapolis Symphony Orchestra, in the Baltimore Opera, as well as in the Delaware Symphony Orchestra, the New Horizons Chamber Orchestra, and the Mariner String Quartet among others.
His interest in the wide and egalitarian dissemination of music led him to participate in the programme “Performing Arts for Everyone” of the Kennedy Center Millenium Stage, Washington D.C., and to give violin lessons in primary schools.
During that period, he wrote a work for Cyprus, the Hymn to Aphrodite, to Homer’s text, commissioned on the occasion of the accession of Cyprus to the European Union in 2004.
The Mid-Atlantic Symphony Orchestra commissioned Dymiotis to compose a work to be performed along with Stravinsky’s L’histoire du soldat at a concert on 22 March 2007. For this composition, which he named The Soldier's Blues, Dymiotis “borrowed” the orchestration and melodic motifs from Stravinsky’s Soldier. From the Blues he took scales and harmonies. Dymiotis was present at rehearsals of the work. But its premiere was given amid the fresh and tragic sense of an unexpected void caused by his sudden death, on 10 March, in a road accident, returning from a concert of the Delaware Symphony Orchestra in Wilmington.
[English translation by Helena Grigorea]
Katerina Levidou studied musicology, the piano and music theory at undergraduate level in Greece (University of Athens and National Conservatory). She received an MMus from King’s College London (funded by the A. S. Onassis Benefit Foundation) and a doctorate from the University of Oxford (funded by the Ismene Fitch Foundation and a Vice-Chancellor’s Fund Award). Between 2007 and 2011 she was Junior Research Fellow at Christ Church, University of Oxford. In 2011–2012 she held a Swiss Federal Scholarship for research at the University of Lausanne, where in 2012–2013 she was External Scientific Collaborator (supported by a grant from the Igor Stravinsky Foundation). In 2014–2015 she worked postdoctoral researcher for the research project Western Art Music at the Time of Crisis: An Interdisciplinary Study of Contemporary Greek Culture and European Integration (ARISTEIA II – University of Athens), in the context of which she researched festivals of Western art music in contemporary Greece. She has been Visiting Research Fellow at the Centre for Hellenic Studies, King’s College London since 2014, while she is also Tutor for the Masters programme at the Faculty of Music Studies of the National and Kapodistrian University of Athens.
Her research interests include aspects of Russian and Greek music, modernism, nationalism, emigration, politics, spirituality, identity, aesthetics and music festivals. She has published widely on Stravinskian neoclassicism and Eurasianism, on Nikos Skalkottas’s 36 Dances for Orchestra, the reception of Greek antiquity in music since the nineteenth century, while she is also contributor to Grove Music Online. Her recent publications include the volume of essays Musical Receptions of Greek Antiquity: From the Romantic Era to Modernism (Cambridge Scholars Publishing, 2016), in which appears her chapter on Prokofiev’s The Fiery Angel. Since 2008 she has been co-convenor of the Study Group for Russian and Eastern European Music of the British Association for Slavonic and East European Studies, in which capacity she has co-organised numerous international conferences.
Giorgos Sakallieros is Assistant Professor of Historical Musicology at the Aristotle University of Thessaloniki (School of Music Studies / Faculty of Fine Arts). He was born in Tübingen, Germany. He studied musicology at the School of Music Studies, Aristotle University of Thessaloniki (BA, 1996) as well as the Faculty of Music Studies, University of Athens (PhD, 2005). He also studied composition, music theory and guitar performance at the "Collegium Musicum" Conservatory of Thessaloniki (graduating with Advanced Diplomas in 1995 & 2005). He is the author of the book Giannēs Kōnstantinidēs (1903-1984). His Life, Works and Compositional Style (Thessalonikē: University Studio Press, 2010). His papers have been presented at international musicological conferences and are published in several musicological journals, collective editions and proceedings, while he is also a contributor to Grove Music Online. His works, including orchestral, vocal and chamber music, are regularly performed. He was awarded first prize in the national composition competition “Dēmētrēs Dragatakēs”, organized by the Greek Composers’ Union in 2003, for his work Lament for “D”… – A string quartet. He is a member of the Ιnternational Musicological Society (IMS), of the Society of Interdisciplinary Musicology (SIM), of the Greek Composers’ Union, and a founding member of the Hellenic Musicological Society.
Manolis Seiragakis is an actor, a theatre director and a Theatre Studies’ professor assistant in the University of Crete. He is contributor to The New Grove Dictionary of Music and Musicians (Grove Music Online), as his main research interests focus on issues related to the connection between theatre and music. He has coordinated three conferences: on the Greek Operetta (Thessaloniki,2011), on incidental music composed for the contemporary staging of ancient drama in Greece(Rethymno, 2012), and on Theatre Revue as a genre (Rethymno, 2015). He received his doctorate from the University of Athens in 2006; his doctoral thesis is entitled: “Light musical theatre in theInterwar Athens (1922-1940)”. During 2009 his revised thesis was published in a two volume book(Kastaniotis editions). He is contributor of the edited volume Naomi Matsumoto (ed.), Staging Verdi and Wagner Operas, Brepols (Turnhout, Belgium), 2015 which includes his chapter «Mediterranising the Composer of the North: Richard Wagner, Contantinos Christomanos and the Early Modern Greek Theatre». In the University of Crete he supervises three theses; on the librettos of Greek and French Operetta during the Interwar (Evi Nikita), the Stand-up comedy in Greece (Anthony Iliadis) and the theater in Crete in the 20th century (Anna Tzanidaki). Since 2013 he is co-founder of the Theatre troupe and the Festival named Antivaro which is been held every Lent in Rethymnon.
Yorgo Sicilianos (1920-2005) is one of the most important figures of musical modernism in Greece. Born in Athens, he studied theory and composition with Kostas Sfakianakis, Marios Varvoglis and George Sklavos; from 1951 to 1953 he continued his studies at the Academy of Santa Cecilia in Rome with Ildebrando Pizzetti, receiving a diploma in composition in 1953. While in Italy he was introduced to the music of Béla Bartók and the composers of the Second Viennese School, which proved influential on his later development, since it played a decisive role in his decision to turn to contemporary musical idioms. After Italy he attended Tony Aubin’s course in composition at the Conservatoire National in Paris (1953–54) and the classes of Walter Piston at Harvard University, Boris Blacher at the Tanglewood Institute and Vincent Perischetti at the Juilliard School of New York (1955–56). In New York, Sicilianos made the acquaintace of fellow Greek, conductor Dimitri Mitropoulos. Later (in March 1958), Mitropoulos premiered Sicilianos’ First Symphony, op. 14 (1956) with the New York Philharmonic.
In 1956 Sicilianos returned to Greece permanently. At that time, he was one of the first Greek composers to follow modernist trends in music. He went on to produce a total output that consists of 63 works and encompasses all genres: symphonic music, chamber music, piano music, song cycles, opera, ballet, incidental music and more.
Parallel to his work as a composer, Sicilianos was an active participant in Greek music life. He served as Head of the Music Department of the Greek Broadcasting Institute (1960–62), General Secretary of the Ministry of Education’s Greek Music Council (1963–64), Vice–president of the Greek section of the International Society for Contemporary Music and the Greek Association of Contemporary Music (1964–68 and 1965–69 respectively), Head of the Music Department of Greek Broadcast and Television (1974), member of the Artistic Committee and the Board of Trustees of the Greek National Opera (1976–79 and 1980–81 respectively), President of the Greek Composers’ Union (1981–89), member of the Board of Directors of Greek Radio and Television (1987–88) and President of the Artistic Committee of the Greek National Opera (1990–94).
Throughout his career Sicilianos received significant distinctions. In 1962 he won the third prize at the Liège International String Quartet Competition for his String Quartet no. 3, op. 15 and his works were chosen twice to represent Greece at the Festival of the International Society for Contemporary Music (Stasimon B, op. 25, Madrid, 1965 and Perspectives, op. 26, Prague, 1967). He was also honoured for his contribution to music with the following medals and prizes: Cavaliere “al merito della Republica Italiana” (Rome, 1962), Chevalier des Arts (Paris, 1990), Herder Prize (Vienna, 1991) and the Eirini G. Papaioannou Prize of the Academy of Athens (1994). Finally, in 1999 he received an Honorary Doctorate from the University of Athens.
Sicilianos’ work can be divided into three periods. The first period, during which he followed tonal and modal idioms, includes works he wrote until 1953, the year in which he finished his studies in Italy, when he still believed that the future of Greek music lay “at the point where Byzantine Chant intersects with Greek Folk Song”. The second period started with the Concerto for Orchestra, op. 12 (1954), where Sicilianos used for the first time the twelve-tone technique. This period, characterised by his seeking of and experimentation in contemporary musical trends (the twelve-tone technique, serialism, post-serialist techniques, electronic music), lasted about 25 years. Mellichomidi, op. 44 (1980) signalled the passage into a third period, during which the composer turned consciously to a more melodic and accessible idiom.
Valia Christopoulou, Musicologist
English Translation by Demetris Kikizas
George Vlastos studied piano at the Athens Conservatory and musicology at the Faculty of Music Studies of the University of Athens, and graduated from both in 1997. Subsequently, in 1998 he received a Master’s Degree in Musicology (D.E.A) from the University of Sorbonne (Paris IV). In 2005 he received his doctorate from the University of Athens; his doctoral thesis is entitled: “The Reception of Greek Antiquity in Early 20th-century French Music: 1900-1918”. He is Director of the Musical Ensembles of the Athens Municipality, member of the Hellenic Musicological Society, editor in chief of the Greek musicological journal Polyphonia, and member of the RIPM Greek team (Répertoire International de la Presse Musicale / Retrospective Index to Music Periodicals, 1800-1950). He is contributor to Grove Music Online, collaborates regularly with the editorial department of Megaron – the Athens Concert Hall – and has participatedin several international musicological congresses in Greece and abroad as member of the organizing committee and speaker. His publications include essays in edited books, articles and book reviews in Greek and international academic journals. He has also edited books and conference proceedings and has translated essays that appeared in academic publications in Greece and abroad. His research interests focus mainly on 19th- and 20th-century French music. He is co-editor of the edited volume Musical Receptions of Greek Antiquity: From the Romantic Era to Modernism (Cambridge Scholars Publishing, 2016), which includes his chapter on Erik Satie’s Socrate.
Dr Avra Xepapadakou is a researcher of opera and theatre. She has worked as a faculty member at the Department of Philology, Division of Theatre and Music Studies, University of Crete, where she taught History of Theatre and Opera (2009-2016), and as an affiliated lecturer at the University of the Peloponnese, at Harokopion University, as well as at the Hellenic Open University. She has published articles and papers on topics such as the relations between Italian and Ionian opera, the question of westernization/orientalism in Modern Greek theatre and art music, the foreign opera troupes touring in nineteenth-century southeastern Europe and the Orient, and the introduction of operetta to the Modern Greek stage.
She is the author of a book on Ionian opera composer Pavlos (Paolo) Carrer (Athens: Fagotto Editions, 2013), which was recently awarded the prize for best Greek book in the field of musicology by the Union of Greek Critics for Drama and Music (2016). Her latest book, co-authored with Alexandros Charkiolakis, is entitled “Interspersed with Musical Entertainment”. Music in Greek Salons of the 19th Century (Athens: Hellenic Music Centre, 2017).
She was a member of the main research team of the project “Chrysalis” (E.U. action ‘Thales’, University of Athens, 2012-2015), project leader of the research project ‘Archivio’ concerning the theatre archive of the Socìetas Raffaello Sanzio (2013-2014), and a principal investigator of the Project ARCH-Archival Research and Cultural Heritage which processes and studies the above theatrical archive (E.U. Aristeia II, 2014-2015). Today she is documentation consultant and curator of the archive of Romeo Castellucci and the Socìetas Raffaello Sanzio. Thanks to the above-mentioned work, the archive of the Socìetas Raffaello Sanzio was declared of major historical interest and importance by the Italian Ministry of Culture (2015).
She has conducted research as a grantee visiting scholar at California State University–Sacramento (2015). In 2016 she was awarded a research grant and research visitorship as part of the Balzan Prize in Musicology Towards a global history of music. Within this framework, she has curated the session “Greece: A cultural crossroads between East and West” at the University of Oxford (2016), and has conducted research at the Musikwissenschaftliches Institut, Universität Zürich (2017).
Yannis Belonis Hē mousikē dōmatiou stēn Ellada sto prōto miso tou 20ou aiōna.Hē periptōsi tou Mariou Varvogli (1885-1967) [Chamber Music in Greece in the First Half of the 20th Century. The Case of Marios Varvoglis (1885-1967)](in Greek language) ISBN: 978-618-80006-0-5 Pages: 259 Yannis Belonis Hē mousikē dōmatiou stēn Ellada sto prōto miso tou 20ou aiōna.Hē...
Dymiotis, Phanos (1965-2007) Antithesization and Continuity in Sibelius’ Symphonies ISBN: 978-618-80006-5-0 Pages: 144 Price: 20 € Text editing and proofreading: Helena Grigorea Musical examples editing: Yannis Samprovalakis Musical examples design: Phanos Dymiotis Dymiotis, Phanos (1965-2007) Antithesization and Continuity in Sibelius’ Symphonies...
Levidou, Katerina & Vlastos, George (eds.) Revisiting the Past, Recasting the Present: The Reception of Greek Antiquity in Music, 19th Century to the PresentConference Proceedings ISBN: 978-618-80006-1-2 Pages: 336 Price: 0 € / e-book (pdf) available for free download. Please, press "Add to cart" and then follow the instructions. Levidou, Katerina & Vlastos, George (eds.) Revisiting the Past, Recasting the...
Sakallieros, Giorgos Dimitri Mitropoulos and His Works in the 1920s. The Introduction of Musical Modernism in Greece. ISBN: 978-618-80006-3-6 Pages: 420 Text editing: Helena Grigorea Musical examples editing: Yannis Samprovalakis Musical examples design: Giorgos Sakallieros & Yannis Samprovalakis Graphic design: Antonis Kapiris Sakallieros, Giorgos Dimitri Mitropoulos and His Works in the 1920s. The Introduction...
Seiragakis, Manolis Napoleōn Lambelet, enas anestios kosmopolitēs Symvolē stēn katagrafē tēs theatrikēs tou drasēs [Napoleon Lambelet, a Homeless Cosmopolitan A Contribution to the Record of his Theatrical Activity] (in Greek language) ISBN: 978-618-80006-2-9 Pages: 124 Editing: Yannis Samprovalakis, Yannis Tselikas Graphic design: Antonis Kapiris Seiragakis, Manolis Napoleōn Lambelet, enas anestios kosmopolitēs Symvolē stēn...
Yorgo Sicilianos (1920-2005) Gia tē mousikē [About Music] (in Greek language) Co-published with the Benaki Museum Edited by Elli Yotopoulou-Sicilianou ISBN Hellenic Music Centre: 978-960-93-3233-0 ISBN Benaki Museum: 978-960-476-097-8 ISSN: 1790-7578 Pages: 446 Price: 16 € To make an order: press here Yorgo Sicilianos (1920-2005) Gia tē mousikē [About Music] (in Greek language)...
Xepapadakou, Avra & Charkiolakis, Alexandros “Interspersed with Musical Entertainment”. Music in Greek Salons of the 19th CenturyISBN: 978-618-80006-4-3Pages: 248 Foreword: Jim SamsonText editing and proofreading: Helena Grigorea Musical examples editing: Yannis Samprovalakis and Yannis TselikasMusical examples design: Evelina Charkoftaki English... Xepapadakou, Avra & Charkiolakis, Alexandros “Interspersed with Musical...