DOCSLIB.ORG

ª¤Úîâï, ™·Úîô˙›, ¡Ù·‚Ô‡Ùôáïô˘ Î·È Âì⛘

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
ª¤Úîâï, ™·Úîô˙›, ¡Ù·‚Ô‡Ùôáïô˘ Î·È Âì⛘ SOLICITORS Temple Bar House, 23-28 Fleet Street ∞¡∂•∞ƒ∆∏∆∏ ∂µ¢√ª∞¢π∞π∞ ∂§§∏¡π∫∏ ∂º∏ª∂ƒπ¢∞ ∆√À §√¡¢π¡√À London, EC4Y 1AA ∆∏§: 020 8343 7522 º∞•: 020 8343 7524 email: [email protected] Tel: 0845 051 8855 Tel: 020 7822 7430 ñ Fax: 020 7353 7454 Email: [email protected] ∞ƒ. ºÀ§§√À 518 ¶∂ª¶∆∏ 14 ª∞ØπØ√À 2009 ∆πª∏: í0.50 ∞¶√æ∏ ª¤ÚÎÂÏ, ™·ÚÎÔ˙›, ¡Ù·‚Ô‡ÙÔÁÏÔ˘ Î·È ÂÌ›˜ ø™ £∞ ∂•∏°∏™√Àª∂», ›¯Â ÂÈ ·Ï·ÈfiÙÂÚ· Ô °¿ÏÏÔ˜ ¶Úfi‰ÚÔ˜, «ÛÙÔ˘˜ Ì·ıËÙ¤˜ ÙˆÓ Û¯ÔÏ›ˆÓ Ì·˜ fiÙÈ Ù· «¶Û‡ÓÔÚ· Ù˘ ∂˘ÚÒ˘ ÊÙ¿ÓÔ˘Ó Ì¤¯ÚÈ ÙË ™˘Ú›· Î·È ÙÔ πÚ¿Î;» ™‹ÌÂÚ·, Ô ¡ÈÎÔÏ¿ ™·ÚÎÔ˙› Î·È Ë °ÂÚÌ·Ó›‰· ηÁÎÂÏ¿ÚÈÔ˜ ÕÁÎÂÏ· ª¤ÚÎÂÏ ‰È·ÎËÚ‡ÛÛÔ˘Ó Ì ÙÔÓ ÈÔ Â›ÛËÌÔ ÙÚfiÔ ÙËÓ ¤ÓÙÔÓË ·ÓÙ›ıÂÛ‹ ÙÔ˘˜ ÛÙËÓ Ï‹ÚË ¤ÓÙ·ÍË Ù˘ ∆Ô˘ÚΛ·˜ ÛÙËÓ ∂˘- Úˆ·˚΋ ŒÓˆÛË. ∏ ª¤ÚÎÂÏ ÙfiÓÈÛ fiÙÈ «Ë ∂˘ÚÒË Ú¤ÂÈ Ó· ¤¯ÂÈ Û‡ÓÔÚ·» Î·È Ô ™·ÚÎÔ˙› ˘ÂÚıÂÌ¿ÙÈÛÂ: «ªÈ· ∂˘ÚÒË ‰›¯ˆ˜ Û‡- ÓÔÚ·, ı· Â›Ó·È ÌÈ· ∂˘ÚÒË ¯ˆÚ›˜ ı¤ÏËÛË, ¯ˆÚ›˜ Ù·˘ÙfiÙËÙ·, ¯ˆ- Ú›˜ ·Í›Â˜». ¶√ ∆∏¡ ∞§§∏, ÔÈ ∏¶∞ Ì·˙› Ì ÙË µÚÂÙ·Ó›·, Ȥ˙Ô˘Ó ·ÛÊ˘- ÎÙÈο ÁÈ· ÁÚ‹ÁÔÚË ¤ÓÙ·ÍË Ù˘ ∆Ô˘ÚΛ·˜ ˆ˜ Ï‹ÚÔ˘˜ ̤- ∞ÏÔ˘˜, ‰›ÓÔÓÙ·˜ ÙËÓ ÂÓÙ‡ˆÛË fiÙÈ ÂΛÓÔ Ô˘ ÙÔ˘˜ ÂӉȷ- ʤÚÂÈ Â›Ó·È ÌfiÓÔÓ Ë ¤ÓÙ·ÍË, ¯ˆÚ›˜ Ó· ‰›ÓÔ˘Ó Î·È ÔÏÏ‹ ÛËÌ·Û›· ÛÙËÓ ÂÓ·ÚÌfiÓÈÛË Ù˘ ∆Ô˘ÚΛ·˜ Ì ÙÔ ∫ÂÎÙË̤ÓÔ Î·È ÙËÓ Ï‹ÚË Û˘ÌÌfiÚʈۋ Ù˘ ÚÔ˜ fiÛ· ‰ÂÛ̇ÙËÎÂ. ∞™π∑√ª∂¡∏ ÛÙËÓ ·ÌÂÚÈηÓÔ‚ÚÂÙ·ÓÈ΋ ˘ÔÛÙ‹ÚÈÍË, Ë ∆Ô˘ÚΛ· ¤Ì·ı ¤ˆ˜ ÙÒÚ· Ó· ·›ÚÓÂÈ ¯ˆÚ›˜ Ó· ‰›ÓÂÈ. ¶¤Ù˘- µ¯Â ÙËÓ ÙÂψÓÂȷ΋ ¤ÓˆÛË ÙÔ 1995, ¯ˆÚ›˜ Ó· ÙËÚ› ÙȘ ÚÔ- ∂°°ƒ∞º√ £∂™∂ø¡ TOY ∆√Àƒ∫π∫√À À¶∂• ∞¶√∫∞§À¶∆∂π ¸Ôı¤ÛÂȘ Ô˘ ··ÈÙÔ‡ÓÙÔ (‹Ù·Ó «·ÓÙ·ÏÏ·Á‹» ÁÈ· ÙËÓ ·fiÊ·ÛË ¤Ó·Ú͢ ÂÓÙ·ÍÈ·ÎÒÓ ‰È·Ú·ÁÌ·Ù‡ÛÂˆÓ Ì ÙËÓ ∫˘Úȷ΋ ¢Ë- ÌÔÎÚ·Ù›·, ÌÂÙ¿ ÙË ¢È·Î˘‚ÂÚÓËÙÈ΋ ¢È¿Û΄Ë). ∆Ô 1999, Ë ∆Ô˘Ú- ∆π™ ¶ƒ√£∂™∂π™ ∫∞π ∂¶π¢πø•∂π™ ∆∏™ ∞°∫Àƒ∞™ Λ· η٤ÛÙË ˘Ô„‹ÊÈ· ÁÈ· ¤ÓÙ·ÍË ˆ˜... «·ÓÙ¿ÏÏ·ÁÌ·» ÁÈ· ÙȘ ÂÓÙ·ÍȷΤ˜ ‰È·Ú·ÁÌ·Ù‡ÛÂȘ Ù˘ ∫‡ÚÔ˘. ŒÙÛÈ, Ë ÕÁ΢ڷ, ¯ˆ- Ú›˜ Ó· οÓÂÈ Ô˘ÛÈ·ÛÙÈΤ˜ ·ÏÏ·Á¤˜ ÛÙÔ ÂÛˆÙÂÚÈÎfi Ù˘ Î·È ÚÔ- ¿ÓÙˆÓ, ¯ˆÚ›˜ Ó· ÚԂ› Û η̛· ·Ú·¯ÒÚËÛË ÛÙÔ ∫˘ÚÈ·Îfi ‹ Ó· χÛÂÈ ÙȘ ‰È·ÊÔÚ¤˜ Ù˘ Ì ÙËÓ ∂ÏÏ¿‰·, Û‹ÌÂÚ· ‚Ú›ÛÎÂÙ·È ÚÔ ÙˆÓ ˘ÏÒÓ Ù˘ ∂.∂. Î·È ·ÔÌ˘˙¿ Â˘Úˆ·˚ο ÎÔÓ‰‡ÏÈ· ÁÈ· ÙËÓ... ÂÓ·ÚÌfiÓÈÛË. ∏¡ π¢π∞ øƒ∞, Ô Ó¤Ô˜ ∆Ô‡ÚÎÔ˜ À¶∂•, ∞¯Ì¤Ù ¡Ù·‚Ô‡ÙÔÁÏÔ˘, Â›Ó·È Ô·‰fi˜ ÙÔ˘ «ÓÂÔ-ÔıˆÌ·ÓÈÛÌÔ‡» Î·È Ù˘ ·Ó¿‰ÂÈ͢ ∆Ù˘ ∆Ô˘ÚΛ·˜ ˆ˜ ÂÚÈÊÂÚÂȷ΋˜ ˘ÂÚ‰‡Ó·Ì˘. √ ¡Ù·‚Ô‡- ∂π™µ√§∏ À¶∏∫√ø¡ ÙÔÁÏÔ˘ ¤¯ÂÈ ‰ËÏÒÛÂÈ fiÙÈ Ë ∆Ô˘ÚΛ· «ÌÔÚ› Ó· Â›Ó·È Â˘Úˆ·˚΋ ÛÙËÓ ∂˘ÚÒË, ÌÂÛ·Ó·ÙÔÏÈ΋ ÛÙË ª¤ÛË ∞Ó·ÙÔÏ‹ Î·È ∫·˘Î·ÛÈ·- ■ À¶√ ∆∏¡ ∞πƒ∂™∏ ∆∏™ ∆√Àƒ∫π∞™ ∏ §À™∏ ■ ∑∏∆∂π √¶ø™ ∏ ™Àªºø¡π∞ Ó‹ ÛÙÔÓ ∫·‡Î·ÛÔ». ∂Ã∂π ∆∏¡ ∂°∫ƒπ™∏ ∆ø¡ ∂°°À∏∆ƒπø¡ ¢À¡∞ª∂ø¡ ■ £∂§∂π ¢À¡∞∆√∆∏∆∞ π¡∞π º∞¡∂ƒ√ fiÙÈ Ë ∆Ô˘ÚΛ· ÂȉÈÒÎÂÈ ÙËÓ ¤ÓÙ·Í‹ Ù˘ ÛÙËÓ ∂.∂. Ì ÙÔ˘˜ ‰ÈÎÔ‡˜ Ù˘ fiÚÔ˘˜, Ì ٷ ‰Èο Ù˘ ÔÚ¿Ì·Ù·, ∂°∫∞∆∞™∆∞™∏™ ™∆∏¡ ∫À¶ƒ√, √¶ø™ ∏ ∂§§∞¢∞ ∫∞π √π ∞§§√π ∂Àƒø¶∞π√π ∂Ô˘ Â͢ËÚÂÙÔ‡Ó ÚÒÙ· ·’ fiÏ· ÙËÓ ›‰È· Î·È ¤ÂÈÙ· Ù· ·ÌÂ- ÚÈηÓÈο Û˘ÌʤÚÔÓÙ·. ™Â Û¯¤ÛË Ì ÙÔ ∫˘ÚÈ·Îfi, Ë ÙÔ˘ÚÎ΋ Ô- ÏÈÙÈ΋ ÂÓÙ¿ÛÛÂÈ ÙËÓ fiÔÈ· χÛË Û’ ·˘Ùfi ÙÔ ÁˆÛÙÚ·ÙËÁÈÎfi Ï·›- ÁÁÚ·ÊÔ Ì ı¤ÛÂȘ ÙÔ˘ ÙÔ˘ÚÎÈ- ÛÈÔ. £¤ÏÂÈ ÌÈ· ∫‡ÚÔ Ë ÔÔ›· Ó· ‚Ú›ÛÎÂÙ·È ˘fi ÙËÓ Â‹ÚÂÈ· Ù˘ ∂È̤ÓÔ˘Ó ÛÙ· ÎÔ‡ À¶∂•, ÙÔ ÔÔ›Ô ·Ôο- ÓÂÔ-ÔıˆÌ·ÓÈ΋˜ ÂÚÈÊÂÚÂȷ΋˜ ˘ÂÚ‰‡Ó·Ì˘. ŸÏ˜ ÔÈ ÂÓ¤Ú- EÏ˘„ ÙËÓ ∫˘Úȷ΋ Ë ÂÊËÌÂÚ›- ÁÂȘ Ù˘ ∆Ô˘ÚΛ·˜ ÛÙÔ ∫˘ÚÈ·Îfi Ô‰Â‡Ô˘Ó ÚÔ˜ ·˘ÙfiÓ ÙÔ ÛÙfi¯Ô. ¯ÚÔÓԉȷÁÚ¿ÌÌ·Ù· ‰· «ºÈÏÂχıÂÚÔ˜», ÂȂ‚·ÈÒÓÂÈ ● ™À¡∂Ã∂π∞ ™∆∏ ™∂§π¢∞ 5 fiÙÈ Ô ÛÙfi¯Ô˜ Ù˘ ÕÁ΢ڷ˜ Â›Ó·È Ô ∏ ‰È·‰Èηۛ· ÙˆÓ ·Â˘ı›·˜ ‰È·Ú·ÁÌ·- ÛÙÚ·ÙËÁÈÎfi˜ ¤ÏÂÁ¯Ô˜ Ù˘ ∫‡ÚÔ˘. Ù‡ÛÂˆÓ Â·Ó·Ú¯›˙ÂÈ Û‹ÌÂÚ·, Ì Ӥ· Û˘Ó¿- ∏ ÕÁ΢ڷ ÂȯÂÈÚ› Ó· ‰È·ÛÊ·- PROPERTY CENTRE ÓÙËÛË ÙÔ˘ ¶ÚÔ¤‰ÚÔ˘ ÃÚÈÛÙfiÊÈ· Î·È ÙÔ˘ ªÂ¯- ̤٠∞Ï› ∆·Ï¿Ù, ÛÙËÓ ·ÚÔ˘Û›· ÙˆÓ ∏ӈ̤- Ï›ÛÂÈ fiÙÈ ı· ¤¯ÂÈ fiÏ· Ù· ‰ÈηÈÒÌ·- PROPERTY CENTRE (LONDON) LTD ÓˆÓ ∂ıÓÒÓ. Ù· ÎÚ¿ÙÔ˘˜ - ̤ÏÔ˘˜ Ù˘ ∂.∂. ¤Ó·ÓÙÈ Ù˘ ∫‡ÚÔ˘, ÂȉÈÒÎÔÓÙ·˜ ÌÂٷ͇ ñ LETTINGS ñ SALES ñ PROPERTY MANAGEMENT ™ÙËÓ ·Ù˙¤ÓÙ· ‚Ú›ÛÎÂÙ·È ÙÔ ÎÂÊ¿Ï·ÈÔ Ù˘ √È- ÎÔÓÔÌ›·˜. ∆Ô˘˜ ‰È·Ú·ÁÌ·ÙÂ˘Ù¤˜ ¯ˆÚ›˙Ô˘Ó ÔÏ- ¿ÏÏˆÓ ÙËÓ Î¿ıÔ‰Ô ∆Ô‡ÚÎˆÓ ˘ËÎfi- we offer: Ϥ˜ ‰È·ÊÔÚ¤˜, ÁÂÁÔÓfi˜ Ô˘ Ô‰ËÁ› ÛÙÔ Û˘Ì¤Ú·- ˆÓ ÛÙÔ ÓËÛ›, Ì ÓfiÌÈÌÔ Ì·Ó‰‡· Î·È ñhigh rents ñfull management ÛÌ· fiÙÈ Î·È ·˘Ùfi ÙÔ ÎÂÊ¿Ï·ÈÔ ı· ÎÏ›ÛÂÈ Û‡ÓÙÔ- ·ÒÙÂÚÔ ÛÙfi¯Ô, ÙÔ ÛÙÚ·ÙËÁÈÎfi ¤ÏÂÁ- ñguaranteed rents Ì·, ·Ê‹ÓÔÓÙ·˜ ÙȘ ‰È·ÊˆÓ›Â˜ ÛÙÔ... «Î·Ï¿ıÈ». ¯Ô ÙÔ˘ ÓËÛÈÔ‡. ñproperty investments ñfull maintenance services ™‡Ìʈӷ Ì ÙÔ˘˜ ۯ‰ȷÛÌÔ‡˜ ÙˆÓ ∏ÓˆÌ¤ÓˆÓ ∂ıÓÒÓ, ÛÙȘ Ôԛ˜ ·Ó·Ê¤ÚıËÎÂ Î·È Ô ∆·Ï¿Ù, Â›Ó·È Ë ™‡Ìʈӷ Ì ÙÔ ¤ÁÁÚ·ÊÔ, Ô˘ ·- ñrenovations at very competitive prices ÔÏÔÎÏ‹ÚˆÛË ·˘Ù‹˜ Ù˘ Ê¿Û˘ Ù˘ ‰È·‰Èηۛ·˜ ÚÔ˜ Ù· Ù¤ÏË πÔ˘Ó›Ô˘. Ÿˆ˜ ·ӤϷ‚Â Ô Î·ÙÔ¯ÈÎfi˜ ÚÔ˘ÛÈ¿˙ÂÙ·È ÛÂ Û˘Ó·ÓÙ‹ÛÂȘ ∆Ô‡Ú- ËÁ¤Ù˘, ÚÔ˜ ÙÔ Ù¤ÏÔ˜ ÙÔ˘ ¯ÚfiÓÔ˘ ‹ ÙȘ ·Ú¯¤˜ ÙÔ˘ 2010, ı· ‰ÈÂÓÂÚÁËı› ‰ËÌÔ„‹ÊÈÛÌ· ÛÙÔ Ï·›ÛÈÔ Û˘Ì- 5 ASHFIELD PARADE, SOUTHGATE, LONDON N14 5EH ÎˆÓ ·ÍȈ̷ÙÔ‡¯ˆÓ Ì ͤÓÔ˘˜ (ÛË- ʈӛ·˜. ∏ ̤¯ÚÈ Û‹ÌÂÚ· ÔÚ›· ÙˆÓ ‰È·Ú·ÁÌ·Ù‡ÛÂˆÓ ‰ÂÓ ÂȂ‚·ÈÒÓÂÈ ·˘ÙÔ‡˜ ÙÔ˘˜ ۯ‰ȷÛÌÔ‡˜. (next to Southgate Tube Station) Ì›· Û˘˙‹ÙËÛ˘ – talk points), Ë ñ Tel: 020 8920 2040 ñ Fax: 020 8920 6567 øÛÙfiÛÔ, ·˘Ùfi ‰ÂÓ ÛËÌ·›ÓÂÈ fiÙÈ ‰ÂÓ ÌÔÚÔ‡Ó Ó· ÂÊ·ÚÌÔÛÙÔ‡Ó. ● ™À¡∂Ã∂π∞ ™∂§π¢∞ 3 VENUS WINE & SPIRIT MERCHANTS PLC Probably the biggest Cash & Carry of Wines - Beers & Spirits in England EXCLUSIVE DISTRIBUTORS OF TSANTALISWINES Venus House, Brantwood Road, London N17 0YD Tel: 020 8801 0011(8 lines) ñ Fax: 020 8801 6455 / 9898 2ñ∂§∂À£∂ƒπ∞ ¶¤ÌÙË 14 ª·˝Ô˘ 2009 ∂ ȉ‹ÛÂȘ √ ª∂ê∂∆ ∞§π ∆∞§∞∆ ™À¡∂Ãπ∑Eπ ∆√... Ã∞µ∞ ∆√À ∞ÓÔ›ÁÔ˘Ó Ù· ¯·ÚÙÈ¿ ÙÔ˘˜ ÔÈ ÈÛ¯˘ÚÔ› ÛÙËÓ ∞ı‹Ó· «√È ∆/Î ‰ÂÓ ı· ·Ô‰Â¯ÙÔ‡Ó Ï‡ÛË ™˘Ó‰ÚÈ¿˙ÂÈ ·fi Û‹ÌÂÚ· Ë §¤Û¯Ë ª›ÏÓÙÂÚ- ÌÂÚÁÎ ÛÙÔÓ «∞ÛÙ¤Ú·» µÔ˘ÏÈ·Á̤Ó˘ ¯ˆÚ›˜ ÂÁÁ˘‹ÛÂȘ Ù˘ ∆Ô˘ÚΛ·˜» ∞fi Û‹ÌÂÚ· (14/5) Î·È Ì¤¯ÚÈ ÙÔ ™¿‚‚·ÙÔ (16/5), Ë §¤Û¯Ë ª›Ï- Ë Ï‡Ë ÙÔ˘ ÁÈ· ÙÔ ÂÚȯfiÌÂÓÔ Ù˘ Û˘- ∏ ȉÈfiÙËÙ· ÙÔ˘ ̤ÏÔ˘˜ Ù˘ ∂˘Úˆ·˚΋˜ ŒÓˆ- ÚÔÛ¤ÁÁÈÛË, fiˆ˜ Î·È Ë ÂÌÌÔÓ‹ Ó· ·Ú·Ì›- ÓÙÂÚÌÂÚÁÎ ı· Û˘Ó‰ÚÈ¿˙ÂÈ ÛÙËÓ ∞ı‹Ó·, ÛÙÔÓ «∞ÛÙ¤Ú·» Ù˘ µÔ˘- Ó¤ÓÙ¢Í˘ ÙÔ˘ ÙÔ˘ÚÎÔ·ÚÈÔ˘ ËÁ¤ÙË Û˘ Â›Ó·È ·ÚÎÂÙ‹ Î·È ÈηÓÔÔÈËÙÈ΋ ÂÁÁ‡Ë- ÓÂÈ Ë ∫‡ÚÔ˜ Â۷› fiÌËÚÔ˜ Ù˘ ∆Ô˘ÚΛ·˜, ‰ÂÓ ÏÈ·Á̤Ó˘. ∏ §¤Û¯Ë ÂÈÛÙÚ¤ÊÂÈ ÛÙËÓ ∞ı‹Ó· ÌÂÙ¿ ·fi 16 ¯ÚfiÓÈ·. ∆ªÂ¯Ì¤Ù ∞Ï› ∆·Ï¿Ù ÛÙËÓ ÂÊËÌÂÚ›‰· ÛË ÁÈ· ÙÔ˘˜ ∫‡ÚÈÔ˘˜, ∂ÏÏËÓÔ·ÚÈÔ˘˜, ∆Ô˘Ú- Ô‰ËÁÔ‡Ó Ô˘ıÂÓ¿. ¶ÚÔËÁÔ‡ÌÂÓË Û˘Ó‰ڛ·Û‹ Ù˘ ‹Ù·Ó ÙËÓ ¿ÓÔÈÍË ÙÔ˘ 1993, › ΢- «∫·ıËÌÂÚÈÓ‹» Ù˘ ∫‡ÚÔ˘ ÂͤÊÚ·Û ÙË ¢Â˘- ÎÔ·ÚÈÔ˘˜, ª·ÚˆÓ›Ù˜, ∞Ṳ́ÓÈÔ˘˜ Î·È §·- √ ∆Ô˘ÚÎÔ·ÚÈÔ˜ ËÁ¤Ù˘, ªÂ¯Ì¤Ù ∞Ï› ∆·- ‚ÂÚÓ‹Ûˆ˜ ∫. ªËÙÛÔÙ¿ÎË. Ù¤Ú· Ô Úfi‰ÚÔ˜ ÃÚÈÛÙfiÊÈ·˜. Ù›ÓÔ˘˜. Ï¿Ù, ÛÂ Û˘Ó¤ÓÙ¢͋ ÙÔ˘ ÛÙÔÓ ‰È¢ı˘ÓÙ‹ Ù˘ √ ∫‡ÚÈÔ˜ Úfi‰ÚÔ˜, Û ÔÌÈÏ›· ÙÔ˘ Û ÂÎ- «∂›Ó·È ηÈÚfi˜ Ë ÌÈ· ÎÔÈÓfiÙËÙ· Ó· ÂÈ Û˘Á- ÂÊËÌÂÚ›‰·˜ «∫·ıËÌÂÚÈÓ‹» Ù˘ ∫‡ÚÔ˘, ∞Ó- ∆Ô˘ ·ÓÙ·ÔÎÚÈÙ‹ Ì·˜ ÛÙËÓ ∞ı‹Ó·, ‰‹ÏˆÛË Ô˘ ÔÚÁ¿ÓˆÛ ÙÔ ∞∫∂§ ÚÔ˜ ÙÈÌ‹ ÙÔ˘, ÁÓÒÌË ÛÙËÓ ¿ÏÏË ÁÈ· ÙÔ ‚·ıÌfi Ù˘ ¢ı‡Ó˘ ‰Ú¤· ¶·Ú¿Û¯Ô, ‰‹ÏˆÛÂ, ÌÂٷ͇ ¿ÏψÓ: ºø∆∏ Ã∞ƒ∞§∞ª¶π¢∏ ·¿ÓÙËÛ ÛÙȘ ı¤ÛÂȘ ÙÔ˘ Î. ∆·Ï¿Ù, ÂÈÛË- ÙÔ˘˜, ÁÈ· ÙËÓ ÙÚ·Áˆ‰›·, Ô˘ ¤ÏËÍ ÙÔÓ ÙfiÔ —∞fi ÙË ÛÙÈÁÌ‹, Ô˘ Ë ÂÏÏËÓÔ΢Úȷ΋ Ì·›ÓÔÓÙ·˜: Ì·˜ Ì ڈٷÁˆÓÈÛÙ¤˜ ͤÓÔ˘˜ Î·È Ó· ÎÔÈÙ¿- ¶ÔÈ¿ Â›Ó·È Ë Û˘ÁÎÂÎÚÈ̤ÓË §¤Û¯Ë Ô˘ Û˘Ó‰ÚÈ¿˙ÂÈ ÎÂÎÏÂÈṲ̂- ÏÂ˘Ú¿ ‰ÂÓ ‰¤¯ıËΠӷ ‰ËÌÈÔ˘ÚÁ‹ÛÔ˘Ì ÌÈ· —∆· ÂȯÂÈÚ‹Ì·Ù·, Ô˘ ÂÈÛÙÚ·Ù‡ÂÈ Ô Î. ÍÔ˘Ì ÌÚÔÛÙ¿», ˘ÔÁÚ¿ÌÌÈÛÂ Ô Úfi‰ÚÔ˜ Û˘ÓÔÌÔÛÔÓ‰›·, ÁÈ· Ó· ‰È·ÙËÚ‹ÛÔ˘Ì ÙËÓ ÓˆÓ ÙˆÓ ı˘ÚÒÓ Î·È Ù· ̤ÏË Ù˘ ··ÁÔÚ‡ÂÙ·È Ó· ÎÔÈÓÔÔÈ‹ÛÔ˘Ó ∆·Ï¿Ù ÁÈ· Ó· ·Û΋ÛÂÈ ÎÚÈÙÈ΋ ÛÙȘ ı¤ÛÂȘ Ì·˜ ÃÚÈÛÙfiÊÈ·˜. ÂÔÈÎÔ‰ÔÌËÙÈ΋ ·Û¿ÊÂÈ· ¯ÚËÛÈÌÔÔÈԇ̠ÙȘ Û˘ÓÔÌÈϛ˜ ÙÔ˘˜; Ÿˆ˜ ·Ó·Ê¤ÚÂÈ Ô Ú›ÁÎÈ·˜ ª¤ÚÓ¯·ÚÓÙ Ù˘ ÁÈ· ÙË ‰È·Î˘‚¤ÚÓËÛË Î·È ÙȘ ÂÁÁ˘‹ÛÂȘ ·- « ∂Ì›˜ ÔÈ ∂ÏÏËÓÔ·ÚÈÔÈ ·fi ÙÔ 1964, Ô˘ ÙÔÓ fiÚÔ "‰È˙ˆÓÈ΋, ‰ÈÎÔÈÓÔÙÈ΋ ÔÌÔÛÔÓ‰›·" √ÏÏ·Ó‰›·˜ ÁÈ· ÙËÓ ÚÒÙË ‰È¿ÛÎÂ„Ë Ù˘ ÔÌ¿‰·˜ «‰ÂÓ ˘‹Ú¯Â η- ÏËıÂ‡Ô˘Ó ÙËÓ ÔÚıfiÙËÙ· ÙˆÓ ÚÔÙ¿ÛÂˆÓ Ì·˜.
Load more

Recommended publications
  • Petr Eben's Oratorio Apologia Sokratus
    © 2010 Nelly Matova PETR EBEN’S ORATORIO APOLOGIA SOKRATUS (1967) AND BALLET CURSES AND BLESSINGS (1983): AN INTERPRETATIVE ANALYSIS OF THE SYMBOLISM BEHIND THE TEXT SETTINGS AND MUSICAL STYLE BY NELLY MATOVA DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Music with a concentration in Choral Music in the Graduate College of the University of Illinois at Urbana-Champaign, 2010 Urbana, Illinois Doctoral Committee: Associate Professor Donna Buchanan, Chair Professor Sever Tipei Assistant Professor David Cooper Assistant Professor Ricardo Herrera ABSTRACT The Czech composer Petr Eben (1927-2007) has written music in all genres except symphony, but he is highly recognized for his organ and choral compositions, which are his preferred genres. His vocal works include choral songs and vocal- instrumental works at a wide range of difficulty levels, from simple pedagogical songs to very advanced and technically challenging compositions. This study examines two of Eben‘s vocal-instrumental compositions. The oratorio Apologia Sokratus (1967) is a three-movement work; its libretto is based on Plato‘s Apology of Socrates. The ballet Curses and Blessings (1983) has a libretto compiled from numerous texts from the thirteenth to the twentieth centuries. The formal design of the ballet is unusual—a three-movement composition where the first is choral, the second is orchestral, and the third combines the previous two played simultaneously. Eben assembled the libretti for both compositions and they both address the contrasting sides of the human soul, evil and good, and the everlasting fight between them. This unity and contrast is the philosophical foundation for both compositions.
    [Show full text]
  • Contes Bretons De La Harpe Celtique Yvon Le Quellec
    Sommaire 32 HARPES D'EXIL BROCELIANDE le Festival Un chapitre du livre Musiciens, changez de "De la Source à l'Océan" Hubert, métier ! un loup en hiver Édito, par DS Aziliz Le Gallo The Mc Peake Family of Belfast Par Paul Wright Myrias Un nouveau duo pour Ameylia et Marie Contes Bretons de la Harpe Celtique Yvon Le Quellec Célébration du triangle Par AMADIS Harpes dans L'Ennedi Une chanson et une harpe par jour, avec François Pernel Cahier de musique : Les vertus du carbone Camac Odyssey Guillaume, Antoine et Pierre Par Jakez François Pour jouer léger ! Rêve pour demain Noël du Jura Alix Colin Pastiche de Nedeleg Yvon Le Quellec Port an deorai Se fath mo bhuartha François Hascoët Lemoni Peggy of Letermore Audrey Pierre Quel grand bruit ! Eva Fogelgesang Soazig Noblet Making Progress on the Irish Harp quelques liens Ma barre-lyre Reidun Lynch Yaouen le marin Khyunghee Kim Sutre Tianjin Academy Searching for the celtic spirit Daniel Perret Yoka Boka Jeff Mayors Elisabeth Collard La harpe au sein de l'orchestre Édito 32 : Musiciens, vous n'avez qu'à changer de métier ! Alors qu’une récente étude indiquait qu’un tiers des musiciens professionnels britanniques ont l’intention d’abandonner complètement leur carrière en raison des difficultés financières auxquelles ils sont confrontés depuis le début de la pandémie de coronavirus, Rishi Sunak le Chancelier de l’échiquier, au lieu de les rassurer, leur conseille de chercher du travail dans d’autres secteurs. Près de 400 musiciens britanniques, parmi lesquels la célèbre violoniste écossaise Nicola Benedetti, la clarinettiste Emma Johnson ou le violoncelliste Bill Barkley, ont manifesté ce matin devant le Palais de Westminster, siège du Parlement à Londres.
    [Show full text]
  • Lost Sounds of the Past Brought to Life (W/ Video, Audio) 31 August 2009
    Lost sounds of the past brought to life (w/ Video, Audio) 31 August 2009 In many respects, ASTRA’s Lost Sounds Orchestra is like any other orchestra — with real musicians, rehearsals and performances — except its goal is to offer its audience a completely new world of music. The sounds of the barbiton and the salpinx are currently being finalized, while a guitar player is familiarizing himself with both the epigonion and the barbiton using his specially adapted electric MIDI guitar, which has been programmed with the lost sounds. The sounds of even more instruments, such as an ancient lower Mediterranean frame drum, should also be completed by the end of An audience experiences “the sonic scenario of the summer. past.” Image courtesy Luca Petrella More information: www.lostsoundsorchestra.org/ Source: Enabling Grids for E-sciencE (EGEE) Salpinx, barbiton, aulos, syrinx. Never heard them? Never heard of them? Neither had anyone else, for centuries. Until now. These were all musical instruments, familiar to ancient civilizations but long since forgotten. Ancient instruments can be lost because they are too difficult to build, or too difficult to play, but they can be heard again thanks to the ASTRA (Ancient instruments Sound/Timbre Reconstruction Application) team. These researchers accomplish this feat using computer modeling and grid technology - the shared resources of a distributed network of hundreds of computers. Having successfully reconstructed the sound of an earlier instrument called the “epigonion,” ASTRA is working on a whole host of other lost instruments including the salpinx (a kind of ancient trumpet), the barbiton (an ancient base guitar), the aulos (an ancient oboe) and the syrinx (a pan flute).
    [Show full text]
  • Music of Ancient Greece & Music of Greek Antiquity
    www.anticopedie.net How did music sound in ancient Greece? Greece, its temples, its statues, its museums... A hurried tourist, even with a superficial look and having not thought about the history of Athenian democracy, its philosophers, its scholars and its great authors, soon will ask the question: but how did sound the music played by countless characters painted on vases, sculptures as bas-relief or statues, which hold in their hands strange instruments? Orpheus and his lyre, Pan and his flute, Apollo and his zither, statues or legends: music is everywhere. We may have a pretty good idea of musical instruments , so often depicted on vases, frescoes or sculptures. But still we must consider that the Greek history spreads over a long period, and the musicians of Cycladic statuettes (2700-2500 BC) have probably little in common with the ones of the classical and Roman times. Some rare archaeological finds – taking into account the fragility of the material – were discovered, and complement - and sometimes correct - this knowledge. Indirectly, quotes and comments on tragedies, comedies, poems and various literary texts also provide valuable elements. But the reconstruction of ancient music requires also the availability of music scores, and this is the most problematic point. Put it all together, in total, only about sixty musical documents were founds, many of them being torn, creased, written on delicate papyrus. The few texts engraved on stone steles, more complete, are of utmost interest. Researchers soon realized that the little signs written above the lines of texts should correspond to a musical notation. But how to transpose these signs on the five-line stave we use today, with bars, notes, rests and other symbols that seem so familiar to us? Fortunately, the musical theories developed by the Greeks are well known, which may seem surprising.
    [Show full text]
  • MA Orpheus by Brueghel 4 Abril 2021.Pages
    Beatriz González Crespo Matrikelnummer: 61800331 Music by Brueghel: Abstract, conceptual and allegorical musical iconography, and context in Orpheus singing before Pluto and Proserpina, by Jan Brueghel KMA Wissenschaftliche Arbeit zur Erlangung des akademischen Grades Master of Arts Des MasterstuDiums Violoncello StuDienkennzahl: RA 066 718 an Der Anton Bruckner Privatuniversität Betreut Durch: LaubholD, Lars-EdvarD Univ.Prof. Dr. Zweitleser: Körber, Till AlexanDer Ao.Univ.Prof. Mag. Linz, 8. April 2021 ANTON BRUCKNER PRIVATUNIVERSITÄT für Musik, Schauspiel und Tanz Hagenstraße 57 I 4040 Linz, Österreich I W www.bruckneruni.at !2 INDEX 1. Index ………… 3 2. Introduction ………… 5 3. Prologue ………… 8 PART 1: 4. Biography: Life and trajectory ………… 16 5. Historical and Musical Chronology ………… 18 6. His work ………… 20 PART 2: 7. Music and allegories ………… 24 8. Brueghel & Music ………… 29 9. Clarifications for the reader ………… 30 10. Orpheus singing before Pluto and Proserpina ………… 31 11. Conclusions ………… 50 APPENDIX: 12. Full painting ………… 52 13. Bibliography ………… 53 !3 !4 INTRODUCTION In this work we have as a reference the painting of "Orpheus singing before Pluto and Proserpine" by Jan Brueghel and we talk about the use by the painter of abstract and/or conceptual musical iconography. As it is in the cases that are treated: - The creatures with a musical aspect/allegory that appear, and - The harp, a musical instrument placed and represented in a different way and with different purposes. The context of the work of art is also dealt with, in terms of the theme and also in musical terms, in this case the Greek myth of Orpheus in Hell, necessary to see the repercussions that this has on its musical content.
    [Show full text]
  • Download Scans
    Y. A. S. van SCHAIK yie U w Muzikaal WOORDEN30EK ToZZO, TZAJ-t NIEF\V BERNOPT EN VOLLEDIG JZIKAAL WOORDENBOEK ENEVENS EE OV EE, RZICHT VAN DE Grondbeginselen der Toorikunst. BEWERKT DOOR K. v. M. Met vier Muziektafelen. DERDE DRUK. Om gewerkt en vermeerderd door J. A. S. VAN SCHAIK. en aanbevolen door de lieeren 0. A. IIEINZE, A. WORP, FRANS COENEN, W. F. 0. NICOLAÎ, RTCTIARD HOL, H. A. METJROOS. CULEI\IBORG, BLOM & OLIVIERSE 1891. DRUK VAN MOUTON & Co. DEN HAAG. BEOORDEELING EN AANBEVELING van den eersten druk van dit NIEUW BEKNOPT EN VOLLEDIG MUZIKAAL WOORDENBOEK, BENEVENS EEN OVERZICHT VAN DE GRONDBEGINSELEN DER TOONKUNST. De Ondergeteekende heeft met belangstelling eenige afgedrukte bladen van het Nieuw Beknopt en Volledig Muzikaal Woordenboek enz. leeren kennen, en durft vertrouwen, dat het aan allen, die de toonkunst beoefenen, hoogst welkom zal zijn, vooral daar het, volgens zijn oordeel, de verdiensten bezit van wezenlijk beknopt en volledig te zijn. AMSTERDAM, October 1855. J. J. VAN BREE. Het hier aangeboden werkje Nieuw Beknopt en Volledig Muzikaal Woordenioek enz. is ondanks zijne beknoptheid over het geheel doelmatig bewerkt, bevat vele duidelijke inlichtingen, en zelfs hier en daar zeer gepaste omschrijvingen en uitweidingen. ik voldoe dus gaarne aan het verlangen van den Uitgever met deze mijne bevinding openbaar te maken, en aan onze geachte niuziekwereld dit werkje wegens zijn veelzijdig nut aan te bevelen. AMSTERDAM, October 1855. WILH. SMITS. Na het Nieuw Beknopt en Volledig Muzikaal Woordenboek enz. te hebben doorloopen, kan ik niet nalaten, hetzelve als zeer doelmatig aan Componisten, Executanten, Dilettanten en Muziekscholen aan te bevelen, te meer daar er een dusdanig werk, voor zoo verre mij bekend is, in het Nederduitsch niet bestaat.
    [Show full text]
  • Der Ursprung Der Musik 10
    DIPLOMARBEIT Titel der Diplomarbeit „Gitarrenbau – Ein historisch-terminologischer Vergleich Deutsch / Englisch / Ungarisch“ Verfasser Szabolcs Istvan Reti Angestrebter akademischer Grad Magister der Philosophie (Mag.phil.) Wien, 2009 Studienkennzahl lt. A 324 381 342 Studienblatt: Studienrichtung lt. Übersetzerausbildung (Stzw) Studienblatt: Betreuerin / Betreuer: Univ. -Prof. Dr. Gerhard Budin 1 Inhaltsverzeichnis Vorwort 1. Einleitung 1.1. Allgemeine Konstruktion der Gitarre 7 1.2. Der Ursprung der Musik 10 1.3. Die Entstehung der frühesten Musikinstrumente 12 1.4. Der Musikbogen – das erste Saiteninstrumente 13 2. Saiteninstrumente in der Antike 2.1. Saiteninstrumente der Sumerer 15 2.2. Spießhalslauten der Hethiter und Babylonier 17 2.3. Saiteninstrumente der Ägypter 19 2.4. Zupfinstrumente im antiken Griechenland 20 2.5. Instrumente der Römer 23 2.6. Saiteninstrumente im Perserreich 24 2.7. Der Koboz – Ein Volksinstrument der Ungarn 26 3. Aufstrebende weltliche Musik im Mittelalter 3.1. Zupfinstrumente der Germanen 29 2 3.2. Leier und Harfe auf der Britischen Insel 30 3.3. Der Oud auf dem Weg ins Abendland 32 3.4. Maurische Einflüsse 3.4.1. Frühe Textquellen 35 3.4.2. Bildliche Darstellung maurischer und spanischer 37 Saiteninstrumenten 3.4.1.1. Die Laute 38 3.4.1.2. Guitarra morisca und Guitarra latina 39 3.4.1.2.1. Vihuela – gestrichen und gezupftt 41 3.5. Saiteninstrumente im Hochmittelalter Europas 43 3.5.1. Spanien 44 3.5.2. Frankreich 45 3.5.3. Deutschland 46 3.5.4. Ungarn 49 3.5.5. England 51 3.6. Terminologischer Diskurs über die Bezeichnung 52 ähnlicher Instrumente 3 4. Saiteninstrumente der Renaissance 4.1.
    [Show full text]
  • Dicţionar De Instrumente Muzicale
    Valeriu Bărbuceanu Dicţionar de instrumente muzicale © 2015. Casa de Editură GRAFOART Toate drepturile rezervate pentru prezenta traducere. Descrierea CIP a Bibliotecii Naţionale a României BĂRBUCEANU, VALERIU Dicţionar de instrumente muzicale / Valeriu Bărbuceanu ; ed.: Matei Bănică. - Bucureşti : Grafoart, 2014 ISBN 978-606-8486-86-4 I. Bănică, Matei (ed.) 81'374.2:681.81=135.1 ISMN: 979-0-707653-50-0 Editura Muzicală GRAFOART Str. Braşov nr. 20, sector 6, Bucureşti Tel.: 0747 236 278 ; fax.: 0318 15 15 13 Comenzi online: www.LIBRĂRIAMUZICALA.ro Valeriu Bărbuceanu Dicţionar de instrumente muzicale Editura Muzicală GRAFOART PREFAŢA AUTORULUI Scopul DICŢIONARULUI DE INSTRUMENTE MUZICALE este de a informa despre un domeniu mai puţin cunoscut al muzicologiei, şi anume – organologia, care se ocupă cu descrierea şi istoria instrumentelor întâlnite în practica muzicală universală. Cuvântul-titlu indică numele instrumentului, însoţit de sinonime şi de corespondentul său în cel puţin 5 limbi: italiana, franceza, germana, engleza, spaniola etc. În cazul instrumentelor exotice, de provenienţă extraeuropeană, am respectat echivalenţa relativă a sistemelor de transliterare a grafiei latine adoptate de publicaţiile de specialitate cercetate. Conceptul general al lucrării se bazează pe descrierea şi istoricul instrumentului, repere minime de instrumentaţie, notaţie muzicală, întindere scrisă diatonică sau cromatică, efectul sonor real (în cazul instrumentelor transpozitorii), limite optime de folosire, structura fiecărei partide de instrumente din orchestra simfonică. Fiecare articol a fost redactat şi extins după caz, respectând cu rigurozitate o schemă-tip de desfăşurare. Am inclus muzicieni interpreţi din România, din muzica cultă, populară, uşoară şi de jazz, dintre cei cu o activitate artistică de prestigiu, naţională şi internaţională. La sfârşitul lucrării se află o bibliografie selectivă şi un cuprinzător index de nume de persoane.
    [Show full text]
  • Lyre 2.0* Project
    the Lyre 2.0* * Project Re-Inventing an Ancient Greek artifact and Re-Introducing it as a product to the World Market by Nikolaos Koumartzis “So then, I will give you this lyre, glorious son of Zeus…” Homeric Hymn to Hermes, line 490 Get to know the project in just 2 minutes: http://vimeo.com/user24775202/lyre2 (password; lyra20ihu) The “Chelys” version of the “Lyre 2.0” final product. Abstract n this dissertation thesis, the author presents a design project that its scope is to reconstruct different versions of the ancient music instrument known as “lyre”, based on the study of ancient sources and current research papers. The goal is reintroduce the “Lyre of IHermes” (or the “Lyre of Apollo” if you prefer) to the global market of professional musicians, replica’s collectors and admirers of the ancient Greek civilization. By combining expert’s experience and latest technology in different fields –such as traditional luthiers,1 3d scanning and printing equipment (provided by the International Hellenic University, Thessaloniki), 3d drawing software packages, audio engineers and researchers, an anechoic chamber at the Electronic Media Lab (Aristotle University of Thessaloniki) etc.–, the author explains how the first lyres were actually being produced and how they were tested so as to scientifically define their sound quality. Last, all the presented research data and theories were applied in practice, as among the deliverables of this design project are actual and top-quality different versions of the lyre: the “Chelys Lyre 2.0” and the “Barbiton Lyre 2.0”. 1 A luthier is someone that constructs music stringed music instruments (i.e.
    [Show full text]
  • ALICE2 Seeks to Include Honduras
    ALICE2 seeks to include Honduras The ASTRA project Recovering the sounds that times gone by erased from our historical memory CLARA’s birthday June 2009 - Year 5, Nº 19 The DeCLARA bulletin is made in the framework of the dissemination actions of ALICE2, a Project co-funded by the European Commission through the @LIS2 Programme. This project is funded A project implemented by the European Union by CLARA European Commission Press Contact: EuropeAid Cooperation María José López Pourailly Office PR & Communications Directorate B2 - Latin America Manager - CLARA @LIS Programme maria-jose.lopez@redclara. Rue Joseph II, 54 J54 4/13 net B-1049 Brussels (+56) 2 337 03 57 BELGIUM Canadá 239, Providencia Santiago CHILE «The European Union is made up of 25 Member States who have decided to gradually link together their know- how, resources and destinies. Together, during a period of enlargement of 50 years, they have built a zone of stability, democracy and sustainable development whilst maintaining cultural diversity, tolerance and individual freedoms. The European Union is committed to sharing its achievements and its values with countries and peoples beyond its borders». The European Commission is the EU’s executive body. Contents 4 Editorial 5 June 10 CLARA’s birthday 8 E-CienciAL Project approved for a second term Global e-Infrastructure Networking Event I: An opportunity to 10 establish new contacts and to create connections 12 ALICE2 seeks to include Honduras 14 ALICE2 had its place in TNC2009 Working to make a dream come true FEAST, more
    [Show full text]
  • Music and Society in Longus' Daphnis and Chloe and Alciphron's Epistulae
    Washington University in St. Louis Washington University Open Scholarship Arts & Sciences Electronic Theses and Dissertations Arts & Sciences Spring 5-2020 Music and Society in Longus' Daphnis and Chloe and Alciphron's Epistulae Ian B. McNeely Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/art_sci_etds Part of the Classical Literature and Philology Commons Recommended Citation McNeely, Ian B., "Music and Society in Longus' Daphnis and Chloe and Alciphron's Epistulae" (2020). Arts & Sciences Electronic Theses and Dissertations. 2041. https://openscholarship.wustl.edu/art_sci_etds/2041 This Thesis is brought to you for free and open access by the Arts & Sciences at Washington University Open Scholarship. It has been accepted for inclusion in Arts & Sciences Electronic Theses and Dissertations by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Department of Classics Music and Society in Longus’ Daphnis and Chloe and Alciphron’s Epistulae by Ian McNeely A thesis presented to The Graduate School of Washington University in partial fulfillment of the requirements for the degree of Masters of Arts May 2020 St. Louis, Missouri © 2020, Ian McNeely Table of Contents Acknowledgments ..........................................................................................................................iv Introduction .....................................................................................................................................1
    [Show full text]
  • Medieval Instruments
    Medieval Instruments A Wikipedia Compilation by Michael A. Linton Contents 1 Adufe 1 1.1 History ................................................. 1 1.2 Features ................................................ 2 1.3 See also ................................................ 2 1.4 References ............................................... 2 2 Piffero 3 2.1 Other uses of the term piffero ..................................... 4 2.2 Notes ................................................. 4 2.3 External links ............................................. 4 3 Citole 6 3.1 British Museum citole ......................................... 6 3.2 External links ............................................. 6 3.3 References ............................................... 6 4 Crumhorn 8 4.1 Terminology .............................................. 8 4.2 Description .............................................. 9 4.3 Different sizes ............................................. 9 4.4 Literature for crumhorn ........................................ 9 4.5 References .............................................. 9 4.6 Sources ................................................ 9 4.7 Further reading ............................................ 10 4.8 External links ............................................. 10 4.8.1 Media ............................................. 10 4.8.2 Encyclopedias ......................................... 10 5 Cymbal 11 5.1 Etymology .............................................. 11 5.2 Anatomy ..............................................
    [Show full text]