Music, Language & Identity in Modern Greece

Music, language & identity in modern Greece Defining a national art music in the 19th & 20th centuries

Conference programme 8-10 May 2015 Athens

• Venues • • one basedintheUK, other inGreece, for their generous which financialsupport hasmade itpossible: running of theconference andthetwo accompanying We concerts. are especiallygrateful to our two sponsors,the We would like to extend our warmest thanksto allthose who have contributed to theplanning, organising and Greece, each with itsuniqueandlonghistory inthestudyandpromotion of Greek culture. This isthefirstcollaborative venture by three renowned educational and research institutions intheUK and modern Greece: musicinthe19thand20thcenturies’. Defininganational art School atAthens we are delighted to welcome you to theinternational conference ‘Music, language&identity in On behalf of King’sCollegeLondon(Centre for HellenicStudies),theAthens Conservatoire, andtheBritish Welcome © 2014BenakiMuseum,Athens, reproduced by permission Front cover: detailfromNikolaos Gyzis(1842-1901): Study for 0.11 thepainting‘Harmony’,1893.Oilpainting, x0.11 m.(Inv. No.23260) Conference bookletandpublicitydesignedby WM Pank (Faculty &Humanities,King’sCollegeLondon) ofArts Tania Gerousi (British SchoolatAthens) Dimitrios Marinos (TheAthens Conservatoire) Pelagia Pais, Alex &HumanitiesCreighton Research (Arts Institute, King’sCollegeLondon) Administrative support Nikos Tsouchlos (President, the Athens Conservatoire, andAssociate Professor, IonianUniversity, Corfu) Polina Tambakaki College, University of Oxford, andProfessor of ClassicalArchaeology, King’sCollegeLondon) Catherine Morgan (OBE, Director of theBritish SchoolatAthens, Senior Research Fellow designate, AllSouls Roderick Beaton Organising Committee Panos Vlagopoulos (AssistantProfessor, Department of Music Studies,IonianUniversity, Corfu) Hellenic Studies,King’sCollegeLondon) Polina Tambakaki (George Seferis Research Associate inModernGreek andComparative Literature, Centre for StokesMartin (FBA, KingEdward Professor of Music, King’sCollegeLondon) King’s CollegeLondon) Katerina Levidou (Postdoctoral Fellow, University of Athens, andVisiting Fellow, Centre for HellenicStudies, Centre for HellenicStudies,King’sCollegeLondon), Chair Roderick Beaton (FBA, Koraes Professor of ModernGreek andByzantine History, LanguageandLiterature, Academic Committee •

The Ouranis Foundation ( The SchilizziFoundation The British SchoolatAthens, 52SouidiasStreet, Athens 10676 Sunday 10May 2015: 17-19 Vassileos Georgiou IIandRigillisStreet, Athens 10675 The Athens Conservatoire, ArisGaroufalis Hall, Concert Friday 8–Saturday 9May 2015: Ίδρυμα ΚώστακαιΕλένηςΟυράνη Ίδρυμα ) 1 Music, language & identity in modern Greece – May 2015 2 Music, language & identity in modern Greece – May 2015 Xepapadakou, Avra (Lecturer, Theatre andCinemaStudiesMusicology, University of Crete) Xanthoudakis, Haris (Professor, Department of Music Studies,IonianUniversity, Corfu) Vouvaris, Petros (AssistantProfessor, University Department of Music ScienceandArt, of Macedonia) Vlagopoulos, Panos (AssistantProfessor, Department of Music Studies,IonianUniversity, Corfu) Tsetsos, Markos (Associate Professor of theAesthetics of Music, National andKapodistrianUniversity of Athens) Hellenic Studies,King’sCollegeLondon) Tambakaki, Polina (George Seferis Research Associate inModernGreek andComparative Literature, Centre for Siopsi, Anastasia(Professor, Department of Music Studies,IonianUniversity, Corfu) Romanou, Katy(Associate Professor, Music, European University of Cyprus) Rentzou, Effie(Associate Professor of French andItalian,Princeton University) Pillinger, Emily(Lecturer inGreek andLatin LanguageandLiterature, King’sCollegeLondon) Moore, Keith (Composer, Athens) Mantzourani, Eva (Visiting Lecturer, CityUniversity London) Maliaras, Nikos (Professor of Historical Musicology, National andKapodistrianUniversity of Athens) Mackridge, Peter (EmeritusProfessor of ModernGreek, University of Oxford) University of Oxford) Lingas, Alexander (Senior Lecturer, CityUniversity London,andFellow, European Humanities Research Centre, King’s CollegeLondon) Levidou, Katerina (Postdoctoral Fellow, University of Athens, andVisiting Fellow, Centre for HellenicStudies, Kardamis, Kostas (Lecturer, Department of Music Studies,IonianUniversity, Corfu) Frolova-Walker, Marina (FBA, Professor inMusic History, University of Cambridge) Fitzgerald, William (Professor of Latin LanguageandLiterature, King’sCollegeLondon) Scientific Research (CNRS), Paris) Corbier, Christophe (Centre deRecherche etleLangage(CRAL), sur lesArts French National Centre for Christodoulou, Nikos (Conductor andcomposer, Athens) Chardas, Kostas (Lecturer, School of Music Studies,Aristotle University of Thessaloniki) Burnham, Scott(ScheideProfessor of Music History, Princeton University) Speakers Stokes, (FBA, Martin KingEdward Professor of Music, King’sCollegeLondon) the International Advisory Board, Centre for HellenicStudies,King’sCollegeLondon) Kapsalis, Dionysis (Poet, Director, Cultural Foundation of theNational Bank of Greece (MIET),andmember of Centre for HellenicStudies,King’sCollegeLondon) Beaton, Roderick (FBA, Koraes Professor of ModernGreek andByzantine History, LanguageandLiterature, Municipal andRegional Theatre) Abazis, Thodoris(Theatre Director-Composer, theAthens Conservatoire; Director Artistic of thePatras Round Table Keynote speaker Seiragakis, Manolis(Lecturer, Theatre andCinemaStudiesMusicology, University of Crete) Sampanis, Konstantinos (Visiting lecturer, Department of Music Studies,IonianUniversity, Corfu) Papastoitsi, Tatiana (Postgraduate student,Department of Music Studies,IonianUniversity, Corfu) Kourmpana, Stella (PhDcandidate, Department of Music Studies,IonianUniversity, Corfu) Daskalopoulos, Panayiotis (independentscholar) Charkiolakis, Alexandros (MIAM-Centre for Advanced StudiesinMusic, IstanbulTechnical University) The Athens Conservatoire Archive panel Giorgos Couroupos (Composer Director andArtistic Hall,MMA) of theAthens Concert

8.00-9.30 6.30-7.30 6.00-6.30 5.00-6.00 4.30-5.00 3.00-4.30 2.45-3.00 2.00-2.45 17-19 Vassileos Georgiou IIandRigillisStreet, Athens 10675 Athens Conservatoire,The Hall Aris Garoufalis Concert Friday 8May 2015 Full ConferenceProgramme Concert. Academica Athens Orchestra Keynote speech:Giorgos Couroupos Break (tea andcoffee provided) Markos Tsetsos: Nation and value inGreek music An impossibletask Katy Romanou: Initiating national musichistory on theeve end of ‘the of Music History’: Session 2.Rethinking national musichistory vis-à-vis thecanon ofWestern art music (ii) Break (tea andcoffee provided) Alexander Lingas:Byzantine chantandthecanon of Western music art Keith AMoore: Arguing thesound of modernGreece: Silenthistories andPlatonic evolutions in Fétis andPaparrigopoulos Session 1.Rethinking national musichistory vis-à-vis thecanon ofWestern art music(i) Welcome: Nikos Tsouchlos Registration Programme Conductor Ancientmusic, AgainstKarl Müller: DorismandGreekChristophe Corbier: Otfried identity Pyotr Ilyich Tchaikovsky: Serenade for Strings Nikos Skalkottas: Five Greek Dances Dimitrios Lialios:Serenade for String Orchestra Dionysios Lavrangas: Intermezzo Lirico Nikos Athinaios 3 Music, language & identity in modern Greece – May 2015 4 Music, language & identity in modern Greece – May 2015 2.30-4.00 1.00-2.30 11.30-1.00 11.00-11.30 9.30-11.00 9.00-9.30 17-19 Vassileos Georgiou IIandRigillisStreet, Athens 10675 Athens Conservatoire,The Hall, Aris Garoufalis Concert Saturday 9May 2015 Full ConferenceProgramme 7.30-8.30 6.45-7.30 4.30-6.45 4.00-4.30 Peter Mackridge: ‘ Session 5.Poets &music Lunch break(sandwichlunchprovided) aloud iii. Themusicofpoetry –ScottBurnham:Between cantation andincantation: DylanThomas deadpan: Between boredom andsublimityinErikSatie’s Socrate ii. Twentieth-century –William music&classical reception Fitzgerald: Classicism’s the Soviet Republics (1940-1952) i. Nationalism &music–Marina Frolova-Walker: Managingnational musics:StalinPrizesfor Session 4. Comparative cases Break (tea andcoffee provided) during the‘long19thcentury’ Kostas Kardamis: Of odes, anthemsandbattlesongs:Creating citizens through musicinGreece century’ Avra Xepapadakou: Recondita Armonia: song,Opera, andGreek art poetryduringthe‘long19th inGreece,musical art 1800-1840 Haris Xanthoudakis:Theidealmusicfor areborn nation: Statements andreforms concerning Session 3.Music forarebornnation: Practices & Registration Georgios Axiotis andDimitriMitropoulos Songs by Georgios Lambelet,Dionysios Lavrangas, Alexandros Greck, ManolisKalomoiris, with theparticipation of studentsand teachers of theAthens Conservatoire Concert: Works for voice andpiano from theAthens Conservatoire Archive, Break (tea andcoffee provided) Alexandros Charkiolakis: MikisTheodorakis’ diplomasandearly compositions Marsick (1908-1922) Panayiotis Daskalopoulos: TheAthens Conservatoire Orchestra under thedirection of Armand Tatiana Papastoitsi: Andronica (1905?)by Alexandros Greck: Arediscovered ‘national’ opera 19th-century Athens Konstantinos Sampanis:TheAthens Conservatoire (1874-1900):Mappingmusicaltaste in Concerts Contest’ (1873) Manolis Seiragakis: Theteaching of drama intheAthens Conservatoire andthe‘Syngronymos the middleclass:Musical education asanational demand Stella Kourmpana: General presentation of theAthens Conservatoire Archive –Amusicalschool for Athens Conservatoire Archive Session 6.A Conservatoire forthecapital ofthe Greek State: Snapshots from the Break (tea andcoffee provided) Effie Rentzou:Cansurrealism sing?Nikos Gatsosandsong-writing Polina Tambakaki: Reading Polylas’ ‘Prolegomena’ (1859):Greekness, poetryandmusic Seferis Τα τραγούδιαμουτα’λεγεςόλα ’: Poetry, languageandsongfrom Solomosto ideologies 6.30-8.30 5.00-6.30 4.30-5.00 2.30-4.30 1.00-2.30 12.00-1.00 11.30-12.00 10.00-11.30 9.45-10.00 9.00-9.45 The British SchoolatAthens, 52SouidiasStreet, Athens 10676 Sunday 10May 2015 Full ConferenceProgramme Buffet Dinner StokesMartin Dionysis Kapsalis Roderick Beaton Thodoris Round Table – Closing oftheconference Abazis Break (tea andcoffee provided) Petros Vouvaris: Lonelinessasstyle:Skalkottas reads Esperas Nikos Skalkottas Eva Mantzourani: AGreek ambivalence icon? Opportunism, andidentity inthemusic of homeland andepoch Katerina Levidou: Amuseum of Greekness: Skalkottas’ 36Greek Dances asarecord of his Nikos Christodoulou: Skalkottas’ 36Greek Dances: Idea andform Session 9.Nikos Skalkottas Lunch break(sandwichlunchprovided) The case of Petros Petrides Nikos Maliaras: Discussingconditions for Greek National Music from adifferent point of view: Panos Vlagopoulos: Not Kalomoiris’National Music: The Aramis-Samaras project Session 8.Manolis Kalomoiris&beyond Break (tea andcoffee provided) Kostas Chardas: Performing (ancient) Greek Modernism Emily Pillinger: Xenakis’ estranged Kassandra of ancientdrama duringthefirsthalf ofthe20thcentury Anastasia Siopsi: On thequestion of therelationship between musicand words inGreek productions Session 7. Music &ancient Greek dramain20th-century performance Welcome: CatherineMorgan Registration 5 Music, language & identity in modern Greece – May 2015 6 Music, language & identity in modern Greece – May 2015 construction, relation to folk songs and orchestration. in itsentirety. Thepaper focuses on aspects of the work’s extraordinary originality regarding form, thematic dances, which are themost well-known Greek classicalmusicpieces,the work remains elusive andalmostunknown Skalkottas’ untimely death). An official, critical edition islacking. Even in Greece, despite thepopularity of a few in regard to itstext (withthelate revision of twenty dancesbeingnotfinalisedinaclearly-written score owing to an enigmatic character inregard to itsrelation to folk music(even with theinvented names of several dances)and traditional melodiesandtheir elementsasthematic andmotivic kernels to constructhis own themes.The work has of the36Dances Skalkottas refers to Greek folk songs, while in11hecreates his own themes.Healways usesthe ‘monothematic’; formal evolution isgenerated by ‘developmental variation’ of themaintheme andmotifs. In25 a) eachDancehasits own individual form, andb) these36different forms, ordered inthree series, are essentially other composers,regarding both theform andthetreatment of folk material. Itsprimary feature isitsformal design: his creative life. The work isuniqueinitsconception and is fundamentallydifferent from all folk-related dances by same time. One of hisgreatest works, the36Greek Dances, kept himperiodicallybusyfrom to thestart theend of Skalkottas isarare case of apioneer composer who explored allmodernstyles of hisage, atonal andtonal, atthe Skalkottas’ 36Greek Dances:Idea andform Nikos Christodoulou his teachers, colleaguesandtheatmosphere of theAthens Conservatoire atthetime. information abouthiscompositionalimportant sources of inspiration duringthoseearly years, takinginto account composer helater became. I will investigate thearchival material for hiseducational history, in order to find Conservatoire Archive. Mymainaim will beto trace back intime thoseelementsthatmade Theodorakis the years of hispupilageattheAthens Conservatoire. For this,I will beusingthe valuable resources of theAthens among others. Inthispaper I will focus on anaspectthathasnotbeenthoroughly dealt with so far, namelythe One couldclaimthatMikisTheodorakis possesses various identities: composer, politician, thinker, revolutionary, and early compositions Theodorakis’ diplomas Mikis Alexandros performance practice for ancientGreek drama. performance of Greek Modernistmusical works thathave direct or indirect reference to Greek antiquity andthe and 1970s,thispaper examines thephysical/experiential, aesthetic/expressive andsemantic exchanges between the on theideasandpractices thatsurrounded theact of performance duringtheGreek Modernistheyday of the1960s Modernist excursion of theearly 1950supto the1970s.Bydiscussing outcomes of an ongoing research project As Ihave shown inmy recent research, Greek antiquity hasastrong andgrowing presence within theGreek Performing (ancient) Greek Modernism Kostas poems. shaping. Along the way, I will also consider some of DylanThomas’ own wry comments on thereading aloud of his rhythm, andform, attending throughout to melody, breathing, attack points,climaxes, andbothlocalglobal and style(‘Fern Hill’,‘And DeathShallHave No Dominion’), I will offer amusicalanalysis ofpitch, tempo, of DylanThomasreading his own poetry. Focusing on hisperformances of two poemsthatcontrast incontent In thispaper, Imeanto address themusic of one of poetry’sgreat voices, by listening closelyto several recordings Between cantation andincantation: DylanThomasaloud Scott Burnham Abstracts Chardas Charkiolakis Abstracts that emerge from published sources, andthebehind-the-scenes discussionsthatare available to usthrough verbatim Leningrad, butalso towards rewarding the‘national’ periphery. Thispaper will examine boththepatterns of awards 1940 to 1952and were from thebeginning oriented not only towards celebrating theachievements of Moscow and which makes this competition particularly visible isthat of theStalinPrizes, which were awarded annuallyfrom or even with theBaltic republics, which had highlydeveloped symphonicand opera traditions. One perspective expected to excel on the operatic stagenext to themuchmore thoroughly westernized Georgia andArmenia, platform. Inthisparadoxical situation, the only recently nomadic cultures of Kazakhstan or Kirghizstan were situation where hugelydiverse ‘national republics’ found themselves competing with each other on the same The Soviet nationalities policy of building cultures thatare ‘national inform, socialistincontent’ resulted ina Managing national musics:StalinPrizesfor theSoviet Republics (1940-1952) Marina Frolova-Walker of ancientAthens meetthedeadpan irony of avant-garde Paris? characteristics of Satie’s ‘white classicism’ inthisdecidedlyundramatic butmoving work. Where doesthe eironeia Socrates, Satie develops auniqueapproach to theideal of classicalsimplicity. Mypaper will consider some of the his ‘Symphonic Drama’ Socrate (1919).Inthis work, which setsthe words of Plato to present aportrait of In acharacteristic gesture, bothironic andsincere, Satie claimedto have eaten only white foods while composing Classicism’s deadpan: Between boredom andsublimityinErik Satie’s Socrate William Fitzgerald variety of itsrepertoire. (KOA) in1942–asregards thenumber andtheprofessional quality of themusicians,as well asthebreadth and present themultifaceted evolution of the orchestra – which was destined to becometheAthens State Orchestra symphonic orchestra, that‘could stand anywhere’ (inthe words of CamilleSaint-Saëns).Thispaper will tryto contributed to improving thestandard of the orchestra, which, inlessthan 15years, becameahigh-level professional example was hispupil(inbothMusic Theory andConducting) DimitriMitropoulos –Marsick significantly presence attheConservatoire was variously fruitful.Inaddition to histeaching – of which themostadmirable at theAthens Conservatoire, theinstitution’s orchestra was anelementary studentinstrumentalgroup. Marsick’s come asateacher of Music Theory(Harmony, Counterpoint, Fugue), Composition and Orchestral Conducting When in1908,Georgios Nazos,thedirector of theAthens Conservatoire, invited ArmandMarsick (1877-1959)to The Athens Conservatoire Orchestra under the direction of ArmandMarsick (1908-1922) Panayiotis Daskalopoulos ideological conception of the‘Great Idea’ and of Greek identity inmoderntimes. music, so thathisanalysis of ancientmusic inHistoire delacivilisation hellénique (1878) was closelylinked to his des Hellenismus, Paparrigopoulos saw the‘Dorianmode’ andthe whole of Greek lyrical poetryaspart of Oriental Like Fétis, Paparrigopoulos was also opposed to Müller’s views on Dorianmusic. Afterheread Droysen’s Geschichte anthropology. According to him,Greek music was but was notanaboriginalart deeplyrooted in Oriental music. In hisHistoire générale delamusique (1869-1872),Fétis analyzedGreek musicinthelight of general history and asthepurestarts expression of Hellenism,thesetheories were vividly criticized by Fétis andPaparrigopoulos. Müller. Whereas Bourgault-Ducoudray andGevaert agreed with Müller’s theoriesaboutDorianmusicand answered thisquestion by discussingthebooks of one Germanphilologists,Karl of themostimportant Otfried the secondhalf of the19thcentury, two major historians, François-Joseph Fétis andKonstantinos Paparrigopoulos, continuity of Greece; musicprovided evidence to thisideology. support But what was ancientGreek musiclike? In modern folksong: between antiquity andmoderntimes, inthefield ofmusic, there was no rupture because ofthe Claude Fauriel’s Chantspopulaires delaGrèce moderne(1824-1825),ancientmusic was regarded astheprototype of The relation between ancientGreek musicandGreek identity was self-evident to Romantic scholars. After Against Karl Ancientmusic, Müller: Dorismand Otfried Greek identity inFétis andPaparrigopoulos Christophe Corbier 7 Music, language & identity in modern Greece – May 2015 8 Music, language & identity in modern Greece – May 2015 in his writings) as well ashiscompositional choices(as exemplified through the exploitation ofgenuine folk songs Greek identity? Thesequestions will beexamined through ananalysis of Skalkottas’ views (as these were expressed Skalkottas conceptualisedhismotherland?Andhow didhecommunicate hisdistinctive artistically perception of Greek folklore created by Skalkottas. But what do theDances, asthey eventually took shape, tell usaboutthe way a compilation of dancesfrom various regions throughout Greece, the work couldbeperceived asamuseum of in several of his works, the36Greek Dances forOrchestra beingthemostcelebrated amongthem.Composedas creation of truly Greek music, hediddraw, himself,from thelarge pool of hiscountry’sfolk musicaltreasures ground. Despite thecomposer’s pronounced view thattheuse of Greek folk songsisnotaprerequisite for the half of the20th century–asarepresentative of theso-calledGreek National School of Music hasbeengaining Over thelastfew years therecognition of Skalkottas –themostrenowned Greek Modernistcomposer of thefirst A museum of Greekness: Skalkottas’ 36Greek Dancesasarecord of hishomelandand epoch Katerina Levidou an imagethatseemsto contradict the widespread beliefthatclassical musicappealed only to theupper classes. enable usto form an overall image of thesocialcomposition of theclassical musicaudiencein19th-centuryAthens, a specialclassfor orphans (incollaboration with theHatzikostas Orphanage). Therelevant archival documents upper classes.Thethree-year coursesattheConservatoire were offered free ofcharge to all,andthere was even the middleandlower classes,sinceuntil thenmusicaleducation had been only private and, hence, restricted to the of thefirstmusicalinstitution ofthe Greek capital was a response to theneed to provide amusicaleducation for statutes. However, from the beginning, interest was focused primarily on musicrather thantheatre. Thefoundation cultivation of Music andthecreation andimprovement of theNational Theatre’, as one reads inthefirst ofits The Athens Conservatoire was founded in1871by theMusical andDramatic Association, andaimedat‘the education asanational demand General presentation of theAthens Conservatoire Archive –Amusicalschoolfor themiddle class: Musical Stella Kourmpana medium for thedissemination of ideasthat wouldotherwise nothave reached so widely throughout Greek society. working-class enthusiasts,as well astheadoption of some of theminschools,made thesecompositions anideal similar works by Georgios Lambelet.Thepopularity of thesecompositions amongbothbourgeois amateurs and the samespirit of thecreation of citizens one mightalso includeSpiros Samaras’ 1896‘Olympic Anthem’ andeven century allthemilitary or political developments offered the for opportunity thecomposition ofnew war songs.In Byron’, or thepatriotic songs of theIonianRadical Party are other characteristic examples. Inthelate nineteenth the festivities of King Otto’s era. Nikolaos Mantzaros’ setting of Solomos’‘Hymnto andthe‘Ode Liberty’ to Lord Marseillaise’ couldalso beheard intaverns inConstantinople andduringthebattles of theGreek Revolution or can berelated to theRepublican French presence intheIonianIslands,although,for example, the so-called‘Greek non-homogenous Greek audience(which atthattime were usuallyalso theperformers of these works). Theearliest order to strengthen, formulate or, sometimes, imposethenew ideas of citizenship adapted to theexpectations of a these compositions was thecombination of Greek (usuallydemotic) language with ‘western music’ prototypes in ‘anthems’, ‘odes’ and‘battlesongs’that were composedfrom the1790s onwards. Themostprevalent aspect of This paper will focus on arather neglected genre of Greek musicalproduction, art namelythenumerous patriotic Of odes, anthemsandbattlesongs; Creating citizens through musicin Greece during the‘long19th century’ Kostas Kardamis why opera andfolk-instrument orchestras becamethefocus of musicalnation-building. grand scheme of achieving equalityintheir cultural levels. Thepaper will also attempt to answer thequestion of music-making, etc. They explain how the various republics’ achievements were measured againsteach other inthe westernization of folk ensembles,thelimits of the‘socialistnational’ which excluded many traditional forms of composers who created thefirstnational operas for Central Asia,the routes taken towards themodernization and transcripts. Thesesources throw light on anumber of issues of musicalnation-building: the value of ‘ghostwriter’ Abstracts Abstracts theoretical writings andhismusical compositions. and review insomedetailPetrides’ aesthetic andtechnical views on Greek music, asthey art are conveyed inhis be grounded on traditional modalmelodiesand,above all, on Byzantine music. Thispaper will attempt to record some Russiancomposers of theMussorgsky era. Petrides believed thatthecreation of anew Greek musiccan art the wealth of modality, thismovement beingalready represented by ClaudeDebussy andhisschoolas well asby views were based on thebeliefthat western European musicatthebeginning of the20thcentury shouldreturn to his early writings, before he went on to declare for hissupport Kalomoiris’ideasaboutGreek music. Petrides’ them with thoroughness andmethodthroughout hisentire career. These views had already found expression in American, andGreek newspapers andperiodicals.Hebasedhisaesthetic beliefs on solidargumentation andapplied columnist andcritic, producing serious,penetrating, well-targeted and comprehensive writings inEnglish,French, Petros Petrides (1892(?)–1977) was aman of wide education andspoke many languages.He worked asamusic Discussing conditions for Greek National Music from a different point of view: The case of Petros Petrides Nikos Maliaras enjoyed by musicalsettings of Greek poems. poetry interms of song, from Solomosinthe1820sto Seferis inthe1940s.I will relate thisto thepopular success visual terms. Mypaper will discussthefrequent tendency inGreek literature for authorsto talkabouttheir written Demoticists tended to conceive of languageinterms of sound,incontrast to thepurists, who conceived of itin system presented inthegrammar was based on thelanguage of thefolk songsas well asthat of recent literary texts. comprehensive grammar of ‘ModernGreek (Demotic)’, ManolisTriantaphyllidis claimedthatthemorphological came to beseenasthefoundational texts of demotic Greek. Itisno surprisethat,in1941,hisintroduction to his of Herder’s thatthelanguageandsongs assertion of apeopleembodyitsnational soul,thattheGreek folk songs developed through thespread of folk songsfrom one region to another. for Itispartly thisreason, as well asbecause that united theGreek peopleacross considerable geographical distances,andthatthiscommonlanguagehad been moderne (Paris 1824),theclaim was made for thefirst time thatthere existed acommon Greek vernacular language introduction to thefirstprinted collection of Greek folk poetry, Claude Fauriel’s Chantspopulaires delaGrèce For several centuries until the late 20th century Greek poetry was frequently associated with singing. In the author’s ‘ Peter Mackridge music will show how they too have adopted musicalcategories andimperatives from the‘heterodox West’. or restoration have castthemselvesoften as Orthodox traditionalists, butacloser examination of their writings and rejection of features perceived asrelics of alleged oriental corruption. Opponents of thesestrategies of modernisation straightforward attempts to assimilate Byzantine chantto thecanon of Western musicthrough art harmonisation or of Byzantine chantinrelation to thecanon of Western (so-called‘classical’) art music. Somehave beenrelatively efforts of Greek and foreign musicians,churchmen andscholars to definethehistorical and received repertories Madytos, one of the‘Three Teachers’ who invented theNew Method.Thispaper will follow thesubsequent Greek, Byzantine, andWesternOttoman European elements of theGreat Theory ofMusicby Chrysanthos of ago. Early stages of thisprocess are, asRomanou has previously shown, already evident inthemixture of Ancient rite –hasbeenunder constantnegotiation sincetheintroduction of a‘New Method’for itsnotation two centuries monophonic liturgical songemployed from Beirutto Bucharest for worship celebrated according to theByzantine The cultural position of Byzantine chant–themodernscholarly namefor thehistorical andreceived repertories of Byzantine chant andthe canon of Western music art Alexander Lingas development was closelyconnected with theLanguageQuestion) inSkalkottas’ time. debate over ecclesiastical music). Another will betheadvancement of folklore studies(a discipline whose own music–theequivalent,in art intherealm music, toof art theLanguageQuestion andtheMusical Question (the will bethedebate amongGreek composers on what constitutes legitimate ‘use’, or appropriation, of folk material in the36Greek Dances) vis-à-visthemusical,cultural andintellectual milieu of histime. One point of reference Τα τραγούδιαμουτα’λεγεςόλα ’: Poetry, language andsongfrom Solomosto Seferis 9 Music, language & identity in modern Greece – May 2015 10 Music, language & identity in modern Greece – May 2015 Music andincomparison to thescore of the opera. language. Thepresent paper will discusshistheory inthecontext of thecreation of theGreek National School of music andadvocated theimportance of theintegration of folk motifs into themainstream of thenation’s musical spring 1905,aimingto stage his opera inAthens, Greck gave aninterview in which hepresented his views on Greek by Stefanos Xenos (1821-1894),anditsaction is setduringthefirst years ofthe Greek Revolution (1821-1822).In 2014. Thelibretto, written by thepoetA[?]Vranas, isbased on thenovel Theheroine oftheGreek Revolution (1861) (1876-1959), andbelieved to have beenlost, was discovered inthe archive of theAthens Conservatoire inApril The score of the opera Andronica, composedbetween 1900-1905 by theCorfiotcomposer Alexandros Greck Andronica (1905?) by Alexandros Greck: Arediscovered ‘national’ opera Tatiana Papastoitsi idealized view of classicalmusicstill spreads confusion. of two post-rapprochement studies, one Greek and one Western, shows thatthisselective andprofessionally and academic potency, contributed to theschismatic struggle over thesound of modernGreece. discussion Ashort the history of Western musicto art demonstrate how anidealized view of classicalmusic, which still carries popular century ago. Thispaper usesethnomusicologicaltools proposed by Slobin(1993)andrecent scholarly findings on to appear inacademic publications andpublicperception likely rests, now more thanever, with thejingoism of a scholarly rapprochement hasbegunthatalso admits Ottoman-era development, butfar-flung positions continue while Western scholars washed themusicitselfto recover an‘older andcleaner’ style. SinceJeffery (1992)a GreekOttomans: scholars washed themusic of thepassage of time to ensure the ownership claims of antiquity, Lingas (2003)haspointed out bothsidesattempted, indifferent ways, to wash away any role played by the 1917) argued thatthetradition’s contemporary soundcouldbetraced back to Classicalandlate Antiquity. As nearly interchangeable stylesinthecenturiespreceding the Ottoman occupation, while Greek scholars (Psachos, be appliedto it.Western scholars (Tillyard, 1935)argued thatByzantine andEuropean medieval chantpossessed chant. Thecontroversy surrounded themodernsound of Byzantine chantand what sort of origin stories should The firstdecades ofthe20thcenturysaw abitter schismeruptbetween Greek and Western scholars ofByzantine Arguing thesound of modern Greece: Silenthistories andPlatonic evolutions Keith AMoore his instrumental works andhisfew songs. circumstances, hecomposedmusicthatprojected hisperception of ‘Greek heritage’ andthe‘Greek spirit’ inboth with boththe written word andtheGreek folk element.Inparticular I will investigate how, andunder what predominantly dealing with folk themes.Inthispaper I will consider Skalkottas’ approach to andengagement by thepoor literary quality of his writings andhisapparent reticence insetting to musicanything other thantexts poetry or literature. Indeedhis own personalrelationship with the written word appears atbestambivalent, judging identifiable images,soundsandliterary themes, witha few exceptions hedidnotengageseriously with Greek and 12-tone pieces.AlthoughSkalkottas infusedthesepopulistpieces with Greek references, creatively employing on Skalkottas’ thanideologicalconviction, part anditappears thathedidnotregard themashighlyhisatonal Modernism. These works (theGreek Dances beingthemost well-known example) arose more from opportunism drawn from Greek folk andpopular music, heremained an outsider who was persistently associated with European occasionally expressed hisdesire to beseenasaGreek composer, andcomposedseveral works usingelements composer who was seeninhistime asthequintessential antihero of themusicalestablishment.Even thoughhe aspects of hisGreek identity andelements of ‘Hellenism’ inhis work. Yet Skalkottas was areluctant nationalist The engagement of Skalkottas’ music with Greek folk songis well documented, andseveral studieshave explored A Greek icon? ambivalenceOpportunism, andidentity inthemusic of Nikos Skalkottas Eva Abstracts Mantzourani Abstracts of Greek musical culture thatstood in the way of theintended integration: (1)thedivision of Greek musicinto history. Intheeffort to imposethese values upon themusical reality ofmodern Greece, itintensified two features Greek musicinto art theEuropean tradition, adopted thecanonsand values of Western (nationalistic) music hand, Greek academic musicology, establishedinthesecondhalf of the20thcentury, with theaim of integrating that will ignore allkinds of barriers erected amongmusics throughout Western musichistoriography. On the other the unilateralism of ‘nationalistic’ musichistoriography, andtoday strives to conceive of aglobalmusichistory, musical qualities. Sincetheend of the20thcentury, Western hasadopted musicology acritical attitude towards to musichistories theform of aseries of biographies, andintroduced ‘purity’and‘authenticity’ asthe highest an influencethathad led to cultural antagonism among European nations, had ‘sanctified’ music creation, gave ‘The end of Music History’ refers, inessence, to theend of theinfluence ofnationalism onmusichistoriography, Initiating national musichistory on the eve of ‘the end of Music History’: Animpossibletask Katy Romanou developments. will beexploredsongwriting againstthebackground of ahistorical momentinGreece marked by intense political orientation espousedinAmorgos, will bediscussed, while theaesthetic, ethical,andpolitical value of popular a domainnotoriously ignored by theFrench surrealists. Thisturnto music, which seemsto reject thesurrealist radical revisions of the paradigmvisual arts insurrealist theory, Gatsos’intermediality turnsinstead to music, strategy with ethicalandpolitical dimensions.Againstsurrealism’s engagement with visuality thatledto some aesthetics, anaesthetics thatprivileges bothinter-medial forms of expression, andperformativity asarevolutionary Theprivileging of Amorgos. of popular songasaperformative, collective act will bediscussedinrelation to surrealist production, which haslargely remained territory uncharted for literary scholars, asacontinuation of the aesthetics mainly ManosHadjidakis, MikisTheodorakis, andStavros Xarhakos. Thispaper sets out to discussthisprolific the poet.Anything but silent,Gatsos wrote the verses for hundreds of songssetto musicby various composers, intoAmorgos mythicaldimensions.Gatsos’allegedsilence, however, isperhapsthebiggestmyth surrounding alone inGatsos’ oeuvre. Hispoetic silenceafter 1943haspuzzledcritics andreaders alike, buthasalso propelled genres from amillenary Greek tradition, isamasterpiece Amorgos of modernGreek poetrythatseeminglystands idiosyncratic mixture of surrealist aesthetics, theambition of theModernistlongpoem,Greek folk song, and various Nikos Gatsos’presence inGreek poetryismarked by his (1943).An one publishedlongpoemAmorgos Can surrealism sing?Nikos Gatsos andsong-writing Effie Rentzou music, aGreek refugee inParis, ‘a and(as hedescribedhimself) classicalGreek living inthetwentieth century’. political sufferings of Aeschylus’ Kassandra, Xenakis’ Kassandra, and Xenakis himself:an architect inthe world of past andfuture, individual andcommunity. Theseruptures reflect the violent displacementsandthepersonal singer portrays achallengeto thenormalrelationships between soundandsense, voice andbody, manand woman, baritone voice singsthepart of bothchorusandKassandra, embodying theprocess of miscommunication itself.The chorus. Thenin1987Xenakis composedanew movement, Kassandra, to beadded to thesuite. Inthispieceasingle re-wrote suite he arranged themusicasaconcert for thetext, now inAeschylus’ Greek, to besungentirely by the Xenakis originally wrote themusicfor anEnglish-languageproduction of theOresteiain Michigan(1966).Whenhe as acomposer whose work synthesizedhisknowledge of mathematics, architecture, andancientGreek literature. his musicalstudiesandto explore hisGreek national roots. With thesupport of Messiaen, Xenakis cameto flourish Paris where he worked inLeCorbusier’s architectural studio through the1950s.Meanwhile hecontinued to pursue engineer who becameembroiled inresistance andrevolutionary activity inNazi-occupiedAthens, heescapedto Xenakis (1922-2001) was one of themostidiosyncratic andinfluential of20th-centurycomposers.Atrained Xenakis’ estranged Emily Pillinger Kassandra 11 Music, language & identity in modern Greece – May 2015 12 Music, language & identity in modern Greece – May 2015 Greek ‘soul’. Greek character was thoughtto bebetter articulated inancient tragedy by means of language, in order to depictthe and its works were received asnational treasures. Itmakes sense, therefore, asI will argue inthispaper, thatthe culture. Intheformation of ‘national consciousness’,Greek literature took on the role of theguardian of tradition accordedthese linesistheimportance to language, which is evident inthecontinuous evolution of modern Greek the three arts of music, poetryanddance. Amaincultural characteristic which strengthened theattitude along be given to languageasameans of expression in ancientdrama, or rather, thatabalance shouldbeachieved among ideas on this matter were not well received inGreece, becausemodernGreeks felt thatapredominant role should the orchestra canactasasubstitute for thechorus whenever thelatter’s presence is deemed unnecessary. Wagner’s co-ordinated. Even earlier, Wagner had claimedintheory, andhad demonstrated through hismusicdramas, that means of pure sound,andnotby words alone;music, movement, colour, soundandrhythm had to becarefully productions elsewhere inEurope, music was inits important own itsrole right: was to emphasiseemotions by more positively, sincethey were thoughtto express better thespirit of ancienttragedy. On the other hand,in remained predominant inthemajority of Greek productions of ancientdrama. Such productions were received enhance theeffective power of words, while there was asystematic tendency to avoid operatic forms. The text Music inGreek productions of ancientGreek drama duringthefirsthalf ofthe 20thcentury was mainlyused to first half of the20th century On the question of therelationship between musicand words in Greek productions of ancient drama during the Anastasia Siopsi artist-performers. the illiterate self-taughtactors of themid-nineteenth centuryandreplace them with cultivated and well-educated taught intheclassroom than on thestagereflected the way in which the Athens Conservatoire sought to bypass determining one’s suitabilityfor becomingateacher of acting. Moreover, couldbebetter thebeliefthatstagecraft were conflated, theatre was considered abranch discipline ofliterature, andessay writing theidealcriterion for for thecontest reveals thedifficulties experiencedart bythe of theatre in Greece atthe time:acting and recitation later return to Greece andteach intheConservatoire, andinthis way helpto revitalise Greek theatre. Therationale funds. Thestated intention was thatthescholar would becomeproficient inthe art of recitation, so thathe would scholarship for studyabroad. Thescholarship was namedafter Andreas Syngros, who had provided thenecessary cultivation of theart of theatre, alongsidetheart of music. Inthisspirit,in1873itannouncedacompetitive From the very firstmoment ofits foundation, the Athens Conservatoire declared asits goals thebestpossible The teaching of drama intheAthens Conservatoire andthe‘Syngronymos Contest’ (1873) Manolis Seiragakis was concerned was largely shapedby theAthens Conservatoire concerts. during thelastquarter of the19thcentury. As we will see, themusicaltaste of thetime asfar assymphonicmusic Athens Conservatoire Archive) unknown aspects of themusicallife intheGreek capitalbeyond the operatic scene, performed by teachers or musiciansinvited by theConservatoire, reveal (according to theprogrammes heldinthe programmes accommodated to along with theprofessional thestudents’capacities. Thosestudentconcerts, ones, From then on, theAthens Conservatoire would organize regularly studentconcerts (at leasttwiceayear), with class took placeattheConservatoire inSeptember 1873,andaimedatshowing thestudents’progress inmusic. The firstconcert ofthe Athens Conservatoire was heldin January 1874, onlya few monthsafter thefirstmusical The Athens Conservatoire (1874-1900):Concerts Mappingmusicaltaste in19th-century Athens Konstantinos Sampanis and ‘authenticity’ upontheir music. creativity andeducation of thefolk, asaresult of thebourgeois determination to imposetheaesthetics of ‘purity’ musiccreatedwhich includesart on themodel of Western music(secular andchurch); and(2)theinhibition of the two non-communicating fields:Church (or Byzantine) music onthe onehand,and onthe other secular music, Abstracts Abstracts were critical for theself-understanding of theemerging National School of Music. on Aramis, which peaked duringhispresence inAthens in1903,as well as on Bourgault-Ducoudray andSamaras, song, bothmusicallyandlinguistically, was for him only theraw material for theformation music. Attacksof art musical realism or intheguise of folk-song harmonizations asastep to anythingmore elaborate: ‘pristine’ folk- advanced nations’ (his words). Hismore urgent vision couldnottolerate theuse of folk music either asaprop for a typicalmodern-Greek identity angst,ashestrove to measure upto themusicalachievement of the‘musically- frame of mind was compatible with a variety of possible musicalrealizations. Conversely, Kalomoirisexhibited which folk-song harmonizations were butthefirststep. However, their relaxed cosmopolitan and/or orientalist polyphonic (Aryan) Western European music, and vice versa. Their aim was anew visionary synthesis,towards way of amutualbenefits argument: themonophonicmusic ofthe(Aryan) folk-songs would largely benefit from the composer, collector andharmonizer Louis-Albert Bourgault-Ducoudray, they approached Greek folk-song by Aramis) shared acommonaesthetic andideological background vis-à-visGreek folk songs.Taking their lead from Different thoughthey were, composer Spiros Samaras andsinger-collector-harmonizer Periklis Aravantinos (aka Not Kalomoiris’National Music: TheAramis-Samaras project Panos Vlagopoulos antinomies of Greek nationalism, intherealm of bothpolitics andmusic. this peculiar formation determined themainideological orientations of state andsocietymodeledthestructural ambiguous situation. I will track theformation of socialclassesandthepublicspaceinGreece andexamine how a precondition for political autonomy. Inthispaper I will discussthesocialandideologicalparameters of this nationalisms of 19th-century central Europe, which focused primarily on theurgent issue of cultural identity as adopted, within theframework of along-establishedmodernstate, themain aesthetic principles of thesecessionist merit,remainedartistic always exiguous ifnotabsent. On the other hand,20th-centuryGreek musicalnationalism In thedomestic debates aboutGreek musicthenormative art argument, the one concerningaesthetic value and Nation and value in Greek music Markos Tsetsos ‘national musician’. poet’ Kostis Palamas (1859-1943),inthecontext for of hissupport ManolisKalomoiris’effort to become Greece’s word tragoudo (“sing”)?’I will also touch on themusico-poetic vocabulary inthecritical texts by the‘national the word Polylas aboutpoetryandmusicincombination with thenotion of Greekness. Specialattention will bepaidto the diptych, asit were, of ‘national poet-national musician’. Mypaper will investigate the vocabulary usedby only promoted Solomosasthefoundational figure ofthemodern Greek poetic canon,butalso grafted onto it Solomos’ HymntoLiberty,Mantzaros ‘offered hisnation thefirst Greek musicalcomposition’. Polylas’ text not special mention thecomposer Nikolaosof another artist: Mantzaros. As we are told, with hismusicalsetting of over Solomos.Inhistext, Polylas relates thegrowth towards maturity of Greece’s first ‘national poet’, making sparked thefirstpurely literary debate inthemodern Greek scene:thatbetween Polylas andSpyridon Zambelios ‘Prolegomena’) hasbeenregarded as one of thefoundational texts of modernGreek literary criticism, which also which definitively marked thepoet’s posthumous‘life and work’. TheIntroduction to theedition (Polylas’ Iakovos Polylas isknown above allfor theedition of Dionysios Solomos’extant works (Ta euriskomena) in1859, Reading Polylas’ ‘Prolegomena’ (1859): Greekness, poetryandmusic Polina Tambakaki tragoudi (‘song’), which also appeared inthetitle essay ‘Whencethecommon of Zambelios’important 13 Music, language & identity in modern Greece – May 2015 14 Music, language & identity in modern Greece – May 2015 folk music, andthelanguagequestion. theoretical issues of theperiod,suchasmusicality of language, thequestfor national identity, theinfluence of music, insearch of theharmonies anddisharmonies between musicandpoetry. At thesametime, itfocuses on key the musicalproduction of theperiod.Thepresent paper aims to investigate therelationship between words and constitute historical landmarks andaesthetic currents of Greek poetic creation, anindeliblemark which left on vernacular poetry, Ionianromanticism, thefirstandsecond ‘Athenian School’,ethography andModernism Greek vocal music of thelong19thcenturyencompassesapanorama of theliterature of theperiod.Folk song, Recondita Armonia: song,Opera, art and Greek poetry during the‘long19th century’ Avra Xepapadakou Thiersch. Kokkinakis andNikolaos Flogaitis, thefirstpresident of Greece IoannisKapodistrias,andthephilhellene Friedrich and Konstantinos Paparrigopoulos, thecomposer Nikolaos ChalikiopoulosMantzaros, theamateurs Konstantinos official opera performance in Athens(1840). Attention will focus onthe role oftheintellectuals Adamantios Korais Hellenic world, expressed and/or put into practice from thetime of thelate Enlightenment (c. 1800)to thefirst This paper offers an overview oftheevolving ideasaboutthe form ofmusicmostsuitable for thenascentneo- The idealmusicfor areborn nation: Statements andreforms in concerning musicalart Greece, 1800-1840 Haris Xanthoudakis non-12-tone post-tonal piecesthatSkalkottas composedafter hisreluctant return from Berlinto Athens in1933. derneuen Musikapropos1948 Philosophie of Schoenberg’s pre-12-tone expressionism) inengaging with the essentializing itsclaims,thisaccountprobes therelevance of Adorno’s notion of ‘Einsamkeit alsStil’(usedinhis forward adefensible account of thepossible ways in which Skalkottas mighthave appropriated Evelpidis. Far from Framed inparticular by anappealto thecomposer’s life (hi)story asintertext, theproposed reading aimsatputting offers acritical interpretation ofthesepieces withinthehistorical context oftheir production and(non-)reception. the present paper takes acritical look at themusico-poetic construct of selected songsfrom Skalkottas’ work and textual meaningproceeds from theacknowledgement of music’s critical impulse. Inline with suchanapproach, reading thatfocuses on the ways in which themusicalsetting mightbethoughtto inform theconstruction of to legitimize aconventional reading thataskshow thelatter expresses theformer. Bethatasitmay, aninverted Oloi[LikeOpos Everybody] by ChrissosEvelpidis (akaChr. Esperas). Theanteriority of text over musicseems for mezzo-soprano andpiano was composedduringthespring of 1941,based on selected poemsfrom thebook Commonly regarded ashismostsubstantial contribution to thesonggenre, Nikos Skalkottas’ 16 Tragoudia Loneliness asstyle:Skalkottas reads Esperas Petros Vouvaris Abstracts Notes 15 Music, language & identity in modern Greece – May 2015 16 Music, language & identity in modern Greece – May 2015 Notes