Bulletin of the Transilvania University of Braşov Series VIII: Performing Arts • Vol. 6 (55) No. 1 - 2013

VARIATIONS ON A GREEK ISLAND DANCE BY VANGELIS KARAFILLIDIS

Luminiţa GUŢANU1

Abstract: Vangelis Karafillidis’ piano work “Variations on a Greek Island Dance” imaginatively combines the fascination of a melodious piece, the originality of Greek folk music, the mood alterations of programmatic music, the macro-structural accordance to a very well know classical form and the micro-structural motivic transfigurations with the exploration of several piano technique issues. This article comprises an analysis of the above mentioned work under the perspective of an educational tool for both music theory and piano students.

Key words: Vangelis Karafillidis, Greek folk music, motivic transfiguration, analysis.

1. Introduction other Greek cities. His compositions have earned him both national and international Vangelis Karafillidis is a composer, prizes. In 2000, he won the 1st prize for his pianist, physicist and music teacher. He Variations on a Greek Island Dance and was born in 1971 in the city of the 2nd prize for his Micrographies at the , . In 1996, he 1st Competition for Piano Composition, received his university degree in Physics at organized by the House of Education and the “Aristotle University” of . Arts in the Municipality of , Greece; In 1994 he received his Piano Diploma at in 2003 he was awarded the 3rd the Macedonian Conservatory of composition prize for his string quartet Thessaloniki (after studying under Nicolas “The Darkness of Time”, at the 11th Astrinidis) and in 1996 his Composition “Music and Earth” International Diploma at the Music College of Competition in Sofia (); in 2010 a Thessaloniki (after studying under Alkis Honourable Mention Citation for his Etude Baltas). Vangelis Karafillidis is an official at the “International Composition member of the Greek Composers’ Union. Competition” organized by the National His works have been performed both Academy of Music (Public Educational nationally (in Thessaloniki, Charity, State of Colorado) in cooperation Alexandroupoli, Xanthi and ) as with the Conservatories of Neapolis and well as worldwide in Germany (Berlin and Sykies in Thessaloniki, Greece. Recently, Wuppertal), Bulgaria (Sofia), Lithuania in October 2011, after participating in the (Vilnius) and Romania (Bucharest). As a 9th International Composition Competition pianist, he has performed in concerts in held by the “Yorgos Foudoulis” Thessaloniki, Xanthi, Alexandroupoli and Conservatory in Volos, Greece, he won

1 Centre “Advanced Research on Mechatronics”, Transilvania University of Braşov. 24 Bulletin of the Transilvania University of Braşov • Series VIII • Vol. 6 (55) No. 1 - 2013 three 2nd prizes for his works Toccata for In general terms, Vangelis Karafillidis’ solo piano, Concertino for Two Pianos and deep as well broad knowledge of both Hymn to Love for mezzo-soprano and instrumental as well as compositional Orchestra in the categories “Solo techniques constitutes the basis for high Instrument”, “Chamber Music” and “Song quality compositions. His inspiration with Accompaniment” respectively. He results in enchanting musical works. His took part in a series of international ingeniousness synthesizes in an conferences and symposia, in Greece imaginative way elements from Greek folk (Lamia), Romania (Bucharest, Piteşti, music with western musical composition Alba-Iulia, Braşov, Oradea, Iaşi), techniques. His serious and systematic Lithuania (Vilnius) and in the Republic of avocation with music tuition consciously Moldova (Chişinău) [1]. leads some of his compositional efforts The composer’s work is not directed towards the direction of producing towards a unique, specific style, but rather, educational material for music students. it is varicoloured. Hence, his works largely synthesize various stylistic trends: 2. Problem Formulation. The Variations influences from composers such as Béla on a Greek Island Dance; an overall Bartók, Dmitri Shostakovich or classical outlook style; however, the national specificity is indubitably present in his oeuvre. In some The art of the piano is an important compositions, Karafillidis uses traditional aspect of European music culture, to say melodies in their original form, but he also the least, thanks to the wide range of creates melodies in the style and spirit of possibilities that this instrument can offer. Greek folk music. The creation of a national repertoire has His entire oeuvre revolves around always been a priority for Greek various music aesthetics. For example his composers. In fact, the musicians’ Etude clearly follows the romantic style, repertoire, in general, represents one of the his Variations on a Greek Island Dance most important aspects of their amalgamate Greek folk music with professional activity, since it can be proved classical and romantic elements, his to be important for both their training as Micrographies (which also include some well as their performances. In addition to Greek folk melodies), are influenced by the arrangements and compositions Béla Bartók’s compositional language and inspired by folk music, Karafillidis has by impressionism, his Concertino for Two also composed original piano music, which Pianos reflects various compositional can serve being used for both educational hypostases, combining romantic elements, and performing purposes. For example, influences from Shostakovich’s music as Karafillidis himself reveals the reason why well as musical modes. In his three string he composed the piano work Variations on quartets, we can also notice a wide a Greek Island Dance: “I composed this spectrum of stylistic influences from piece in order to explore the synthesization modernism, minimalism and the Balkan of Greek folk music with western music style. The third quartet utilizes compositional techniques as well as to contemporary instrumental techniques. His provide an educational tool for both piano Trio for Violin, Cello and Piano combines as well as music theory and composition modality, modernism and Byzantine music students”. elements. This piano work (composed in 1992), comprises (in addition to the theme) a GUŢANU, L.: “Variations on a Greek Island Dance” by Vangelis Karafillidis 25 series of ten Variations. The Theme is a that he wanted to liberate himself and folk song from the islands diverge from any “predictability” side called “Thalassaki” (“Little Sea”). The effects of the classical form, while at the predominant musical characteristics of this same time concentrating on the alterations work are clarity of form, melodiousness, at the melodic level which constitute the harmonic simplicity, use of modality and predominant expressional means of Greek varicoloured emotional expression. The folk music. Theme (“Thalassaki”) is a very popular Under the perspective of piano writing, folk song and specifically speaking it is the work utilizes various techniques which Vangelis Karafillidis’ favourite folk are conductive to the piano student’s melody. Essentially, this song is a development and progress. The difficulty meditation addressed to the sea; a pray not level of the piece varies from Variation to to cause trouble to seamen and protect Variation but in general terms it ranges them from danger. The same song is also a from intermediate to advance. Also, it’s “Kalamatianos” dance and therefore easy to use as piano tuition material not the follows the rhythmical pattern 7/8 whole piece, but selected Variations [(3+2+2)/8]. The name “Kalamatianos” is according to the level of the piano student. derived from a city of Peloponnesus, in The alterations of mood result in an southern Greece (Kalamata). The piece is almost programmatic environment which based on an almost typical classical functions as an emotional voyage for the “Theme and Variations” form. The Theme listener, as an interpretational challenge for and each one of the Variations (apart from the piano performer and as a source for the last one) bear structural uniformity; aesthetic and expressive means’ analysis they each consist of two segments of five for the potential composer. Overall, this and six bars respectively. work, in addition to being an attractive We could also mention that the choice for the piano interpreter and an emotional context of the piece ranges from enchanting piece for the listener, can aid calmness to storminess (bringing to mind piano as well as music theory and the sea itself in this way) and from composition tuition. devoutness to triumph. In overall, the style of the music is romantic with a pervasive 3. Problem Solution. The Variations on a nostalgic inclination. The (almost) Greek Island Dance; the analysis classical “Theme and Variations” form along with the motivic unity of the piece Although the first impression (after ensure clarity and coherence. The romantic taking a look at the score) is that most of mood of the work provides interesting the Variations bear no connection with the emotional alterations and the usage of Theme, nothing is further from the truth; modality (E Aeolian and E Dorian modes) each one of the Variations is strongly as well as tonality (E Minor) underline the connected either to the Theme or the 1st Greek temper of the piece. Variation via the procedure of motivic Although the composer followed the transfiguration. (macro-structural) context of the classical “Theme and Variations” form, he The Theme consciously based the Variations on the As mentioned above, the Theme is a very treatment of motivic material derived from popular folk song (“Thalassaki”). The song both the Theme and the 1st Variation (at consists of three verses. The composer the micro-structural level). The reason is utilized the melodies of the first two verses 26 Bulletin of the Transilvania University of Braşov • Series VIII • Vol. 6 (55) No. 1 - 2013 for constructing the Theme. Specifically Variation II speaking, he consciously decided to expose The rhythmical articulation of the 2nd this material in a very simplified (almost Variation again follows the subtractive) form. Thus, the melody “Kalamatianos” dance rhythmical appears in the right hand part, while at the articulation (7/8). The principal motif in same time the left hand plays the original the right hand part is derived from the “Kalamatianos” dance rhythmical pattern Theme. In detail, the melodic construction formed of plain harmonic octave intervals. of the “A” segment of the Theme in its The composer intentionally simplified the simplified form looks like this: original folk song for utilizing it as the The reversion of the selected notes actually Theme. This offers the opportunity to the constitutes the motivic source for the “A” listener to concentrate on the motivic segment: construction of the Theme. Actually, it’s the motivic construction of the Theme that functions as the starting point for the unfolding of each one of the Variations. In the “B” segment of this Variation, the Furthermore, the classical “Theme and motivic source of the melody is derived Variations” form most of the time from the “B” segment of the Theme. The preferably evolves from the relaxation of melodic construction of the “B” segment the Theme to gradually complicated and of the Theme similarly looks like this: aesthetically intense Variations.

Variation I st The 1 Variation follows the The motif shown in the oblong constitutes “Kalamatianos” dance rhythmical the motivic source for the melodic articulation (7/8). The melody in the right articulation of the right hand part in this hand part seemingly has no connection segment. with the Theme. But actually, it has a very strong one, which is revealed at the end of the Variations; the “A” segment of the 1st Variation is a countermelody of the corresponding segment of the Theme. The

“B” segment of the 1st Variation exposes Variation III an oppositely directed (inversed-like) The melody in the left hand part is based melodic line when compared to the on the conjunction of two motives. In the segment “A” one. Both “A” and “B” “A” segment of this Variation the motivic segment melodies are strongly connected source is actually the corresponding with the Theme, due to the motivic segment of the Theme. In the “B” segment coherence between them, which is derived the melody is clearly connected with the from micro-structural transfigurations of corresponding segment of the 1st Variation. the Theme motives.

Variation IV This (Allegro molto) Variation comes in contrast to the previous Variations. Aesthetically, it functions as a precursor of the following Variation, where the Theme is recapitulated. The fast sixteenth notes GUŢANU, L.: “Variations on a Greek Island Dance” by Vangelis Karafillidis 27 passages are based on the opening of the “B” part of the 1st Variation. The alteration of mood here is consciously used in order to instigate the listener’s attention and The inversion of the 1st triad in prepare him/her of the next Variation. combination with the 2nd triad generates the principal melodic pattern of this segment:

Variation V The composer intentionally placed this enriched recapitulation of the Theme exactly at the middle of this series of Variations. The alteration of mood and the Variation VII motivic explorations in the previous The motivic material of this Variation is Variations make the listener diverge from clearly derived from the “B” segment of st the Theme. The melody here appears the 1 Variation. enriched with chords in the right hand part. The left hand performs a contrapuntal Variation VIII accompaniment formed of harmonic This Variation is based on contrapuntal octave intervals, which clearly reminds of writing. Although such techniques are the 1st Variation. virtually non existent in Greek folk music, the composer utilized contrapuntal-like dialogues between the right and left hand parts. The thematic material is clearly derived from both the Theme and the 1st Variation.

Variation VI The mood of this Variation is closely connected with the previous one. The melody of the “A” segment is derived from st the corresponding segment of the 1 Variation as shown below: Variation IX This Variation is based on thirds. The principal motives for both segments are derived from the Theme. Both fast passages (sixteenth notes) as well as the accented notes bear close connection with the Theme.

The melody in the “B” segment is derived from the same material. If we partition the principal motif of the previous segment into two groups of three notes each, we have the following triads: 28 Bulletin of the Transilvania University of Braşov • Series VIII • Vol. 6 (55) No. 1 - 2013

Variation X (finale) This Variation not only constitutes an altered recapitulation of the Theme, but furthermore is an exposition of the whole song. The right hand performs the melody, while at the same time the left hand performs relatively simple chord 4. Conclusion formations which clearly follow the “Kalamatianos” dance rhythmical pattern. The Variations on a Greek Island Dance It’s highly remarkable that the composer can serve both performing purposes as well again after four Variations recapitulated as achieving educational goals. The the Theme (the same thing happened with instructive aspect of these series of the precious recapitulation of the Theme in Variations is conductive to the student the 5th Variation). This results in a strong developing a series of skills; the sense of symmetry and integration for the specificities of interpreting a wide range of piece. We should also mention that in the emotions, the improvement and closing of this Variation the left hand part enrichment of his/her piano technique and performs the opening of the Theme while the assimilation of several compositional at the same time the right hand part techniques such as structural formation, performs the opening of the 1st Variation. motivic transfiguration, counterpoint The composer intentionally chose the handling, modality/tonality usage, etc. All closing of this series of Variations in order these aspects make this piano piece highly to reveal the strong connection between the useful for studying both piano as well as Theme and the 1st Variation. Under this composition. Studying the Variations on a perspective it is exactly at this point, the Greek Island Dance facilitates the solution listener solves the coherence “mystery” of of some crucial problems of music this piece and the music theoretician traces education. Moreover, it helps the young the justification of the motivic treatment in pianists in developing their artistic this series of Variations. individuality.

References

1. Karafillidis, V.: Variations on a Greek Island Dance, score. Thessaloniki, 1992.