ACADEMY Music

January 12, 1954 #32 "' P 27 - ! Ä M ' ¡i Wi7 worn mil lOpp1i 3 1 u11.1 v w " 1111 111i11.. rn Ill I u B R OKflYN ACADEMY Music PANEGYRIS BROOKLYN INSTITUTE OF ARTS AND SCIENCES -------- - - ---- Vmtgtg-hh7zl.oTYm+m7zgTm+m4gTm+gTmTiirimvmTm+z§h+zg+7cYYT`g+mTzgrm-h7h-h7cTT-T7n 7 7cg4r7Y3roggu:3og7cYYuYzgsyoogtgti7g-hu+3g77c7g7wtrmx FIRE NOTICE: The exit indicated by a red light TUESDAY EVENING, JANUARY 12, 1954 and sign nearest to the seat you occupy is the shortest route to the street. In the event of fire please do 7. a) KALAMATIANOS . Popular Greek dance not run -WALK TO THAT EXIT. JACOB GRUMET, Fire Commissioner b) TSAKONIKOS Symbolizing the exodus from the UNDER THE HIGH PATRONAGE OF HER MAJESTY It is urgent for the comfort and safety of all that labyrinth in the Palace of Knossos patrons refrain from lighting matches in this theater. c) TSAMIKOS Popular Greek dance QUEEN FREDERIKA OF THE HELLENES INTERMISSION PAnEGYRIS 8. a) KERKYRA -LEFKAS -KEPHALLONIA- ZAKINTHOS- KYTHIRA Dances and songs from the Ionian Islands recently devasted by earthquakes - THE ROYAL FESTIVAL COMPANY OF GREECE followed by b) MOIROLOGIA Laments for the dead DORA STRATOU ó Dora Stratou Producer and Director The Laments still used in Greece today derive from the ancient dirges of Greek tragedy. YANNIS TSAROUHIS A. FIVOS 9. KYPRIAKOI CHOROI -KARSILAMAS _ Dances from Cyprus Musical Supervisor Costumes 10. TRATA Fishing Song M. SVOLOPOULOU and V. PAPACHRISTOU A. PAPANIKOLAOU Soloist: Afrodifi Papanikolaou Solo Dancers Singer II. a) CHIOTIKOS .. Dances from the island of Chios II;;fli1 ALEKOS KARAVITIS b) KARPATHIOTIKOS ZERVOS Dances from the island of Karpathos The Cretan Soloist (Lyra- Songs) c) CHASSAPIKOS Butchers' dance Originated in Byzantium, as now danced in Salamis. MEMBERS OF THE COMPANY d) PSAROPOULA Song about a fishing boat Soloist: Afrodifi Papanikolaou ROZITA CONSTANTINOU NICOLAS MASTROKALOS MARIE PAPADAKIS MYRON SAPOUNTZIS 12. KRITIKOI CHOROI KAI TRAGOUDIA Cretan dances and songs ALEXANDRE AKRIVOPOULOS DEMOSTHENE VOSKAKIS Solo singer and Cretan Lyra Player: CONSTANTIN LABROU KATY KAREKLA Alekos Karavifis STELIOS PAPADAKIS NIKI TZANOF ALEXANDRE TZOUMAS GEORGE KYPRIANOS All costumes used in this performance are faithful copies of original NANSI DRAKOU ELIE MAVROPOULOS exhibits at the Benaki Museum, Athens, and other private collections. OLGA SKOURLA ANTOINE TZITZIKALAKIS GEORGES BRACHIOPOULOS EVGENIOS SPATHARIS EXCLUSIVE MANAGEMENT: ALBERT MORINI, NEW YORK CITY FOURTH IN THE MAJOR CONCERT SERIES NEXT EVENT IN THIS SERIES LOUIS M. KOHNOP, PIANIST -WINNER OF THE AMERICAN ARTISTS AWARD I. MAKEDONIKOI CHOROI KAI TRAGOUDIA _ _ Dances and songs from Macedonia Soloist: Afrodifi Papanikolaou TUESDAY EVENING, JANUARY 26, AT 8:30 2. SKAROS .... Musical intermezzo played by shepherds TICKETS ARE NOW ON SALE at sunset in the mountains of Epirus Dances and songs Epirus 3. IPIROTIKOI CHOROI KAI TRAGOUDIA from NOTES ON "PANEGYRIS" ARE PRINTED ON THE NEXT PAGE 4. THESSALIKOI CHOROI KAI TRAGOUDIA Dances and songs from Thessaly 2nd BALCONY Soloist: Afrodifi Papanikolaou ,°Cfí i cea f3: cuma}:f1 iï aric f macimai fL EE acts f} EC cico nacsam CHOROI _.. ___. Dances and songs from Pontos THE PERFORMANCE 5. PONTIAKOI dia 'epze OR 4 fez a) Kai Tragoudia i txn n Ex i if r{_ b) Pyrrichios 3i , UR ,a This dance has a pyrrhic theme leading up to a sword fight that ends with 1 . a HOTEL death of one of the swordsmen. There is description of this dance in rkANAbA the ia opposite the Brooklyn Academy of Music Cp>_ Homer's Iliad. Ei ri ci 4 _______________________ Klephtic song 6. MIA HARAVGI ( "AT DAWN ") ..... _. x LUNCHEON - - - - DINNER - - - - COCKTAILS Soloist: Afrodifi Papanikolaou n i. Púrfnfri fIirmnrfl_én rimnincíúú[fEmritiì: micimi ítmì fmaciúïíüì:fì f} Cíì araa82 tiE,.,o,f Woo*Peal w, INSTRUMENTS SHEET MUSIC - RECORDS MUSICAL and NOVELTIES RADIOS - PHONOGRAPHS G. SCI-IIRIRER v ary MUSICAL TOYS 275 LIVINGSTON STREET MAin 4-5170 GREEK POPULAR MUSIC, DANCE, AND MUSICAL INSTRUMENTS Music is part of the national heritage, an heirloom treasured by the people of Greece since earliest times, when the ancient Greeks entrusted the divine gift of music into the hands of Apollo, and the patron -Muse, Terpsichore, presided over their dances. Today music is still inseparable from Greek life. In dance and song the Greek gives dramatic expression to his joy and sorrows, records his hopes and history, and stores his legends. Certain elements of ancient musical form survive in popular Greek music, and the musical tradition of modern Greece owes much to the age of Byzantium and to ancient Greece. It is, how- ever, with few exceptions, entirely free in its native state from any Western influence. Such an excep- tion is some of the music of the Ionian Islands lying between Italy to the west and the Greek mainland to the east. They received and successively assimilated all the lifegiving streams of European thought and art, fashioning out of them their own particular Ionian Islands' culture, a culture that is nevertheless essentially Greek in character. The Oriental modal and rhythmic characteristics of nearly all Greek popular music are largely unfamiliar to Western ears. Times such as 7/8, 9/8, 5/8 and scales employing intervals different from the ones to which we are accustomed, the European major and minor, account for the appeal of popular Greek music. This appeal is its main characteristic. The folk dances of Greece, accompanied by music played on traditional popular instruments and frequently by songs also, are of iwo distinct kinds. The lively "pidiktos" and the restrained "syrtos" are the distinguishing measures of these two groups. Dances comprised of alternating pidiktos and syrtos measures constitute a third and derivative group. The pidiktos, literally the "leaping" dance is born of the rugged mountains of Greece. It has bold, virile steps and, in the main, is appropriately danced by men alone. The syrtos or "dragging" dance, on the other hand, is most frequently seen in the lowlands, coastal regions, and the islands. It has a lyrical, at times even feminine, quality and a more free musical form than the pidiktos. Both men and women dance the syrtos. The dances and songs of Pontos, an extensive tract of country along the southern shore of the Black Sea, have an especial place of their own in Greek popular music. The dances have a quality not to be found elsewhere; some are lyrical, some dithyrambic, and others, like the "Serra," martial. The Serra an exclusively Pontic dance, has a pyrrhic theme leading up to a sword fight that ends with the death of one of the swordsmen. There is a description of this dance in Homer's Iliad, in the lines describing the embossed decoration on Achilles' shield. Greek circular dances -the characteristic pattern of most national dances in the country- are often called after the name of the place where they first developed into a recognized form of variation, like the "Pelioritikos" and "Tsakonikos "; or after a profession, as in the case of the "Chasapikos" or the Butchers' dance, whose origins are to be found in Byzantium. Finally their rames denote the category to which they belong, as the "Klephtikos" or Klephtic, that is, warrior - brigands dance. While in general the women dancers of Greece, according to an ancient habit, still dance "demurely and with down -cast eyes," the men in sharp contrast perform all manner of agile leaps and springs and turns, improvising complicated steps with an astonishing ingenuity and yet with absolute respect for the formal and rigid rhythms of Greek dance melody. The musical instruments that provide accompaniment to the national dances and songs of Greece usually fall into three principal groups: string instruments lira (viol), fiddle, lute, and santouri (dulcimer); wind instruments all manner of flutes and cornemusa; percussion instruments small and big drums, bells, triangle, defi (a crude tambourine), wooden spoons, and others. The lira or viol is largely concerned with the music belonging to the Pontos area and the islands of Crete, Dodecanese, and other places; the cornemusa to the mainland provinces of Greece and certain islands, while the fiddle, clarinet, and flute, frequently in association with the santouri or dulcimer, are the instrumental group most widespread through the country. The later group is known as "zygia" or "compania" and has virtually taken the place of the "daoulia" (an ancient combination, still surviving in parts of Roumeli and the Peloponnesos, consisting of the "pipiza " -a primitive, very sharp oboe and one big drum). .

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