Stella Kourmpana was born in Athens on November 1976. Very young she started to take ballet classes and later piano lessons. In 1999 she graduated from the Department of Theatre Studies at the Athens University, where she studied History and Theory of Theatre. She holds an M.A. in Theatre & Music Studies (Athens University-Ionian University) and a PhD in Music Studies (Ionian University). She has published several articles on music, opera, theatre and literature in modern Greece and she is chief editor of ''Neos Mousikos Hellenomnemon'' (the quadrimestrial music journal published by the Research and Documentation Centre of the Athens Conservatoire and the Hellenic Music Lab of the Ionian University). She has taught at the Postgraduate Program of the Music Department of the Ionian University (2014-2017) and the Undergraduate Program of the Music Department at the University of Ioannina (2019-2021). Since September 2013 she is in charge of the Athens Conservatoire Archives, and she has curated 15 archival exhibitions.
Ημερίδα για τον Γιάννη Χρήστου στο πλαίσιο του αφιερώματος του Ωδείου Αθηνών, για την παραχώρηση ... more Ημερίδα για τον Γιάννη Χρήστου στο πλαίσιο του αφιερώματος του Ωδείου Αθηνών, για την παραχώρηση του Αρχείου του στο ΚΕΤΩΑ (Κέντρο Ερευνών και Τεκμηρίωσης του Ωδείου Αθηνών).
Αν και το ιδρυμένο, το 1871, Ωδείον Αθηνών υπήρξε μια ιδιωτική πρωτοβουλία, είχε από την πρώτη στ... more Αν και το ιδρυμένο, το 1871, Ωδείον Αθηνών υπήρξε μια ιδιωτική πρωτοβουλία, είχε από την πρώτη στιγμή την στήριξη της πολιτείας και λειτουργούσε καθ’ όλη την διάρκεια της μακρόχρονης πορείας του ως το επίσημο ίδρυμα για την μουσική παιδεία στην Ελλάδα (γι΄ αυτό και συχνά αποκαλούνταν «εθνικό» ή «βασιλικό» Ωδείο, όχι γιατί άλλαξε ποτέ ονομασία ή status, αλλά γιατί έπαιζε τον ρόλο ενός εθνικού μουσικοεκπαιδευτικού ιδρύματος). Αν και δεν άνοιξε ποτέ κανένα παράρτημα είχε συχνά την επίσημη εποπτεία σημαντικών ωδείων (όπως, π.χ. το Ωδείον Πειραιώς ή η Ελληνική Μουσική Ακαδημία Κύπρου) ενώ όσα ωδεία ιδρύθηκαν μετά το ΩΑ είχαν επικεφαλής τους αποφοίτους ή καθηγητές του Ωδείου Αθηνών, με επιφανέστερο το Ωδείον της Θεσσαλονίκης, που θα γινόταν το μοναδικό κρατικό ωδείο της χώρας.
Η πένα και το ξίφος: Η πολεμική στη νεοελληνική λογοτεχνία, φιλολογία και κριτική από τους πρώιμους νεότερους χρόνους έως σήμερα. Πρακτικά ΙΣΤ΄ Διεθνούς Επιστημονικής Συνάντησης 16-18 Οκτωβρίου 2020. Τμήμα Φιλολογίας. Τομέας Νεοελληνικών και Συγκριτολογικών Σπουδών, ΑΠΘ, Θεσσαλονίκη, 2022
Η παρούσα ανακοίνωση εντάσσεται στο πρόγραμμα: ΕΔΒΜ 34 «Υποστήριξη ερευνητών με έμφαση στους νέου... more Η παρούσα ανακοίνωση εντάσσεται στο πρόγραμμα: ΕΔΒΜ 34 «Υποστήριξη ερευνητών με έμφαση στους νέους ερευνητές» (επιχειρησιακό πρόγραμμα ΑΝΑΠΤΥΞΗ ΑΝΘΡΩΠΙΝΟΥ ΔΥΝΑΜΙΚΟΥ, ΕΚΠΑΙΔΕΥΣΗ ΚΑΙ ΔΙΑ ΒΙΟΥ ΜΑΘΗΣΗ, ΕΣΠΑ 2014-2020), K.A. 10078: «Στο γραφείο ενός κοσμοπολίτη λογίου του 19ου αιώνα: η έκδοση των χειρόγραφων τετραδίων του Χριστόφορου Φιλητά και η πρώιμη φάση της ιστοριογράφησης της νεοελληνικής γραμματείας/παιδείας»
Ioannis Foustanos (1856-1933) was an important figure of the 19th century Hermoupolis, not only ... more Ioannis Foustanos (1856-1933) was an important figure of the 19th century Hermoupolis, not only because of his intense activity in the field of medicine (doctor at the city hospital and private doctor, medical researcher, editor of two medical periocals – the Greek 'Iatriki Proodos' the French 'Grèce Medicale') but also because of his intense and varied involvement with music: he wrote music reviews for opera performances - which he published in a book, the first of its kind in Greece: 'Harmony and Melody' (1887) - he gave lectures on music, he published studies on the history, theory and aesthetics of music; he participated in concerts as a flutist, he composed music, and he was responsible for the first musicological controversy in Greece, a controversy over absolute and descriptive music (an issue that had divided Europe a few years earlier). Foustanos, being a follower of program music, gave his last fight on the controversy, composing a work that described the awakening of the day, only to proove that music can be descriptive.
On May 1879, the newly established Athens Conservatoire (1871) presented Gaetano Donizetti’s 'Bet... more On May 1879, the newly established Athens Conservatoire (1871) presented Gaetano Donizetti’s 'Betly', sung in Greek. It was the first student opera performance to take place in Greece. The event was very warmly welcomed by the audience of Athens and the performance would soon be presented in opera houses and theatres; the fact would create expectations for the creation of a Greek Melodramatic Troupe, something that would actually take place only a couple of years later (1888). This paper is trying to describe the details of this important fact using the archival material of the Athens Conservatoire Archives and the Press of the time.
«Harmony», the oil painting of the most important Greek painter of the School of Munich, Nicholas... more «Harmony», the oil painting of the most important Greek painter of the School of Munich, Nicholas Gyzis’ (1842-1901), has been for years the symbol of the Athens Conservatoire. This historical painting, created on the occasion of a contest that had been announced by the «Ibach und Sohn» Piano Factory in 1893, is now at the Athens Conservatoire, but its course from Barmen to Athens remains unknown; unknown also is the special relationship between the creator of «Harmony» and the first director of the Conservatoire, Georgios Nazos. This text tells the story of the creation of the painting, highlighting Nicholas Gyzis’ special relationship with Music and with the Athens Conservatoire, while Gyzis’ unknown drafts for the seal of the Conservatoire are published for the first time.
The birth of music criticism in Greece is connected with the creation of the Greek state and the ... more The birth of music criticism in Greece is connected with the creation of the Greek state and the consequent reception of opera in Athens, its capital. In the newly formed Greek society, opera was not only considered as a cultural fact, but also as the principal symbol of the European lifestyle, which stood as a model for the new citizens of the European community. The young Konstantinos Paparrigopoulos, before becoming the principal founder of the Greek nationalist historiography, published a number of music reviews on the opera performances in Athens in 1840, eager to contribute to the musical cultivation of his compatriots. According to his opinion, opera, thanks to its aesthetic quality, but mainly because of its universal influence (which goes beyond nations and classes) was the appropriate means to ‘mould’ the musical taste of the Greek nation. Paparrigopoulos’ insistence on Italian opera as the vehicle which could introduce the Greeks to the musical profile of European civilization is significant for his ideas on the cultural identity of his nation. In these early writings of the future historian we can distinguish the main topics of his later theory.
On June 1942, after the heavy winter of the German Occupation in Athens, Richard Strauss' "Elektr... more On June 1942, after the heavy winter of the German Occupation in Athens, Richard Strauss' "Elektra" was presented at the Odeon of Herodes Atticus. The performance, organized by the German Embassy in collaboration with the Greek National Theatre, brought together German and Greek artists (the conductor and 4 protagonists were German, while the rest of the artists were singers from the Greek National Opera and musicians working at the Orchestra of the Athens Conservatory). This collaboration apart from its artistic significance, was also a means of propaganda.
Το καλοκαίρι του 1942, μετά από τον βαρύ χειμώνα της Γερμανικής Κατοχής στην Αθήνα ανέβηκε στο Ηρ... more Το καλοκαίρι του 1942, μετά από τον βαρύ χειμώνα της Γερμανικής Κατοχής στην Αθήνα ανέβηκε στο Ηρώδειο η "Ηλέκτρα" του Ρίχαρντ Στράους. Η παράσταση που οργανώθηκε από την Γερμανική πρεσβεία σε συνεργασία με το Εθνικό Θέατρο έφερνε κοντά Γερμανούς και Έλληνες καλλιτέχνες (ο μαέστρος και 4 πρωταγωνιστές ήταν συμπατριώτες του συνθέτη ενώ οι υπόλοιποι καλλιτέχνες ήταν τραγουδιστές της Λυρικής Σκηνής και μουσικοί της Ορχήστρας του Ωδείου Αθηνών) σε μια σύμπραξη, η οποία, πέραν της καλλιτεχνικής της αξίας είχε και στόχους προπαγάνδας.
On May 1918 G. Konstantinidis sent to Georgios Nazos (the Athens Conservatory Director) five manu... more On May 1918 G. Konstantinidis sent to Georgios Nazos (the Athens Conservatory Director) five manuscript scores by the composer Demetrios Lallas (pupil and collaborator of Richard Wagner), along with a short explanatory letter. In that letter, recently discovered at the Athens Conservatory Archives (the scores still missing), one can find titles of known and unknown works by Demetrios Lallas, as well as valuable information about the existence of a still missing letter by Richard Wagner where the German composer names his former student, a "born musician".
The outstanding success of "Flora Mirabilis", composed by Spiro Samara and premiered in Milan in ... more The outstanding success of "Flora Mirabilis", composed by Spiro Samara and premiered in Milan in May 1886, as well as its subsequent glamorous orbit both in European and in American Opera stages, did not necessarily mean that the opera would meet an equally illustrious reception in the composer's homeland. It was a common wish to perform the opera also in Greece from very early on. However, it would take three years and numerous unsuccessful attempts in order the world famous "Flora Mirabilis" to be heard in Greece. Apart from Corfu, Samara's hometown, "Flora Mirabilis" was planned to be staged also in Zakynthos, in Patras, and of course in Athens, but the premiere was always put off. It was finally performed in Corfu in February 1889 (and 8 months later in Athens). When "Flora Mirabilis" finally had its Greek premiere in Corfu, the composer was actively involved in the production and was totally satisfied by the conditions. The audience gave a warm applaud to the opera and enjoyed not only the simple, but also the most demanding of its parts. It was a unique reward for the efforts of Samara, who stated that he was proud to be a Corfiot.
Οn the eve of the Greek Revolution (1820-1821), a Collection of several Dramas, a two volumed boo... more Οn the eve of the Greek Revolution (1820-1821), a Collection of several Dramas, a two volumed book, including eight dramatical works translated into Greek, was published in Vienna. The second volume, until now considered lost, and discussed in this text, contains foor dramas, three of which are opera libretti written by the German poet and scholar Christian Martin Wieland (1733-1813). Wieland was one of the first theorists of the German Opera, who tried to apply his theory on his own libretti. Thus, the second volume of the anonymous publication of the eight dramas gave the Greek-speaking readers of the era of the Greek Revolution the opportunity to communicate with the world in which German Opera was born.
On Spring 1920, the 85-year old famous French composer Camille Saint-Saëns visited Athens, invite... more On Spring 1920, the 85-year old famous French composer Camille Saint-Saëns visited Athens, invited by Georgios Nazos, the director of the Athens Conservatory. A cycle of concerts, a «Festival Saint-Saëns», was organized in his honour; the festival culminated in a concert at the ancient theatre of Herodes Atticus with the composer at the podium. Saint-Saëns was so enthousiastic about the Conservatory's musical education and the level of the orchestra that he would say that «this orchestra could stand anywhere». Before leaving Greece, Saint-Saëns left a note at the Conservatory's Visitor's book, with the first bars of his Suite Algérienne, followed by the words: «Marche de la Suite Algérienne qui fut miraculeusement exécuté par l'orchestre du Concervatoire».
Although the attempts to perform "Lohengrin" in Athens date back to 1892, when a French company v... more Although the attempts to perform "Lohengrin" in Athens date back to 1892, when a French company visiting the Greek capital intended to include the Wagnerian opera in its repertoire, it was finally an Italian Company who first sung Lohengrin, in front of a Greek audience: in Alexandria (Egypt) on December 1896 in Italian. The first performance of a Wagnerian music drama on Greek soil would finally take place on December 1902, in Corfu and three months later Athens (March 1903), and it was "Lohengrin", Wagner’s most popular opera at the time.
Ημερίδα για τον Γιάννη Χρήστου στο πλαίσιο του αφιερώματος του Ωδείου Αθηνών, για την παραχώρηση ... more Ημερίδα για τον Γιάννη Χρήστου στο πλαίσιο του αφιερώματος του Ωδείου Αθηνών, για την παραχώρηση του Αρχείου του στο ΚΕΤΩΑ (Κέντρο Ερευνών και Τεκμηρίωσης του Ωδείου Αθηνών).
Αν και το ιδρυμένο, το 1871, Ωδείον Αθηνών υπήρξε μια ιδιωτική πρωτοβουλία, είχε από την πρώτη στ... more Αν και το ιδρυμένο, το 1871, Ωδείον Αθηνών υπήρξε μια ιδιωτική πρωτοβουλία, είχε από την πρώτη στιγμή την στήριξη της πολιτείας και λειτουργούσε καθ’ όλη την διάρκεια της μακρόχρονης πορείας του ως το επίσημο ίδρυμα για την μουσική παιδεία στην Ελλάδα (γι΄ αυτό και συχνά αποκαλούνταν «εθνικό» ή «βασιλικό» Ωδείο, όχι γιατί άλλαξε ποτέ ονομασία ή status, αλλά γιατί έπαιζε τον ρόλο ενός εθνικού μουσικοεκπαιδευτικού ιδρύματος). Αν και δεν άνοιξε ποτέ κανένα παράρτημα είχε συχνά την επίσημη εποπτεία σημαντικών ωδείων (όπως, π.χ. το Ωδείον Πειραιώς ή η Ελληνική Μουσική Ακαδημία Κύπρου) ενώ όσα ωδεία ιδρύθηκαν μετά το ΩΑ είχαν επικεφαλής τους αποφοίτους ή καθηγητές του Ωδείου Αθηνών, με επιφανέστερο το Ωδείον της Θεσσαλονίκης, που θα γινόταν το μοναδικό κρατικό ωδείο της χώρας.
Η πένα και το ξίφος: Η πολεμική στη νεοελληνική λογοτεχνία, φιλολογία και κριτική από τους πρώιμους νεότερους χρόνους έως σήμερα. Πρακτικά ΙΣΤ΄ Διεθνούς Επιστημονικής Συνάντησης 16-18 Οκτωβρίου 2020. Τμήμα Φιλολογίας. Τομέας Νεοελληνικών και Συγκριτολογικών Σπουδών, ΑΠΘ, Θεσσαλονίκη, 2022
Η παρούσα ανακοίνωση εντάσσεται στο πρόγραμμα: ΕΔΒΜ 34 «Υποστήριξη ερευνητών με έμφαση στους νέου... more Η παρούσα ανακοίνωση εντάσσεται στο πρόγραμμα: ΕΔΒΜ 34 «Υποστήριξη ερευνητών με έμφαση στους νέους ερευνητές» (επιχειρησιακό πρόγραμμα ΑΝΑΠΤΥΞΗ ΑΝΘΡΩΠΙΝΟΥ ΔΥΝΑΜΙΚΟΥ, ΕΚΠΑΙΔΕΥΣΗ ΚΑΙ ΔΙΑ ΒΙΟΥ ΜΑΘΗΣΗ, ΕΣΠΑ 2014-2020), K.A. 10078: «Στο γραφείο ενός κοσμοπολίτη λογίου του 19ου αιώνα: η έκδοση των χειρόγραφων τετραδίων του Χριστόφορου Φιλητά και η πρώιμη φάση της ιστοριογράφησης της νεοελληνικής γραμματείας/παιδείας»
Ioannis Foustanos (1856-1933) was an important figure of the 19th century Hermoupolis, not only ... more Ioannis Foustanos (1856-1933) was an important figure of the 19th century Hermoupolis, not only because of his intense activity in the field of medicine (doctor at the city hospital and private doctor, medical researcher, editor of two medical periocals – the Greek 'Iatriki Proodos' the French 'Grèce Medicale') but also because of his intense and varied involvement with music: he wrote music reviews for opera performances - which he published in a book, the first of its kind in Greece: 'Harmony and Melody' (1887) - he gave lectures on music, he published studies on the history, theory and aesthetics of music; he participated in concerts as a flutist, he composed music, and he was responsible for the first musicological controversy in Greece, a controversy over absolute and descriptive music (an issue that had divided Europe a few years earlier). Foustanos, being a follower of program music, gave his last fight on the controversy, composing a work that described the awakening of the day, only to proove that music can be descriptive.
On May 1879, the newly established Athens Conservatoire (1871) presented Gaetano Donizetti’s 'Bet... more On May 1879, the newly established Athens Conservatoire (1871) presented Gaetano Donizetti’s 'Betly', sung in Greek. It was the first student opera performance to take place in Greece. The event was very warmly welcomed by the audience of Athens and the performance would soon be presented in opera houses and theatres; the fact would create expectations for the creation of a Greek Melodramatic Troupe, something that would actually take place only a couple of years later (1888). This paper is trying to describe the details of this important fact using the archival material of the Athens Conservatoire Archives and the Press of the time.
«Harmony», the oil painting of the most important Greek painter of the School of Munich, Nicholas... more «Harmony», the oil painting of the most important Greek painter of the School of Munich, Nicholas Gyzis’ (1842-1901), has been for years the symbol of the Athens Conservatoire. This historical painting, created on the occasion of a contest that had been announced by the «Ibach und Sohn» Piano Factory in 1893, is now at the Athens Conservatoire, but its course from Barmen to Athens remains unknown; unknown also is the special relationship between the creator of «Harmony» and the first director of the Conservatoire, Georgios Nazos. This text tells the story of the creation of the painting, highlighting Nicholas Gyzis’ special relationship with Music and with the Athens Conservatoire, while Gyzis’ unknown drafts for the seal of the Conservatoire are published for the first time.
The birth of music criticism in Greece is connected with the creation of the Greek state and the ... more The birth of music criticism in Greece is connected with the creation of the Greek state and the consequent reception of opera in Athens, its capital. In the newly formed Greek society, opera was not only considered as a cultural fact, but also as the principal symbol of the European lifestyle, which stood as a model for the new citizens of the European community. The young Konstantinos Paparrigopoulos, before becoming the principal founder of the Greek nationalist historiography, published a number of music reviews on the opera performances in Athens in 1840, eager to contribute to the musical cultivation of his compatriots. According to his opinion, opera, thanks to its aesthetic quality, but mainly because of its universal influence (which goes beyond nations and classes) was the appropriate means to ‘mould’ the musical taste of the Greek nation. Paparrigopoulos’ insistence on Italian opera as the vehicle which could introduce the Greeks to the musical profile of European civilization is significant for his ideas on the cultural identity of his nation. In these early writings of the future historian we can distinguish the main topics of his later theory.
On June 1942, after the heavy winter of the German Occupation in Athens, Richard Strauss' "Elektr... more On June 1942, after the heavy winter of the German Occupation in Athens, Richard Strauss' "Elektra" was presented at the Odeon of Herodes Atticus. The performance, organized by the German Embassy in collaboration with the Greek National Theatre, brought together German and Greek artists (the conductor and 4 protagonists were German, while the rest of the artists were singers from the Greek National Opera and musicians working at the Orchestra of the Athens Conservatory). This collaboration apart from its artistic significance, was also a means of propaganda.
Το καλοκαίρι του 1942, μετά από τον βαρύ χειμώνα της Γερμανικής Κατοχής στην Αθήνα ανέβηκε στο Ηρ... more Το καλοκαίρι του 1942, μετά από τον βαρύ χειμώνα της Γερμανικής Κατοχής στην Αθήνα ανέβηκε στο Ηρώδειο η "Ηλέκτρα" του Ρίχαρντ Στράους. Η παράσταση που οργανώθηκε από την Γερμανική πρεσβεία σε συνεργασία με το Εθνικό Θέατρο έφερνε κοντά Γερμανούς και Έλληνες καλλιτέχνες (ο μαέστρος και 4 πρωταγωνιστές ήταν συμπατριώτες του συνθέτη ενώ οι υπόλοιποι καλλιτέχνες ήταν τραγουδιστές της Λυρικής Σκηνής και μουσικοί της Ορχήστρας του Ωδείου Αθηνών) σε μια σύμπραξη, η οποία, πέραν της καλλιτεχνικής της αξίας είχε και στόχους προπαγάνδας.
On May 1918 G. Konstantinidis sent to Georgios Nazos (the Athens Conservatory Director) five manu... more On May 1918 G. Konstantinidis sent to Georgios Nazos (the Athens Conservatory Director) five manuscript scores by the composer Demetrios Lallas (pupil and collaborator of Richard Wagner), along with a short explanatory letter. In that letter, recently discovered at the Athens Conservatory Archives (the scores still missing), one can find titles of known and unknown works by Demetrios Lallas, as well as valuable information about the existence of a still missing letter by Richard Wagner where the German composer names his former student, a "born musician".
The outstanding success of "Flora Mirabilis", composed by Spiro Samara and premiered in Milan in ... more The outstanding success of "Flora Mirabilis", composed by Spiro Samara and premiered in Milan in May 1886, as well as its subsequent glamorous orbit both in European and in American Opera stages, did not necessarily mean that the opera would meet an equally illustrious reception in the composer's homeland. It was a common wish to perform the opera also in Greece from very early on. However, it would take three years and numerous unsuccessful attempts in order the world famous "Flora Mirabilis" to be heard in Greece. Apart from Corfu, Samara's hometown, "Flora Mirabilis" was planned to be staged also in Zakynthos, in Patras, and of course in Athens, but the premiere was always put off. It was finally performed in Corfu in February 1889 (and 8 months later in Athens). When "Flora Mirabilis" finally had its Greek premiere in Corfu, the composer was actively involved in the production and was totally satisfied by the conditions. The audience gave a warm applaud to the opera and enjoyed not only the simple, but also the most demanding of its parts. It was a unique reward for the efforts of Samara, who stated that he was proud to be a Corfiot.
Οn the eve of the Greek Revolution (1820-1821), a Collection of several Dramas, a two volumed boo... more Οn the eve of the Greek Revolution (1820-1821), a Collection of several Dramas, a two volumed book, including eight dramatical works translated into Greek, was published in Vienna. The second volume, until now considered lost, and discussed in this text, contains foor dramas, three of which are opera libretti written by the German poet and scholar Christian Martin Wieland (1733-1813). Wieland was one of the first theorists of the German Opera, who tried to apply his theory on his own libretti. Thus, the second volume of the anonymous publication of the eight dramas gave the Greek-speaking readers of the era of the Greek Revolution the opportunity to communicate with the world in which German Opera was born.
On Spring 1920, the 85-year old famous French composer Camille Saint-Saëns visited Athens, invite... more On Spring 1920, the 85-year old famous French composer Camille Saint-Saëns visited Athens, invited by Georgios Nazos, the director of the Athens Conservatory. A cycle of concerts, a «Festival Saint-Saëns», was organized in his honour; the festival culminated in a concert at the ancient theatre of Herodes Atticus with the composer at the podium. Saint-Saëns was so enthousiastic about the Conservatory's musical education and the level of the orchestra that he would say that «this orchestra could stand anywhere». Before leaving Greece, Saint-Saëns left a note at the Conservatory's Visitor's book, with the first bars of his Suite Algérienne, followed by the words: «Marche de la Suite Algérienne qui fut miraculeusement exécuté par l'orchestre du Concervatoire».
Although the attempts to perform "Lohengrin" in Athens date back to 1892, when a French company v... more Although the attempts to perform "Lohengrin" in Athens date back to 1892, when a French company visiting the Greek capital intended to include the Wagnerian opera in its repertoire, it was finally an Italian Company who first sung Lohengrin, in front of a Greek audience: in Alexandria (Egypt) on December 1896 in Italian. The first performance of a Wagnerian music drama on Greek soil would finally take place on December 1902, in Corfu and three months later Athens (March 1903), and it was "Lohengrin", Wagner’s most popular opera at the time.
Hermoupolis is the fruit of the War of Independence of 1821 and of the vision of a reborn Greece;... more Hermoupolis is the fruit of the War of Independence of 1821 and of the vision of a reborn Greece; a city built literally from the beginning by Greek refugees, who, chased by the Turks, 222 reached the rocky coast of Syros in order to survive, and managed, in less than half a century, to make of Syros the biggest port of the East-Mediterranean Sea. The story of this newborn city constitutes a unique phenomenon of Modern Greek History; because of the multiformity of its population (consisting of Greeks coming from different areas of the Aegean Sea), unified only by the goal of survival and of national regeneration, the city of Hermes (Hermoupolis) became an economic and cultural center of 19th century Greece, often surpassing the activity of the Greek Capital. The vision of the citizens of Hermoupolis was the development of a new world, based on the model of neoclassical Europe, which, as a conduit for the civilization of ancient Greece, was always destined to be their sole point of cultural reference, as all things eastern were viewed as symbols of their protracted slavery. In addition, as Western culture was considered the natural evolution of the ancient Greek, the Opera (created on the model of ancient Greek drama), was the cultural product par excellence of this evolution. Hence, operatic life was not only a powerful symbol of bourgeois European society, but also an ultimate example of a cultural re-borrowing: the Greek renaissance brought about by the 1821 revolution marked the hour when the products of ancient Greek culture that had decamped to Europe came back home. Europe’s new state wanted its cultural capital back, and with interest. Hermoupolis' musical life was impressively rich during the second half of the 19th century, especially after the construction of the Opera House (the Apollo Theatre) in 1864. The operatic activity, along with the musical education, introduced very early on the island, contributed to the elevation of the musical culture of the Hermoupolites, who seem to have been the habitants of a lost Atlantis.
The Athens Conservatoire was founded in 1871 with the goal to set the foundations of musical and ... more The Athens Conservatoire was founded in 1871 with the goal to set the foundations of musical and theatrical education in the Greek capital. The Conservatoire’s Drama School is the oldest Drama School in Greece, functioning without interruption since 1873. The valuable documents kept at the Athens Conservatoire Archives reveal the unknown history of this important school, involving personalities such as Georgios Vizyinos, Georgios Sotiriades, Angelos Vlachos, as well as the actors Dionysios Tavoularis and Nikolaos Lekatsas . This paper is trying to depict the first steps of the teaching of Drama in Greece, during the last decades of the 19th century.
One largely accepted conviction about the Modern Greek Musical History is that the Art Music actu... more One largely accepted conviction about the Modern Greek Musical History is that the Art Music actually never took roots in Greece, as the so called Classical Music did not interest but the higher class of the society. Researching at the Athens Conservatoire Archives inevitably leads us to plenty of evidence that prove this conviction to be false. The foundation of Athens Conservatoire, in 1871, aimed to the musical cultivation of the middle and lower classes of the society, as one can deduce from the institution’s registries of the time: next to high-school pupils and university students one finds pupils originated from the middle and lower class (merchants, engineers, tailors, bookbinders, printers, land-surveyors, cabinet-makers, clock-makers, blacksmiths), who, thanks to the free of charge classes that the Conservatoire offered, could learn to play music. The musical activity of the Conservatoire gradually improved in quality and the Athens Conservatoire very soon became a musical centre of Greece. When Camille Saint-Saëns visited Greece in 1920, said that the Conservatoire’s orchestra could stand anywhere. Some years later, the musical activity of the orchestra, under Dimitri Mitropoulos’ direction (former student of the Conservatoire), proved to be pioneering, presenting modernist music quite early. The example of Stravinsky’s Soldier’s Tale, which made its Greek premiere on January 1926 (that is only a few years after the Swiss (1918) and French (1924) premieres) is quite significant, since its warm reception by the Athenian audience, can prove that Art Music actually took roots in Greece.
Sister of the Corfiot composer Leonidas Albanas and wife of the Cefalonian painter Georgios Migna... more Sister of the Corfiot composer Leonidas Albanas and wife of the Cefalonian painter Georgios Mignatis, Margarita Albana-Mignati (1821-1887) was the first Greek authoress who studied Richard Wagner's work. Mignati's thought and work influenced many intellectuals in Florence, where she lived, among whom the Alsatian Édouard Schuré. Schuré met Margarita Albana-Mignaty in 1871, while visiting Italy, with the aim to write a book on Richard Wagner and he found on her the ideal inspiration. His book, "Le drame musical" (1875) ‒ a landmark of the Wagnerian bibliography ‒ was, according to the writer's confession, deeply influenced by Mignati, since it was the fruit of their prolific friendship. Mignati had studied Wagner before meeting Schuré and she published her own book on the composer in 1873. "Le théâtre de Bayreuth et la reforme musicale de Richard Wagner", which initially appeared in the french newspaper of Athens "Indépendance Héllenique", and was later published as a book in Florence, constitutes not only the first publication by a Greek authoress dedicated to Wagner, but also the first book on Wagner, under a Greek signature.
Hermoupolis, the Capital of Syros, the small island of the Aegean, was created after the War of G... more Hermoupolis, the Capital of Syros, the small island of the Aegean, was created after the War of Greek Independence (1821) literally from the beginning, based on the model of the Neoclassical Europe. The citizens of this New World, who were called to identify themselves in really special conditions, were seeking for their cultural identity towards the West. The seeking of their musical identity, was proved to be quite significant, because Music, as well as Language and Religion, would stand as a symbol of their Greekness.
The composer Dimitrios Lallas, a student and intimate collaborator of Richard Wagner, was an arde... more The composer Dimitrios Lallas, a student and intimate collaborator of Richard Wagner, was an ardent patriot, with important political activity, especially during the Macedonian Struggle. His first patriotic manifestation, though, had taken place many years before, when Dimitrios was a student at the Munich Conservatory (1872-74) and had composed his first "Macedonian March". His later acquaintance with Ion Dradoumis and his personal evolvement with the Macedonian Struggle motivated him to compose another Macedonian march, named "The Macedonian Paian" (1906). This paper tries to depict Lallas' patriotic profile through his music and his political activity.
In 1977 the director Spiros A. Evangelatos enacted a theatre performance consisting of abstracts ... more In 1977 the director Spiros A. Evangelatos enacted a theatre performance consisting of abstracts of seven different plays belonging to the Greek repertory of the 18th and 19th centuries.Considering Greek opera as an essential part of Greek theatre, Evangelatos also included Spiros Samaras' famous opera "Flora Mirabilis" (Milan, 1886) which was sung in his performance normally, although none of his actors was an opera singer.
Hermoupolis is the fruit of the War of Independence of 1821 and of the vision of a reborn Greece;... more Hermoupolis is the fruit of the War of Independence of 1821 and of the vision of a reborn Greece; a city built literally from the beginning by Greek refugees, who, chased by the Turks, reached the rocky coast of Syros in order to survive, and managed, in less than half a century, to make of Syros the biggest port of the East-Mediterranean Sea. The story of this newborn city constitutes a unique phenomenon of Modern Greek History; because of the multiformity of its population (consisting of Greeks coming from different areas of the Aegean Sea), unified only by the goal of survival and of national regeneration, the city of Hermes (Hermoupolis) became an economic and cultural center of 19th century Greece, often surpassing the activity of the Greek Capital.
The vision of the citizens of Hermoupolis was the development of a new world, based on the model of neoclassical Europe, which, as a conduit for the civilazation of ancient Greece, was always destined to be their sole point of cultural reference, as all things eastern were viewed as symbols of their protracted slavery. In addition, as Western culture was considered the natural evolution of the ancient Greek, the Opera (created on the model of ancient Greek drama), was the cultural product par excellence of this evolution. Hence, operatic life was not only a powerful symbol of bourgeois European society, but also an ultimate example of a cultural re-borrowing: the Greek renaissance brought about by the 1821 revolution marked the hour when the products of ancient Greek culture that had decamped to Europe came back home. Europe’s new state wanted its cultural capital back, and with interest.
Hermoupolis' musical life was impressively rich during the second half of the 19th century, especially after the construction of the Opera House (the Apollo Theatre) in 1864. The operatic activity, along with the musical education, introduced very early on the island, contributed to the elevation of the musical culture of the Hermoupolites, who seem to have been the habitants of a lost Atlantis.
One largely accepted conviction about the Modern Greek Musical History is that the Art Music actu... more One largely accepted conviction about the Modern Greek Musical History is that the Art Music actually never took roots in Greece, as the so called Classical Music did not interest but the higher class of the society. Researching at the Athens Conservatoire Archives inevitably leads us to plenty of evidence that prove this conviction to be false. The foundation of Athens Conservatoire, in 1871, aimed to the musical cultivation of the middle and lower classes of the society, as one can deduce from the institution’s registries of the time: next to high-school pupils and university students one finds pupils originated from the middle and lower class (merchants, engineers, tailors, bookbinders, printers, land-surveyors, cabinet-makers, clock-makers, blacksmiths), who, thanks to the free of charge classes that the Conservatoire offered, could learn to play music.
This thesis attempts to describe and analyze the impact of the theoretical and musical work of Ri... more This thesis attempts to describe and analyze the impact of the theoretical and musical work of Richard Wagner in the Greek intelligenzia, starting from the year 1862, when one first comes across the name of Richard Wagner in a Greek text (on the issue 287 (1.3.1862) of the periodical "Pandora") until the emblematic limit of 1902, when a wagnerian music drama is for the first time represented on Greek stage ("Lohengrin", Corfu, December 1902), that is during a period when the majority of the Greek audience had no actual experience of the wagnerian music, but fragmentally. The influence of Wagner's world in Greek theoretical works, literature, music, but also real life, places Greek Wagnerism in a very important position among the international Wagner studies, also because the Greek contribution, apart from being important, was often quite early.
The issue 13 of 'Neos Mousikos Hellenomnemon' (January-April 2024) is now available. The issue in... more The issue 13 of 'Neos Mousikos Hellenomnemon' (January-April 2024) is now available. The issue includes an extended tribute to Armand Marsick - the Belgian violonist, conductor and composer, who was the teacher of Dimitri Mitropoulos at the Athens Conservatoire, but also the person who evolved the Athens Conservatoire Orchestra into the Athens State Orchestra. Yiannis Belonis sheds light on the prehistory of the Greek Composers Union, Stefania Merakos highlights the unknown relationship between Dimitri Mitropoulos and Mikis Theodorakis and Evangelia Chaldaiaki comments on a letter about the School of Byzantine Music, found at the Historical Archives of the Athens Conservatoire.
Κυκλοφόρησε ο Β΄ τόμος της τρίτομης «Ιστορίας της Μουσικής στη Νεώτερη Ελλάδα: Από τη βασιλεία τ... more Κυκλοφόρησε ο Β΄ τόμος της τρίτομης «Ιστορίας της Μουσικής στη Νεώτερη Ελλάδα: Από τη βασιλεία του Γεωργίου έως το τέλος του Α΄ Παγκοσμίου Πολέμου» σε επιμέλεια Χάρη Ξανθουδάκη, Πάνου Βλαγκόπουλου, Κώστα Καρδάμη και Στέλλας Κουρμπανά (Εκδόσεις του Ωδείου Αθηνών, 2023) με δύο συνοδευτικούς δίσκους ακτίνας. Ο τόμος περιλαμβάνει κείμενα των: Χάρη Ξανθουδάκη, Στέλλας Κουρμπανά, Κωνσταντίνου Σαμπάνη, Κώστα Καρδάμη, Μανώλη Σειραγάκη και Μυρτώς Οικονομίδου
The issue 12 of "Νeos Mousikos Hellenomnemon" (September-December 2023) is now available. Τhis is... more The issue 12 of "Νeos Mousikos Hellenomnemon" (September-December 2023) is now available. Τhis issue is the first one published after the sudden demise of the very important composer, musicologist - emeritus professor at the Ionian University - and director of "Neos Mousikos Hellenommemon", Haris Xanthoudakis (Piraeus, 18-6-1950 – Athens 7-11-2023). The editorial board decided to continue the director's vision for the promotion of Greek Art music and its history through the pages of the periodical.
The issue 11 of "Νeos Mousikos Hellenomnemon" (May-August 2023) is now available. In this issue, ... more The issue 11 of "Νeos Mousikos Hellenomnemon" (May-August 2023) is now available. In this issue, that pays a tribute to Maria Callas' 100th year anniversary, you can read the paper of Stella Kourmpana about Callas' studies at the Athens Conservatoire; the story of the first and only performance of the Wagnerian tetralogy "The Ring of the Nibelung" in Greece, signed by Nikos Dontas; the documents that reconstruct Manolis Kalomoiris' dismissal from the Athens Conservatoire, by Evangelia A. Chaldaiaki and Haris Xanthoudakis' study on Ioannis Sakellarides' harmonzation of byzantine hymns. Last but not least the issue contains a small tribute to Markos Dragoumis (1934-2023), the important Greek musicologist, a teacher of Music History at the Athens Conservatoire for decades, who devoted his life to the research of Greek traditional music, and who passed away recently.
Τhe 10th issue of "Neos Mousikos Hellenomnemon" (September-December) that pays tribute to both th... more Τhe 10th issue of "Neos Mousikos Hellenomnemon" (September-December) that pays tribute to both the 200th anniversary of the Greek Revolution, and the 150th anniversary of the founding of the Athens Conservatoire is now available
The Athens Conservatoire's 'History of Music in Modern Greece' is a 3 volume edition, which attem... more The Athens Conservatoire's 'History of Music in Modern Greece' is a 3 volume edition, which attempts to make an overall presentation of the continuous tradition of Music Creation and Activity in Modern Greece, dating from 1453 until today. The edition contains the work of 12 scholars, includes 6 cds and is supported by KIKPE and Protovoulia 1821-2021. Volume 1 (1453-1864) is now available
Issue 9 (May-August 2021) that pays tribute to both the 200th anniversary of the Greek Revolutio... more Issue 9 (May-August 2021) that pays tribute to both the 200th anniversary of the Greek Revolution, and the 150th anniversary of the founding of the Athens Conservatoire is now available
Corfu Philharmonic Society / Ionian University-Music Department-Hellenic Music Research Lab, 2021
This volume presents the essays of the conference "Neohellenic Music. Issues of History and Hist... more This volume presents the essays of the conference "Neohellenic Music. Issues of History and Historiography" (organized by the Corfu Philharmonic Society and the Hellenic Music Research Lab of the Ionian University's Music Department). The conference pays a tribute to the pioneer Greek musicologist and musician of the Corfu P.S. Spiros Motsenigos (1911-1970) on the occasion of the 50 years since his passing away. Initially planned to take place in March 2020 the conference was cancelled due to the Covid19 pandemic. Nonetheless, its papers were gathered in this collective volume, which offers important and original contributions towards the understanding of art music in Modern Greece, ranging from the 16th to the 21st cent. Abstracts in English and an Index of names can be found in the uploaded pdf file.
Τhe 8th issue of "Neos Mousikos Hellenomnemon" (January-April) that pays tribute to both the 200t... more Τhe 8th issue of "Neos Mousikos Hellenomnemon" (January-April) that pays tribute to both the 200th anniversary of the Greek Revolution, and the 150th anniversary of the founding of the Athens Conservatoire is now available
The "History of Music in Modern Greece" by the Research and Documentation Centre of the Athens Co... more The "History of Music in Modern Greece" by the Research and Documentation Centre of the Athens Conservatory (KETOA) will be a landmark publication, aiming to fill a research gap: the overall presentation of the continuous tradition of modern Greek music life and production from the Fall of Constantinople until today. Utilizing the latest musicological research and the great wealth of archival sources, 3 illustrated volumes and 6 cds will illuminate unknown aspects of Greece’s music history. The publication, supervised by Haris Xanthoudakis, Panos Vlagopoulos, Kostas Kardamis and Stella Kourmpana, that will take place thanks to the kind support of KIKPE and the "Initiative for '21", as a tribute to the 200th anniversary of the Greek Revolution. Read more here: https://tinyurl.com/3w9srpz6
Ακουστικό συμπλήρωμα του τόμου Music, Language and Identity in Greece: Defining a National Art Mu... more Ακουστικό συμπλήρωμα του τόμου Music, Language and Identity in Greece: Defining a National Art Music in the Nineteenth and Twentieth Centuries, επιμ. Polina Tambakaki, Panos Vlagopoulos, Katerina Levidou, Roderick Beaton
Routledge, series Publications of the Centre for Hellenic Studies, King's College London
On the 5ht issue (January-April 2020) of 'Neos Moussikos Ellenomnemon' one can discover the life ... more On the 5ht issue (January-April 2020) of 'Neos Moussikos Ellenomnemon' one can discover the life and carrer or the famous Greek flutist of the 19th century, former student at the Athens Conservatoire and first flute of the Vienna Philharmonic, Eurysthenes Ghisas (1864-1902); learn how the Italian opera troupes were woking during 19th century Greece and read about the young pianist (and future composer) Manolis Kalomoiris (1883-1962); discover the unknown correspondance between Eva Palmer-Sikelianos and the Athens Conservatoire, on the occasion of the Delphic Festival as well as two unpublished texts by the famous Greek composer Yanni Christou (1926-1970) concerning the musical life of Greece of the '60s - a tribute to the anniversary of the 50 years of his death.
The new volume of "Neos Moussikos Ellenomnemon" is now available. This is the first volume of 201... more The new volume of "Neos Moussikos Ellenomnemon" is now available. This is the first volume of 2019, celebrating the 70th anniversary of Skalkottas' death.
Opera and the Greek World during the Nineteenth Century (ebook) FULL ACCESS, 2019
Published by Ionian University-Music Department-Hellenic Music Research Lab and Corfu Philharmoni... more Published by Ionian University-Music Department-Hellenic Music Research Lab and Corfu Philharmonic Society (ISBN 978-960-7260-63-5).
2017 marked for opera in Greece four anniversaries: the centenary since the passing of Spiros Samaras (1861-1917), the bicentenary since the birth of two important Greek opera composers, Spiridon Xyndas (1817-1896) and Domenikos Padovàs (1817-1892), as well as the 150 years since the premiere of the opera O ypopsifios [The Parliamentary Candidate] (1867, music by Xyndas and libretto by Ioannis Rinopoulos), which was both the first full-scale opera in Greek and the pivotal point for the emergence of opera in Greek language. Actually, this opera was revived by the Corfu Philharmonic Society in November 2017 in its original version honouring thus both the birth of its composer and the anniversary of its premiere.
The Hellenic Music Research Lab of the Music Department of the Ionian University and Corfu Philharmonic Society on the occasion of the aforementioned anniversaries organized the international conference entitled Opera and the Greek World during Nineteenth Century, which took place in Corfu, Greece, on 17, 18 and 19 November 2017.
Corfu, the seat of the Ionian University, was the birthplace of the three aforementioned composers. The San Giacomo theatre of Corfu, the earliest theatrical stage of the region, hosted opera performances already since 1733, contributing decisively to the dissemination of opera within the Greek world during 19th century. Moreover, Xyndas, Padovàs and Samaras presented in the same theatre their operas. Xyndas in 1840 was also one of the initial founders and professors of the Corfu Philharmonic Society and he dedicated to it certain of his operas. Padovàs also taught harmony and music theory in the Philharmonic, in 1857 he dedicated to it his opera Dirce and since 1884 he was appointed the Society’s artistic director. Samaras, a student of Xyndas during his early music training, had multiple connections with the Philharmonic Society and had been its honorary artistic director since 1889.
Given the above, the conference was not confined solely to the lives and the works of the aforementioned composers, but focused on matters regarding the place, the reception, the importance and the formative factors of the operatic activity within the Greek world during the “long nineteenth century”. This volume includes sixteen selected contributions covering areas such diverse as opera in the Ionian Islands, Athens and the Greek diaspora, analytical approaches and matters of reception both in Greece and abroad, and offers to the readers a wealth of information regarding opera activity in such places as Ermoupolis (Syros) and Smyrna, as well as aspects of the operatic “micro-history” of the Greek world.
Most of the texts of this volume are in English, but for those that are in Greek, extended abstracts can be found in the “Summaries” section.
The first issue of "Neos Mousikos Hellenomnemon", the periodical published by the Athens Conserva... more The first issue of "Neos Mousikos Hellenomnemon", the periodical published by the Athens Conservatoire and the Music Department of the Ionian University.
Τη Δευτέρα 3 Ιουνίου 2024, 19:00 στην Aίθουσα Άρης Γαρουφαλής του Ωδείου Αθηνών παρουσιάζεται ο β... more Τη Δευτέρα 3 Ιουνίου 2024, 19:00 στην Aίθουσα Άρης Γαρουφαλής του Ωδείου Αθηνών παρουσιάζεται ο β΄ τόμος της «Ιστορίας της Μουσικής στη Νεώτερη Ελλάδα» σε επιμέλεια των Χάρη Ξανθουδάκη, Πάνου Βλαγκόπουλου, Κώστα Καρδάμη και Στέλλας Κουρμπανά (Εκδόσεις του Ωδείου Αθηνών).
Την Δευτέρα 3 Ιουνίου 2024 στις 19.00 θα παρουσιαστεί ο β΄ τόμος της τρίτομης «Ιστορίας της Μουσι... more Την Δευτέρα 3 Ιουνίου 2024 στις 19.00 θα παρουσιαστεί ο β΄ τόμος της τρίτομης «Ιστορίας της Μουσικής στη Νεώτερη Ελλάδα» στην αίθουσα Άρης Γαρουφαλής του Ωδείου Αθηνών.
Από την Άνοιξη του 2023 το Κέντρο Ερευνών και Τεκμηρίωσης του Ωδείου Αθηνών (ΚΕΤΩΑ), έχει την χαρ... more Από την Άνοιξη του 2023 το Κέντρο Ερευνών και Τεκμηρίωσης του Ωδείου Αθηνών (ΚΕΤΩΑ), έχει την χαρά να φιλοξενεί το Μουσικό Αρχείο του σημαντικότατου Έλληνα συνθέτη Διονύσιου Λαυράγκα (1860-1941), κατόπιν παραχώρησης των απογόνων του. Σε ένδειξη ευγνωμοσύνης προς τους απογόνους του συνθέτη, αλλά και υπηρετώντας τον βασικό σκοπό λειτουργίας του, που είναι η ανάδειξη του μουσικού μας πολιτισμού, το ΚΕΤΩΑ διοργανώνει ένα αφιέρωμα για τη ζωή και το έργο του Λαυράγκα στις 23 και 24 Μαΐου 2024 (14.00-21.30). Το αφιέρωμα περιλαμβάνει μια επιστημονική διημερίδα, που αναδεικνύει το πολυσχιδές έργο του Λαυράγκα, συναυλία με γνωστά αλλά και άγνωστα έργα του Επτανήσιου συνθέτη και προβολή της ταινίας «Ο Αγαπητικός της Βοσκοπούλας». Η συναυλία περιλαμβάνει έργα μουσικής δωματίου, αποσπάσματα από όπερες, τραγούδια αλλά και μια άγνωστη πρώιμη σύνθεση του Λαυράγκα. Η ταινία, σε σκηνοθεσία Δ. Τσακίρη, και μουσική του Λαυράγκα, αποτελεί τη πρώτη ομιλούσα ελληνική ταινία που γυρίστηκε στην Ελλάδα (1932) και θα προβληθεί σε συνεργασία με την Ταινιοθήκη της Ελλάδος. Την εκδήλωση θα χαιρετίσει η Γενική Γραμματέας Σύγχρονου Πολιτισμού κ. Ελένη Δουνδουλάκη. Η είσοδος στις εκδηλώσεις θα είναι ελεύθερη για το κοινό.
Την Πέμπτη 22 Σεπτεμβρίου στις 20.30 στην αίθουσα της Αναγνωστικής Εταιρίας Κερκύρας (Καποδιστρίο... more Την Πέμπτη 22 Σεπτεμβρίου στις 20.30 στην αίθουσα της Αναγνωστικής Εταιρίας Κερκύρας (Καποδιστρίου 120) θα παρουσιαστεί ο πρώτος τόμος της τρίτομης έκδοσης του Ωδείου Αθηνών «Ιστορία της Μουσικής στη Νεώτερη Ελλάδα» . Στην παρουσίαση θα μιλήσουν οι Nίκος Τσούχλος (Πρόεδρος του Ωδείου Αθηνών και Αναπληρωτής Καθηγητής Ιονίου Πανεπιστημίου), Χάρης Ξανθουδάκης (Διευθυντής του ΚΕΤΩΑ και Ομότιμος Καθηγητής Ιονίου Πανεπιστημίου), Κώστας Καρδάμης (Αναπληρωτής Καθηγητής Ιονίου Πανεπιστημίου) και Στέλλα Κουρμπανά (Έφορος του Ιστορικού Αρχείου του Ωδείου Αθηνών και Διδάκτωρ Ιονίου Πανεπιστημίου).
Ο πρώτος τόμος της καλύπτει μέσα σε 640 σελίδες μια ελάχιστα, ως προς τη μουσική, ερευνημένη έως πρόσφατα χρονική περίοδο, αυτή από την Παλαιολόγεια Αναγέννηση (13ος αιώνας) έως και τον τέλος της βασιλείας του Όθωνα (1862). Στα κεφάλαια του τόμου περιλαμβάνονται, ανάμεσα σε άλλα, η μουσική στον ελληνισμό της Αναγέννησης, η περίοδος του Νεοελληνικού Διαφωτισμού, της Ελληνικής Επανάστασης και η (επιμελώς παραμελημένη) Καποδιστριακή. Φυσικά, ιδιαίτερο βάρος δίδεται στη μουσική των Επτανήσων. Ο A΄ τόμος, όπως και οι υπόλοιποι που ακολουθούν, συνοδεύεται και από δύο CD με μοναδικές ηχογραφήσεις, οι οποίες υπογραμμίζουν και ακουστικά το πολυποίκιλο φάσμα του έργου.
The Athens Conservatoire's 'History of Music in Modern Greece' is a 3 volume edition, which attem... more The Athens Conservatoire's 'History of Music in Modern Greece' is a 3 volume edition, which attempts to make an overall presentation of the continuous tradition of Music Creation and Activity in Modern Greece, dating from 1453 until today. The edition, that contains the work of 12 scholars, includes 6 cds and is supported by KIKPE and Protovoulia 1821-2021, will be presented on 26 February 2022, 19.00 at the Athens Conservatoire.
Τhe Historical Public Library of Andritsaina and the Athens Conservatoire co-organize a tribute t... more Τhe Historical Public Library of Andritsaina and the Athens Conservatoire co-organize a tribute to the Library’s main donator, Konstantinos Agathofron Nikolopoulos (1786-1841), on Saturday, July 3, 2021, 7.00 p.m., in Andritsaina. The tribute include Haris Xanthoudakis’ introductory speech on «the Musician Nikolopoulos» as well as a concert with Nikolopoulos’ compositions for voice and piano, with the mezzo-soprano Angelica Cathariou and the pianist Dimitris Giakas.
Due to the new covid-19 restrictions, the conference organized by
the Athens Conservatoire Resear... more Due to the new covid-19 restrictions, the conference organized by the Athens Conservatoire Research and Documentation Centre, on the occasion of the 50th anniversary of the death of Jani Christou (1926-1970), will take place on line, on Saturday, November 14, 2020 and will be accessible to all through the Athens Conservatoire You Tube Channel. https://www.athensconservatoire.gr/event/αφιερωμα-στον-γιαννη-χρηστου-50-χρονι
On the occasion of the 50th anniversary of the death of Yani Christou (1926-1970), the Athens Con... more On the occasion of the 50th anniversary of the death of Yani Christou (1926-1970), the Athens Conservatoire Research and Documentation Center organizes a series of events and activities during the first week of November 2020: two concerts, two workshops, an exhibition and a conference, focused on the work of the great Greek artist, under the artistic supervision of Costis Zouliatis
Ο Βέλγος αρχιμουσικός, βιολονίστας και συνθέτης Αρμάνδος Μαρσίκ (Armand Marsick) ήρθε στην Ελλάδα... more Ο Βέλγος αρχιμουσικός, βιολονίστας και συνθέτης Αρμάνδος Μαρσίκ (Armand Marsick) ήρθε στην Ελλάδα το 1908 για να αναλάβει την τάξη Ανώτερων Θεωρητικών και Σύνθεσης του Ωδείου Αθηνών, καθώς και την Ορχήστρα (την μετέπειτα Κρατική Ορχήστρα Αθηνών). Η δράση του υπήρξε καθοριστική τόσο στην Ορχήστρα, όσο και στη διδασκαλία του στο Ωδείο (επιφανέστερος μαθητής του στη διεύθυνση ορχήστρας αλλά και στη σύνθεση ο Δημήτρης Μητρόπουλος).
Το Κέντρο Ερευνών και Τεκμηρίωσης του Ωδείου Αθηνών διοργανώνει κύκλο εκδηλώσεων προς τιμήν του σημαντικού αυτού δασκάλου και μουσικού, που ονομάστηκε χαρακτηριστικά «παππούς της Κρατικής Ορχήστρας Αθηνών». Οι εκδηλώσεις, στις οποίες θα συμμετάσχουν και δύο από τους εγγονούς του συνθέτη, Jacques και Pierre Marsick θα περιλαμβάνουν ημερίδα, έκθεση (σε συνεργασία με το Αρχείο Marsick, και το Αρχείο Καλομοίρη) καθώς και συναυλία. Η συναυλία θα περιλαμβάνει έργα του Μαρσίκ και δύο επιφανών Ελλήνων μαθητών του (Δ. Μητρόπουλου και Γ. Σκλάβου), κάποια από τα οποία θα παιχτούν για πρώτη φορά στην Ελλάδα.
The Athens Conservatoire Research & Documentation Centre celebrates the anniversary of the 70 yea... more The Athens Conservatoire Research & Documentation Centre celebrates the anniversary of the 70 years of the early demise of the Conservatoire former student Nikos Skalkottas (1904-1949), with a conference, an exhibition and a danse performance.
ΔΕΛΤΙΟ ΤΥΠΟΥ
Την Παρασκευή 13 και το Σάββατο 14 Δεκεμβρίου 2019, η Βιβλιοθήκη της Βουλής και το... more ΔΕΛΤΙΟ ΤΥΠΟΥ
Την Παρασκευή 13 και το Σάββατο 14 Δεκεμβρίου 2019, η Βιβλιοθήκη της Βουλής και το Τμήμα Φιλολογίας του Πανεπιστημίου Κρήτης συνδιοργανώνουν συνέδριο με τίτλο «Λογιοσύνη και Συγκρότηση της Ιστορίας της Νεοελληνικής Γραμματείας: 18ος -19ος αι.». Στόχος του συνεδρίου είναι η ανανέωση των προσεγγίσεων σε ζητήματα που αφορούν την ελληνική λογιοσύνη και την Νεοελληνική Γραμματεία του 18ου και του 19ου αι. Αφενός το συνέδριο πραγματοποιείται στο πλαίσιο του ερευνητικού προγράμματος «Στο γραφείο ενός κοσμοπολίτη λόγιου του 19ου αιώνα: η έκδοση των χειρογράφων τετραδίων του Χριστόφορου Φιλητά και η πρώτη φάση ιστοριογράφησης της νεοελληνικής γραμματείας/παιδείας». Πρόγραμμα συγχρηματοδοτούμενο από την Ελλάδα και το Ευρωπαϊκό Κοινωνικό Ταμείο μέσω του Επιχειρησιακού Προγράμματος «Ανάπτυξη Ανθρώπινου Δυναμικού, Εκπαίδευση και Διά Βίου Μάθηση». Αφετέρου στις συλλογές της Βιβλιοθήκης της Βουλής σώζονται δεκαέξι χειρόγραφα τετράδια του Ηπειρώτη λόγιου και δασκάλου Χριστόφορου Φιλητά (1787-1867), τα οποία παρουσιάζουν πολλαπλό ενδιαφέρον. Επιπλέον, η Βιβλιοθήκη της Βουλής εντάσσει το παρόν συνέδριο στις δράσεις της επετείου των 200 χρόνων από την Ελληνική Επανάσταση. Παράλληλα με το συνέδριο που θα πραγματοποιηθεί στον συνεδριακό χώρο της Βουλής επί της Αμαλίας 22-24, παρουσιάζεται έκθεση που παρακολουθεί την ζωή και το έργο του Χρ. Φιλητά, με τεκμήρια, μεταξύ άλλων, τα ίδια τα χειρόγραφα τετράδια του λόγιου άνδρα του οποίου δεν γνωρίζουμε την μορφή μιας και δεν έχει εντοπιστεί καμία προσωπογραφία του.
The talk on 'The Revolution of 1821 and the music identity of the Modern Greeks' took place on M... more The talk on 'The Revolution of 1821 and the music identity of the Modern Greeks' took place on March 30th 2021 on the Rotary Club of Athens (online), on the occasion of the anniversary of 200 years since the Greek Revolution. The presentation concentrates on the ideal of Music and Musical Life for the new citizens of Europe who beleived that Opera was represening their musical identity, being at the same time a 'Greek' and a 'European' product
Τμήμα Θεατρικών Σπουδών - Εθνικό και Καποδιστριακό Πανεπιστήμιιο Αθηνών. Πρακτικά Επετειακού Συνε... more Τμήμα Θεατρικών Σπουδών - Εθνικό και Καποδιστριακό Πανεπιστήμιιο Αθηνών. Πρακτικά Επετειακού Συνεδρίου για τα 20 χρόνια του Προγράμματος Μεταπτυχιακών Σπουδών. «Πηγές της έρευνας στη σύγχρονη ελληνική θεατρολογία». Κεντρικό Κτήριο Πανεπιστημίου Αθηνών 27-29 Απριλίου 2017. Επιμέλεια Αλεξία Αλτουβά. Πρόλογος - Εισαγωγή Χρυσόθεμις Σταματοπούλου-Βασιλάκου, Αθήνα 2021.
http://www.theatre.uoa.gr/fileadmin/theatre.uoa.gr/uploads/PDF_Files/synedria/22042021_EPETEIAKO_SYNEDRIO_OPT_2.pdf
«Προς μάθησιν εντελεστέραν». Ο Χριστόφορος Φιλητάς (1787-1867) και η συγκρότηση της Νεοελληνικής Φιλολογίας τον 18ο και 19ο αιώνα, επιμ. Αλέξανδρος Κατσιγιάννης - Δημήτρης Πολυχρονάκης - Κωνσταντίνος Χρυσόγελος, Αθήνα, Βιβλιοθήκη της Βουλής, 2022
Part of ‘Protovoulia 1821-2021’. Book launch of the collective volume Music, Language and Identit... more Part of ‘Protovoulia 1821-2021’. Book launch of the collective volume Music, Language and Identity in Greece: Defining an Art Music in the 19th and 20th Centuries (Routledge, Publications of the Centre for Hellenic Studies, King's College London); launch of the CD "Harmony" with rare works by Greek composers from the Archive of the Athens Conservatoire; talks on the discovery and reconstruction of the opera Andronica by Alexandros Greck, which will be performed in the Olympia Theatre on 28 November 2021. The symposium will close with a 20-minute presentation of excerpts from the opera Andronica performed by Vassia Alati (soprano) and Nikos Athineos (piano).
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can distinguish the main topics of his later theory.
can distinguish the main topics of his later theory.
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reached the rocky coast of Syros in order to survive, and managed, in less than half a century, to make of Syros the biggest port of the East-Mediterranean Sea. The story of this newborn city constitutes a unique phenomenon of Modern Greek History; because of the multiformity of its population (consisting of Greeks coming from different areas of the Aegean Sea), unified only by the goal of survival and of national regeneration, the city of Hermes (Hermoupolis) became an economic and cultural center of 19th century Greece, often surpassing the activity of the Greek Capital. The vision of the citizens of Hermoupolis was the development of a new world, based on the model of neoclassical Europe, which, as a conduit for the civilization of ancient Greece, was always destined to be their sole point of cultural reference, as all things eastern were viewed as symbols of their protracted slavery. In addition, as Western culture was considered the natural evolution of the ancient Greek, the Opera (created on the model of ancient Greek drama), was the cultural product par excellence of this evolution. Hence, operatic life was not only a powerful symbol of bourgeois European society, but also an ultimate example of a cultural re-borrowing: the Greek renaissance brought about by the 1821 revolution marked the hour when the products of ancient Greek culture that had decamped to Europe came back home. Europe’s new state wanted its cultural capital back, and with interest. Hermoupolis' musical life was impressively rich during the second half of the 19th century, especially after the construction of the Opera House (the Apollo Theatre) in 1864. The operatic activity, along with the musical education, introduced very early on the island, contributed to the elevation of the musical culture of the Hermoupolites, who seem to have been the habitants of a lost Atlantis.
The vision of the citizens of Hermoupolis was the development of a new world, based on the model of neoclassical Europe, which, as a conduit for the civilazation of ancient Greece, was always destined to be their sole point of cultural reference, as all things eastern were viewed as symbols of their protracted slavery. In addition, as Western culture was considered the natural evolution of the ancient Greek, the Opera (created on the model of ancient Greek drama), was the cultural product par excellence of this evolution. Hence, operatic life was not only a powerful symbol of bourgeois European society, but also an ultimate example of a cultural re-borrowing: the Greek renaissance brought about by the 1821 revolution marked the hour when the products of ancient Greek culture that had decamped to Europe came back home. Europe’s new state wanted its cultural capital back, and with interest.
Hermoupolis' musical life was impressively rich during the second half of the 19th century, especially after the construction of the Opera House (the Apollo Theatre) in 1864. The operatic activity, along with the musical education, introduced very early on the island, contributed to the elevation of the musical culture of the Hermoupolites, who seem to have been the habitants of a lost Atlantis.
Routledge, series Publications of the Centre for Hellenic Studies, King's College London
2017 marked for opera in Greece four anniversaries: the centenary since the passing of Spiros Samaras (1861-1917), the bicentenary since the birth of two important Greek opera composers, Spiridon Xyndas (1817-1896) and Domenikos Padovàs (1817-1892), as well as the 150 years since the premiere of the opera O ypopsifios [The Parliamentary Candidate] (1867, music by Xyndas and libretto by Ioannis Rinopoulos), which was both the first full-scale opera in Greek and the pivotal point for the emergence of opera in Greek language. Actually, this opera was revived by the Corfu Philharmonic Society in November 2017 in its original version honouring thus both the birth of its composer and the anniversary of its premiere.
The Hellenic Music Research Lab of the Music Department of the Ionian University and Corfu Philharmonic Society on the occasion of the aforementioned anniversaries organized the international conference entitled Opera and the Greek World during Nineteenth Century, which took place in Corfu, Greece, on 17, 18 and 19 November 2017.
Corfu, the seat of the Ionian University, was the birthplace of the three aforementioned composers. The San Giacomo theatre of Corfu, the earliest theatrical stage of the region, hosted opera performances already since 1733, contributing decisively to the dissemination of opera within the Greek world during 19th century. Moreover, Xyndas, Padovàs and Samaras presented in the same theatre their operas. Xyndas in 1840 was also one of the initial founders and professors of the Corfu Philharmonic Society and he dedicated to it certain of his operas. Padovàs also taught harmony and music theory in the Philharmonic, in 1857 he dedicated to it his opera Dirce and since 1884 he was appointed the Society’s artistic director. Samaras, a student of Xyndas during his early music training, had multiple connections with the Philharmonic Society and had been its honorary artistic director since 1889.
Given the above, the conference was not confined solely to the lives and the works of the aforementioned composers, but focused on matters regarding the place, the reception, the importance and the formative factors of the operatic activity within the Greek world during the “long nineteenth century”. This volume includes sixteen selected contributions covering areas such diverse as opera in the Ionian Islands, Athens and the Greek diaspora, analytical approaches and matters of reception both in Greece and abroad, and offers to the readers a wealth of information regarding opera activity in such places as Ermoupolis (Syros) and Smyrna, as well as aspects of the operatic “micro-history” of the Greek world.
Most of the texts of this volume are in English, but for those that are in Greek, extended abstracts can be found in the “Summaries” section.
Σε ένδειξη ευγνωμοσύνης προς τους απογόνους του συνθέτη, αλλά και υπηρετώντας τον βασικό σκοπό λειτουργίας του, που είναι η ανάδειξη του μουσικού μας πολιτισμού, το ΚΕΤΩΑ διοργανώνει ένα αφιέρωμα για τη ζωή και το έργο του Λαυράγκα στις 23 και 24 Μαΐου 2024 (14.00-21.30). Το αφιέρωμα περιλαμβάνει μια επιστημονική διημερίδα, που αναδεικνύει το πολυσχιδές έργο του Λαυράγκα, συναυλία με γνωστά αλλά και άγνωστα έργα του Επτανήσιου συνθέτη και προβολή της ταινίας «Ο Αγαπητικός της Βοσκοπούλας». Η συναυλία περιλαμβάνει έργα μουσικής δωματίου, αποσπάσματα από όπερες, τραγούδια αλλά και μια άγνωστη πρώιμη σύνθεση του Λαυράγκα. Η ταινία, σε σκηνοθεσία Δ. Τσακίρη, και μουσική του Λαυράγκα, αποτελεί τη πρώτη ομιλούσα ελληνική ταινία που γυρίστηκε στην Ελλάδα (1932) και θα προβληθεί σε συνεργασία με την Ταινιοθήκη της Ελλάδος. Την εκδήλωση θα χαιρετίσει η Γενική Γραμματέας Σύγχρονου Πολιτισμού κ. Ελένη Δουνδουλάκη. Η είσοδος στις εκδηλώσεις θα είναι ελεύθερη για το κοινό.
Ο πρώτος τόμος της καλύπτει μέσα σε 640 σελίδες μια ελάχιστα, ως προς τη μουσική, ερευνημένη έως πρόσφατα χρονική περίοδο, αυτή από την Παλαιολόγεια Αναγέννηση (13ος αιώνας) έως και τον τέλος της βασιλείας του Όθωνα (1862). Στα κεφάλαια του τόμου περιλαμβάνονται, ανάμεσα σε άλλα, η μουσική στον ελληνισμό της Αναγέννησης, η περίοδος του Νεοελληνικού Διαφωτισμού, της Ελληνικής Επανάστασης και η (επιμελώς παραμελημένη) Καποδιστριακή. Φυσικά, ιδιαίτερο βάρος δίδεται στη μουσική των Επτανήσων. Ο A΄ τόμος, όπως και οι υπόλοιποι που ακολουθούν, συνοδεύεται και από δύο CD με μοναδικές ηχογραφήσεις, οι οποίες υπογραμμίζουν και ακουστικά το πολυποίκιλο φάσμα του έργου.
the Athens Conservatoire Research and Documentation Centre, on the occasion of the 50th anniversary of the death of Jani Christou (1926-1970), will take place on line, on Saturday, November 14, 2020 and will be accessible to all through the Athens Conservatoire You Tube Channel. https://www.athensconservatoire.gr/event/αφιερωμα-στον-γιαννη-χρηστου-50-χρονι
Το Κέντρο Ερευνών και Τεκμηρίωσης του Ωδείου Αθηνών διοργανώνει κύκλο εκδηλώσεων προς τιμήν του σημαντικού αυτού δασκάλου και μουσικού, που ονομάστηκε χαρακτηριστικά «παππούς της Κρατικής Ορχήστρας Αθηνών». Οι εκδηλώσεις, στις οποίες θα συμμετάσχουν και δύο από τους εγγονούς του συνθέτη, Jacques και Pierre Marsick θα περιλαμβάνουν ημερίδα, έκθεση (σε συνεργασία με το Αρχείο Marsick, και το Αρχείο Καλομοίρη) καθώς και συναυλία. Η συναυλία θα περιλαμβάνει έργα του Μαρσίκ και δύο επιφανών Ελλήνων μαθητών του (Δ. Μητρόπουλου και Γ. Σκλάβου), κάποια από τα οποία θα παιχτούν για πρώτη φορά στην Ελλάδα.
Την Παρασκευή 13 και το Σάββατο 14 Δεκεμβρίου 2019, η Βιβλιοθήκη της Βουλής και το Τμήμα Φιλολογίας του Πανεπιστημίου Κρήτης συνδιοργανώνουν συνέδριο με τίτλο «Λογιοσύνη και Συγκρότηση της Ιστορίας της Νεοελληνικής Γραμματείας: 18ος -19ος αι.». Στόχος του συνεδρίου είναι η ανανέωση των προσεγγίσεων σε ζητήματα που αφορούν την ελληνική λογιοσύνη και την Νεοελληνική Γραμματεία του 18ου και του 19ου αι.
Αφενός το συνέδριο πραγματοποιείται στο πλαίσιο του ερευνητικού προγράμματος «Στο γραφείο ενός κοσμοπολίτη λόγιου του 19ου αιώνα: η έκδοση των χειρογράφων τετραδίων του Χριστόφορου Φιλητά και η πρώτη φάση ιστοριογράφησης της νεοελληνικής γραμματείας/παιδείας». Πρόγραμμα συγχρηματοδοτούμενο από την Ελλάδα και το Ευρωπαϊκό Κοινωνικό Ταμείο μέσω του Επιχειρησιακού Προγράμματος «Ανάπτυξη Ανθρώπινου Δυναμικού, Εκπαίδευση και Διά Βίου Μάθηση». Αφετέρου στις συλλογές της Βιβλιοθήκης της Βουλής σώζονται δεκαέξι χειρόγραφα τετράδια του Ηπειρώτη λόγιου και δασκάλου Χριστόφορου Φιλητά (1787-1867), τα οποία παρουσιάζουν πολλαπλό ενδιαφέρον. Επιπλέον, η Βιβλιοθήκη της Βουλής εντάσσει το παρόν συνέδριο στις δράσεις της επετείου των 200 χρόνων από την Ελληνική Επανάσταση.
Παράλληλα με το συνέδριο που θα πραγματοποιηθεί στον συνεδριακό χώρο της Βουλής επί της Αμαλίας 22-24, παρουσιάζεται έκθεση που παρακολουθεί την ζωή και το έργο του Χρ. Φιλητά, με τεκμήρια, μεταξύ άλλων, τα ίδια τα χειρόγραφα τετράδια του λόγιου άνδρα του οποίου δεν γνωρίζουμε την μορφή μιας και δεν έχει εντοπιστεί καμία προσωπογραφία του.
http://www.theatre.uoa.gr/fileadmin/theatre.uoa.gr/uploads/PDF_Files/synedria/22042021_EPETEIAKO_SYNEDRIO_OPT_2.pdf