When Progress Fails, Try Greekness: From Manolis Kalomiris to Manos Hadjidakis and Mikis Theodorakis

Transcription

1 The National Element in Music When Progress Fails, Try Greekness: From Manolis Kalomiris to Manos Hadjidakis and Mikis Theodorakis Paris Konstantinidis University of Athens Abstract. I am based on the theory of Pierre Bourdieu about the Rules of the Art and the Taste to claim that: the ideal of Greekness in Greek Music played a similar, though not identical role, to the one the ideal of Progress played in the Western Art, as they both functioned as an establishing channel for the younger artists. But whereas the avantgardistic Progress of the Western Art takes place in the area of what Bourdieu calls high symbolic capital, the identity related Greekness in the Greek music moved gradually from the area of high symbolic capital to that of the middle symbolic capital. I concentrate on the key composers Manolis Kalomiris ( ), Manos Hadjidakis ( ) and Mikis Theodorakis (1925). Western Art in general, as well as a specific part of Greek Music, which had a pretension to the status of Art, seem to have evolved under the same functioning law, that of the revolution. But whereas the motivational principle of the revolutions in Western Art has been that of Progress, some Greek composers, who were educated in Western Art Music, revolted for the sake of Greekness. Among these composers, Manolis Kalomiris ( ), Manos Hadjidakis ( ) and Mikis Theodorakis (1925) were supposed to express the Greekness par excellence, at least at the top of their career. 1 But the more Greek the music of the two latter composers sounded, the less artistic and at the same time more popular and commercial it became. Hence, Greekness in music fell gradually away from the area of the pure, autonomous Art; in other words, from the area of the high symbolic capital. In order to understand the evolution of Greek music under the ideal of Greekness would be helpful to look into the theory of Pierre Bourdieu. In The Rules of Art Bourdieu describes the artistic field of the 19th century France by focusing mainly on literature. In Bourdieu there are two ways of cultural production with contrasting principles: the one of the autonomous, pure art and the other of the heteronomous, commercial, market oriented art. The producers of the first one accumulate high symbolic capital, 2 in other words, primarily achieving the recognition of other cultural producers, while the commercial producers are recognized mainly from the wide audience and therefore accumulate high economic capital. 3 According to Bourdieu in the area of autonomous Art a permanent revolution 4 takes place that produces the different artistic generations, which are not equal to the biological generations and are moreover separated through the degree of consecration. These are: defined by the interval [ ] between styles and lifestyles that are opposed to each other as new and old, original and outmoded. These arbitrary dichotomies are often almost empty of meaning, but are sufficient to classify and give existence to [ ] groups designated rather than defined by labels intended to produce the differences that they pretend to enunciate. 5 So, in 1 On this paper I am focusing exclusively on their early career years of the three composers. 2 In Bourdieu the symbolic capital is opposed to the economic capital. The higher symbolic capital a piece of art enjoys, the lower the economic capital it brings and vice versa. 3 Bourdieu, Pierre The Rules of Art: Genesis and Structure of the literary field, tranls. Susan Emanuel (Stanford, Stanford University Press, 1995), Bourdieu, Bourdieu,

2 International Musicological Conference, Athens January 2013 order to exist, a new artistic generation must oppose itself to the old one and succeed to make it appear outmoded, by using this Thesis Antithesis schema. To the arsenal of such symbolic strategies belong not only the differences in the artistic style per se, but also discourses about art, like manifestos. In countries where Art Music during the 20th Century was well established and had a long tradition, the new artistic generations took a place in the artistic field by revolting under the ideal of Progress. 6 For instance, during the first half of the 20th Century, Schoenberg emancipated the dissonance as part of an inevitable historical process 7 and later on happened what Dahlhaus so aptly describes: The musical progress is not identical to the scientific progress, but to the philosophical [ ] which contributes rather to the discovery of the problems, than to their solution. It s undeniable that composers like Boulez [1925], Stockhausen [ ], Nono [ ], Kagel [ ], who are believed to be the avant garde, have expanded the musical thought. 8 So, if the progressive postwar Western Art Music was discovering problems, at the same time the music in Greece was solving the problem of the Greekness. Two of the three main actors in this story, Manos Hadjidakis ( ) and Mikis Theodorakis (1925), belonged to the same generation with the avantgardistic composers, previously cited in the Dalhaus Quotation. All three composers were the most influential people in Greek music life during the 20th Century. Kalomiris dominated in the first half of the 20th Century, while Hadjidakis and Theodorakis gained influence in the second half. Apart from the Greekness in their music, their career shared another three common factors. Firstly, all of them made alliances with artists outside the musical field, secondly all of them had some short of relationship to politics, and thirdly, all of them, at least tried, to establish new musical institutions or change the old ones. 1. Manolis Kalomiris and the National School of Music Back in the very early 20th Century Greece, there was no distinction between serious and light music, in other words between (Western) Art music and non art music. As national music was perceived that of the Greek Orthodox Church, which had also a secular use next to the Greek folk music, the Demotic Song. What was called European music in Athens was the music of the Greek composers from the Ionian Islands, whose style was influenced by the Italian music. 9 Manolis Kalomiris, who studied music in Vienna, had the same principles with the other National Schools in Europe and thus was aspired to the musical idiom of the late Romanticism with inspirations from the Greek folk music. As he succeeded to become the father of the Greek National School of Music and establish it in the Athenian music life in the first quarter of the 20th Century, a new westernized understanding of music emerged. From then on, folk mu 6 The Art since modernism has generally been understood in terms of progress. For instance, when a person interprets an Artwork: seems to stare into an ordered past, to see what has been created and to place the new achievement within the context of a historically advancing process. See Doorman, Maarten Art in Progress: A Philosophical Response to the End of the Avant Garde, transl. Sherry Marx, (Amsterdam: Amsterdam University Press, 2003), About Schoenberg and the ideology of progress, see Gur, Golan Arnold Schoenberg and the Ideology of Progress in Twentieth Century Musical Thinking, Search Journal for New Music and Culture 5, Summer In (accessed on November 10th, 2012). 8 Dahlhaus, Carl Fortschritt und Avantgarde, in Carl Dahlhaus Gesammelte Schriften in 10 Bänden. Bd. 8., ed Hermann Danuser (Laaber: Laaber Verlag, 2005), Romanou, Katy Westernization of Greek Music, Зборник Матице српске за сценске уметности и музику 28 29, In (accessed on September 23th, 2012). 315

3 The National Element in Music sic acquired a sacralized position in the artistic field. It became the soul of the nation as tradition, and thus stayed outside the distinction between serious and light music, 10 which in the meantime had already emerged. At the same time, the music of the Greek composers of the Ionian Islands was excluded from Athenian music life, despised in the public discourse as Italian, non Greek music, even if those composers were also using elements or inspiration from Greek folk music in some of their compositions. In a country like Greece, where the perception of music as Art didn t have any historical roots, the rhetoric of Kalomiris about Art Music (as National Music) would likely have been unsuccessful, if it wasn t related to such a central issue as that of the national identity, which concerned the Greek society. But how Kalomiris succeeded on that? Firstly, Kalomiris proclaimed the demotic language as the unique language suitable for a true National Music. 11 Demotic Language was mainly supported by most of the intellectuals and important Poets, like Kostis Palamas ( ). Secondly, Kalomiris, like the most supporters of Demotic Language at that time, supported and was being supported by the leading liberal politician Eleftherios Venizelos ( ). 12 Hence, Kalomiris gained back symbolic support from the literary field, as well as material and political support from Venizelos. Kalomiris used all these to promote his ideals about music and in addition, to create and provide some of the institutions needed for establishment of Art Music, such as music education and concerts. But the main thing that we must keep in mind is that Art Music in Greece emerged from the exclusion of another music idiom, not because it was believed to be outdated, but because it was not believed to be purely Greek. 2. Manos Hadjidakis and the Light Song Although the talented Manos Hadjidakis had started to compose according to the principles of the National School (i.e. the piano pieces For a small white Seashell, 1948), he couldn t make a career in this direction, because he was lacking an accomplished conservatory based musical education and thus, the accompanying prestige. 13 A typical career for a conservatory educated composer would be either to teach in conservatories and write Art music in the style of the National School, or to compose a not so artistic, though relatively recognized music, like Light Songs and music for Revues or both of them. 14 But Hadjidakis didn t have the chance to release his own albums with Light Songs until That was the year he had already gained popularity through his compositions for films, which were supposed to be even more commercial and 10 The idealized folk music as tradition wasn t really aesthetically judged, because it was supposed to be naturally beautiful, as an expression of the organic genius of the nation. In Greece, as well as in the central European countries, both Art and Folk music were understood as pure and authentic in contrast to the popular music, which was supposed to be just commercial, corrupt and low. About the connection between art, folk and popular music, see Gelbart, Matthew The invention of "folk music" and "art music": emerging categories from Ossian to Wagner (Cambridge: Cambridge University Press, 2007), Demotic language was the so called language of the people, opposed to the Katharevousa, a cultivated imitation of Ancient Greek, which was the official state language at that time. 12 Venizelos was a leading political figure and prime minister of Greece for seven times in the period from 1910 until Not only his rivals condemned him for his lacking of accomplished music education, but also the music critic Sophia Spanoudi former piano teacher of Manolis Kalomiris who supported Hadjidakis, insisted him to continue his music studies. Although she admired his talent, in her critic for the first performance of his pianopieces For a Small White Seashell, she criticized him for writing mainly commercial Film Music. See Spanoudi, Sophia Ένας νέος συνθέτης (A young composer) Τα Νέα 21/1 (1949), The Light Song at that time sounded like that of the internationalized style of Western Europe, as a result of using European orchestration, dances, rhythms, and tonal melodies. The Western Art Music educated musicians recognized it as an acceptable popular music, which was at the same time European and not too commercial and had an acceptable minimum standard of musical qualities. 316

4 International Musicological Conference, Athens January 2013 thus less artistic than the Light Songs. Even Hadjidakis himself condemned his Film Music as commercial and released albums with more artistic and sophisticated Light Song versions of his Film Music Songs. But how Hadjidakis transcended his lack of artistic prestige? Initially in 1949, Hadjidakis differentiated himself from the principles of the National School through his speech about a popular kind of music, the Rebetiko, 15 which was related to the lower social classes. He blamed the Demotic Song, 16 source of inspiration for the National School, to belong to the past and thus unable to express the modern life in the cities. On the other hand Rebetiko was proclaimed to be the only true music to express the Modern Greek life. Moreover, according to Hadjidakis Rebetiko was the only music able to express Greekness, with the capacity of unifying ancient, medieval byzantine and modern Greece: The Rebetiko succeeds to unite in a marvelous way lyrics, music and motion. From the song as composition to its performance, the conditions are instinctively prepared for this triple expressive coexistence, which at times, on reaching perfection, resembles the form of ancient tragedy. [...] But in order to explain this important extension of Byzantine music into Rebetiko songs, we have only to look at the similarities between the decline of Byzantium and today as state of decadence. [...] Rebetiko songs are genuinely Greek, uniquely Greek. 17 This was a major dispute against the Demotic Song. It must be a unique or at least a rare moment in the music history of nations with National Schools of Music, when the folk music of a nation is condemned as unable to express the soul of the said nation. For Hadjidakis, the Demotic Song, the sacralized Greek folk music was unable to fulfill its function! Furthermore, the despised Rebetiko, this popular song that was condemned not to be even Greek, but Turkish (i.e. not European) was claimed by Hadjidakis to express Greekness par excellence! This popular song suddenly enjoyed the sacralized status of the folk song. About ten years later, in 1960, Hadjidakis was one of the most famous and successful Light Song composers in Greece. The key to his success was that he decorated the Light Songs with elements from Rebetiko especially through the rhythms and orchestrations. In an Interview he said about his music: If you are interested now to learn about my career in the Light Song, I would say that my initial point was the truth of the Rebetiko song and the Byzantine music. I took elements from both and I moved forward to the Greek Tragedy and after I gave them a new meaning, I came back to the Light Song with the ambition to unite it with the so called serious song, just like Kurt Weil have done to the German song. At the same Interview he blames the other Light Song composers for plain imitating the European Light Song: The other composers are too inhibited towards the equivalent music of other countries. 18 So, Hadjidakis didn t just claim that his music was more Greek than that of the other Light Song composers, but also more artistic 19 and thus it was for those both reasons more authentic. 15 The Rebetiko, in contrast to the Light Song, wasn t an accepted kind of popular music by the Western Art Music educated musicians and many people who belonged to the higher classes. It was supposed to be decadent and Turkish. It was believed that Greek music should be European because Greece belongs to Europe, as the Light Song composer Takis Morakis in an Interview had expressed (Τα Νέα, 11/7/1960). Generally at that time in Greece, Europe was a model of cultural life and state development, in contrast to everything supposed to be Turkish, meaning orientalistic devalued as primitive and worthless. 16 The Demotic Song is called the Greek folk song, which has the status of Traditional, sacralized Greek music, which expressed the Greekness par excellence. 17 Hadjidakis, Manos Interpretation and Standing of the Modern Folk Song (Rebetiko), in (accessed on Mai 21th, 2011). 18 Hadjidakis, Manos Δεν υπάρχει πια λαϊκό τραγούδι (There is no popular song anymore), Interview, Ταχυδρόμος 2/7 (1960), When I use the term artistic I refer to a bit more sophisticated, mind oriented, more serious music, in contrast to the body oriented, light and popular music. 317

5 The National Element in Music Same way Kalomiris was related to Palamas, Hadjidakis too was related to the so called Generation of the 30s, a modernist group of artists active in the fields of literature and paint that expressed the Greekness in their art. But this Greekness was not introvert, but cosmopolitan. Hadjidakis had said, that when he was composing the music for the Ballet Six Popular Dances (1951), the painter who made the Stage Design, Yiannis Tsarouchis said: Petrushka must learn to dance Zeibekiko and we must convince Romeo and Juliet to die by dancing Chasapiko, 20 referring at the same time to Rebetiko dances and to the Russian Ballets of Diaghilev. Hadjidakis, like Kalomiris, had also a politician as supporter, who was also supported by him. It was the conservative politician Konstantinos Karamanlis, who became four times prime minister of Greece between 1955 and Hadjidakis benefited directly or indirectly from Karamanlis political power. Although Hadjidakis gained popularity and prestige by composing Greek Light Songs, he never lost his interest in Art Music and used his influence to establish some Institutions related to avant garde music such as the Composition Contest (1962) which awarded the 1rst prize to Iannis Xenakis and the second to Anestis Logothetis, as well as the Experimental Athens Orchestra which promoted avant garde music. So Hadjidakis received great popularity by introducing Greek Elements in the Light Song and claimed himself authentic in contrast to the imitators of the European Light Song. At the same time beside the folk song, the Rebetiko song became the new sacralized national music. 3. Mikis Theodorakis and the artistic popular song At first glance, Mikis Theodorakis could have been a successful composer of the National School. 21 Many of his concerts received positive reviews. But the fact is that one can hardly find a successful composer of the National School who belongs to the same generation with Mikis Theodorakis. The most composers of his generation belonged to the avant garde, which was promoted in Greece through the American and West European cultural Institutes within the context of the Cold War. They also hardly had at that time chances for a career in Greece. For Theodorakis, it was also clear, that there was barely sufficient audience for the Art Music in Greece and he blamed the underdevelopment of Greece for this. So he needed to find out another way to communicate with the public. Theodorakis, as a peculiar 22 communist at that time, merged his political and musicaesthetical values in a very personal way: When the people was divided [during the civil war], the Synnefiasmeni Kyriaki [a well known Rebetiko] was something that united everyone, because they could all sing it together. 23 So Theodorakis didn t only shared the same thoughts with Hadjidakis about the Greekness of Rebetiko, but he also believed that Rebetiko could arouse more than just aesthetic pleasure and could furthermore unite all Greek people. In 1960 he set music to the poem of the communist but broadly recognized poet Yiannis Ritsos, Epitaphios, based on Rebetiko dances. This was released firstly in one version under the 20 Romanou, Katy Έντεχνη ελληνική μουσική στους νεότερους χρόνους (Greek Art Music in Modern Times), (Αθήνα: Κουλτούρα, 2006), Theodorakis was an uprising composer at that time, who studied not only in Greece, but in Conservatoire de Paris under Olivier Messiaen and Eugene Bigot, too. 22 Peculiar because most communists in Greece at that time counted Rebetiko as despised popular music and a kind of musical opium 23 Theodorakis, Mikis Για την ελληνική μουσική (About Greek Music), (Αθήνα, Καστανιώτης: 1986), 212. This Interview originally published in the left party organ newspaper Avgi on March,

6 International Musicological Conference, Athens January 2013 orchestration of Hadjidakis and two weeks later, under the orchestration of Theodorakis. Hadjidakis orchestrated it in his known personal way, while Theodorakis was based on the Rebetiko Orchestra and Rebetiko voices. It was a scandal that he set poetry, namely Art, to the Rebetiko music, a kind of music that according to the dominant values was derogatively characterized as commercial and underground. But the Rebetiko popular song had for Theodorakis, as well as for Hadjidakis, the sacralized status of folk music, so it was ideal for inspiring and being element of Art. But Theodorakis, in contrast to Hadjidakis and the National School, didn t just believe that folk music was just a raw material to inspire the individual composing genius, but that the individual genius of the composer himself could express the collective par excellence by composing authentic popular/ folk Rebetiko like music: How can my ambition to become a popular/ folk (λαϊκός) composer be compatible with the fact that I am an Art Composer? [...] It was my need for direct communication with all the people. [...] I have done nothing more than to transcribe the melodies that all of you have heard using your imagination, but you weren t aware of. Therefore this is original folk music, where the intervention of the composer is similar to that of the monk who transcribes the voice of the Holly Spirit. 24 At the same time, Theodorakis also understood the Greekness in an international context, reminding the National School by saying: For the modern Greek popular/ folk (λαϊκό) music Bouzouki has the same significance as the guitar for the Spanish Flamenco and the Balalaika for the Russian Song [...] Therefore it s a national musical instrument with a specific and original character. 25 Differently from Kalomiris and Hadjidakis, Theodorakis believed that both Demotic (folk) and Rebetiko (popular, with a sacralized, folk prestige for Theodorakis and Hadjidakis) were not just expressing a primitive Greekness that could only be capable of inspiring Art, but that an Art composer by writing authentic popular (Rebetiko like) music could make it also artistic and capable of expressing Art, just as the Poem Epitaphios of Yiannis Ritsos did. But Theodorakis version was a refined, more European and artistic version of Rebetiko song. Only tonal European harmonies were used, instead of modal tones and Turkish sounded elements. There were also used exclusively serious Rebetiko and folk dances. 26 Theodorakis named this kind of song artistic popular song (έντεχνο λαϊκό τραγούδι), which from then on is generally believed in Greece to express the Greekness par excellence. Theodorakis didn t support and was supported by politicians like the other two composers did, but he himself became a politician and as a matter of fact an elected Member of the Greek Parliament with the left wing party at that time. However he did establish ties with other Artists, especially from the dominant literary field, like the other two composers as well had done. During the first decades of his career, he also used his influence in order to change the institutions concerning the Art music and to make them accessible to the wide public. One of these Initiatives was the Small Athens Orchestra, which had low price tickets for students and workers. This orchestra also played Baroque music, whereas the Athens State Orchestra still focused on the Classic Romantic Repertory. But the main invention made by him was the artisticpopular song, which made Art Poetry accessible to a wider public. 24 Theodorakis, Originally published in Avgi on Oktober, Theodorakis, 176. Originally published in Avgi on Oktober, For instance, Theodorakis never used tsifteteli, a dance related to the seductive bodily expression of female sexuality. Hadjidakis also never used it, unless he wrote his commercial film music. Both Hadjidakis and Theodorakis never mention it when they talk about their beloved Rebetiko dances, although this dance belongs to the basic Rebetiko dances. 319

7 The National Element in Music 4. Conclusion All three Manolis Kalomiris, Manos Hadjidakis and Mikis Theodorakis have been educated in Western Art Music and in the beginning all tried to launch careers as Art Composers. All three tried and sometimes succeeded in establishing institutions related to Art Music. All three of them gained symbolic support from the literary field and material support from the politic field. But their career and sound differed. Kalomiris succeeded establishing himself as the father of the Greek National School of Music. Hadjidakis transformed the European Light Song to authentic Greek Light Song and Theodorakis invented the authentic Greek song, the artisticpopular song. Perhaps it was the lack of a wide audience for Art Music and the few positions in this field that forced the said composers not to develop their music according to its inner structure, but according to extramusical values. For this reason maybe they transported their acquired values in the direction of the light and rebetiko song. At that time in Greece, Art Music enjoyed the highest symbolic capital. The acceptable popular music was the Light Song and the despised rebetiko had the lowest symbolic capital. The two latter composers transferred the ideal of Greekness to the light and rebetiko song, hence this ideal moved gradually from the area of the high symbolic capital, to that of the middle, because the new artistic popular song of Theodorakis was understood as something between Art (high symbolic capital) and popular music (low symbolic capital). But this artistic popular song wasn t the mostly favored music among the lower classes. It was popular between students and young intellectuals, who didn t have any Western Art Music education. This can be explained through Bourdieu, who so aptly expressed: nothing more clearly affirms one's 'class', nothing more infallibly classifies, than tastes in music. 27 So, the new emerging middle class, which had a good background in literature but at the same time no proper Art Music education found expression in the music of Hadjidakis and Theodorakis which reminded them of their parent's musical taste (i.e. rebetiko), on which they were grown up and in the meanwhile had become very familiar with. At same time the music of Hadjidakis and Theodorakis with Poetry Lyrics or at least sophisticated lyrical text and their more mindoriented music expression, corresponded to their through education acquired cultural capital. Finally, as Art Music played a rather peripheral role the Greek artistic field, it was mainly the taste of the intellectuals from the literally field who were usually lacking European music education that dominated the public discourse about the authentic Greek music and led to the establishment of the artistic popular song, as the unique valid way of expressing the Greekness par excellence. Paris Konstantinidis: He was born in Athens and studied Musicology at the universities of Athens, Munich and Berlin (Humboldt). Michelis Foundation funded his postgraduate studies. He is at present a doctoral student in musicology (Athens) under the supervision of Olympia Psychopedis Frangou. In the winter semester he taught History of the Postwar Greek Music at the Chair for the Modern Greek Studies of the Free University of Berlin. He has also taught music theory at conservatories in Athens and works as a freelance journalist for the Arts and Culture Press in Greece. 27 Bourdieu, Pierre Distinction: a social critique of the judgement of taste (Cambridge, Mass: Harvard University Press, 1984),

8 HELLENIC REPUBLIC National and Kapodistrian University of Athens ii THE FRIENDS OF MUSIC SOCIETY en.. LILIAN VOUDOURI MUSIC LIBRARY OF GREECE THE NATIONAL ELEMENT IN MUSIC INTERNATIONAL MUSICOLOGICAL CONFERENCE ATHENS (MEGARON-THE ATHENS CONCERT HALL) JANUARY 2013 CONFERENCE PROCEEDINGS ORGANIZED BY FACULTY OF MUSIC STUDIES OF THE UNIVERSITY OF ATHENS MUSIC LIBRARY OF GREECE 'LILIAN VOUDOURI' SUPPORTED BY MEGARON-THE ATHENS CONCERT HALL ATHENS 2014

9 HELLENIC REPUBLIC National and Kapodistrian University of Athens ii THE FRIENDS OF MUSIC SOCIETY en.. MUSIC LIBRARY OF GREECE LILIAN VOUDOURI THE NATIONAL ELEMENT IN MUSIC CONFERENCE PROCEEDINGS ATHENS, JANUARY 2013 EDITED BY Nll<OS MALIARAS CONFERENCE COMMITTEE Nll<OS MALIARAS, STELIOS PSAROUDAI<ES, IOANNIS FULIAS STEPHANIE MERAI<OS, ALEXANDROS CHARI<IOLAI<IS, VALIA VRAI<A ATHENS 2014

10 Edited by Nikos Maliaras,Τhe National Element In Music (Conference Proceedings, Athens, January 2013) UNIVERSITY OF ATHENS, FACULTY OF MUSIC STUDIES, ATHENS 2014 First Edition: April 2014 Cover and poster design: Eleni Mitsiaki ISBN: UNIVERSITY OF ATHENS, FACULTY OF MUSIC STUDIES FRIENDS OF MUSIC SOCIETY

11 This book is dedicated to the memory of Alexander Ivashkin ( ) Born in Blagoveschensk, Russia in 1948, Ivashkin began his musical education at the Gnessins Special School of Music for gifted students at the age of five, playing both piano and cello. It was at the advice of Mstislav Rostropovich that Ivashkin decided on an international performance career. Ivashkin worked alongside the likes of John Cage, George Crumb, Penderecki, Pärt, Rodion Shchedrin and Gabriel Prokofiev. He was also no stranger to our shores, having worked with Australian composers Peter Sculthorpe and Brett Dean. Collaborations such as these meant that he rapidly developed an international reputation as a keen advocate of contemporary music. In 2008 he gave the world premiere of Penderecki s revised version of the Largo for Cello and Orchestra with the Cape Philharmonic Orchestra and Penderecki himself conducting. As soloist and conductor with the City of Saratov State Philharmonic Orchestra, he gave the world premiere of the orchestral version of Schnittke s Cantus Perpetuus in November In one of his final major appearances, in May 2013 Ivaskin gave the world premiere of Gabriel Prokofiev s Concerto for Cello and Orchestra. Performed with the St Petersburg Philharmonic Orchestra under Sabrie Bekirova, the concert featured the music of three generations of the Prokofiev family. During his career, Ivashkin made award winning recordings of the complete cello repertoire of Prokofiev, Shostakovich, Roslavets, Tcherepnin, Schnittke and Kancheli with labels Chandos, BMG and Naxos. An avid writer, Ivashkin published numerous books and articles on the music that he performed. He also taught at conservatoires all around the world and at the time of death held the position of Professor of Music and Director of Classical Music Performance at the University of London. He passed away on 31st of January 2014.

12 International Musicological Conference, Athens January 2013 Table of Contents National Music School in Greece I Athanasios Trikoupis, George Lambelet ( ): Aspects on the National and European Εlement in Greek music... 1 Emmanuel Seiragakis, Constantinos Chrestomanos, a pioneer overlooked. His contribution to the formation of the National School of Music in Greece... 9 Lied and Opera in 19 th Century Europe Anja Bunzel, Johanna Kinkel s Thurm und Fluth (Opus 19, No. 6): Revolutionary ideas and political optimism in a 19th century art song Minas I. Alexiadis, Medea on opera: ethnic identity and operatic adaptations National Music School in Greece II Giorgos Sakallieros, The Greek symphony ( ): oscillating between Greek nationalism and Western art music tradition Stamatia Gerothanasi, Compositional techniques and the folk element in the music drama The Afternoon of Love of Marios Varvoglis Spyridoula Katsarou, The Greek Element in the work of the composer Georgios Kazasoglou ( ) Aspects of Music Nationalism in Northern Europe Carola Finkel, The Birth of Finnish music Sibelius' Kullervo op Johannes Brusila, In search of true Finnish music. Some views on the epistemological and ontological aspects of constructing national music Geogia Volioti, Performing Norwegian National Cultural Identity: Rhythmic Gesture as the Phenomenology of the Folk Stefan Schmidl, Representing the Nation Some Observations on Musical Allegories and their Ingredients iii

13 The National Element in Music Aspects of Music Nationalism in 19 th and Early 20 th Century Greece Maria Barbaki, The contribution of the music associations to the dissemination of art music to the people in nineteenth century Greece: the case of Athens and Piraeus Kostas Kardamis, Aria in idioma Greco or Pending the Greek speaking singers Panos Vlagopoulos, Samara's Way: Un Greco Vero Angeliki Skandali, Deriving from Eptanesos National images of Hellenic music theatre ( ) PANEL: Music Nationalism in Portugal Frederico de Freitas and musical nationalism in Portugal in the 1930 and 1940 decades Helena Marinho, Nationalism in Frederico de Freitas orchestral production André Vaz Pereira, Tradition and modernism: The works for piano solo and piano with string instruments of Frederico de Freitas National Elements in Contemporary Greek Music Valia Christopoulou, Between musical cosmopolitanism and modernized nationism: the national element in the music of Yorgos Sicilianos Nicos Diminakis, Formation and Evolution of the National Element in Dimitri Nicolau s Bis for two: op. 236, for Alto Saxophone and Piano PANEL: National opera and the Heroic Element Tatjana Markovic, Discourse of heroism in the opera Knez Ivo od Semberije (Prince Ivo of Semberia, 1910) by Isidor Bajić Beat Föllmi, Identity under construction: The heroic opera Petru Rareş (1889) by the Romanian Eduard Caudella Alexndros Charkiolakis, Bravery and Destiny: the heroic element in Manolis Kalomiris Konstantinos Palaiologos iv

14 International Musicological Conference, Athens January 2013 National Aspects of Music Genres and Instruments Wojciech M. Marchwica, Folk Clichés in Central European Pastorellas in the 17 th 18 th cc Karl Traugott Goldbach, German and French Violin School in 19th Century Germany Zoltan Paulinyi, Advances on Brazilian music for violin and viola pomposa The National Element in Nikos Skalkottas's Music Katerina Levidou, A Dubious Mission: Skalkottas s Vision of Truly Greek Music and his 36 Greek Dances Costas Tsougras, Nikos Skalkottas' Thema con Variazioni (thème grec populaire) from Suite for Piano no. 3 An analytical and compositional approach George Zervos, Aspects of hellenicity in Nikos Skalkottas's music Poland and the Idea of National Music Katarzyna Bartos, The national element in Grażyna Bacewicz s music Bogumila Mika, Beauty and singularity or national message? Elements of Podhale and Kurpie folk music in 20 th century Polish compositions Folk Elements in Greek Art and Popular Music Paris Konstantinidis, When Progress Fails, Try Greekness: From Manolis Kalomiris to Manos Hadjidakis and Mikis Theodorakis Nikos Maliaras, Theories establishing the Greek National Music, the use of traditional element and the rembetiko in Greek popular music in the 1950s and 60s. Some remarks on a special kind of poltical artistic populism Maria Hnaraki, Resistance through Dancing: The National Poetics of Cretan Performance Aesthetic Aspects on Greek Music Nationalism Markos Tsetsos, Greek Music: From Cosmopolitism, through Nationalism to Populism Kostas Chardas, International vs. national? Issues of (Hellenic/Greek) identity within Greek musical modernism (1950s 1970s) v

15 The National Element in Music Aspects of Music Nationalism in Serbia and Russia Liudmilla P. Kazantseva, Russianness in Music as an Other National Nataša Tasić, Patriotic and Folklore Discourse as a Communication Tool in Serbian Choral Music before the Second World War Galina Ovsyankina, Two Approaches to Expressing the National Element in the Works by Composers of the School of Dmitry Shostakovich Music Nationalism and Historiography Nausicã Tsima, Hellenic nationalism: a three part drama and its musical accompaniment. Outline of a cohesive, Hellenic musical history Aspects of Nationalism in Contemporary Art Zachary Bernstein, The Implications of Resonance: Spectralism and the French Music Theoretical Tradition Aspects of Nationalism in Hungary and Latvia Joseph Pfendner, Feeling vs. Appropriation: the Limits of Musical Signification in Bartók s Mikrokosmos Jānis Kudiņš, Folk music allusion as Pēteris Vasks symphonic works style mark. Some issues about the national element in the music of contemporary composer Ieva Rozenbaha, Elements of Folklore in the Requiems of Latvian Composers Aspects of Music Nationalism in America and Asia Robert Waters, Searching for American Identity: Nationalism and Anti Semitism in American Music Societies, Arman Goharinasab & Azadech Latificar, Portraying Persian Patriotism in Aref Qazvini s Compositions During the early Years of 20th Century Meebae Lee, Koreanized Lied or Korean Art Song? Searching for National Elements in Gagok vi