Thursday 18 September Session Convenor: Eva Mantzourani 1A Early Modernism - Tradition and Continuity: The Berlin Connection
The first subsession, ‘Early Modernism – Tradition and Continuity: The Berlin Connection’ focuses on early musical modernism in Greece as reflected in the atonal and twelve-note music of Dimitri Mitropoulos, Nikos Skalkottas and Yannis Constantinidis. In the first paper, Vasiliki Zlatkou explores and compares the formal structures of the first movement of two early piano sonatinas by Nikos Skalkottas and Yannis Constantinidis. In the second paper, Giorgos Sakallieros analyzes Mitropoulos’s Passacaglia, Intermezzo e Fuga for piano, and discusses the introduction of musical modernism in Greece. 10.00 Vasiliki Zlatkou
The second subsession, ‘Diversity within the Tradition: The Schoenberg Connection’, is devoted to Nikos Skalkottas (1904–1949). Eva Mantzourani discusses Skalkottas’s approach to sonata form and his techniques for achieving multimovement coherence in his free dodecaphonic works. Costas Tsougras examines Kurze Variationen auf ein Bergsthema for piano, and explores Skalkottas’s predilection for stylistic synthesis. Petros Vouvaris deals with melodic structures in Skalkottas’s post-tonal music. The lecture-recital on analytical insights into the performance of Skalkottas’s piano works by Lorenda Ramou rounds off the subsession. 11.00 Eva Mantzourani Sonata Form, Sonata Cycle and Multimovement Coherence in Skalkottas’s Free Dodecaphonic Works 11.30 Costas Tsougras Kurze Variationen auf ein Bergsthema from the 32 Piano Pieces by Nikos Skalkottas: An Analytical Approach of Theme and Variations Based on Greek Folk Melodies 12.00 Petros Vouvaris Issues of Melodic Structure in Nikos Skalkottas’s Post-Tonal Music 12.30 Lorenda Ramou Analytical Insights into the Performance of Nikos Skalkottas’s Piano Works (Lecture Recital) 13.00 lunch break 2A Post-WWII Modernism - Continuities, Discontinuities, Traditions and Individualities within Greek Musical Modernism Chair: Danae Stefanou The subsession, ‘Post-WWII Modernism – Continuities, Discontinuities, Traditions and Individualities within Greek Musical Modernism’, explores the diverse directions that musical modernism in Greece took after World War II. In the first paper, ‘Struggling for the “New”’, through the analytical exploration of representative works, Kostas Chardas investigates stylistic interactions and the ambivalence between formal coherence and fragmentation in Yannis A. Papaioannou’ s ‘paradigmatic’ post-1950 Greek modernism. Magdalini Kalopana explores the symbiosis of diverse, avant-garde and traditional Greek elements in Dimitris Dragatakis’s works for solo instruments. Anastasios Mavroudis provides a performance analysis of Yorgos Sicilianos’s Sonata for Violin and Piano, Op. 45. 15.00 Kostas Chardas Struggling for the ‘New’: Tonal/Atonal/Twelve-Note Interactions and the Ambivalence between Formal Coherence and Fragmentation in Y. A. Papaioannou’s ‘Paradigmatic’ post-1950 Greek Modernism 15.30 Magdalini Kalopana Opposition and Symbiosis: Avant-Garde and Traditional Greek Elements in the Works for Solo Instruments of Dimitris Dragatakis: An Analytical Perspective 16.00 Anastasios Mavroudis Performing Sicilianos: An Analytical and Interpretative Approach to the Sonata for Violin and Piano, Op. 45 by Yorgos Sicilianos 16.30 coffee break 2B Post-WWII Modernism - Diversity, Self-Expression and New Directions Chair: Kostas Chardas The subsession, ‘Post-WWII Modernism 2 – Diversity, Self-expression and New Directions’, focuses on self-expression and the new directions Greek composers took in the post-war era. Two papers examine the music of Christou. On the basis of an analytical commentary to the manuscript sources of Christou’s Second Symphony, Panos Vlagopoulos proposes a new dating of the work, and points to the underlying unity in all of Christou’s oeuvre, taking into account his multifaceted philosophical background. Maria Yerosimou explores analytical and performative approaches to Christou’s Strychnine Lady. Danae Stafanou closes the session with a re-evaluation of current analytical literature on Christou’s cross-media compositions, and considers methodologies for an inclusive, analytically grounded account of post-1960s Greek modernism. The session will culminate in a piano recital given by the pianists Athina Fytika and Fani Karagianni. 17.00 Panos Vlagopoulos Jani Christou’s Second Symphony: Monument, Crossroads, Path 17.30 Maria Yerosimou Analytical and Performative Approaches to Jani Christou’s Strychnine Lady 18.00 Danae Stefanou “Maybe a glimpse into the void beyond”: Experimentalist Paradigms and the Liminal Spaces of post-1960s Greek Modernism Piano Recital 18.30 Athina Fytika Rena Kyriakou, 6 Preludes lyriques Op.12, Nos.1–3 (1936) - Yannis Constantinidis, 6 Studies οn Greek Folk Rhythms Nos. 1-3 (1958) - Giorgos Koumentakis, 'Thyme'-'Mint'-'Sage' (from: Mediterranean Desert, 2000) Fani Karagianni Yannis A. Papaioannou, Prelude No. 16 (1939) - Arghyris Kounadis, Three Idiomela (1956) - Yorgos Sicilianos, Eight Children’s Miniatures Op.23 (1963) >19:00 |
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