Papers by Kourmpana Stella
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).
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Νέος Μουσικός Ελληνομνήμων 10, 2021
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.
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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»
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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.
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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.
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Περιοδικό Παλίμψηστον, τχ. 37, 2020
Δημήτρης Πολυχρονάκης, Αλέξανδρος Κατσιγιάννης, Κωνσταντίνος Χρυσόγελος, Στέλλα Κουρμπανά
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«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.
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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.
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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.
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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.
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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".
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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.
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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.
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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».
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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.
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Papers by Kourmpana Stella
can distinguish the main topics of his later theory.
can distinguish the main topics of his later theory.
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 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