The Anoyanakis Catalogue
of the works of Manolis Kalomiris
 
(WEBMASTER’s NOTE: The rendering and spelling in English of Greek names, may differ in this translation of the Anoyanakis catalogue from what the reader sees on other pages of the same site. It will be standardized in a future edition.)
 
INTRODUCTION

 

The Catalogue of Works of Manolis Kalomiris contains, by category, a complete listing of the composer’s considerable oeuvre, which includes his published and unpublished compositions, as well as the various musico-pedagogical works.

 

In [the main body of] the Catalogue, a number of [mostly] older compositions (including completed and performed works, as well as unfinished ones), not considered representative [and therefore withdrawn] by the composer, have been omitted. These works are briefly mentioned at the end of the introductory note. The composer’s various reviews, articles, lectures, essays and personal memoirs are not entered.1

 

In the Catalogue, vocal works (operas and other compositions for voice and / or narration) are followed by instrumental works (compositions for orchestra, concerti, chamber works, piano compositions and incidental music). Appearing last are the musico-pedagogical works.

 

In the detailed, chronological listing of the works [within each category], the place of composition has been omitted, Athens or Palio Faliro [the site of the composer’s home in the Athens suburb by the sea] always been assumed. These are two locations where most of the compositions were written; any other known place of composition is mentioned in the Notes.

 

As the composer ultimately abandoned his earlier use of opus numbers, they have also been omitted.2

For the preparation of the Catalogue, in addition to the manuscripts and published editions, the following sources have been used:

 

1. [Literary] works by the composer on musical subjects (articles, lectures, reviews, etc.)

2. His personal archives (including concert programs, unpublished [now published] memoirs, etc.)

3. The archives of the Athens Conservatory, the Hellenic Conservatory, the National Conservatory and the Theatrical Museum [all of Athens], which include concert programs, theatre programs, programs from various exhibitions, etc.)

4. Press sources (from newspapers, magazines, etc.)

5. Notes kept by the author of the Catalogue while studying the works together with the composer.

 

Titles and composition dates. In the Catalogue, the published works are listed under the titles of their respective editions, the unpublished ones retaining the title of the last revision. Many works, especially older ones, were revised two, three or even four times.

 

Each work has been assigned a composition date according to the year in which it was completed, a slash (/) separating it from the date(s) of the subsequent revision(s). Thus a date presented in the form 1915 / 1929 / 1940 signifies that a work completed in 1915 was first revised in 1929, and again in 1940.

 

The revisions primarily concern changes (sometimes minor, at other times fundamental) in the harmony and / or orchestration, and only secondarily, in the form, structure or other elements of the composition.

 

The dates of the composition listed in the Catalogue are those written by the composer at the end of each work. A few have been assigned to undated compositions [by the author of the Catalogue, according to his notes].

 

Orchestra. The Catalogue uses the standard method of reference: 3 3 3 2 – 4 3 3 1 which indicates 3 Flutes, 3 Oboes, 3 Clarinets, 2 Bassoons, 4 Horns, 3 Trumpets, 3 Trombones, 1 Tuba. The other instruments are listed separately. The woodwinds customarily required by the composer [with numerous exceptions] are as follows:

3 Flutes = 2 Flutes and 1 Piccolo

3 Oboes = 2 Oboes and 1 English Horn [incl. Oboe d’ Amore]

3 Clarinets = 2 Clarinets and 1 Bass [incl. Eb Clarinet]

3 Bassoons = 2 Bassoons and Contrabassoon

 

Durations. The timings mentioned in the Catalogue are relative and should be considered approximate, especially for the larger compositions, such as operas, symphonic works and chamber works. This is due mainly to the composer’s melismatic style and the frequent appearance of a “free rhythmic” type of melodic line, both of which allow for considerable variations in performance time. The composer himself, with very few exceptions, did not indicate metronomic markings.

 

The duration of the songs, either for solo voice or in choral settings, not listed in the Catalogue, the majority being, with very few exceptions, in the two to four minute range.

Timings are taken either from public performances of the works or from the recording archives of the National Broadcasting Foundation [the former EIR, in Athens, known today as the Greek-Television, ERT].

 

First performances. All the premieres mentioned in the Catalogue took place in Greece (Athens). Entered are, primarily, the first performance dates of the larger works (music dramas, symphonic compositions, etc.) which were of historic importance to the development and career of the composer.

 

Publications. Publications with the indication “A Publication of the Friends of Greek Music” were actually published by the composer himself, and are listed in the Catalogue as published by Manolis Kalomiris. Furthermore, under the general imprint of the Gaetanos firm appear the publications bearing the imprints “Stefanos Gaetanos” (father) or “Michael Gaetanos” (son) or simply “Gaetanos”, as they refer to the same company.

 

It should also be noted that the publications of Z[acharias] Makris (originally “Mystakidis, Efstathiadis and Makris”, later “Mystakidis and Makris”) were acquired and later reprinted by Gaetanos.

Not listed as separate publications are various works, usually songs, which appear in musico-pedagogigal works of other authors (for example, Athanasios Argyropoulos, Music Education, Athens, etc.).

The piano reductions of the larger works, such as music dramas, symphonies, etc., were made by the composer.

 

Works not listed in the main body of the Catalogue. Several works, mostly earlier ones, not considered representative by the composer [are mentioned here for completeness]:

 

Larger Works:

Scherzo for orchestra (Khar’kov, 1909). First performance: 12 March 1915,

Auditorium of the Athens Conservatory, conducted by the composer. Unpublished.

 

Nocturne for violin and orchestra. Unpublished.

The King Who Was Turned to Marble (O Marmaromenos Vasilias) for soprano, bass, mixed choir and orchestra. Unpublished.

 

Mavrianos and the King, music drama. Khar’kov, 1907-1908. Unfinished. One orchestra excerpt, The Entrance of the Slaves, was performed on 22 April 1911 in the Municipal Theatre of Athens, and was conducted by Filoktitis Ikonomidis. Two themes from Mavrianos and the King were later used for the Entry of Dame Destiny and the Song of the Loom in the music drama The Mother’s Ring (1917).

 

For piano:

Sonata (Khar’kov, 1909). First (?) performance: 25 January 1911, Auditorium of the Athens Conservatory. Performed by the composer. Unpublished.

Danse Fantastique (1910). First (?) performance: 25 January 1911, performed by the composer. Unpublished.

Menuet (1910). Unpublished.

Like a Dance in Zo minor 3  (Vienna, 1904 / Khar’kov, 1909). Unpublished.

Ballos (1922). Athens: Zacharias Makris, 1922.

Harmonizations of various folk dances from Epirus, Tsakonia, Kalamata, Ctere (Pentozalis) etc. Unpublished.

 

Songs:

Two Intermezzi for voice and orchestra (1943). Poems by Ioannis Gryparis. The second remains unfinished. Unpublished.

For my Sweet Fatherland for two voices, in folk style. First (?) performance:

25 January 1911, Auditorium of the Athens Conservatory. Unpublished.

The Song of the Field Marshal. Poem by Stefanos Dafnis. Athens: Mystakidis and Makris.

Prayer to the Virgin for choir and piano. Poem by Stefanos Martzokis. Unpublished (?)

Hail to Thee, Greece, for choir and orchestra. Poem by Miltiadis Malakasis. First performance: 3 March 1923, Olympia Theatre, [Athens], Orchestra and Choir of the Hellenic Conservatory, assisted by the [Greek] Military Bands conducted by Manolis Kalomiris.

Sousta. Folk dance. Harmonization by Manolis Kalomiris. Port Said: N. G. Mavris and E. A. Papadopoulos, 1928. In Dodecanesian Lyre, vol. I Kasiaki Lyra [“lyre from the island of Kasos”. This last entry is included in an addenda note to the Greek edition of the Catalogue].

 

It must also be noted, that on the cover of the composer’s older editions, works were announced which were planned but never realized:

Over the Rhodes (a symphonic drama)

First Meditation on the Acritic [Poem] Cycle (symphony)

From the Blind Man’s Songs (songs)

Pieces for small orchestra, etc.

 

 

Miscellaneous:

The words of the Gypsy for narrator, soloists, choir and orchestra. From The Dodecalogue of the Gypsy, [poem cycle] by Kostis Palamas. Just a few pages of the score exist, apparently only the beginning. These sketches, of which the composer had often spoken, must date from the period prior to the composition of Konstantinos Paleologos in 1958.

 

The Birth of Digenis. Only the leitmotifs exist, probably sketched in 1961, after the completion of Konstantinos Paleologos. These were found after the composer’s death on the desk of his Palio Faliro home (without any other indication of the work’s form), together with the beginning of a new version of The Symphony of the Simple and Good People.

 

The Catalogue of Works of Manolis Kalomiris lists by the following categories: 4

 

5 Operas

5 Works for voice and orchestra

1 Work for voice, choir and orchestra                              

1 Work for narrator, soloists and orchestra                   

3 Works for narrator and orchestra                                    

11 Songs for voice and piano (cycles)                             

11 Separate songs                                                                        

2 Works for voice and instrumental ensemble             

17 Choral works                                                                            

9 Works for orchestra (Not included are: the [First] Piano Rhapsody ,

orchestrated by Gabriel Pierne, and the suite from the opera The Mother’s Ring.)

2 Concerti

4 Works of chamber music                                                     

11 Works for piano                                                                     

5 Works of incidental music                                                  

11 Musico-pedagogical works                                              

 

 

 

Fivos Anoyanakis

Athens, 1964

 

 

 

Notes

1. Portions of the memoirs have since been published, in Greek, on the occasion of the composer’s centennial. Καλομοίρης, Μανώλης, Η Ζωή μου και η Τέχνη μου (απομνημονεύματα 1883-1908). Υπουργείο Πολιτισμού & Επιστημών. Σύλλογος «Μανώλης Καλομοίρης», Αθήνα 1983. (Kalomiris Manolis, My Life and My Art: memoirs from 1883-1908. Athens: Published by [The Greek] Ministry of Culture and Science, together with the Manolis Kalomiris Society, 1983).

 

2. His use of opus numbers continued at least until the Symphonic Concerto for piano and orchestra, op.30 (1935) and possibly further.

 

3. Zo minor: an allusion by the composer to the Byzantine modes (echoi), which have no exact equivalents in Western music. As the manuscript could not be located, it is impossible to determine the intent of the composer in giving the Western concept of minor to a Byzantine scale.

 

4. The Greek edition of the Catalogue gives the oft-quoted total of 222 compositions and 14 musico-pedagogical works. These numbers reflect the counting of individual songs (in cycles, etc.) as separate works, and have, therefore, been omitted from the English edition. The numbers given here represent only complete works.

 

 

Addenda:

 

George Leotsakos also provides the following information taken from the writings of Christos Sokratis Solomonidis, concerning various projects and other compositions mentioned by Kalomiris (presumably lost), and not included in the Greek edition of the Catalogue.

“Solomonidis, in his book Smyrnei Akadimaiki: Ioakimoglou – Kalomiris – Seferiadis, Athens 1966, mentions (pp. 64-65, 98-101) a few more titles of works. At least one of these seems to have occupied Kalomiris for some time:

1) Amaryllis, based on the three-act play by the same title of Smyrnean poet Alekos Fotiadis (1870-1943). Kalomiris undertook to set it to music during a visit to Smyrna in 1911. According to the local magazine Anatoli (January, 1912) the composition was well under way at that time and was intended to be staged in Athens ‘possibly before Easter’. Solomonidis, however, in a much earlier book of his, To Theatro sti Smyrni [Theatre in Smyrna] (1657-1922), Athens, 1954, states (p. 325) enigmatically that Fotiadis had written ‘the prologue (prelude) of the pastoral fantasy Amaryllis which was set to music by Kalomiris and produced on the stage.”

2) A set (also of 1911-12?) of Hymn to Ephesus by poet Michail Arghyropoulos.

3) “Foreign songs” (sic!) by Heine, Shakespeare and Hugo. In these “foreign songs” Solomonidis also includes the opera Ta Xotika Nera. Therefore it seems reasonable to assume that “Shakespeare” may refer to the incidental music for Macbeth (1926) while “Hugo” to the piano Ballada no 1, after Hugo’s En mer, les hardis ecumeurs. As for Heine, see note no. 36.

4) A setting to music of Oscar Wilde’s A Florentine Tragedy had only been a temporary project which Kalomiris quickly abandoned.

Finally Solomonidis (Smyrnei Akadimaiki, op. cit. pp. 99-101), apparently using the Greek edition of the present Catalogue, also compiled an alphabetical list of most of the poets and writers whose texts were set to music by Kalomiris. Such a list may perhaps be useful to some scholars.”

 

George Leotsakos

 


 

Ο Ρ E R Α S

 

Ι. ΤΗΕ MASTER BUILDER (Ο PROTOMASTORAS) l

Music tragedy in two acts with Intermezzo.

Libretto adapted from Nikos Kazantzakis’ tragedy of the same title.1

1915/1929/1940.2­

 

Cast:

Protomastoras  Tenor

Smaragda             Soprano

Minstrel                Soprano

Mother                                    Alto

The Lord              Baritone

An Old Man      Bass

Orchestra: 3 3 4 3 - 4 4 3 1 - Τympani, Percussion, 2 Harps, Strings, and 6 Trumpets on the stage.

 

Double mixed choir and ballet.

 

Duration: 3: 15’.

 

First Performance: 11 March 1916

Municipal Theatre, Athens

Greek Music Theatre Company

Directed by Apostolos Kontaratos

Conducted by Manolis Kalomiris

Stage direction by Miltiadis Lidorikis 3

Sets by Walter Fürst

Choreography by Elsa Enkel

 

Athens: Manolis Kalomiris, 1917 (piano/vocal score).

Athens: Gaetanos, 1940 4 (piano/vocal score).

Athens: Manolis Kalomiris, 1962 (the Minstrel’s aria [from Act Ι] The Lowly House).

 

 

2. ΤΗΕ MOTHER’S RING (ΤΟ DAKHTYLIDI ΤIS MANAS) 5 l

Music drama in three acts from the drama by Yannis Kambysis.6

Lyrics by Agnis Orfikos.7

1917/1939.8

 

Cast:

Mother (Old woman in .Act ΙΙ) Mezzo-soprano

Yannakis              Tenor

Sotiris                     Baritone

Erofili                    (Fairy [queen] in Act II) Soprano

Kyriakos              Bass

Dame Destiny  Soprano

[Her] Slave girl Soprano

 

Orchestra: 3 3 3 2 - 4 3 3 1 - Tympani, Percussion, Glockenspiel, Carillon, Harp, Celesta, Xylophone, Strings.

 

Mixed choir and ballet.

 

Duration: 3:00’.

 

First Performance: 8 December 1917

Municipal Theatre, Athens

New Musical Company of Elli Afentaki

Conducted by Manolis Kalomiris

Directed by Spyros Trihas 9

Choir master: Ilias Priftis

Sets by Ioannis Ampelas

Choreography by Εlνira Weil 10

 

Athens: Gaetanos, 1937 (piano/vocal score).

Athens: Manolis Kalomiris, 1962 (Υannakis’ aria [from Act III] My Eyes Are Closing).

 

 

3. SUNRISE (ANATOLI) l

Musical fairy tale in two acts with Intermezzo.

Libretto adapted by the composer from the one act play by Yannis Kambysis.11

1945/1948.12

 

Cast:

Maro Soprano

The Prince Who Was Turned to Marble Tenor

Lamia, the Tower Ogre Bass

Arapina [a black woman] Mezzo-soprano

The Queen of the White Islands Soprano

The Blind King Baritone

First Corsair Tenor

Second Corsair Tenor

Third Corsair Baritone

Fourth Corsair Bass

 

Orchestra: 4 3 3 3 - 4 3 3 1 - Tympani, Percussion, Harp, Celesta, Strings.

 

Mixed choir and ballet.

 

Duration: 1:15’.

 

First Performance: 18 December 1945

Olympia Theatre, Athens

National Opera of Greece *

Conducted by Leonidas Zoras

Directed by Renato Mordo

Choir master: Μihalis Vourtsis

Choreography by Angelos Grimanis

Sets and costumes by Yorgos Anemoyannis

 

Athens: Manolis Kalomiris, 1953 (piano/vocal score).

Athens: Manolis Kalomiris, 1962 (Maro’s aria [from Act 1] Ah, How Slowly Pass the Hours, and the Intermezzo for piano solo).

 

 

* Formerly known as the National Lyric Theatre: Ethniki Lyriki Skini.

 

 

4. ΤΗΕ SHADOWY WATERS (ΤΑ ΧΟΤIKA NERA) l

Musical dramatic poem in one act with prologue. Based on the dramatic poem by William Butler Yeats.13 Free translation by Veta Pesopoulou. Adaptation for the stage by Manolis Kalomiris.

1950/1952.14

 

Cast:

Forgael Tenor

Dectora Soprano

Aibric Baritone

First Sailor Bass

Second Sailor Tenor

Third Sailor Bass

Prologue Mezzo-soprano

First Bird (sung from the orchestra pit) Soprano

Second Bird (sung from the orchestra pit) Mezzo-soprano

 

Orchestra: 3 3 3 3 - 4 4 3 1 - Tympani, Percussion, 2 Harps, Celesta, Strings.

 

Mixed choir.

 

Duration: 1:10'.

 

First Performance: 4 January 1951

Olympia Theatre, Athens

National Opera of Greece

Conducted by Alec Sherman

Directed by Pelos Katselis

Choir master: Mihalis Vourtsis

Sets by Kleovoulos Klonis

 

Athens: Manolis Kalomiris, 1951 (piano/vocal score).

 

 

5. ΚΟΝSΤΑΝΤIΝΟS ΡΑLEOLOGOS l

ΤΗΕΥ ΤΟΟΚ ΤΗΕ CITY (ΡΙRAN ΤIΝ ΡΟLI)

Musical legend-tragedy in three acts based on the tragedy of Nikos Kazantzakis.15

1961.16

Cast:

First Night Watchman Bass

The Palace Sentry Tenor

Second Night Watchman Tenor

Third Night Watchman Tenor

Fourth Night Watchman Baritone

First Old Man (Protogeros) Bass

Second Old Man Baritone

Third Old Man Tenor

Grand Duke Notaras Bass

Α Young Monk Soprano

The Lord Karystinos Baritone

Α Firewalker Character tenor

Warrior Bass

Nurse Mezzo-soprano

Bath Attendant Comic tenor

Sentry Baritone

First, Second, Third Witch 2 Sopranos, 1 Mezzo-soprano

First, Second, Third Astrologer Bass, Tenor, Soprano 17

First, Second, Third Monk 18     3 Basses

Anna (The Virgin's voice in Act Ι) Soprano

Konstantinos Tenor

Frantzis Baritone

Captain Harkoutsis Baritone

Abbot Bass

The Voice Tenor

Celebrant Tenor

Deacon Baritone

 

Orchestra: 3 3 4 3 - 8 4 4 1 - Tympani, Percussion, 2 Harps, Celesta,

Xylophone, Carillon, Small Drums, Strings (l6 l4 Ι2 10 8).19

Behind the stage: Glockenspiel, Piano, Tam-tam, Bass drum, Davouli [a type of drum], Oboe d'amore (or English horn).

 

Large mixed choir and children's choir.

 

Duration: 3:30'.

 

First Performance: 12 August 1962

Herod Atticus Theatre, Athens

National Opera of Greece

Conducted by Andreas Paridis

Directed by Frixos Theologidis

Choir master: Mihalis Vourtsis

Sets and costumes by Yannis Stefanelis

 

Athens: Published by the National Opera of Greece, 1961 (piano/vocal score). Copyright by the composer.

 

 

 

WORKS FOR VOICE AND ORCHESTRA

 

1. IAMBS AND ANAPAESTS

PART II– MAGIC HERBS (MAGIOVOTANA) l

Poems by Kostis Palamas.l

Prelude* (1914)

1. A Fay Gave Me Birth (1912)

2. Old Mother Life (1908)20l

3. The Prince Waited Ready (1912)

4. The Black Ogress (1905/1912)21l

5. Menelaos Leaps Forward (1912)

6. From Distant Kingdoms (1912)

7. Son of Hamko (1912) l

8. Digenis Akritas (1912) l

 

Orchestra: 2[2]2 2 – 4 4 3 1 – Tympani, Percussion, 2 Harps, Strings.

First Performance: 12 March 1915 [with orchestra]22

Auditorium of the Athens Conservatory

Conducted by Manolis Kalomiris

Soloist: Irene Skepers

 

Athens: Manolis Kalomiris, (Mousiki edition), 1914, (reduction for voice and piano).

Paris: Maurice Senart, 1927.

Athens: Gaetanos (only the songs A Fay Gave Me Birth and Old Mother Life).

 

* The Prelude appears under No.1 in the Greek edition of the Catalogue

 

 

2. THE PEDDLER (O PRAMATEFTIS) l

Symphonic poem for voice and orchestra.

Poem by Ioannis Gryparis. l

1920/1924.

 

Orchestra: 3 3 3 2 – 4 3 3 1 – Tympani, Percussion, Carillon, 2 Harps, Celesta, Strings.

 

Duration: 12’.

 

First Performance: 11 February 1921

Auditorium of the Hellenic Conservatory, Athens

Soloist: Marika Kalfopoulou (with piano accompaniment)

 

Athens: Gaetanos (reduction for voice and piano).

 

 

3. IAMBS AND ANAPAESTS

PART 1 – I LOVE YOU (S’ AGAPO)

Poems by Kostis Palamas.

1. Prelude – Joining Anapaests to lambs

2. I Love You Like a Brave Song (1918/1925/1943)

3. Igisso (1922/1943) l

4. Two Little Eyes (1922-1943)

5. The Woman’s Eyes (1924/1943)

6. Handsome Boy – O My Children, My Loves (1925/1943)

7. Unearthing Them from Somewhere Below (1925/1943)

8. In the Gorges of Arna (1918/1925/1943) l

 

Orchestra: 3 3 3 2 – 4 3 3 1 – Tympani, Percussion, Harp, Celesta, Strings.

 

First Performace: 4 April 1925

Olympia Theatre, Athens

Orchestra of the Hellenic Conservatory

Conducted by Manolis Kalomiris

Soloists: Marika Kalfopoulou, Kimon Triantafyllou23

 

Paris: Maurice Senart, 1929 (arrangement for solo voice, violin and piano).

 

 

4. FROM THE LYRIC POEMS (LYRIKA) OF SIKELIANOS

Poems by Angelos Sikelianos. l

1. Anadyomeni (1936) l

2. The Virgin Mary of Sparta (1936)

3. First Autumn Rain (1937) 24

 

Orchestra: 3 3 3 2 – 4 3 3 1 – Tympani, Percussion, 2 Harps, Glockenspiel, Carillon, Celesta, Strings.

 

First Performance: 24 May 1937

Olympia Theatre, Athens

Conducted by Leonidas Zoras

Soloists: Nafsica Frangia – Spiliopoulou, Klava Stamou, Frixos Theologidis

 

Unpublished.

 

Harmonizations of Folk Songs

 

 

5. VASILIKI COMMANDSl

For voice and orchestra.

Unpublished.

 

 

 

WORKS FOR VOICE, CHOIR AND ORCHESTRA

 

1. BESIEGED, BUT FREEl

INVOCATION

Poem by Dionysios Solomos.l

1926.

First Perfomance: 23 April 1926

Kentrikon Theatre, Athens

The Army Band and the Choir of the Hellenic Conservatory

Conducted by Dionysios Lavrangas

Soloist: Fotini Skaramanga [dramatic soprano]

Unpublished.25

 

 

 

WORKS FOR NARRATOR, SOLOISTS AND ORCHESTRA

 

1. FROM CAPTAIN LYRAS’ LIFE AND LONGINGS

Musical “Memoirs”.26

Lyrics by Manolis Kalomiris.27

 

PART I

1. Prelude – 2. Smyrna! – 3. Constantinople! – 4. Vienna! – 5. Russia! – 6. Athens! 7. Crete!

 

PART II

8. Interlude – The Old Shepherd and the Nightingale – 9. Molon Lave! l – 10. Samos! 11. Postlude “And Now, You Will Excuse us”

 

Orchestra: 3 3 3 3 – 4 3 3 1 – Tympani, Percussion, Glockenspiel, Carillon, Harp, Celestra, Strings.28

Narrator, Lyric soprano, Dramatic soprano, Mezzo – soprano, Tenor, Baritone.

 

Athens: Manolis Kalomiris, 1958 (piano/vocal score).

 

 

 

WORKS FOR NARRATOR AND ORCHESTRA

 

1. IN SAINT LUKE’S MONASTERY

Symphonic poem [with narrator].

Poem by Angelos Sikelianos.

1937.

 

Orchestra: 2 2 3 2 – 4 2 3 1 – Tympani, Percussion, Harp, Celesta, Strings.

 

First Performance: 24 May 1937

Olympia Theatre, Athens

Conducted by Leonidas Zoras

Narrator: Tzavelas Karousos

 

Athens: Manolis Kalomiris, 1959 29 (arrangement for narrator, violin and piano).

 

 

2. IN THE PALACE OF THE ART OF SONG 30

Resitation accompanied by strings and solo flute.

From The Fourteen Syllables, poems by Kostis Palamas.

1943/1946.

 

First Performance: 25 August 1947

Herod Atticus Theatre, Athens

Athens State Orchestra

Conducted by Manolis Kalomiris

Narrator: Poupa Kokkinaki

 

Unpublished.

 

 

3. THE DESTRUCTION OF PSARAl

Poem by Dionysios Solomos.

1949 (?)

 

Orchestra: 1 2 2 2 – 2 2 0 0 – Timpani, Percussion, Celesta, Strings.

 

First Performance: 13 November 1949

Orpheus Theatre, Athens

Athens State Opera

Conducted by Georgios Lykoudis

Narrator: Mary Aroni

 

Unpublished.

 

 

 

SONGS FOR VOICE AND PIANO

 

1. THREE SONGS FOR VOICE AND PIANO

Lyrics by Manolis Kalomiris.

 

1. Melancholy

2. Anacreontion 31l

3. Bayadera 32

 

Constantinople: A. Christidis, 1902.

 

2. FROM TOWNS AND VILLAGES

Lyrics by Manolis Kalomiris. 33

 

1. Patinada (1908) l

2. Now the Sun Shines Again (1905) 34

3. Don’t let the Neighbors See Us (1905/1908)

4. The Bayadera (1902/1903/1908) 35

5. They Loved Each Other (1906/1909) 36

6. The Two Towncriers (1904/1907/1937) 37

 

Leipzig: Breitkopf & Haertel.

Athens: Gaetanos (only song No. 6, The Two Towncriers).

 

 

3. FROM THE “HOURS”

Poems by Miltiadis Malakasis. l

1906.

 

1. Pinned on the Spinning Wheel

2. Little song

3. On the Faraway Island Lies the Tower of the Unseen Woman

 

Leipzig: Breitkopf & Haertel.

Athens: Gaetanos (only Little Song).

 

 

4. FROM THE LUTE AND STICK (TAMBOURAS KE KOPANOS) *

Poems by Alexandros Pallis. l

1908.38

 

1. Girl from Molyvos. l

2. Girl from Missiri. l

3. Girl from Roumeli. l

4. Aphrodite

5. Haide Hourde 39 l

6. Come, Little One

7. On the Epopa (vernacular: Pop!) l

 

Leipzig: Breitkopf  & Haertel.

Athens: Gaetanos (the whole cycle, excluding No. 7, with minor alterations).

 

* Tambouras: A lute-like instrument similar to the Bouzouki but with a mellower sound; kopanos: stick, beater.

 

 

5. THE CURSE

Popularl poem.40

1903. 41

 

Leipzig: Breitkopf & Haertel.

Athens: Gaetanos.

Athens: Zacharias Makris.

 

 

6. THREE LITHE GIRLS

Poem by Kostis Palamas.

1912 or 1913/1943 or 1944.42

 

Athens: Mystakidis, Efstathiadis and Makris.

Athens: Gaetanos.

 

 

7. TWO SISTERS

Poem by Maranos l

1914 or 1915.

 

Athens: Mystakidis and Makris.

 

 

8. THE MIRACLE

Poem by Napoleon Papageorgiou.

 

Athens: Spyros Brisimitzakis.

 

 

9. VENIZELOS l

Popular song. l

Poem by Angelos Doxas. l

1917.

 

Athens: Mystakidis and Makris.

Athens: Manolis Kalomiris, 1954 in Offering to the Greek Youth, vol. II.

 

 

10. EVENING LEGENDS

Poems by Kostas Hatzopoulos. l

1940 – 1941.

 

1. Dedication [to her, who never sang them] (lyrics of this song by Manolis Kalomiris)

2. The Ships

3. The Song of the Dawn

4. You Came

5. Sorrow

6. In the Evening’s Rapture

7. The Song that Weeps

8. Splattering Raindrops

9. I Loved You So Much

10. And You Loved Me So Much

11. Then Came the Dusk of Night

 

Athens: M. Konstantinidis.

 

 

11. SOTTO VOCE

Poems by Kartheos. l

1943.

 

Unpublished.

 

 

12. THE OLD TREE

Poems by Kartheos.

1943.

 

Unpublished.

 

 

FROM THE PENTASYLLABLES

Poems by Kostis Palamas.

 

Book I. 1943.

1. Shall I Speak?

2. Farewell, Roses and Jasmine

3. Closed

 

Athens: Andreadis – Nakas, 1946.

Vienna: Universal Edition, 1960, Greek Songs (the song Farewell, Roses and Jasmine).

 

 

14. FROM THE PENTASYLLABLES

Poems by Kostis Palamas.

 

Book II. 1943.

1. Orphic Lament

2. The Fairytales

3. The Snow

 

Athens: Gaetanos.

 

 

15. FROM THE PENTASYLLABLES

Poems by Kostis Palamas.

 

Book III.

1. Don’t Cry (1911)

2. Guardian of the Vineyard (1944)

3. Unborn Songs (1943)*

4. As in Old Times (1943)*

 

Athens: Gaetanos, 1952.

Paris: au Menestrel, copyright by Heugel, 1924 (only the song Don’t Cry).

 

* These songs (No.3 and No.4) were originally announced as Book IV of the work From the Pentasyllables but were instead incorporated in Book III.

 

 

16. FIVE SONGS FROM THE FOURTH BOOK OF

THE CITY AND THE SOLITUDE 43

Poems by Kostis Palamas.

 

1. Three Sisters (1944)

2. The Temple (1944)

3. The Fay (1912 or 1913/1943 or 1944) 44

4. Enchanted by the Fairies She Was (1944) l

5. Evening Fires (1943/1944)

 

Athens: Gaetanos, 1947.

Athens: Mystakidis, Efstathiadis and Makris (only the third song, under the title Three Lithe Girls).

Vienna: Universal Edition, 1960 (only the song The Temple).

 

 

17. YOU PASSED BY

From the Evening Legends.

Poems by Kostas Hatzopoulos.

 

1. You Passed By 45

2. You Stood There Pale

3. You Looked at the Roses

4. You Left and Went Away

5. And a Bad Wind

6. In the Evening’s Calm

7. You Came as a Dream

8. You Laughed Faintly

9. Someday I Shall Come

10. Like a Willow

11. And Now I am Crying

12. And You Said

13. And Always I Wait

14. I’ll Come to Meet You

 

Athens: Gaetanos, 1950.

 

Folk Song Harmonizations

 

18. TWENTY FOLK SONGS 46

1922.

 

1. From Love my Heart Is Heave (love song) l

2. Don’t Torture Me and Make Me Cry (love song)

3. My Despo (love song) l

4. Farewell (song from Cyprus)

5. The Price of Kisses (song from the island Chios)

6. Go to Sleep, My Daughter (lullaby)

7. The Bridge of Arta (mason’s song) l

8. Black Yemeni (Syrtos dance) l

9. Pentozalis (Cretan dance)

 

Athens: Zacharias Makris.

Athens: Gaetanos.

 

 

19. KERKYRA

Folk song. 47

1938.

 

Athens: Gaetanos.

 

 

20. KARLOVASITIKO*l

Folk song. 48

1943.

 

Athens: Gaetanos, 1946.

 

* The cover of the published edition announces this song as the first of a series under the title Three Samian Songs, from the collection of Manos Panagiotidis. No other information could be found concerning the remaining songs.

 

21. MESARITISSA*l

Folk song. 49

1955.

 

Unpublished.

 

* From the collection of Theodoulos Kallinikos, Cypriot Folk Muse, Lefkosia, Cyprus, 1951.

 

 

22. LULLABY *

Folk song.

Port Said: N. G. Mavris and E. A. Papadopoulos, 1928, in Dodecanesian Lyre, vol. I: Kasiaki Lyra.l

 

* This entry, No 22, is included in an addenda note to the Greek edition of the Catalogue

 

 

 

WORKS FOR VOICE AND INSTRUMENTAL ENSEMBLE

 

1. FROM THE CYCLE OF THE QUATRAINS

Poems by Kostis Palamas.

For voice and viola.

1943.

 

1. Now, My Soul

2. You Are

3. The Dry Myrtle Branch

4. In the Silver Coffret

5. The Song

6. Lost Love, Too Late

7. Ancient Strophe

8. Not Eve One Jasmine

9. Take Me

10. Mountain Flute

11. An Old Beggar

12. Morning

13. Shut Me In, Rigid Cage

 

Athens: Manolis Kalomis, 1953.

 

 

2. A FEW LITTLE WORDS *

From the Evening Fires.

Poems by Kostis Palamas.

For voice, harp and clarinet.

1943.

 

1. Andantino semplice

2. Andantino

3. Andante con moto (Intermezzo: A little word without words)

4. Moderato

5. Con moto

6. Allegretto semplice

 

Athens: Manolis Kalomiris, 1954.

 

* This translation of the original Κάποια Λογάκια has been already established. However, George Leotsakos suggests the translation Some Tender Words, which approaches more closely the nuance of the original.

 

 

CHORAL WORKS

 

1. THE OLIVE TREE

Poem by Kostis Palamas.

For female choir and orchestra.

1907/1908/1909/1944. 50

Orchestra: 2 3 3 2 – 4 2 3 0 – Tympani, Percussion, Harp, Celesta, Strings.

 

Athens: Manolis Kalomiris, 1954, in Offering to the Greek Youth, vol. I.

 

 

2. THE TIMID ONE

For two – part choir and orchestra.

Poem by Alexandros Pallis.51

 

Unpublished.

 

 

3. SCHOOL SONGS

For unison and two - part choir with piano accompaniment.

1911.

 

1. Spring (Angelos Vlahos) l

2. To the Fatherland (Grigorios Kostopoulos)

3. Summer (Kostis Palamas)

4. The Students’ Flag (Christos Varlentis)

 

Athens: Mystakidis, Efstathiadis and Makris.

Athens: Manolis Kalomiris, 1954, in Offering to the Greek Youth, vol. I (the songs Spring and Summer).

 

 

4. SCHOOL SONGS

1911 – 1912.

 

1. The Good Children (Georgios Vizyinos) l

2. The Sortie of the Pargians l (Spyros Peresiadis) l

3. The Wounded Kleftis (folk poem) 52 l

4. Constantinople’s Lament (folk poem) l

5. Chelidonisma (Athanasios Christopoulos) l

6. The Kleftis Weathers the Winter (folk song) l

7. Fishing (Christos Samartzidis)

8. Lullaby (Aristotelis Valaoritis) l

9. Sun and Wind (Georgios Drosinis) l

10. The Turtle’s Dance (Ioannis Polemis) l

 

Athens: Published by the Athens Conservatory, 1914 53 (with piano accompaniment).

Athens: Zacharias Makris. 1929. Military Songs (the song [No. 4] Constantinople’s Lament).

Athens: Gaetanos, (the song Constantinople’s Lament [No. 4], under the title They Took the City [Piran tin Poli]), for mixed choir a capella.

Athens: Manolis Kalomiris, 1954, in Offering to the Greek Youth, vols. I and II.

 

 

5. ONWARDS

Poem by Kostis Palamas.

1912.

 

Athens: Mystakidis, Efstathiadis and Makris (with piano accompaniment).

Athens: Manolis Kalomiris, 1954, in Offering to the Greek Youth, vol. II.

 

 

6. ARMY SONGS

1915

 

1. The King Who Was Turned to Marble (Eleni Negroponti)

2. Eya Mola (Maria Stamatelou) 54

 

Athens: Published by the First Army Corps, 1918 (melodies only).

Athens: Mystakidis, Efstathiadis and Makris (the song The King Who Was Turned to Marble).

Athens: Zacharias Makris, 1929, Military Songs (the song [No. 2] Eya Mola).

Athens: Gaetanos, 1932 (the song Eya Mola).

Athens: Manolis Kalomiris, 1954, in Offering to the Greek Youth, vol. II.

 

 

7. UNIVERSITY ANTHEM

For four – part male choir and piano.

Poem by N. Baraklis.

1920.

 

Unpublished.

 

 

8. MILITARY SONGS

1928.

 

1. The Two Sentries (Spyros Matsoukas) 55l

2. My Prayer (Spyros Matsoukas)

3. To the Fatherland (Spyros Matsoukas)

4. The Immigrant’s Oath (Miltiadis Malakasis)

5. The Greek Flag (Spyros Matsoukas) 55

6. O, My Children (Miltiadis Malakasis

7. House and Hut (Miltiadis Malakasis)

8. Constatinople’s Lament (folk song, 1912)

9. Eya Mola (Maria Stamatelou, 1915) l

 

Athens: Published by the Athens Conservatory, 1914 (the song Constantinople’s Lament).

Athens: Published by the First Army Corps, 1918 (the song [No. 9 ] Eya Mola).

Athens: Gaetanos (the song [No. 8] Constantinople’s Lament, under the title They Took the City [Piran tin Poli], for mixed choir a cappella).

Athens: Zacharias Makris, 1929 (with piano accompaniment).

Athens: Manolis Kalomiris, 1954, in Offering to the Greek Youth, vols. I and II.

 

 

9. TO THE FREEDOM OF CRETE l

For choir and piano. 56

Poem by I. Iliakis.

1936.

 

Athens: Manolis Kalomiris.

 

 

10. RINAKI l

For mixed choir a cappella.

Folk poem.

1936.

 

Athens: Gaetanos.

 

 

11. THE DAWN GLOWS

For unison choir (or solo voice) and orchestra.

Folk poem.

1940.

 

Unpublished.

 

 

12. DANCE OF THE SHADES

For male choir a cappella.

Poem by Kostas Hatzopoulos.

1940.

 

Unpublished.

 

 

13. SONG TO PEACE

For soprano, female choir and orchestra.

Poem by Stratis Myrivilis. l

1940.

 

Unpublished.

 

 

14. ONWARD

For male choir and orchestra.

Poem by Angelos Silelianos.

1940.

 

First performance: 9 February 1941.

Pallas Theatre, Athens

Symphony Orchestra of the Athens Conservatory

Male Choir

Conducted by Filoktitis Ikonomidis

 

Athens: Manolis Kalomiris, 1954, in Offering to the Greek Youth, vol. II (with piano accompaniment).

 

 

15. ODE TO THE GREEKS OF AMERICA

For choir and piano.

Poem by Sotiris Skipis. l

1948.

 

Unpublished.

 

 

16. OFFERING TO THE GREEK YOUTH

Songs for School, Army and Workers’ Choirs.

Volume I.

 

PART I

1. The Good Children (Georgios Vizyinos, 1911)

2. Spring (Angelos Vlahos, 1911)

3. Chelidonisma (Athanasios Christopoulos, 1911)

4. Summer (Kostis Palamas, 1911)

5. Fishing (Chistoforos Smartzidis, 1911)

6. Lullaby (Aristotelis Valaoritis, 1911)

7. Sun and Wind (Georgios Drosinis, 1911)

8. The Turtle’s Dance (Ioannis Polemis, 1911)

9. House and Hut (Miltiadis Malakasis, 1928)

10. The Death of the Lamb (Georgios Drosinis, 1911) 57

11. The Olive Tree (Kostis Palamas, 1909)

 

PART II

Songs with folk verse of popular melodies.

12. The Trees Are Dead (folk poem, 1911)

13. The Death of the Kleftis (folk poem, 1911) 58l

14. Piran tin Poli (They Took the City; folk poem, 1912) 59l

15. The Eagle (folk poem, harmonization by Manolis Kalomiris, 1920) 60

16. The Bridge of Arta (folk poem, harmonization by Manolis Kalomiris, from the musical tragedy The Master Builder, 1913)

17.The Leventia (folk poem, harmonization by Manolis Kalomiris, 1953)

Athens: Manolis Kalomiris, 1954 (with piano accompaniment, or a cappella). With the exception of the songs No. 15, The Eagle, and No. 17, The Leventia, all other songs of the collection Offering to the Greek Youth have been published. See also the above mentioned sections: Choral Works, Operas (The Master Builder), and Musico-Pedagogical Works (Lessons in Music).

 

 

17. OFFERING TO THE GREEK YOUTH

Songs for School, Army, Workers’ Choirs.

Volume II.

 

PART III

Religious songs.

18. Prayer (Chrysanthos, Archbishop of Athens and Greece, 1941)

19. Ti Ypermaho [To the Virgin, Protector in Battle] (Byzantine hymn, harmonization by Manolis Kalomiris, from the Symphony of Leventia, 1920)

20. They Anointed the Tomb (Byzantine hymn, harmonization by Manolis Kalomiris, 1955)

21. Christ Is Risen (Byzantine hymn, harmonization by Manolis Kalomiris, 1955)

22. The Virgin Today (Byzantine hymn, harmoniazation by Manolis Kalomiris, from the music drama The Mother’s Ring, 1917)

23. Kalanta (folk song, free arrangement by Manolis Kalomiris; from the music drama The Mother’s Ring, 1917).

 

PART IV

Patriotic Songs.

24. The Fatherland (Spyros Matsoukas, 1928) l

25. The Two Sentries (Spyros Matsoukas, 1928)

26. The Evzon’s Cap (Spyros Matsoukas, 1928)

27. Oh, My Children (Miltiadis Malakasis, 1928)

28. The Greek Flag (Spyros Matsoukas, 1928)

29. The Immigrant’s Oath (Miltiadis Malakasis, 1928)

30. The Sortie of the Pargians (Spyros Peresiadis, 1912) l

31. The King Who Was Turned to Marble (Eleni Negroponti, 1915)

32. Eya Mola (Maria Stamatelou, 1915)

33. Molon Lave! l (Georgios Athanasiadis – Novas [included in the work] From Captain Lyras’ Life and Longings, 1941, [v. Catalogue, p. 14])

34. Onward (Kostis Palamas, 1912)

35. Onward (Angelos Sikelianos, 1940)

36. Venizelos (Angelos Doxas, 1917)

37. Diagousikos (folk song, harmonization by Manolis Kalomiris)

 

Athens: Manolis Kalomiris, 1954 (either with piano accompaniment or a cappella). With the exception of song No. 18, Prayer; No. 20, They Anointed the Tomb; No. 21, Christ Is Risen; and No. 37, Diagousikos, all other songs of the collection Offering to the Greek Youth, vol. II, were published. See also works from this and other sections: Works of Orchestra (Symphony of Leventia), Operas (the music drama The Mother’s Ring), Works for Narrator, Voice and Orchestra (From Captain Lyras’ Life and Longings), and Songs for Voice and Piano (the song Venizelos).

 

 

 

WORKS FOR ORCHESTRA

 

1. ROMEIKI SUITE l

1907/1910/1936. 61

 

I. Fairy tales of the Old Woman

Moderato, ma non troppo lento

II. From Erotokritos and Aretousa l

Andante ma non troppo lento

III. Dancing and Merrymaking

IV. The Palace

Finale.

 

Orchestra: 3 3 3 3 – 4 3 3 1 – Tympani, Percussion, 2 Harps, Celesta, Strings.

 

Duration: 27’50’’.

 

Fist Performance: 11 June 1908

Arranged for two pianos

Performed by Manolis Kalomiris and Hariklia Kalomiri

First (orchestral) Performance: 20 December 1910

Auditorium of the Athens Conservatory

Symphony Orchestra of the Athens Conservatory

Conducted by Manolis Kalomiris 62

 

Athens: Manolis Kalomiris, 1958.

 

 

2. THE SYMPHONY OF LEVENTIAl

1920/1937/1952.

 

I. Heroically and passionately

Maestoso patetico

II. The Graveyard on the Mountain Slope

Lento

III. Scherzo A Fete (Glenti)

[Vivo]

IV. Finale. Ta Nikitiria [Byzantine Hymn of Thanksgiving in victory, to the Virgin, Protector in Battle.]

(with choir)

 

Orchestra: [4] 3 5 3 – 6 4 4 1 – Tympani, Percussion, 2 Harps, Celesta, Santouri* or Xylophone, Glockenspiel, Carillon, Piano, Strings. 63

[Mixed choir.]

 

Duration: 46’10’’.

First Performance: 15 September 1920

Herod Atticus Theatre, Athens

Orchestra of the [Greek] Army

Choir of the Hellenic Conservatory

Conducted by Manolis Kalomiris 64

 

Athens: Union of Greek Composers, 1956.

Athens: Gaetanos, 1936 (reduction for piano).

Athens: Musical Life, vol. I, Nos. 9 – 10, June – July 1931. The Finale, Ta Nikitiria (reduction for choir and piano).

 

* Santouri: Folk instrument of trapezoid shape with strings struck by hand-held baguettes.

 

 

3. [FIRST] PIANO RHAPSODY

Orchestrated by Gabriel Pierne. 65l

1925.

 

Orchestra: 3 2 2 2 – 4 3 3 0 – Tympani, Percussion, Xylophone, Harp, Strings.

 

Duration: ca. 7’.

 

First Performance: 12 December 1925

Kentrikon Theatre, Athens

Symphony Orchestra of the [Athens]Symphonic Society

Conducted by Dimitri Mitropoulos

 

Athens: Manolis Kalomiris, 1957.

 

 

4. ISLAND PICTURES

Suite for solo violin and orchestra, based on motives from the Dodecanese.*

1928/1938.

 

I. To the Dawn

Andantino semplice e calmo

II. Lullaby

Andantino

III. Sousta 66

Vivo

 

Orchestra: [3] 3 2 2 – 4 2 1 0 – Tympani, Percussion, Harp, Strings.

 

Duration: 18’.

 

First Performance: 8 April 1928

Attikon Theatre, Athens

Symphony Orchestra of the Athens Conservatory

Conducted by Ivan Boutnikov

Violin Solo: Friderikos Voloninis

 

Athens: Gaetanos, 1937 (reduction for violin and piano).

 

* Taken from the collection of Mavris and Papadopoulos. See listing No.22 on p.22.

 

 

5. SYMPHONY OF THE SIMPLE AND GOOD PEOPLE*

1931.67

 

I. In the Plains

Allegretto vivo 68

II. Pastoral Idyll (with choir)

Moderato, ma non troppo lento

III. Near the Hearth (with mezzo-soprano)

Scherzo

IV. On the Mountain (with choir)

Finale

 

Orchestra: [4] [4] (incl. Oboe d’ amore) 4 4 – 6 4 4 1 – Tympani, Percussion, Celesta, 2 Harps, Xylophone, Strings.

[Mixed choir, Mezzo-soprano solo.]

 

Duration: 36’.

 

First Performance: 10 January 1932

Olympia Theatre, Athens

Symphony Orchestra of the Athens Conservatory

Conducted by Dimitri Mitropoulos

Soloist: Eleni Nikolaidi

Student Choir of the National Conservatory

 

Unpublished.

 

* The Greek title Η Συμφωνία των Ανίδεων και Καλών Ανθρώπων has also been translated as The Symphony of Innocent and Kind-Hearted People, in: Little, Bliss “The Symphonies of Manolis Kalomiris”, Master’s thesis, University of Kansas, 1985.

 

 

6. THREE GREEK DANCES

1934.69

I. Ballos

Moderato

II. Idyllic Dance

Moderato

III. Dance from Tsakonia (Tsakonikos) l

Con moto

 

Orchestra: 3 3 3 2 – 4 3 4 1 – Tympani, Percussion, 2 Harps, Strings.

 

Duration: 8’.

 

Unpublished.

 

 

7. TRIPTYCH FOR ORCHESTRA

1937/1940. 70

 

I. Prelude

Moderato appassionato

II. Interlude

In tempo di una marcia funebre

III. Postlude

Finale

 

Orchestra: 3 3 3 2 – 6 4 3 1 – Tympani, Percussion, Celesta, 2 Harps, Strings.

 

Duration: 24’,

 

First Performance: 28 February 1943

Olympia Theatre, Athens

Athens State Orchestra

Conducted by Manolis Kalomiris

 

Unpublished.71

 

 

8. MINAS THE REBEL*l

CORSAIR OF THE AEGEAN

Symphonic poem inspired by the novel of Kostis Bastias. l

1940.

 

Orchestra: 3 3 4 3 – 6 4 4 1 – Tympani, Percussion, Glockenspiel, 2 Harps, Celesta, Strings. 72

 

Duration: 15’30’’.

 

First Performance: 18 October 1940

National Theatre, Athens

Symphony Orchestra of the Athens Conservatory

Conducted by Leonidas Zoras

 

Athens: Manolis Kalomiris, 1952. 73

 

* Greek: Ρέμπελος, lit. rebel, insurgant, mutineer. Also performed under the title Minas the Pirate by the National Symphony Orchestra, Washington, D.C., Mstislav Rostropovich, conducting.

 

 

9. THE DEATH OF THE VALIANT WOMAN l

Symphonic poem in “ballet form”.

1943/1944/4945.

 

Orchestra: 3 3 3 3 – 4 3 3 1 – Tympani, Percussion, Glockenspiel, Carillon, Harp, Strings.

 

Duration: 10’40’’.

 

First Performances:

1) On 8 May 1943 [as ballet] (with piano accompaniment)

Rex Theatre, Athens

Choreographer and solo dancer: Loukia Sakelariou

2) On 26 October 1945

Olympia Theatre, Athens

Athens State Orchestra

Conducted by Manolis Kalomiris

3) On 9 November 1946 (as a ballet)

Olympia Theatre, Athens

National Opera of Greece

Conducted by Manolis Kalomiris

Choreography by Angelos Grimanis

 

Athens: Collection de l’ Institut Francais d’ Athens. Serie musicale, 1948.

Athens: Gaetanos, 1948 (piano arrangement).

 

 

10. SYMPHONY No. 3, “PALAMIKI”* l

in D Minor, for orchestra, with dramatic recitation.74

1955.

 

I. Moderato

II. Scherzo

III. Agape – Lento, ma non troppo 75

IV. Finale

 

Orchestra: 3 3 3 3 – 4 3 3 1 – Tympani, Percussion, Carillon, Harp, Celesta, Strings.

 

Duration: 31’.

 

First Performance: 22 January 1956

Orpheus Theatre, Athens

Athens State Orchestra

Conducted by Andreas Paridis

Dramatic recitation by Thanos Kotsopoulos

 

Athens: Union of Greek Composers, 1961. 76

 

* The Greek title on the published score appears thus: Συμφωνία αρ.3 «Παλαμική», taking its name from Kostis Palamas (1859-1943), the great Greek poet, for whom the composer had a life-long friendship and admiration.

 

 

11. THE MOTHER’S RING l

Suite in three movements, from the music drama of the same title.

 

I. Prelude (to Act I)

II. Entry of Dame Destiny (from Act II)

III. Christmas Morn (prelude to Act III)

[Orchestra: v. listing of complete work, p. 7.]

 

Unpublished.

 

 

 

CONCERTI

 

1. SYMPHONIC CONCERTO FOR PIANO AND ORCHESTRA

1935.

 

I. Allegro con moto, ma maestoso

II. Transformations – Fugue and Finale on a Greek folk song

 

Orchestra: 3 3 3 2 – 4 2 3 1 – Tympani, Percussion, Harp, Celesta, Strings.

 

Duration: 35’40’’.

 

First Performance: 5 April 1937

Olympia Theatre, Athens

Symphony Orchestra of the Athens Conservatory

Conducted by Filoktitis Ikonomidis

Soloist: Lila Lalaouni

 

Athens: Manolis Kalomiris (reduction for two pianos).

 

 

2. CONCERTINO FOR VIOLIN AND ORCHESTRA

1955.

 

I. Allegro vigoroso

II. Intermezzo

III. Finale

 

Orchestra: [2] 2 2 2 – 4 2 0 0 – Tympani, Strings.

 

Duration: 16’30’’.

 

First Performance: 20 January 1957

Orpheus Theatre, Athens

Athens State Orchestra

Conducted by Andreas Paridis

Soloist: Byron Colassis

 

Athens: Manolis Kalomiris (reduction for violin and piano).

 

 

 

CHAMBER MUSIC

 

1. QUINTET WITH SONG 77*

[For piano, string quartet and voice.]

1912.

I. Allegro appassionato

II. Oblivion (Lithi) [Lorenzos Mavilis] l

Andante

III. Intermezzo

Allegretto

IV. At the Panigyri [folk poetry] l

Allegro vivo

Duration: 42’.

First Performance: 23 February 1914

Auditorium of the Athens Conservatory

Greek Quintet (Georgios Chorafas, Mihail Kazazis, Filoktitis Ikonomidis, Rudolf Geidenberger, Manolis Kalomiris)

Singer: Irene Skepers 78

[Unpublished, with the following exception:]

Athens: Gaetanos, 1936 (only the second movement Oblivion [Lithi]).

 

* The title of the manuscript is: Κουϊντέττο και Τραγούδι (i.e., Quintet and Song, also in French translation Quintette et Chant). The same title appears on the existing transparency for a projected publication (Athens, 1962) which, however, was not completed.

 

 

2. TRIO

[For piano, violin and violoncello.]

1912.

 

I. Moderato

II. Transformations

III. Scherzo

IV. Finale

 

Duration: 44’

 

Paris: Maurice Senart, 1926.

 

 

3. QUARTETTO QUASI UNA FANTASIA

For harp, flute, English horn and viola.

1921/1954.

 

I. Moderato assai

II. Intermezzo Vivo

III. Finale. Grave – Allegretto vivo

 

Duration: 20’.

 

Unpublished.

 

 

4. SONATA FOR VIOLIN AND PIANO

1948.

 

I. Agitato

II. Andantino piacevole

III. Finale

 

Duration: 20’30’’.

 

Athens: [Manolis Kalomiris] 1950.*

 

* The solo part bears the inscription: Copyright 1950 by Edis. “MELODY”, A. Charikiopoulos & Co., Athens.

 

 

 

WORKS FOR PIANO

 

1. ORIENTAL PAINTING 79

1902.

 

Constantinople: A. Christidis, 1902. 80

 

 

2. THREE BALLADS 81

No. 1, in E minor (1905/1933)

(Based on: En Mer, les hardis ecumeurs, from the collection of poems Les Orientales  by Victor Hugo).

 

No. 2, in A–flat major (1905)

(Based on: And From the Sea of Passions, from Life Immovable, poems by Kostis Palamas.)

 

No. 3, in E-flat minor (1906/1958)

(Based on the folk song Death, riding on horseback, has arrived.)

 

Duration: 5’30’’, 5’, 5’,25’’.

Khar’kov: N. Marechek, 1907.

 

Athens: Gaetanos, 1933 (No. 1)

Athens: Gaetanos, 1959 (No. 3).

 

 

3. NOCTURNE

1906/1908. 82

 

Duration: 5’

 

Leipzig: Breitkopf & Haertel (copyright by the composer).

Athens: Gaetanos, 1932. 83

 

 

4. PATINADA

1907.84

 

Duration: 3’30’’.

 

Leipzig: Breitkopf & Hartel (copyright by the composer).85

 

 

5. PRELUDE AND FUGUE

For two pianos. 86

1908. 87

 

Duration: 9’.

 

Athens: Musical Chronicles: Fine Arts Review, vol. V, 1933, No. 48, musical supplement 88

 

 

6. FIRST RHAPSODY

1921.

 

Duration: 6’35’’.

 

Athens: Grigorios Konstantinidis.

Paris: au Menestrel [Heugel], 1926.

 

 

7. SONG TO THE NIGHT*

(SECOND RHAPSODY)

1921.

 

Duration: 8’.

 

Athens: Grigorios Konstatinidis.

Paris: au Menestrel [Heugel], 1926.

 

* Recorded under the title Night Song by the pianist Aris Garoufalis. Concert Athens (CP 925).

 

 

8. PRELUDES FOR PIANO

Nos. 1 – 5.

1939.

 

1. Molto agitato ed appassionato

2. Adantino piacevole

3. Appassionato con moto 89

4. Quasi recitativo

5. Leventika. Assai vivo e vigoroso

 

Duration: 12’15’’.

 

Athens: Gaetanos.

 

 

9. FOR THE GREEK CHILDREN

EASY PIANO PIECES.

 

Book I, Nos. 1 – 4.

1. Moderato (1910 – 1912)

2. Vivo (1910 – 1912)

3. Vivo (1910 – 1912)

4. Allegretto moderato (1905) 90

 

Duration: 8’.

 

Athens: Mihail Kazazis.

Athens: Gaetanos.

 

 

10. FOR THE GREEK CHILDREN

EASY PIANO PIECES.

 

Book II, Nos. 1 – 3.

1. Andantino (1939) 91

2. Little Patinada (1939)

3. Perptuum mobile (1939)

 

Duration: 9’.

 

Athens: Gaetanos.

 

 

II. FOR THE GREEK CHILDREN

PIANO PIECES.

 

Book III, Nos. 1 – 4.

1. Little variations on a dance song (1947)

2. Little prelude (1949)

3. Fughetta for three voices (1905) 92

4. Evening song (1949)

 

Duration: 8’30’’

 

Athens: “Melody”, Alvertos Charikiopoulos & Co., 1949.

 

 

 

INCIDENTAL MUSIC

TO THE FOLLOWING PLAYS:

 

1. Music and Melodrama for Stella Violanti of Grigorios Xenopoulos.

1909/1960. 93

Orchestra: 3 3 2 2 – 4 2 3 1 – Tympani, Percussion, Harp, Strings.

First Performance: 10 June 1909

“Nea Skini” Theatre, Athens

Marika Kotopouli Company 94

Unpublished.

 

2. Sabbath of Souls of Grigorios Xenopoulos.

1911. 95

Unpublished.

 

3. Parga of Spyros Peresiadis. l

1911. 96

First Performance: 17 July 1911

Athineon Theatre, Athens

Konstantinos Moustakas

 

Unpublished.

 

4. Macbeth of William Shakespeare.

1926. 97

First Performance: 19 November 1926

Kotopouli Theatre, Athens

Kotopouli Theatre Company

 

Unpublished.

 

5. The Shepherdess’ Lover of Dimitris Koromilas.

1932.

Instrumentation: Flute, [English horn], Clarinet, Viola, Cello.

First Performance: 9 May 1932

Kentrikon Theatre, Athens

Marika Kotopouli Company

 

Unpublished.

 

 

 

MUSICO-PEDAGOGICAL WORKS

 

1. ELEMENTARY THEORY

Athens: Gaetanos, 1924.

 

 

2. VOCALISE – ETUDE

Paris: Alphonse Leduc, 1929 [in Modern Repertory of Vocalises – Etudes, published under the direction under the direction of A. L. Hettich, vol VIII, No. 76.]

 

 

3. HARMONY

Athens: Gaetanos, 1933, 1935. 2 vols.

 

 

4. MUSICAL FORMS

Athens: Gaetanos, 1939, 1957. 2 vols.

 

 

5. MUSICAL INSTRUMENTS

Athens: Gaetanos, 1957.

 

In collaboration with Avra Theodoropoulou:

 

6. FIRST PIANO LESSONS

Athens: by the Hellenic Conservatory, 1924.

 

In collaboration with Filoktitis Ikonomidis:

 

7. LESSONS IN MUSIC

The elements of music, including solfege, exercises and songs.

[According to a remark by the Catalogue’s author, the following songs of Kalomiris appear in this publication:

To the Fatherland (Spyros Matsoukas)

The Good Children (Georgios Vizyinos)

Spring (Angelos Vlahos)

The Two Sentries (Spyros Matsoukas)

My Prayer (from The Evzon’s Cap by Spyros Matsoukas)

Leventia (folk poem)

Eya Mola (Maria Stamatelou)

The Immigrant’s Oath (Miltiadis Malakasis)

Summer (Kostis Palamas)

The Death of the Kleftis (folk poem)

The Immigrant’s Song (Katrapanis)

The Turtle’s Dance (Ioannis Polemis)

Sun and Wind (Georgios Drosinis)

Lullaby (Aristotelis Valaoritis)

The Death of the Lamb (Georgios Drosinis)

Today the Virgin (Byzantine Hymn, harmonization by Manolis Kalomiris, from the music drama The Mother’s Ring)

Ta Nikitira (Byzantin Hymn, harmonization by Manolis Kalomiris, from The Symphony of Leventia)

House and Hut (Miltiadis Malakasis)]

Athens: Gaetanos, 1939.

 

 

8. MELODIC EXERCISES

Vols, I, II, III, IV.

Athens: Gaetanos.

 

 

9. MELODIC EXERCISES

For two voices.

Athens: Gaetanos.

 

 

10. RHYTHMIC EXERCISES

Athens: Gaetanos.

 

 

11. HARMONY EXERCISES

Athens: Gaetanos, 1934.

 


NOTES

 

1. Libretto by Manolis Kalomiris. The program from the first performance (11 March 1916) states: “Adapted from the tragedy of the same name by P. Psiloritis”, pen name of Nikos Kazantzakis (Theatrical Museum, Athens). The following persons assisted the composer in the preparation of certain lyrics: Nikoalos Poriotis (Act I, The Minstrel’s aria, Ah, Your Hands, Smaragda); Agnis Orfikos (pen mane of Yorgos Stefanopoulos, Act I, duet What Are You Bringing Me); and Myrtiotissa (pen name of Theano Drakopoulou, Act , Protomastoras’ aria, A Palace, My Lord).

2. Parts of Protomastoras were composed and / or revised in Eleusis and Kifissia. Until 1944, the composer continued making “non essential” changes (mostly in orchestration), without considering them, as he said, new revisions.

3. The program from the premiere (11 March 1916) states: “under the supervision of Miltiadis Lidorikis” (Theatrical Museum, Athens).

4. There is also a 1937 edition of the first act of Protomastoras printed by the composer in a few polygraphed copies and circulated privately.

5. Three excerpts form The Mother’s Ring: the Prelude to act I, the Entry of Dame Destiny from Act II and the Prelude to Act III Christmas Morn, may be given in concert performance, either as a suite, or separately.

6. Libretto by Manolis Kalomiris. The composer was assisted by Pantelis Horn with the further adaptation of the plot for the [opera] stage.

7. Pen name of the poet Yorgos Stefanopoulos.

8. Various parts of The Mother’s Ring were composed and / or revised in Glyfada [a seaside resort near Athens].

9. In the piano / vocal score (spartito) of The Mother’s Ring (Athens: Gaetanos 1937, p. 9), the name of the stage director Spyros Trihas was printed erroneously M. Trihas. Spyros Trihas was a well known actor of the time. (This information was graciously provided by Yannis Sideris, historian of modern Greek Theatre. In the program from the premiere on 8 December 1917, no mention was made of a stage director (Theatrical Museum, Athens).

10. In the piano / vocal score of The Mother’s Ring (v. note above) the name of the choreographer Elvira Weil was misspelled E Wail. Elvira Weil was a teacher of dance and rhythmic gymnastics at the National Conservatory in Athens.

11. Libretto by Manolis Kalomiris.

12. “The final details regarding nuances and bowings were added by Leonidas Zoras, who completed them on 17 November 1945”, states the composer at the end of the second and final manuscript score of the opera Sunrise (Anatoli).

13. The Shadowy Waters.

14. Various sections of The Shadowy Waters were given final corrections at the Northolt Airport of London.

15. Libretto by Manolis Kalomiris. The lyrics for both The Mothers’ Lament and the Song of the Cretans (Act II) are by Manolis Skouloudis.

16. Various parts of Konstantinos Paleologos were written and / or revised in both Alexandria and Cyprus.

17. From the list of characters at the beginning of the piano / vocal score of Konstantinos Paleologos (Athens: Published by the National Opera of Greece,1961), the three Astrologers are mistakenly cast for bass, baritone, tenor [rather than bass, tenor, soprano]. Cf. also p. 140 of the piano / vocal score.

18. At the beginning of the piano / vocal score of Konstantinos Paleologos (Athens: pub. by the National Opera of Greece, 1961) the three Monks have been mistakenly omitted from the cast (cf. pp. 141 and 272 of the piano / vocal score).

19. An error in the copying of the piano / vocal score of Konstantinos Paleologos (Athens: pub. by the National Opera of Greece, 1961) mistakenly calls for 12 ‘celli instead of 10 specified in the manuscript of the orchestral score.

20. The song Old Mother Life was written in Khar’kov.

21. The first sketches of the Black Ogress were written in Smyrna, but the song was finished in Vienna, while the composer was studying at the Vienna Conservatory.

22. The song cycle Iambs and Anapaests, Part II – Magiovotana, was first performed with piano accompaniment on 18 April 1914, in the Auditorium of the Athens Conservatory, by Irene Skepers, with the composer at the piano.

23. The two songs, I Love You Like a Brave Song, and At the Gorges of Arna, were first performed on 18 March 1918 at the Athens Municipal Theatre by Kimon Triantafyllou with Armand Marsick conducting.

24. In the manuscript of the song cycle From the Lyric Poems of Sikelianos [Lyrika], there exist a few measures of the unfinished song Pan.

25. The Invocation from Besieged, But Free, for dramatic soprano, choir and orchestra was composed in Hania [Crete] in 1926, while the composer was there on a inspection tour of the Army Bands. The work was to be entered in a music competition announced by the [Greek] Army Ministry observing the Centennial of the Fall of Messolongi in 1826, according to information given by the composer himself and also mentioned in the press at the time. The score was not found among the composer’s manuscripts after his death.

26. The work, at this time [1964], has not been performed in its entirety. It is difficult, therefore, to estimate its duration, which presumably would fill a concert of average length. Only a few excerpts have been performed on various occasions:

in 1943, Auditorium of the Hellenic Conservatory, Emilios Veakis, narrator, Fani Papanastasiou, Anna Remoundou, Frixos Theologidis and Chrisanthos Atineos, soloists, Manolis Kalomiris, piano

on 21 April 1958, Parnassos Hall, Athens, at a clebration marking fifty years of artistic activity for the composer, Manos Katrakis, narrator, Kostas Paschalis, soloist, Elli Nikolaidi,piano

on 6 and 7 August 1958, on the grounds of the Pythagoras High School in Samos, also fifty years of artistic activity for the composer, Aris Garoufalis, narrator, Popi Merkour, Soula Gantzi, Kostas Paschalis and Yannis Manolakis, soloists Elli Nikolaidi, musical supervisor and accompanist.

27. With the exception of the lyrics for Molon Lave (Part II, No. 9) which were written by Athanas (pen name of Georgios Athanasiadis – Novas).

28. In the piano / vocal score (Athens, [Manolis Kalomiris], 1958, Prologue, p. iii), by oversight, not all the instruments of the orchestra are listed. The exact dates of the revisions are similarly overlooked (cf. the manuscript of the last revision).

29. In the version for narrator, violin and piano, the indication “symphonic poem”, which appears on the manuscript of the orchestral version, is missing. This arrangement was made in 1938.

30. This title, taken from the first verse of the poem, was written by the composer on the transparency used for the offset printing (Athens, 1959). It should be noted that on the manuscript (1943/1946), the title reads: In the Palaces of Art.

31.The Anacreontion is the only instance in which Kalomiris made a setting of poetry written in Katharevousa [i.e., the purist form of the language, which prevailed at that time in education, official business and certain ultra–conservative literary circles].

32. A new setting of this song became a part [No. 4] of the cycle From Towns and Villages which was published by Breitkopf & Haertel (v. also note 35).

33. These songs were originally written in Vienna but later revised in Khar’kov. The third version of 1937 pertains only to The Two Towncriers, which was revised in Paris.

34. The lyrics of the song Now Shines the sun Again were written [by the composer] first in German and later in Greek.

35. The original setting of this song, Bayadera, appears as the third of Three Songs for Voice and Piano [v. note 32].

36. The Greek lyrics are the composer’s translation of the original German text by Heinrich Heine [Sie liebten sich beide].

37. The song The Two Towncriers also exists in a version for voice and orchestra.

38. With the exception of the song Aphrodite, which dates form 1907. Nos. 1 – 4 and No. 6 were all composed in Khar’kov, to which were added Nos. 5 and 7, both written in Kordelio [a seaside resorst], near Smyrna.

39. The song Haide Hourde also exists in a version for voice and orchestra.

40 The Curse is the composer’s first song in a greek folk rhythm (5/4 metre).

41. The composer began the song The Curse in Athens completing it later in Khar’kov. He later orchestrated the accompaniment (leaving a total of four scores, each in a different key).

42. The song Three Lithe Girls [1912 or 1913] was later included in the cycle Five Songs From the Fourth Book of the City and the Solitude [v. note 43].

43. The entire cycle also exists in an orchestral version. First performance, 27 February 1944, Pallas Theatre, Athens, Athens State Orchestra, conducted by Manolis Kalomiris, Popi Efstratiadou, soloist.

44. [Cross reference to note 42] which mentions the first setting of this song.

45. In the Gaetanos edition, Athens, 1950, the date 1942, given to the song You Passed By, is incorrect. It was actually written in 1946 as were the other songs of the cycle.

46. The harmonizations of the Twenty Folk Songs were requested by the publisher Zacharias Makris. Kalomiris completed the first ten, promising to deliver the rest at a later date, hence the title Twenty Folk Songs. The second book never materialized and beyond that, the composer withdrew the Ballos [for piano, No. 10 of the first book], according to the notes in the Introduction (v. Works not listed in the main body of the Catalogue). [The cover of the published edition also announces orchestral accompaniments to all twenty songs.] Four orchestrations were completed for the following: [1.] From Love, My Heart is Heavy, [2.]Don’t Torture Me and Make Me Cry, [3.] My Despo and [6.] Go to Sleep, My Daughter. In addition, the songs [2.] Don’t Torture Me and Make Me Cry, and [5.] The Price of Kisses, also exist in transcriptions for mixed choir a cappella (all published in Athens by Gaetanos).

47. The song also exists in a version for voice and orchestra.

48. The song also exists in a version for voice and orchestra.

49. The song also exists in a version for voice and orchestra.

50. The composition of The Olive Tree (1907), like both of the subsequent revisions (1908/1909) took place in Khar’kov.

51. This poem of Alexandros Pallis was published under the pen name Lekas Arvanitis with the title Passing by from Bad Nuts (Liverpool, 1915, p. 466).

52. The titles in Katharevousa: The Wounded Kleftis, The Lament of Constantinople and The Kleftis Weathers the Winter, were given to these songs by the Athens Conservatory. The composer’s titles [folksong titles in the Demotic, spoken or common language, which was prevailing among progressive political and literary circles], as they appear in the Offering to the Greek Youth are: The Death of the Kleftis, They Took the City and The Trees Have Died [Book II, Nos. 12, 13 and 14; see also note 31 and Translator’s Note.]

53. The date 1916 appears [erroneously] on the cover.

54. In the edition published by the First Army Corps, Athens, 1918, the song The King Who Was Turned to Marble was retitled Turned to Marble and the song Eya Mola was also retitled Seaman’s Entertainment Song.

55. The songs The Two Sentries and House and Hut also exist in a version for unison choir and orchestra. The latter also exists in a version for three–part choir and piano.

56. This work was intended to be the last part of a symphonic triptych entitled Crete, which, ultimately, was never written.

57. The song The Death of the Lamb also exists in a version for choir and orchstra.

58. The song The Death of the Kleftis also exists in a version for soloist, choir and small orchestra.

59. The song They Took the City also exists in a version for choir and orchestra.

60. The song The Eagle also exists in a version for choir (or solo voice) and orchestra.

61. The Romeiki Suite, written and revised in Vienna and Khar’kov (the first and second drafts of 1907 and 1910), consisted initially of five movements. The movement called Like a Game and Like a Lullaby  was deleted by the composer. The suite took its final form in 1936, in Palio Faliro [the site of the composer’s home]. The date 1906 – 1908 on the cover of the printed score (Athens, 1958) is incorrect (cf. the dates inside the score).

62. At the two premieres, 1908 [with piano], 1910 [with orchestra] all five movements (v. note 61) were performed.

63. In the second movement of the symphony, the composer uses oboe d’ amore (providing for its replacement by English horn, if not available), and alto saxophone (also with provisions for its replacement by either bass clarinet or horn).

64. The second movement of the symphony, The Cemetery on the Mountain Slope, however, had been previously performed in a concert of the composer’s works, 23 April 1919, in the Municipal Theatre of Athens, conducted by the composer. It was performed a second time, March 1920, in Arnhem, Holland, under the direction of Heuckeroth.

65. Although orchestrated by Gabriel Pierne, it is placed her under the composer’s works for orchestra.

66. The work Island Pictures was first performed in [its original conception of] four movements. The [original third movement] Idyllic Dance was later removed and used as the second movement of Three Greek Dances for orchestra.

67. The composer, leaving the last time for the hospital before his death, had place on his desk The Symphony of the Simple and Good People, which he was revising for and intended publication of which he had completed 42 score pages of the first movement. Furthermore, marked in red pencil on the old manuscript score, were the intended changes which he was ultimately unable to complete. However, it is obvious from the 42 pages of the new score, as well as from the other indications, that he intended to reduce the instrumentation. He no longer requires an oboe d’ amore, nor an Eb Clarinet; the number of horns is reduced from 6 to 4, etc.

68. In the unfinished revision of the symphony (v. above note), the composer indicates the tempo of the first movement as Allegretto vivo instead of Allegreto vivace, as in the previous manuscript. The indication Allegretto vivo is retained in this Catalogue.

69. Each of the three dances of the suite dates from a different period. The Ballos was written about 1917 for piano solo. The Idyllic Dance, based on themes taken from the Intermezzo of Protomastoras, was written in 1924 on a commission from the Concerts Grassi [v. also note 66]. It was performed for the first time [with dancer] in Paris that same year under the French title Danse Idyllique (12 April 1924; Theatre de la Gaite Lyrique; [Orchestre de l’] Association deds Concerts Grassi; E.- C. Grassi, conductor; J. de Etchessary, solo dancer). The Tsakonikos [dance from Tsakonia] was taken from the opera The Mother’s Ring. The formation of the work into a suite (orchestration of the Ballos, final corrections, etc.) took place in Prague, in 1934.

70. Parts of the Triptych were written on Bourtzi [a picturesque castle on the islet facing the Peloponnesian city Nafplion].

71. The second movement [of the Triptych] also exists in an unpublished arrangement by the composer for piano solo, written in 1937.

72. The Eb clarinet is ad libitum.

73. There is also an unpublished arrangement [of Minas the Rebel] for two pianos, done by the composer in 1940.

74. The title listed in the Catalogue is the same as that of the manuscript and was also used at the first performance. However, the title on the published orchestral score (Athens, 1961, Union of Greek Composers) varies slightly as follows: Palamiki Symphony – Symphony No. 3 in D Minor.

75. The title Agape (Love) does not appear in the manuscript. It was added by the composer to the published score (Athens, 1961).

76. There also exists an unpublished arrangement for two pianos of the third movement.

77. Of the four movements of the Quintet with Song, only two have lyrics: [II.] Oblivion (Lithi, a setting of Lorenzos Mavilis’ well – known sonnet) and [IV.] At the Panigyri (a setting of folk style couplets).

78. The program from the premiere (23 February 1914) states that the Quintet with Song was being performed for the first time in its entirety as two movements had been previously performed: [II.] Oblivion (Lithi] and [III.] Intermezzo, at the commemoration of Lorenzos Mavilis (1860 – 1912), 28 March 1912, Parnassos Hall, by the Greek Quintet; Nina Foka, soloist.

79. The Oriental Painting was written in Vienna.

80. The Oriental Painting was the composer’s first published work. Only for this reason did the composer agree to its inclusion in the Catalogue of Works, even though he did not consider it representative.

81. The first two Ballads were composed in Vienna the third being finished in Khar’kov. The first and third were revised in Greece [1933].

82. The Nocturne was composed in both Vienna and Khar’kov.

83. The Nocturne has been published together with the Patinada, under the inclusive title Piano Pieces (Leipzig, Breitkopf & Haertel, copyright by the composer).

84. The Patinada was composed in Khar’kov.

85. See note 83.

86. Prelude and Fugue for two pianos was premiered at the first concert of the composer’s works in Athens [after his return to Greece], under the title Prelude and Double Fuge (for seven voices), 11 June 1908, Auditorium of the Athens Conservatory, performed by Hariklia Kalomiri [his wife] and the composer himself.

87. The Prelude and Fugue for two pianos took its final form in Khar’kov. However, it was first drafted in Vienna while the composer was still studying there.

88. The Prelude and Fugue for two pianos, was included as an example in the musico-pedagogical work, Musical Forms (vol. I, Polyphony – Counterpoint, Athens: Gaetanos, 1939, pp. 112 – 145).

89. Prelude No. 3, Appassionato con moto, was written in Notre–Dame–des–Monts in Antony, France.

90. The Allegretto moderato [Book I, No. 4] was composed in Vienna.

91. The exact title, according to the manuscript, is Little Song: Andantino. However, by an obvious error it has been published only as Andantino.

92. The Fughetta for three voices [Book III, No. 3] was composed in Vienna.

93. The music for Stella Violanti was composed in Khar’kov.

94. The music for Stella Violanti was originally scored for full orchestra. For technical reasons, however, it was first performed in a reduced version made by the composer, requiring only seven instruments. In subsequent performances, it was played by ensembles of varying size, depending on the technical limitations of the performance site. Therefore, in addition to the score for full orchestra, there are also the manuscript scores of the reduced versions, all made by the composer.

95. The work was premiered on 13 June 1911, in the Kyveli Theatre, by the Kyveli Theatre Group. The critics, however, did not mention the music in the reviews. But, as Xenopoulos, the play’s author, in a special publication commemorating his thirty years as a playwright (Association of Greek Playwrights, Athens, Acropolis Graphic Arts, 1925) comments: “The Intermezzo, which divides in two this long act, is the dance of the Souls with the Beauty, the coryphee. Mr. Kalomiris has composed beautiful music for this dance (ballet)”. [The Sabbath of Souls is a large one act play, the Beauty being the deceased commemorated in the service. (This note by the author of the Catalogue)]. The score for The Sabbath of Souls has not been found among the composer’s remaining manuscripts. Pertinent information was given by the composer and by the eminent historian of modern greek theatre, Yannis Sideris.

96. The information given for this work was provided by the historian of modern greek theatre, Yannis Sideris. The score of Parga could not be found among the composers remaining manuscripts.

97. This information was also provided by historian Yannis Sideris (see also the above notes).

 

Fivos Anoyanakis.

 

 

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