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which includes his published and unpublished compositions, as well as the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representative [and therefore withdrawn] by the composer, have been omitted.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programs, unpublished [now published] memoirs, etc.)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respective editions, the unpublished ones retaining the title of the last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. Êáëïìïßñçò, Ìáíþëçò, Ç ÆùÞ ìïõ êáé ç
ÔÝ÷íç ìïõ (áðïìíçìïíåýìáôá 1883-1908). Õðïõñãåßï Ðïëéôéóìïý &
Åðéóôçìþí. Óýëëïãïò «Ìáíþëçò Êáëïìïßñçò», ÁèÞíá 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
É. ÔÇÅ MASTER BUILDER (Ï 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
Minstrel Soprano
Mother Alto
The Lord Baritone
An Old Man Bass
Orchestra: 3 3 4 3 - 4 4 3 1 - Ôympani, 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 É] The Lowly House).
2. ÔÇÅ MOTHER’S RING (ÔÏ DAKHTYLIDI ÔIS 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 ÉÉ) 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
Sets
by Ioannis Ampelas
Choreography
by Ålíira Weil 10
Athens:
Gaetanos, 1937 (piano/vocal score).
Athens:
Manolis Kalomiris, 1962 (Õannakis’ 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
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: Ìihalis 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. ÔÇÅ SHADOWY WATERS (ÔÁ ×ÏÔIKA 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'.
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. ÊÏÍSÔÁÍÔIÍÏS ÑÁLEOLOGOS l
ÔÇÅÕ
ÔÏÏÊ ÔÇÅ CITY (ÑÉRAN ÔIÍ ÑÏLI)
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
Third
Night Watchman Tenor
Fourth
Night Watchman Baritone
First
Old Man (Protogeros) Bass
Grand
Duke Notaras Bass
Á
Young Monk Soprano
The
Lord Karystinos Baritone
Á
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 É) Soprano
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 É2 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.
1.
IAMBS AND ANAPAESTS
PART
II– MAGIC HERBS (MAGIOVOTANA) 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
First Performance: 12 March 1915 [with orchestra]22
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)
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.
5.
VASILIKI COMMANDSl
For voice and orchestra.
Unpublished.
1.
BESIEGED, BUT FREEl
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
1.
FROM CAPTAIN LYRAS’ LIFE AND LONGINGS
Musical “Memoirs”.26
Lyrics by Manolis Kalomiris.27
1. Prelude – 2. Smyrna! – 3. Constantinople! –
4. Vienna! – 5. Russia! – 6. Athens! 7. Crete!