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which includes his published and unpublished compositions, as well as the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representative [and therefore withdrawn] by the composer, have been omitted.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programs, unpublished [now published] memoirs, etc.)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respective editions, the unpublished ones retaining the title of the last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
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
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
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
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'.
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
Third
Night Watchman Tenor
Fourth
Night Watchman Baritone
First
Old Man (Protogeros) Bass
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
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.
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!
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).
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
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.
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.
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.
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
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.