Μουσικό Αφιέρωμα στον Μίκη Θεοδωράκη

Η Συμφωνική Ορχήστρα Δήμου Αθηναίων διοργανώνει ένα μουσικό αφιέρωμα στον Μίκη Θεοδωράκη, εστιάζοντας στη συμφωνική του δημιουργία και την αέναη προσπάθειά του να συνδυάσει την παράδοση με τη λόγια μουσική. Η εκδήλωση θα πραγματοποιηθεί τη Δευτέρα 20 Οκτωβρίου στο Δημοτικό Μουσικό Θέατρο «Μαρία Κάλλας» στο Ολύμπια, στο πλαίσιο του Έτους Μίκης Θεοδωράκης.

Το πρόγραμμα των έργων περιλαμβάνει τρεις καθοριστικές συμφωνικές συνθέσεις: Το Πανηγύρι της Ασή-Γωνιάς (1946–47), που είναι η πρώτη ολοκληρωμένη συμφωνική σύνθεση του δημιουργού και αντλεί έμπνευση από κρητικά λαϊκά μοτίβα. Αυτή η ζωντανή απεικόνιση ενός πανηγυριού παρουσιάστηκε για πρώτη φορά το 1950 από την Κρατική Ορχήστρα Αθηνών. Στη συνέχεια, το Κοντσέρτο για πιάνο και ορχήστρα (1957) γράφτηκε στο Παρίσι και αποτυπώνει τις μεγάλες φόρμες της εποχής σε έναν διάλογο που φωτίζει το προσωπικό στυλ του συνθέτη με μια έντονη αίσθηση ελληνικότητας. Τέλος, η Ελληνική Αποκριά (1947–53) είναι μια σουίτα μπαλέτου εμπνευσμένη από τα αποκριάτικα δρώμενα της παλιάς Αθήνας, που γράφτηκε κατά την περίοδο της εξορίας στην Ικαρία.

Πρόγραμμα Συναυλίας:

• Το πανηγύρι της Αση-Γωνιάς: Συμφωνικό σκέρτσο (1946–47)
• Kοντσέρτο για πιάνο και ορχήστρα:
  1. Allegro ma non troppo
  2. Andante
  3. finale
• Ελληνική αποκριά: Σουίτα μπαλέτου για ορχήστρα
  1. Eισαγωγή
  2. Aνδρικός χορός
  3. Mεγάλος χορός
  4. Eρωτικός χορός
     < li > Nτιβερτιμέντο
     << li > Tρεις χοροί του καρναβαλιού: Γαϊτανάκι, Aλογάκι , Γκαμήλα
     << li > Xoρός της κοπέλας
     << /ol >
     << strong > Φινάλε
     << /ul >

     Pανηγύρι της Aσή-Γωνιάς: Συμφωνιστικό σκέρτσο (1946–47)

     This piece was completed over the years 1946-47 and is based on Cretan folk motifs. It’s public debut took place on may 5th, 1950 by the State Orchestra of Athens under conductor Filoktitis Oikonomidis who also mentored Theodorakis. It was later performed again in the summer of 1953 at Herodes atticus Theatre and caught the attention of Greeks from America who requested it be played there as well under Dimitris mitropoulos’s direction; regrettably this could not happen due to political circumstances prevailing in the United States during that decade.

     The piece has a light-hearted and dance-like character as it aims to capture the essence of a traditional Cretan celebration using orchestral colors. The composer expressed his desire not just to transcribe traditional dances but rather work with them to integrate them into his musical language—creating an overall composition that highlights “the vibrant folk spirit along with serene reflection.” This marks Theodorakis’s first serious foray into symphonic music while simultaneously reflecting his impressions from engaging with music from his homeland.

     Kοντσέρτο για πιάνο και ορχήστρα (1957)

     The composer tackled all forms of musical composition ranging from smaller pieces like preludes and songs to monumental works such as operas and symphonic pieces utilizing an extensive palette of interpretative means throughout various creative phases including this Piano Concerto written in Paris which encapsulates his relationship with piano—a versatile instrument present as inception reflecting changing roles according ideas aesthetic visions he harbored . Its premiere occurred April 5th ,1967 at Piraeus Municipal Theatre conducted by himself featuring pianist Aliki Vatikioti .His writing elevates piano showcasing multifaceted techniques demanding impeccable technical control expressiveness equalizing orchestra sound volume realm .The concerto consists three movements alternating tempos(quick-slow-fast). First follows sonata form concluding without cadenzas second develops two subsections while final exhibits vigorous dance-like qualities reminiscent Bela Bartok utilizing rhythmic patterns treating piano percussion instrumentally; oscillating between twelve-tone technique four-note harmony core prevalent many folk songs without neglecting more traditional harmonic relations.This synthesis was avant-garde considering post war Greek musical landscape dominated romantic style National School aesthetics kinship First Suite combining personal inspiration profound sense Hellenism art parallel ideological considerations around modern music role shaping blending contrasting concepts establishing unique recognizable style through compositional trajectory.Soloist Marios Panteliadis.

     Eλληνική Aποκριá: σουíτα μπαλέtu γiа oρκéstrа (1947–53)

     Theodorakis began composing “Greek Carnival” during exile on Icaria island starting in late forties where proximity local folklore heavily informed stylistic choices culminating full completion end fifty-three amidst civil turmoil.Initially intended symphonic suite later evolved ballet score share same title.A segment had its first performance Nov fifteen fifty-three Orpheus Theatre through collaboration Greek Dance Drama company accompanied State Orchestra Athens conducted Andreas Paridis.Full choreographed version premiered March fourteen fifty-four Rome Opera House presented Rallou Manou’s Greek Dance drama costumed scenography Spiros Vasileiou under again orchestration guidance conductor Andreas Paridis.Sections depict scenes celebratory aspects Carnival old Athens starting brief “Introduction” followed expressive male dance (“Male Dance”) juxtaposed lively alternation observed main dance featuring notable melody “Fish Girl” proceeding slow sensuous number (“Erotic Dance”) acquiring dramatic weight evolving thereafter playful virtuosic divertimento preceding three local carnival dances (“Gaitanaki”,“Alogaki”,“Gamila”) showing distinct influences Stravinsky before transitioning girl’s dance altering ambience leading radiant rhythmic finale.”Greek Carnival represents early neoclassical language along lines regarded “post-symphonic” emphasizing move beyond transcription cultural elements within framework originality intertwining symphonic folkloric traits reciprocally interacting together providing holistic view artistic expression combining diverse influences within single unified statement crafted thoughtful intent rooted identity formations revealed deeper understanding cultural ties interwoven narrative threads woven life experience sparked genius creativity.Kείμενο : Maira Milolidaki