“Carrer [Carreris], Pavlos [Carrer, Paolo; Karrer, Paul]”, Grove Music Dictionary, ed. by Deane Root, New York: Oxford University Press, 2013.

Opera and the Greek World during the Nineteenth Century (ebook) FULL ACCESS, 2019

Published by Ionian University-Music Department-Hellenic Music Research Lab and Corfu Philharmonic Society (ISBN 978-960-7260-63-5). 2017 marked for opera in Greece four anniversaries: the centenary since the passing of Spiros Samaras (1861-1917), the bicentenary since the birth of two important Greek opera composers, Spiridon Xyndas (1817-1896) and Domenikos Padovàs (1817-1892), as well as the 150 years since the premiere of the opera O ypopsifios [The Parliamentary Candidate] (1867, music by Xyndas and libretto by Ioannis Rinopoulos), which was both the first full-scale opera in Greek and the pivotal point for the emergence of opera in Greek language. Actually, this opera was revived by the Corfu Philharmonic Society in November 2017 in its original version honouring thus both the birth of its composer and the anniversary of its premiere. The Hellenic Music Research Lab of the Music Department of the Ionian University and Corfu Philharmonic Society on the occasion of the aforementioned anniversaries organized the international conference entitled Opera and the Greek World during Nineteenth Century, which took place in Corfu, Greece, on 17, 18 and 19 November 2017. Corfu, the seat of the Ionian University, was the birthplace of the three aforementioned composers. The San Giacomo theatre of Corfu, the earliest theatrical stage of the region, hosted opera performances already since 1733, contributing decisively to the dissemination of opera within the Greek world during 19th century. Moreover, Xyndas, Padovàs and Samaras presented in the same theatre their operas. Xyndas in 1840 was also one of the initial founders and professors of the Corfu Philharmonic Society and he dedicated to it certain of his operas. Padovàs also taught harmony and music theory in the Philharmonic, in 1857 he dedicated to it his opera Dirce and since 1884 he was appointed the Society’s artistic director. Samaras, a student of Xyndas during his early music training, had multiple connections with the Philharmonic Society and had been its honorary artistic director since 1889. Given the above, the conference was not confined solely to the lives and the works of the aforementioned composers, but focused on matters regarding the place, the reception, the importance and the formative factors of the operatic activity within the Greek world during the “long nineteenth century”. This volume includes sixteen selected contributions covering areas such diverse as opera in the Ionian Islands, Athens and the Greek diaspora, analytical approaches and matters of reception both in Greece and abroad, and offers to the readers a wealth of information regarding opera activity in such places as Ermoupolis (Syros) and Smyrna, as well as aspects of the operatic “micro-history” of the Greek world. Most of the texts of this volume are in English, but for those that are in Greek, extended abstracts can be found in the “Summaries” section.

In the summer of 1873, Pavlos Carrer agrees with his friend, poet Conte Giorgio D. Roma, to work together on the libretto of a new opera based on the “episode of the French Revolution concerning Marie Antoinette”. The choice of the subject raises questions, since it forms the only exception among the five Greek national operas that Pavlos Carrer composes from 1868 until the end of his life. The composer does not state, his sources, therefore we do not know whether he and Roma studied the history of the French Revolution and, consequently, drew the inspiration for their libretto from it or worked on a literary text. Further below, we will examine that both may be the case.

Lithuanian Academy of Music and Theatre-Lithuanian Composers Union, 10th International Music Theory Conference; Vilnius, October 20-22, 2010; Principles of Music Composing: Sacred Music, Vilnius 2010, pp. 126-137

“All master composers of Greek ecclesiastic music” is a particularly well-known catalogue, composed by Kyrillos Marmarinos, bishop of Tenos, during the period 1734/6-1770. It constitutes one of the oldest (and most accurate) collections of historical testimonies on all composers of Greek sacral music, i.e. those who have been the object of study by specialists of composition techniques of Byzantine Music. This catalogue, later included in the Theory of Byzantine Music, written by Chrysanthos from Madytos (1816), was finally published in the printed form of the same book in 1832. Most likely, this catalogue is the same as the one of “all the composers who flourished, at various times, in Greek ecclesiastic music”, which is also registered (fol. 140 ff.) in the codex Xeropotamou 318 (for example), assumably written by archdeacon Nikephoros Kantouniaris from Chios, at the beginning of the 19th century. In the present paper I examine the relationship between the three versions of the specific source mentioned above, while discussing in detail their historical, artistic and aesthetic significance. At the same time, I point out the added educational value that this catalogue could acquire, especially as an initial step towards a new History of Greek sacral music. I believe that such a book (based on composers' names and thus the general history of the Byzantine Melopoeia), could form a new “instrumentum studiorum” for contemporary musicologists, which will reveal the conception and value of Greek sacral music, as well as the more detailed composition techniques and features of the so-called Byzantine Music.

Issue 25: "Byzantium and Islam" — In Memory of Alessandro Angelucci, 145-184, 2017

This monographic essay is dedicated to one of the most mysterious protagonists of the patriarchal style (hyphos) Petros Peloponnesios. Despite the many colourful anecdotes, we only know very few facts about Petros Peloponnesios’ life before he came to Constantinople in 1764. Analysing Petros’ contribution to the hyphos, this essay does not rely on the well-known transcriptions as they were distributed by the print editions in different languages. Recent research has already proved that many ascriptions to Petros are not trustworthy. On the other hand, readers might discover less known compositions by Petros, like his second week cycle and the long oktoechos cycle of cherouvika, which have rarely been printed. They will also be surprised that his composition of the idiomela for the «Doxastarion syntomon» are quite different from the official transcriptions according to the New Method. Another mystery is Petros’ close relationship to the Mevlevi dervishes of Pera (Beyoğlu), where he was adored as Hoca and Hırsız (“teacher and thief”), and his exceptional contribution to Ottoman music by numerous transcriptions of historical makam compositions and more than 100 original makam compositions, sometimes made over a Greek text. The article proves that Petros did not invent the exegetic use of notation nor the transcription of makam music into Greek neume notation. It also proves that many of the works and innovations were officially wrongly attributed to him. Nevertheless, he must be regarded as one of the most remarkable and most gifted Greek Ottoman musicians who did wonders during his short life span between 1764 and his early death during the disastrous plague of 1778.

Articles, 2012

This study addresses aspects of local identity in the music of Theodore Antoniou and other Greek contemporary composers. It highlights misapprehensions and obsolete conceptions of historiography and aesthetics embedded in the use of terms such as centre and periphery or high- and low-brow styles of music, respectively. An overview of the history of art music in Greece is attempted, for a better understanding of these issues in that context. The parallel reference to significant Western contemporary composers such as György Ligeti, Luigi Nono, and Mauricio Kagel supports the primary argument of the essay, which seeks fair treatment for all places that find themselves peripheral to a given centre. The case of Greece—one of the cradles of Western culture—is a unique example of a problematic approach typical of Western historiographies with regard “centres” and “peripheries” that needs to be corrected.

Pavlos Carrer, Frossini, Athens: Greek National Opera, 58-67, 2021

With the operas "Frossini", "Markos Votzaris", "Despo" and dozens of songs of national character, Pavlos Carrer as a composer lays “the groundwork for the Hellenic melodrama” and takes decisive steps toward the creation of an independent Greek music school. He is a typical case of the pan-European national music school. Just like his Russian, Bohemian or Scandinavian colleagues, Carrer also gives precedence to opera and vocal music which he considers as the appropriate musical vehicle, he turns to local colour and national subjects, choosing the plots of his operas from episodes from the recent Greek history, featuring local and national heroes.

Bulgarian Musicology XL / 2016 / No2-3 | Bulgarian Academy of Sciences, Institute of Art Studies | South East European Studies in Musicology, 2016

Bulgarian Musicology XL / 2016 / No2-3 | Bulgarian Academy of Sciences, Institute of Art Studies | South EasT European Studies in Musicology | Proceedings of the 11th International Congress of Southeast European Studies & the 6th International Conference of the IMS Regional Association for the Study of Music of the Balkans. Sofia, 31 August – 4 September 2015 Faidros Kavallaris (Φαίδρος Καβαλλάρης, *1950) is a Greek-Cypriot composer. He studied architecture and music. In the mid 70's he started studying and performing Cyprus traditional music, byzantine ecclesiastical music as well as researching ancient Greek music. Since the early 80's he has started focusing his interests in the European compositional techniques of his days. One of the main research activities of the composer is the exploration of the link between Eastern Mediterranean music traditions and the music of Far East. He probes the correlation of the musical streams originating in the most ancient traditions of the world. As a result of the above scientific research and also his internship with the music of Asia, Kavallaris managed to join the philosophical aspects of the music of ancient Greece, India, China, and Japan with the Western European tradition. The epicentre though is always the island of the Cyprus. The aim of this paper is to discover the influences of the Cypriot composer; present his musical language; analyze the acceptance of the composer's compositional work and research on the island of Cyprus and in Europe; to identify the impact and dissemination of his local and regional culture. Keywords: Faidros Kavallaris, musical language, Cyprus, ancient traditions, contemporary music

WSEAS …, 2004

This paper describes an instrument that can compose a song using predicates of Ancient Greek Music. It employs the methodology and musical notation of this specific music system and at the same time, it provides a mapping mechanism that depicts the whole process to composition predicates of the usual notationof Western Music. The aim of this application is to facilitate the efforts of Ancient Greek Music researchers ingetting closer to what Ancient Greek Music really was by parametrically performing melodic pieces.