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INVITATION ! INVITATION !  INVITATION !
 Orchestras and choirs, who are willing to perform one of the prize-awarded operas,
have the opportunity to stay at "Hellenikon Idyllion" free of charges for 2- Weeks 
for final rehearsels and a performance of the opera in Greece.

Composition Competition 2010
Opera  „HELIKE ATHANATOS“„Helike – Immortal“- Triumph of Archaeology -

INTERNATIONAL COMPOSITION COMPETITION
 

„HELIKE  ATHANATOS”,

 „Helike – Immortal“

 The story is based on an idea of Andreas Drekis,
Text and literatur - Libretto - in ancient Greek by Franz Knappik,

ANDREAS DREKIS AWARD - COMPOSITION

“HELLENIKON IDYLLION” in SELIANITIKA (GREECE), SEPTEMBER 29, 2010

JURY:
Werner Schulze, professor University of Music and Performing Arts Vienna, composor, Austria
Alois Springer, conductor, Germany
Dr. Spyros Mazis, composor, Greece

Results of the Compositionscompetition   07.10.2010

 

 

 


                             Jury: Werner Schulze, Alois Springer , Spyros Mazis     


Andreas Drekis, 2011 head of jury, founder and leader of the international musical and cultural centre "Hellenikon Idyllion", Greece

INVITATION ! INVITATION !  INVITATION !
 Orchestras and choirs, who are willing to perform one of the prize-awarded operas,
have the opportunity to stay at "Hellenikon Idyllion" free of charges for 21 days,  
for final rehearsels and a performance of the opera in Greece.

 


The  two Winners (2 first prizes) are:

 

                         

  First prize Tania Sikelianou  (Greece) 

  Websites:     www.taniasikelianou.com

      

 

TANIA SIKELIANOU (GP 1787): WINNER of one of the two FIRST PRIZES

COMMENT of ALOIS SPRINGER

 

 

Als Chefdirigent großer Orchester, selbst 5facher 1ster Preisträger und einjährige Mitarbeit als Assistent von Leonard Bernstein, nicht zuletzt aus meiner schriftstellerischen, kompositorischen Erfahrung weiß ich um die Schwierigkeit der besonderen Kunst, hinter einem gerade vollendeten Werk einen Schlusspunkt zu setzen. Möchte doch jeder Schöpfergeist sein Werk zur Vollendung bringen wollen. Selbst der große Leonard Bernstein rang immer wieder mit dieser endgültigen Entscheidung. Ich erwähne dies im Hinblick auf die Versuchung in den vorliegenden Partituren von außen Retuschen nachzutragen.

Zunächst voneinander unabhängig, dann in gemeinsamer Beratung mit verblüffender Übereinstimmung war sich die Jury in den wesentlichen Kriterien klar und eindeutig einig.

Die Musik der Partitur steht in ihrer erfrischenden modernen Aktualität und dem Aufzeigen von vielfältigen Klangwelten mitten in der immer wiederkehrenden Dramatik sowohl des modernen Lebens als auch in der Erinnerung an großen dramatischen Ereignissen der Vergangenheit mit ihrem Auf und Ab. Sie sind bis ins Kleinste musikalisch nachempfunden, beobachtet, klanglich neu erschaffen mit der Vielfalt des modernen Orchesterklangs. So hörbar gemacht, kann es zukünftiger Hörern nahe gebracht werden.

Hier zeigt sich ein Talent für musikalisch-dramatische Darstellung ohne Effekthascherei, das zu großen Hoffnungen berechtigt.

Die Partitur in C zeichnet ein eindeutiges klar-strukturiertes Klangbild. Diese Musik wird in ihrer Klarheit, Sensibilität und grenzenloser Phantasie die Menschen trotz so manch fremdartiger Klänge unmittelbar, ohne Übersetzung gleichsam intravenös erreichen und bewegen. Aus dieser meiner Erkenntnis heraus habe ich der Partitur GP1787 im Zusammenhang mit der Ausschreibung meine Stimme gegeben, den verdienten Ersten Preis. Die Mitbewerber haben ebenso großartige Leistung bewiesen und werden ihren Weg finden, die Menschen positiv mit ihrer Musik zu erreichen.

Meine weiteren Gründe, dieser Partitur die Auszeichnung eines ersten Preises zu geben, ohne auf Einzelheiten einzugehen sind folgende:

Es ist geradezu die dionysische Freude an der Nutzung der klanglichen Möglichkeiten eines modernen Orchesterkörpers wie der Einsatz von Tenor Records –Bass Records und zwei Harfen, Blockflöten. Es ist die flexible freie Behandlung und Verflechtung von Stimmen mit dem Orchester, das improvisatorische Element klanglicher Farbentfaltung, das den Spielern Freiheit gibt, die wie jede Freiheit sozial nur eingebunden ist in einer vorgegebenen Zeitspanne. Dadurch entsteht eine individuelle lebendige Farbgebung durch einzelne Instrumente ohne festgelegte Notation, eine Lebendigkeit trotz immer wiederkehrender Wiederholungen.

Chor und Sprech-Chor mit seinen einprägsamen Wiederholungen – abwechselnd Männer -, die lebendig abwechslungsreichen Solo-Partien mit teilweisem Sprechsingen tragen zur Spannung bei.

Orchester-Instrumentation: blockartig klar abgegrenzte identifizierbare Klangblöcke.

Der hohe kammermusikalische Ansprung der Partitur verlangt es geradezu, das Werk mit seiner Qualität dem Publikum neben Freilichtaufführungen konzentrierter zugänglich zu machen in ebenfalls anspruchsvollen Sälen.

Gesamteindruck: Einheitlich, eindeutig, einprägsam, klare Klangbilder, gute dramatisch klangliche Szenenwechsel, die Vielfalt der Möglichkeiten von Klangfarben genutzt durch hervorragende Instrumentation. Höchste Ansprüche!

ALOIS SPRINGER

As a chief conductor of major orchestras, even 5 times first place winner and one year working experience as assistant to Leonard Bernstein, not least from my literary, compositional experience, I do know the difficulty of the particular art to put an end to a recently completed work. If only every creative mind may want to bring his work to completion. Even the great Leonard Bernstein struggled with this final decision again and again. I mention this with regard to the temptation to add retouching in the scores.

Working on their own first and then consulting with the other members of the jury, the jury agreed on the main criteria.

 
The music of the score stands with its refreshing, contemporary relevance and the demonstration of diverse sounds in the middle of the recurring drama as well in the modern life as in the memory of great dramatic events in the past, with its ups and downs. They are musically empathized and observed to the smallest detail, creating new sound with the diversity of the modern orchestral sound. Turned into sound, it can be made accessible to future listeners.

This shows a talent for musical and dramatic presentation without sensationalism, which entitles high hopes.


 The score in C features a unique clear-textured sound. In spite of so many unknown sounds this music will move the audience in its clarity, sensibility and a boundless imagination and get through to the audience directly, without translation, quasi intravenously. Because of this knowledge I have given the score GP1787 - in connection with the announcement - my voice and the well deserved first prize. The other competitors have also demonstrated great achievement and will find their way to reach people positively with their music.

My other reasons for giving this score the award of a first prize, without going too much into details, are the following:

It is almost the Dionysian pleasure in using the sonic possibilities of a modern orchestra body such as the use of tenor Records -bass Records and two harps, recorders. It is the flexible-free treatment and interweaving of voices with the orchestra as well as the improvisational element of tonal coloration that gives the players freedom, which - like freedom always does– is only socially involved in a predetermined period of time. This is the reason why there is formed an individual lively coloring caused by individual instruments without fixed notation and a vitality in spite of recurring repetition.

Choir and choral speech contribute to the tension, with its catchy repetitions - alternating men -, the vivid varying solos, some with voice singing.

 Orchestra Instrumentation: blocky, well-defined identifiable sound blocks.

 The high chamber music entitlement of the score demands to make the Work in its quality accessible to the public, not only in open-air performances but also in ambitious halls.


Overall impression: Consistent, clear, memorable, clear sounds, good dramatic tonal change of scenery, the variety of possibilities of sounds used by excellent instrumentation. Highest demands!

 ALOIS SPRINGER

 

TANIA SIKELIANOU (Partitur GP 1787, GREECE): WINNER of one of the two FIRST PRIZES

COMMENT of WERNER SCHULZE

 

1)      Entspricht stilistisch der heute in vielen Ländern gepflegten „zeitgenössischen Musik“. Auf die Situation in Griechenland bezogen: Außer in Athen (Megalo Mousikes) dürfte eine Aufführung allerdings nicht der Erwartung der Hörer entsprechen. Proben-Aufwand sehr groß, nur erfahrene Musiker (43), Sänger (Chor: 12) und Solisten werden eine qualitätvolle Realisierung zustande bringen!

2)      Die musikalische Gestaltung (Instrumentation) zielt auf eine Klang-Vielfalt (Holzbläser, Basstrompete, Harfen, Schlagwerk). Von allen eingereichten Kompositionen hat dieses Werk die nuancenreichste, lebendigste Instrumentation: Chor auch als Sprech-Chor (Szene 1). Mikro-Intervalle auch in der Führung der Solo-Sänger, immer vernehmbar und in Anlehnung an antike Modi (Seite 36); Solo-Partien (z.B. Kleanthes, Diotima, Estiarkhes)) oft in Form eines Sing-Sprechens.

3)      Die Beifügung von zwei Blockflöten stellt eine Bereicherung dar, sofern sie mehr oder minder solistisch verwendet werden [auch mit Mikro-Intervallen]. Ihre Verwendung im Forte des Orchester-Tutti dürfte jedoch entbehrlich sein.

4)      Die große dynamische Bandbreite sowie die klangliche Vielfalt des Werkes kommen sicher in einem Konzertsaal am besten zur Geltung. Vielleicht ist deshalb einer konzertanten Aufführung der Vorzug gegenüber einer szenischen einzuräumen? Jedenfalls dürfte eine Open Air Aufführung kaum möglich bzw. erwünscht sein.

5)      Sehr gekonnt die Verwendung der beiden Harfen. Geschickt auch die Verlagerung der Stimmen (Voices) ins Orchester.

6)      In der Partitur ist auch „tape“ angegeben. Dabei handelt es sich um 12 verschiedene elektronische Klangfelder, die eine zusätzliche Klangwirkung erzeugen.

7)      Der Komponist hat ein gutes dramatisches Gespür. Aber vielleicht hat der rein musikalische Gehalt doch eine größere Bedeutung als das in einem Opernwerk erforderliche Gesamtkonzept? (Siehe auch Punkt 4 mit dem Hinweis auf eine anzustrebende konzertante Aufführung, wo alle musikalischen Feinheiten am besten zur Geltung kämen.)

Anregungen für Änderungen (im Fall einer Realisierung des Werkes):

1)      Kritisch manche Holzbläserstellen im Blick auf Spielbarkeit durchsehen.

 

2)      Blockflöten im Orchester-Tutti: ja oder nein (? Seite 63-68). Mit Verstärkung?

 

3)      Falls im Libretto Adaptationen vorgenommen werden sollten, sind entsprechende kleine Änderungen in der Partitur nötig.

 

WERNER SCHULZE
 

 

                                                                                           

1)      The work corresponds to the style of "contemporary music", which is now being maintained in many countries. It is related to the situation in Greece: However a performance may likely not meet the expectations of listeners, except being performed in Athens (Megalo Mousikes). Need of many rehearsals, only experienced musicians (43), singers (Chorus: 12) and soloists will achieve a high quality realization!
 

2)      The musical arrangement (Instrumentation) targets a diversity of sound (woodwinds, bass, trumpet, harps and drums). Out of all submitted compositions this work is that one with the most nuances and the most vibrant work in its instrumentation: Choir also practicing choral speaking (Scene 1). Micro-intervals also being lead by the solo singers, always perceptible and based on ancient modes (page 36); solo parts (e.g. Cleanthes, Diotima, Estiarkhes)) often in the form of a sing-speaking.

3)      The addition of two recorders is an enrichment, as far as they are used more or less soloistic [also with micro-intervals]. Their use in the Forte of the orchestra´s tutti should unnecessary.

 

 

4)      The large dynamic ranges, as well as the tonal variety of the work, surely especially come into their own in a concert hall. Maybe that's why a concertant performance is to be chosen over a scenic realization? Anyway, an open air performance should be hardly possible or desirable.

 

 

5)      The two harps are being used very skillfully. Also the shifting of the Voices into the orchestra is very smart.

 

6)      In the score there is also given "tape": These are 12 different electronic sound fields,which produce an additional sound effect.
  

7)      The composer has a good dramatic intuition. But perhaps the purely musical content has a greater significance than the normally required overall concept of an opera production? (See also point 4 with reference to a desirable concertant performance, where all nuances of the music would be shown to their advantage best.

 

 Suggestions for changes (in the case of a realization of the work):
 

1)      To have a critical look through some woodwind points in view of playability.

 

2)      Recorders in the orchestra´s tutti: yes or no (page 63-68)? With reinforcements?
 

3)      If there should be made adaptations in the libretto, corresponding small changes in the score are necessary.

WERNER SCHULZE

 

Tania Sikelianou about her Work

The idea to compose an opera on an ancient Greek text was in my future plans.

With the proclamation of the competition, I had the opportunity to compose an opera about ancient Helice, who has disappeared on the seabed near Aigio (Pelloponese, Greece)
As the libretto makes a reference to ancient and modern times, I chose a combination of the ancient Greek scales in my contemporary composition:

 Gross Phrygian-Lydian,

Lydian- Eoliko and Mixolydiko.

More in particular every main character has a direct and special relationship with these scales. For instance Diotima, Kleanthes, Chorus, Estiarchis and Hypatia have different set of pitches in the opera.

Furthermore the two flutes and harps have a high-profile role in the opera, so their position in the orchestra is next to the conductor (meaning two flutes - conductor- two harps) The two flutes represent the character Diotima and the two harps represent the character Kleanthis.

During the opera ancient Greek sounds are presented in combination with sounds from a modern era. The patterns that I used 5 / 8, 6 / 8, 7 / 8 highlight in some way the Greek rhythm in modern music.

The opera can be played in an original Opera House or in an open theater (with proper audio support if nessecery)
Electronic music
The twelve tones are generated by natural live recorded sounds (field recording) and computer programs such as: AC-Toolbox, Maxmsp, Ableton Live, in two channels.
The reason for their creation is to give greater focus and uniqueness in some moments in the opera in conjunction with the orchestra.
 

Characters

Diotima (The adored lover): Dramatic coloratura Soprano Kleanthes (Diotima’s lover): Dramatic Bass-Baritone/Low Baritone Estiarkhes (Host of the Symposium): Lirico-Leggero Tenor Dora (Greek archaeologist; research director): Actress Stephanos (American Physicist, research associate amateur archaeologist): Actor

Hypatia (Philosopher woman): Coloratura Mezzo-Soprano Philosophos I (Philosopher 1): Actor Philosophos II (Philosopher 2): Actor Kyrios I (Gentlemen 1): Actor

Kyrios II (Gentlemen 2): Actor Kefale (The executive): Actor Agroteros (Peasant): Actor Khoros (Choir): 6 women, 3 Dramatic/ Lyric Mezzo Soprano

3 Dramatic/ Contralto 6 men,   3 Tenor

3 Baritone/Bass

Stimmen (Voices): Orchestra players (Score pages:227,229,231240242,252) Dancers

CONTENTS

Introduction ( 1-5)
Scene I (6-68): In front of the temple of Poseidon in Helike. In the

middle of the stages is the bronze statue of Poseidon, next to it an altar. While singing the coir in form of a procession, led by a priest of Poseidon. The choir positions itself so that the men stand in the middle of the stage and the women on the left side.

Scene II (69-145): In a symposium-hall. The couple and their friend appear.
Prelude (146-147)

Scene III (148-205): Moonlit night, the open-air over the city, the pair appears.

Interlude of the orchestra (164-169)
Interlude of the orchestra (170-174): Earthquake

Scene IV (206-257): In the hall of the archaeological museum of Aegio, Session of the archaeological society of Aegio. In the center the executive and the archaeologist.
 Prelude (258-260)

Scene V (261-303): The excavetion of Helike. The stage shows the ground of a big excavated area, in the background is a high earth-wall with archaeological marks and so on.Busy whirl of archaeologists and helpers-choir, adequate orchestra prelude.

Scene VI: Epilogue (304- 363,368). In the evening in front of the now cleared and solemnly decorated ruins of the Poseidon-temple. The choir of the citizens of Egion, Dora, the archaeologists and the gentlemen appear in a procession. Folk musicians are the incidental music.

Orchestra

1. Flute 1.Tenor Recorder 1. Bass Recorder 1.Oboe 1.English Horn 1.Clarinet in B flat 1.Bass Clarinet 1.Bassoon 1.Contra Bassoon 2.Horns in F 2.Trumpets in C 1. Trombone 1.Bass Trombone 1.Bass Tuba Timpanis (D-A, F-C,Bflat -F,D-A) Percussion: 2 players 2 Harps 6 Violins I 6 Violins II 4 Violas 3 Violoncellos 3 Double Basses Tape: 1-12 Tracks

The score is written in C

The Contra Bassoon and the Double Basses sound one octave lower than notated The Bass Recorder sounds an octave higher

On certain moments in the piece the strings must be performed ‘divisi’ (this is identified in the score).
Percussion Instruments

1st Player:

Tubular Bells Tam tam Bass Drum (Vertical Position) Chinese Cymbal Suspended Cymbal Woodblock(Medium) low-high Triangle Marimba Thunder Sheet

2nd Player:
 Tam tam Bass Drum(Horizontally Position) Chinese Cymbal Suspended Cymbal Triangle Vibraphone Thunder Sheet

Orchestra 45 people, 4 vocal soloists, 8 actors, choir 12 people, unknown number of dancers  =>all in all 69 persons plus dancers


 For any further information or if there are any more questions on the works and/or their realization,we can also get you in touch with the composers.
 

Η Τάνια Σικελιανού για το έργο της

Η ιδέα να συνθέσω μία Όπερα  πάνω σε αρχαίο ελληνικό κείμενο ήτανε στα μελλοντικά σχέδιά μου. Με την προκήρυξη του διαγωνισμού,μου δόθηκε η ευκαιρία πριν λίγο καιρό, να συνθέσω την όπερα για την αρχαία Ελίκη, που έχει εξαφανιστεί  στην περιοχή Αιγίου.Το λιμπρέττο κάνει αναφορά στην αρχαία και σύγχρονη εποχή.Έτσι επέλεξα ένα συνδιασμό από τις αρχαίες ελληνικές κλίμακες

-          Μικτό Φρυγικό- Λυδικό

-          Λυδικό-Αιολικό

-          Μιξολυδικό

Πάνω στις κλιμακες αυτές στηρίζεται η όπερα και πιο συγκεκριμένα ο κάθε πρωταγονιστής της όπερας έχει άμεση κ ξεχωριστεί σχέση με τις κλίμακες αυτές.

Έτσι η Διοτίμα,Κλεάνθης, Χορός, Εστιάρχης και Υπατία , ‘εχουν ανάλογη σειρά από φθόγγους ο καθένας ξεχωριστά μέσα στην όπερα.
Επίσις οι δύο φλογέρες και οι δύο άρπες έχουν πρωταγονιστικό ρόλο μέσα στην όπερα, γι’αυτό οι θέσεις τους στην ορχήστρα ειναι ενδιάμεσα στον μαέστρο.
(Δύο φλογέρες- μαέστρος-δύο άρπες)

Οι δύο φλογέρες αντιπροσωπεύουν σε όλοι την διάρκεια της όπερας την Διοτίμα και οι δύο άρπες τον Κλεάνθη.
Πάντα μέσα στην όπερα υπάρχει το αρχαίο ελληνικό άκουσμα αλλά ταυτάχρονα μεσολαβεί και  η σύγχρονη εποχή, με περίεργα ακούσματα από την ορχήστρα.
Η χρησημοποίηση των ρυθμών 5/8,6/8,7/8 δίνει έμφαση  κατα κάποιο τρόπο στον ελληνικό ρυθμό στα πλαίσια της σύγχρονης μουσικής.
Ηλεκτρονική  μουσική

Οι δώδεκα  ήχοι δημιουργήθηκαν από φυσικούς  ζωντανά ηχογραφημένους ήχους(field recording),και απο υπολογιστή προγράμματα(computer software) οπως : AC-Toolbox, Maxmsp, Ableton Live, σε δυο κανάλια.

Ο λόγος δημιουργίας τους είναι να δώσω μεγαλύτερη έμφαση και μοναδικότητα σε κάποιες στιγμές μέσα στην όπερα σε συνδιασμό με την ορχήστρα.

::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

 

 

 

 

Herman Rechberger 
First prize (Finland)

Website:   http://sonopt.pp.fi/   

 

.

HERMAN RECHBERGER (“Kaivaus”): WINNER of one of the two FIRST PRIZES

COMMENT of ALOIS SPRINGER

 

 

Als Chefdirigent großer Orchester, selbst 5facher 1ster Preisträger und einjährige Mitarbeit als Assistent von Leonard Bernstein, nicht zuletzt aus meiner schriftstellerischen, kompositorischen Erfahrung weiß ich um die Schwierigkeit der besonderen Kunst, hinter einem gerade vollendeten Werk einen Schlusspunkt zu setzen. Möchte doch jeder Schöpfergeist sein Werk zur Vollendung bringen wollen. Selbst der große Leonard Bernstein rang immer wieder mit dieser endgültigen Entscheidung. Ich erwähne dies im Hinblick auf die Versuchung in den vorliegenden Partituren von außen Retuschen nachzutragen.

Zunächst voneinander unabhängig, dann in gemeinsamer Beratung mit verblüffender Übereinstimmung war sich die Jury in den wesentlichen  Kriterien klar und eindeutig einig.

Die Musik Ihrer Partitur wird in ihrer Klarheit und Einfachheit, ja fast Bescheidenheit  die Menschen unmittelbar, ohne Übersetzung gleichsam intravenös erreichen. Aus dieser meiner Erkenntnis habe ich der Partitur Nr. 2 im Zusammenhang mit der Ausschreibung meine Stimme, den Ersten Preis, gegeben.

Die Mitbewerber haben ebenso großartige Leistung bewiesen und werden ihren Weg finden, die Menschen positiv mit ihrer Musik zu erreichen.

 Meine weiteren Gründe, dieser Partitur die Auszeichnung eines ersten Preises zu geben, sind folgende:

Die Musik Ihrer Partitur ist teils herkömmlich, teils minimalistisch, wird aber in ihrer Klarheit und Einfachheit die Menschen unmittelbar, ohne Übersetzung quasi intravenös erreichen. Aus dieser meiner Erkenntnis habe ich mich für Ihre Partitur als 1. Preis würdig entschieden.

 Der zum Teil Litanei ähnlich gehaltene Sprech- Chor in dem Werk mit ständiger Wiederholung betont in hohem Maß das Wort und den griechischen Text. Er lässt dem Dirigenten und den Darstellern einen Freiraum der agogischen Gestaltung, die eine missverstanden aufkommende Langeweile beeindruckend entgegen wirken kann.

Die Aufführungspraxis mit ihren räumlichen Anforderungen und Notwendigkeiten wird es zeigen, welche Retuschen möglicherweise absolut notwendig sind, um das Werk im höchsten Maß zur Entfaltung zu bringen.

Der Rhythmus des Chores ist dazu so eingängig, sodass jeder noch so Unbeteiligte selbst unwillkürlich zum Akteur werden könnte.

Die einfache handwerklich hervorragende Orchestrierung, Instrumentierung in Verbindung mit dem Chor und den Soli durch gekonnte Verdoppelung der Stimmen ist eindeutig, gegenseitig unterstützend und gibt somit sowohl den leichtern als auch den schwereren Teilen der Partitur die erforderliche Schwerelosigkeit zur Spielfreude und zum Musizieren.

Die Herausforderung der Partitur liegt eher in der Leichtigkeit als in den schwierigeren Passagen.

Die Soli sind gesangsfreundlich, zwingend in ihrer notwendigen Entwicklung zu Höhepunkten und dem wieder Entspannen, sodass der Zuhörer in dem Auf und Ab der Bewegung innerlich mitgenommen werden kann.

 Der Tanz wird sich noch in seiner Wirkung auf das Publikum in der Praxis beweisen müssen.

Der Gesamteindruck ist:

einheitlich, nachhaltig verständlich, beeindruckend durch einfache Struktur, deshalb publikumsnah, effektvoll darstellbar- obwohl nicht provokativ gerade deshalb herausfordernd und aufführungswert - sinngebend für Publikum und Mitwirkende.

 

ALOIS SPRINGER

 

As a chief conductor of major orchestras, even 5 times first place winner and one year working experience as assistant to Leonard Bernstein, not least from my literary, compositional experience, I do know the difficulty of the particular art to put an end to a recently completed work. If only every creative mind may want to bring his work to completion. Even the great Leonard Bernstein struggled with this final decision again and again. I mention this with regard to the temptation to add retouching in the scores.

 Working on their own first and then consulting with the other members of the jury, the jury agreed on the main criteria.
 

The music of your score will reach people almost immediately in its clarity, simplicity and modesty, without translation - quasi intravenously. Because this knowledge I gave the score No. 2 - in connection with the announcement - my voice, the well deserved first prize.

The other competitors have also demonstrated great achievement and will find their way to reach people positively with their music.

  Other reasons for giving this score the award of a first prize are the following ones:

 The music of your score is partly conventional, partly minimalistic, but it reaches the audience directly in its clarity and simplicity, without translation - quasi intravenously. Because of this knowledge of mine I have decided that your score is worthy for the first Price.

 The repetitive singing in the work, which partially resembles litany, emphasizes to a large extend the word and the Greek text. It leaves space for the agogic design to the conductor and the performers, which can combat impressively a mistakenly rising boredom.

The performance, with its spatial requirements and needs will show what retouchings may be absolutely necessary to bring the work to the highest level of development.
 
The rhythm of the chorus is so catchy that even the most uninvolved person could not help himself to become an actor.

 The simple handicraft excellent orchestration and instrumentation in conjunction with the choir and the soloists is because of skillful doubling of the votes clear, mutually supportive and thereby gives both the lighter and the heavier parts of the score the for the joy of playing and making music necessary zero gravity.

 The challenge of the score is in the facility, not in the more difficult passages.

 The vocal soloists are easily realizable by the singers, they compel as well highlights in their necessary development as relaxations, so that the listener can be taken internally in the ebb and flow of movement.

 The dance will still have to prove its effect on the audience in practice.

 
The overall impression is:

 consistent, long lasting comprehensible, impressive by simple structure and therefore close to the audience, effectively representable although not provocative but that’s the reason why it is challenging and has got performance value- meaningful for audience and performers.

 ALOIS SPRINGER

 

HERMAN RECHBERGER (Partitur Anaskafi Kaivaus, FINLAND): WINNER of one of the two FIRST PRIZES

COMMENT of WERNER SCHULZE

 

1)      Einheitlicher Guss des Werkes: das kann bei schlechter Interpretation langatmig/langweilig sein, bei guter Interpretation allerdings beim Publikum einen bleibenden Eindruck hinterlassen.

2)      Der Komponist verbindet einige Prinzipien der „Minimal Music“ mit einem griechischen Text. Ich bin überzeugt, dass dies eine Idee ist, die funktioniert - vor allem, wenn es sich um eine halb- oder vollszenische Aufführung handelt. Somit auch meine Empfehlung: Eine konzertante Aufführung ist weniger anzustreben als eine szenische Realisierung; auch Aufführungen Open Air (zum Beispiel in den antiken Theatern von Argos oder Oiniades, eines Tages vielleicht auch in Aigeira) sind anzustreben. (Orchester: etwa 40, Chor: 16 wäre gut, Minimum 12). Die Wiederkehr Diotima/Kleanthes wie in der Antike mit einem Kran (Deus ex machina)?

3)      Der Komponist hat ein Nahverhältnis zur griechischen Sprache:

- siehe (unter anderem) die Rhythmik des Chores

- sowie ein Nahverhältnis zu „(antik-) griechischer Atmosphäre“.

4)      Der Komponist hat die szenische Realisierung mitgedacht:
- der Chor kann seinen Teil gut auswendig lernen. Singen und zugleich szenisch agieren wird problemlos möglich sein

- das Libretto wurde nicht streng 1:1 vertont, sondern dramaturgisch verarbeitet.

 

5)      Der Komponist ist Praktiker:

 

- es gibt im Orchester nichts, was nicht möglich ist, zugleich aber ist das Werk für jeden Musiker eine Herausforderung: manches sieht nicht schwer aus, ist aber alles andere als leicht;

 

- ein Gespräch zwischen Komponist und Regisseur wird sicher fruchtbar sein, da es einige Variationsmöglichkeiten gibt und vermutlich auch Stellen, die gestrichen werden können.

6)      Der Komponist hat ein gutes dramatisches Gespür.

 

7)      Santouri und Laouto sind eine Bereicherung! Mit Synthesizer kann man auch interessante Farben erreichen. Ein Detail: Mir gefällt, dass der Komponist mit 1 Klarinette (statt 2) das Auslangen findet.

 

Anregungen für Änderungen (im Fall einer Realisierung des Werkes):

1)      Es gibt noch einige kleine Fehler in der Partitur (das ist kein Problem!), zum Beispiel, wenn im Text ein Wort fehlt.

 

2)      Kleanthes singt das Sappho-Lied „Phainetai moi keinos“ ganz, Diotima jedoch nur 1 Strophe. Darüber sollte nachgedacht werden.

 

3)      Der Komponist sollte nicht so oft ein Instrument mit der Singstimme mitführen. Vielleicht „ad lib“ schreiben?

 

4)       Vielleicht die „Streicher-Unterlage“ bei Solo-Passagen der Sänger durchdenken? Da könnte manches wegfallen, beziehungsweise Soli anstelle tutti. Das „Griechisch-Volkstänzerische“ am Ende hat nicht die gleiche Qualität wie die ganze Komposition.

WERNER SCHULZ

1)      Uniform cast of the work: if being bad interpreted this can be lengthy/ boring, but if being interpreted well it can leave a long lasting impression to the audience.
 

2)      The composer combines some principles of "minimal music" with a Greek text. I am convinced that this is an idea that works - especially in case of a semi-or fully-staged performance. That´s why I recommend this: A concertant performance is less desirable than a staged realization; as well as open air performances are desirable (for example in the ancient theaters of Argos or Oiniades, or maybe one day in Aigeira). (Orchestra: ca. 40, Chorus: 16 would be good, minimum 12). Diotimas´ / Cleanthes´ return being depicted in the antique way with a crane (Deus ex machina)?
 

3)      The composer has a close relationship with the Greek language:

 

- e.g. the rhythm of the chorus

 

-as well as the close relationship to "(ancient) Greek atmosphere”.

 

4)      The composer has kept the scenic realization in mind:

- The choir will be able to learn to memorize his part well. Singing and acting at the same time will be possible without problems;

- The libretto was not set to music strictly 1:1, but it was handled dramatically.

 

 

 

5)      The composer is a pragmatist:

 

-       There is nothing in the orchestra, which is not possible, but at the same time the work is a challenge for any musician: some things do not look difficult, but are far away from being easy;

-          A conversation between the composer and director will certainly be fruitful, as there are several possibilities of variations and probably also some passages, which can be deleted.

 

6)      The composer has a good sense for dramatic.

 

 

7)      Santouri and Laouto are an enrichment! There can also be achieved interesting colors with synthesizer. One detail: I like that the composer manages the opera with one Clarinet (instead of 2)

 

 

Suggestions for changes (in the case of a realization of the work):
 

 

1)      There are still some small imperfections in the score (which is not a problem!), e.g. a word is missing in the text.

 

2)      Kleanthes sings the whole Sappho- song "Phainetai moi keinos", whereas Diotima sings only 1 verse. This should be reconsidered.

3)      The composer should not have an instrument companying the voice with the same melody so often. Maybe think about writing "ad lib"?

 

 

4)      Perhaps you  should reconsider the "string underlay" during solo passages of the singers? Some of these may be eliminated, or rather solos instead of tutti. The "Greek folk dance"- like part at the end does not have the same quality as the whole composition.
 

WERNER SCHULZE

 

:Herman Rechberger about his  Work

Ancient languages and their cultures have been always a challenge for me. Let me put it like that: Languages contain for me clearly all musical parametres: Melody, pitch, intonation, phrasing, rhythm, expression and to a certain extend even harmony. Languages posess, like music, a locigal structure, a grammar, a vocabulary.

 1996 I wrote my first church opera after a libretto written by myself in Latein. In numerous other vocal works I have used  texts in Sanskrit, the Inka language Nahuatl, Ewe, Chinese, Akkadian, Old Egyptian and Koïné. Though, when receiving the attic libretto, I thought ”Why not an opera in Ancient Greek?”

The libretto by Franz Knappik (inclusive quotations from Sappho and Alkman, the documentations of the earthquake by Strabon and Pausanius, as well as a love-poem in New Greek by Andreas Drekis) is in ist structure a successful combination of Old and New and ist dramaturgy offers a variety of  compositional solutions. When building the concept of my version of „Helike Athanatos“ I was lead by the idea of an open air performance in an ancient amphitheatre. This is partly also the rerason why the the music is rather archaic - with a minimalistic touch - than modernistic. The tone material uses mainly greek modes (dorian, phrygian, locrian) but also scales from folk music and rebetika (hijaz, kartzigar, neverezi, sabah).

 The orchestration contains also a Synthesizer, as well as a Santouri and a Laouto, which guarantee in many places of the score a „greek flair“. The use of a single, almost solistic clarinet in the orchestra gives sometimes the illusion of folkmusic from Epirus. The choir has, like in ancient plays, mostly a narrative role (e.g. in the documents of Strabon and Pausanius), in some other spots ritual (the feast in honour of Poseidon) and lyrical functions (poem of Alkman).

Very accurately I treated the rhythm of the Ancient Greek language. During my composing process, I  began with analyzing each sentence. The rhythm of the entire opera is controlled by the rhythm of the language.

Some of the parts in the libretto are treated molodramatically. That means, that the dialogues (e.g. in the symposium and the archaelogic congress are spoken, with instrumental underpainting and commentaries. Thus the instruments are getting involved in the spoken dialogues. The roles are clearly designed: There are actually only two „surviving“ protagonists (Kleánthes [baritone] and Diotíma [mezzosoprano]. Most of the other roles are metamorphoses (so, the host of the symposion changes later into the chairman of the archaeologigal congress, the two philosophers take the personage of a banker and a politician). Dora and Steve with their passion for archaeology are in a certain sense relatives of the loving couple Diotíma-Kleánthes (the musical link is the returning „theme of the vase“).

Maybe one of the most difficult tasks was to create a musically expressive scene of an earthquake. Such a destructive event is normally a matter of only a few seconds. After listening to many recording of earthquakes, I came to the conclusion, that the only way to reflect such a natural desaster, is to create a sound-colour-composition including the emotions of those concerned with it. Therefore I have in the Tsunami part given the choir an instrumental part, which should, at the same time, be understood as a lament.
May my opera „Helike Athanatos“ through an open-air performance pay a well-deserved tribute to the rediscovery of this, once so glorious city.

Herman Rechberger


 
Herman Rechberger: Helike Athanatos

 
The orchestra contains:
2 flutes
2 oboes
1 clarinet in Bb
2 bassoons
1 electric piano (with MIDI - instruments)
1 Laouto, Greek  or substituted by a guitar (alternative part available) This substitution should only be considered if the original instrument is not available. The color of this instrument is important, because it is close to the sound of the antique Lyra.
1 Santouri (dulcimer),  or substituted by a harp (single pedal harp ist suitable). In this case, the part has to be adapted.
timpanis 
2 french horns in F
2 Bb trumpets
2 trombones
6 first violins
4 second violins
3 violas
2 violoncellos
2 double basses
 
34 musicians (minimum)
choir: 4 sopranos - 4 altos - 4 tenors - 4 basses (minimum) or 6 6 5 4 (or more) if available
 
roles: 
DIOTIMA (the adored lover) mezzosoprano
KLEANTHES (lover of Doitima) high baryton
ESTIARKHES (host of the symposium) actor
DORA (Greek archaelogists) singing actor, with easy vocal part
STEPHANOS (cooperating archaelogists) actor
HYPATIA (philosopher woman) actor
PHILOSOPHOS II & II (philosophers I & II) actors
KYRIOS I  (1st gentleman) tenor
KYRIOS II (2nd gentleman) tenor
KEFALE (chairman) actor
AGROTEROS  (farmer) voice from the choir
Orchestra at least 34 people,choir at least 16 people, 4 vocal soloists, 8 speaking parts => all in all at least 62 persons
For any further information or if there are any more questions on the works and/or their realization,we can also get you in touch with the composers

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Johannes Kotschy                        

 A special Distincktion  Price , (Austria ) Websites: www.newkeyboard.de  www.naturton-musik.de   www.ekmelic-music.org


        

Johannes Kotschy about his Work

 

Three things belong to my music: material, craft and imagination. Material means notes - not only the (few) twelve semitones of our occidental music, but all pitches you can imagine. Craft means the special knowledge about acoustic interrelations of tones, pitches and sounds. And imagination is my personal contribution to my compositions, it serves for creative action. All experiences and feelings I have are involved, whether they come from literature, painting, arts, from nature, or from human beings and their activities, and deeply from inside. It is my aim to contact the listener wihout using words or explanations. I hope, my music will be able to transmit sensations that are inexpressible. As Beethoven once said: "From heart - may it touch the hearts."
For any further information or if there are any more questions on the works and/or their realization,we can also get you in touch with the composers.
 

JOHANNES KOTSCHY (M 10 536): WINNER of a SPECIAL AWARD

COMMENT of ALOIS SPRINGER

 

 

Als Chefdirigent großer Orchester, selbst 5facher 1ster Preisträger und einjährige Mitarbeit als Assistent von Leonard Bernstein, nicht zuletzt aus meiner schriftstellerischen, kompositorischen Erfahrung weiß ich um die Schwierigkeit der besonderen Kunst, hinter einem gerade vollendeten Werk einen Schlusspunkt zu setzen. Möchte doch jeder Schöpfergeist sein Werk zur Vollendung bringen wollen. Selbst der große Leonard Bernstein rang immer wieder mit dieser endgültigen Entscheidung. Ich erwähne dies im Hinblick auf die Versuchung in den vorliegenden Partituren von außen Retuschen nachzutragen.

Zunächst voneinander unabhängig, dann in gemeinsamer Beratung mit verblüffender Übereinstimmung war sich die Jury in den wesentlichen Kriterien klar und eindeutig einig.

Umso erstaunlicher ist es, das noch wachsen werdende Werk, das noch nicht geborene Kind, anderen Augen zu öffnen und darüber auf ein Urteil von einer Jury zu hoffen.

 

Im Anbetracht der großen „Unvollendeten“ der Weltliteratur  wie der von F. Schubert h-Moll D 759 oder der 10ten Sinfonie von G. Mahler oder A. Bruckners 90ter Sinfonie d-Moll steht Ihrer „Unvollendeten“, gut umrahmt und aufgefordert von den Großen, einer Vollendung nichts mehr im Wege, bis hin zum erlösenden Punkt.

Schon die Schrift in Ihrer Partitur lädt ein zur Erkundung und aufregenden Entdeckung unbekannter Pfade. Und dabei gibt es Einiges zu entdecken.

Abgesehen von Ihrem handwerklichen Können, das die Voraussetzung einer Darstellung der eigenen Vorstellung ist, fällt die absolut einheitliche Gesamtvorstellung des Werkes sofort ins Auge, und das von der ersten bis zur letzten Note. Es ist eine ganz persönliche unverwechselbare musikalische Handschrift und Sprache und damit sofort erkennbar. Ein großer Vorteil.
 

Dieser Eindruck wird noch verstärkt von der dionysischen Klangvorstellung eines großen Streicher-Apparats von min. 8, 6, 4, 2-3 Streichern. Denn die Streicher formen den Klang und ihr Klang kann geformt werden. Die Solisten- Bläser dagegen sollten solistische Fähigkeiten haben.

Diesen Anspruch allerdings fördert die Partitur mit ihren kreativen weit gespannten Einfällen. Die Solisten geben gerade dieser Partitur durch ihre individuellen Fähigkeiten und Gefühle im Aufbau zu den Höhepunkten des Dramas und dem wieder Abflauen den nötigen individuellen Glanz. Dies sollte nach der wunderbaren Anlage der musikalischen Linien ein Leichtes sein. Sie wären damit der Glanz des von Ihnen geforderten Streicher-Klangs. So fordert es Ihre Partitur, die dazu noch in ihrer Komplexität und gleichzeitiger Einfachheit den Anspruch erhebt, sich durch eingehende Proben damit zu beschäftigen. Es sollten qualitätsmäßig professionelle Musiker sein, um das Werk qualitativ hochwertig zur Aufführung zu bringen.

Ebenso verlässt der Komponist bei bestimmten Intervallen die Zwölf-Ton-Skala, was dem Ganzen einen aufregenden Reiz von antiker Tonalität und Moderne gibt.

All diese Möglichkeiten zur breit angelegten Dramatik und lebendig atmender Dynamik zeigen Sie mit klaren Zeichen auf. Die Chöre - abwechselnd Männer - Frauen und die lyrisch-dramatischen Solo-Partien lassen in der Eindeutigkeit ihrer Aussage, mit dem Aufbau von Spannung und deutlichen Akzentuierungen bis hin zu Höhepunkten keinen Zweifel an der Vorstellungskraft und dem Gestaltungswillen des Komponisten. Besonders gelungen scheint die kongeniale Verbindung mit dem Libretto zu sein.

Dasselbe gilt für die zwar herkömmlichen, aber gerade deshalb flexiblen Tempo-Bezeichnungen wie “Allegro energico“ oder „Moderato, ma non moto“, die interpretatorischen Raum lassen abhängig von der jeweiligen Situation der Aufführung. Dies gälte insbesondere Open-Air Aufführungen, die durchaus bei größter Aufmerksamkeit für die Details wünschenswert realisierbar sind.

 


All dies wartet nun auf die Vollendung und wäre dann möglicherweise preiswürdig eines Ersten Preises. So bleibt zunächst nur eins:
 

Für den schöpferischen Werde-Prozess Ihres Werkes wünsche ich Ihnen die kreative Unruhe, aber auch Geduld, die nötig ist, um zur Ruhe zu kommen.

Eine hohe Anerkennung und Würdigung in diesem Sinne von Seiten der Jury für Ihr Werk ist Ihnen sicher.

ALOIS SPRINGER

As a chief conductor of major orchestras, even 5 times first place winner and one year working experience as assistant to Leonard Bernstein, not least from my literary, compositional experience, I do know the difficulty of the particular art to put an end to a recently completed work. If only every creative mind may want to bring his work to completion. Even the great Leonard Bernstein struggled with this final decision again and again. I mention this with regard to the temptation to add retouching in the scores.


Working on their own first and then consulting with the other members of the jury, the jury agreed on the main criteria.

 

So it is even more amazing to show the plant, that is still growing, the unborn child to a new pair of eyes and to hope for the judgement by a jury.


Considering the great unfinished works of the world literature like the B minor D 759 of F. Schubert or the 10th  Symphony by G. Mahler or A. Bruckner's 90th Symphony in D minor, for your "unfinished”, nothing stands in the way to finally complete your unfinished work.

Even the handwriting in your score is inviting to the exploration and exciting discovery of unknown paths. And there is a lot to discover.

 Apart from your craftsmanship, which is the requirement for a realization of your own imagination, the totally homogenous general representation of the work is immediately visible, from the first to the last note. It is a very personal and unique musical manuscript and language and this way it is immediately recognizable. A great advantage.

This impression is intensified by the Dionysian sound idea of a large string apparatus of at least 8, 6, 4, 2-3 strings. Because the strings form the sound, and their sound can be formed. On the other hand, the soloists-winds should have soloistic skills.

But this demand is supported by the score with its creative wide-ranging ideas. The soloists give this score the necessary individual brilliance by their individual abilities and emotions in the construction of the highlights of the drama and the following calming down. This should be easy after the beautiful course of the musical lines. They would be the splendor of the string sound you demanded. This is required by your score that asks in its complexity and at the same time simplicity for the engagement with it during intensive rehearsals. The musicians should be professionals to perform the work in high quality.

The composeralso leaves the twelve-tone scale at certain intervals, which gives the whole thing an exciting appeal of ancient and modern tonality.

You show all these possibilities for broad-based drama and lively breathing dynamics with clear signs. The choirs - alternating men and women - and the lyric-dramatic solo parts leave in the uniqueness of their statement, with the development of tension and distinct accents up to highlights no doubt about the imagination and the creative will of the composer. The congenial connection with the libretto seems especially successful.

 The same applies for the both conventional, but because of that also flexible tempo designations such as "Allegro energico" or "Moderato, ma non moto", which leave interpretive space depending on the particular situation of the performance. This would be relevant especially for open-air performances that are indeed realizable in a desirable way if the details are payed attention.

All this is now waiting for the completion and would be possibly award-worthy of a first prize. For now only one thing remains to be said:

For the creative process of your work career, I wish you the creative restlessness, but also patience, which is necessary to come to rest.

In this way, a high level of recognition and appreciation for your work by the jury is guaranteed to you.

 ALOIS SPRINGER

 

 

________________________________________________________________________________________________________

 

 

Michael Andritsopoulos
 A Distinktion price (Greece)  Website:  http://www.thearchitect.gr/projects/mixalis/site/
 

.

MICHAEL ANDRITSOPOULOS (Partitur 933232469945): Awarding of a RECOGNITION

COMMENT of ALOIS SPRINGER

 

Als Chefdirigent großer Orchester, selbst 5facher 1ster Preisträger und einjährige Mitarbeit als Assistent von Leonard Bernstein, nicht zuletzt aus meiner schriftstellerischen, kompositorischen Erfahrung weiß ich um die Schwierigkeit der besonderen Kunst, hinter einem gerade vollendeten Werk einen Schlusspunkt zu setzen. Möchte doch jeder Schöpfergeist sein Werk zur Vollendung bringen wollen. Selbst der große Leonard Bernstein rang immer wieder mit dieser endgültigen Entscheidung. Ich erwähne dies im Hinblick auf die Versuchung in den vorliegenden Partituren von außen Retuschen nachzutragen.

Zunächst voneinander unabhängig, dann in gemeinsamer Beratung mit verblüffender Übereinstimmung war sich die Jury in den wesentlichen Kriterien klar und eindeutig einig.

Die Musik Ihrer Partitur ist eindeutig in ihrer Struktur und gekonntem Tonsatz, zunächst nur scheinbar in herkömmlicher Art des 4stimmigen Satzes, dann aber besonders beeindruckend in den hervorragenden Elementen der zeitgenössischen Teile, die den Instrumenten improvisatorische Freiheit der Gestaltung geben. Dadurch wird sicher eine klangliche flexible Vielfalt der musikalischen Gestaltung erreicht, die dem Werk seine Lebendigkeit gibt.

Auch die Solo-Partien in Form eines Sing-Sprechens zusammen mit den eingängigen rhythmischen Partien des Chores sind spannungsgeladen in der Entwicklung zu Höhepunkt und Abgang.

Die Partitur ist voller großartiger Einfälle mit hohen Anspruch, der Einiges voraussetzt: mehrfache Probezeit, hochqualifizierte Musiker und Sänger, eine Auseinandersetzung mit dem Werk, das den Orchestermitgliedern und insbesondere dem Publikum Einiges abverlangt, seien es die komplizierten Bewegungen im Orchester, beim Chor und den Soli in Verbindung mit dem Libretto, sei es nicht zuletzt in der Rhythmus-Gruppe.

In Berücksichtigung dieser Gedanken fiel es mir schwer, meine Entscheidung für die Auszeichnung an Sie zu vergeben, obwohl Ihr Werk nahe an der Auszeichnung eines 1. Preises war.

Eine hohe Anerkennung und Würdigung in diesem Sinne von Seiten der Jury für Ihr Werk ist Ihnen sicher.

Ich wünsche Ihnen eine qualitätvolle Realisierung Ihres Werkes.

ALOIS SPRINGER

 

As a chief conductor of major orchestras, even 5 times first place winner and one year working experience as assistant to Leonard Bernstein, not least from my literary, compositional experience, I do know the difficulty of the particular art to put an end to a recently completed work. If only every creative mind may want to bring his work to completion. Even the great Leonard Bernstein struggled with this final decision again and again. I mention this with regard to the temptation to add retouching in the scores.

 
Working on their own first and then consulting with the other members of the jury, the jury agreed on the main criteria.

 The music of your score is clear in its structure and the musical composition is skillful, initially only seeming to be in the conventional type of the four part sentence, but then very impressive in the outstanding elements of the contemporary parts, which give the instruments improvisational freedom of creation. In this way a flexible variety of musical sound creation will surely be reached, which gives the work its vitality.

The solo parts in form of sing-speaking along with the catchy rhythmical parts of the choir are exciting in the development of climax and retirement.
 

The score is full of great ideas with high demands, which requires a lot: multiple rehearsal time, highly skilled musicians and singers and a confrontation with the work that demands a lot from the orchestra members and especially from the audience. These are for example the intricate movements in the orchestra, the choir and the soloists in connection with the libretto and last but not least in the rhythm section.

Considering these thoughts it resulted difficult for me to give my voice for the award to you, although your work was close to the award of a 1st Prize.


 A high level of recognition and appreciation by the jury for your work is guaranteed to you.

 I wish you a realization of high quality for your work.

 ALOIS SPRINGER

 

...

Michael Andritsopoulos – analysis of the opera Helike Athanatos

The libretto and the idea of this opera was very intriguing. The need to blend the new with the old was the one which provided me with the harmonic material from the beginning. The old ways and scales gave their sound to the main characters, for example in the first duet of Diotima kai Kleanthis , Diotima sings in a diatonic modal way while the orchestra accompanies in a very busy contrapuntal style and Kleanthis sings in a multimodal way while the orchestra surrounds him with homophonic style.

Old dances give their rhythms but in a more modern style, combined in multirhythmical dances. The use of divisi at the string section in the beginning summons memories of programme music as it magnifies the waves of Poseidon and in the middle an atonal surrounding with contrapuntal action makes an earthquake.

Also intriguing for me was to make it all happen with the minimum of performers so the instruments and the musicians needed for the opera is at least the following :

1 piccolo, 1 flute, 1 oboe, 1 clarinet in Bb, 1 Bassoon

1 trumpet in Bb, 1 horn in F, 1 trombone, 1 tuba

1 harp

2 percussionists ( for timpani, cymbals, marimba - not at the same time)

String section (at least 6 first and 6 second violins and 2 violas …)

Choir (of at least 8 people -SATB)

And the soloists : 1 soprano, 2 mezzo sopranos, 2 tenors, 1 bass, 2 baritones
 Orchestra 26 people, 8 vocal soloists, choir at least 8 people (expendable to 16,24,32,etc. people) => all in all at least 42 persons
 For any further information or if there are any more questions on the works and/or their realization,we can also get you in touch with the composers

 

O Μιχάλης Ανδριτσόπουλος  – Ανάλυση της όπερας

Στο έργο γίνεται χρήση αρμονικού υλικού που προκύπτει από τις ιδιαίτερες ανάγκες του συγκεκριμένου εγχειρήματος. Επειδή πρόκειται για μια ιστορία που ενώνει το παρελθόν με το σήμερα στο κυρίως μέρος της όπερας, δηλαδή στο μεγαλύτερο και κεντρικό της τμήμα χρησιμοποιώ μικροτροπικότητα με αναφορές στους αρχαίους Ελληνικούς τρόπους όμως σε πυκνή αντιστικτική γραφή και πολυρυθμία βγάζοντας ένα πιο σύγχρονο άκουσμα λόγω της ελεύθερης αντίστιξης έτσι ώστε να καταλήγει σε ένα ατονικό περιβάλλον που λειτουργεί σαν υπόβαθρο για τις φωνές. Η κάθε φωνή έχει το δικό της ύφος από άποψη διαστημάτων, κλιμάκων κτλ. Για παράδειγμα  η διαφοροποίηση των μελωδικών γραμμών του Κλεάνθη σε σχέση με την Διοτίμα στο πρώτο τους ντουέτο αποδίδεται ως εξής, Ο Κλεάνθης τραγουδά με συνεχείς εναλλαγές τροπικών κλιμάκων που έχουν τις αλλοιώσεις του εναρμονίου γένους  και ενορχηστρωτικά έχει ένα υπόβαθρο από άρπα και πνευστά με διατονική αρμονία σε ομοφωνική χρήση σαν «συναισθηματικό φορέα» ενώ η Διοτίμα τραγουδά διατονικά και έχει σαν συνοδεία έγχορδα σε αντιστικτικό ύφος και χρωματική αρμονία.

Τα μέρη που έχουν μόνο μουσική είναι συχνά ενορχηστρωμένα με τεχνικές φασματικής μουσικής, με πολλά divisi στα έγχορδα σε μια απ μακροδομικής απόδωσης εφέ προγραμματικής μουσικής  με κύριο στοιχείο τα κύματα και τη μεγέθυνση τους λόγω της τελικής σημαντικότητας τους στην εξέλιξη της υπόθεσης.

Η χορωδία χρησιμοποιείται τετράφωνα κυρίως αλλά και σε επίπεδο ηχοχρωματικό καθαρά (ως οι φωνές από το παρελθόν και ως συνοδεία μερικές φορες).

Τέλος καθαρά τονικές αναφορές έχουμε στους δύο χορούς και στο finale.

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                               We plan to inaugurate this unique antique theatre of Egeira, which is only 35km away from Hellenikon Idyllion,
                                              with the pemiere of the opera HELIKE ATHANATOS within the next few years.
 
 

Composition Competition 2009/2010

Opera

„HELIKE ATHANATOS“

„Helike – Immortal“

- Triumph of Archaeology -

 

"Hellenikon Idyllion" – the Greek musical and cultural centre at the north-western coast of the Pelopponnes - organises in honour of an archaeological research project to locate and excavate the famous ancient city Helike, close to the nearby city Egion, a composition competition for an already written opera-libretto.

This competition intends to motivate those, who - like us - consider this project worth it to give their enthusiasm and passion to and who see it as a special challenge, as a present they will give to themselves. In the scope of our possibilities we try to support you to present your composition and to celebrate together. To every winner and participant an olive wreath should be motivation because first of all they loved their proper work.

The aim of the competition is to transform the libretto into fascinating music. The story is based on an idea of Andreas Drekis, founder of Hellenikon Idyllion, text and literature in ancient Greek by Franz Knappik, M. A. philosophy, ancient Greek and musicology (university Munich).

In 1990 the archaeological research project for the lost city "Helike" in surroundings of Egion began. The city was destroyed in 372 B.C., most certainly by an earthquake followed by a flooding. About 500 years later Pausanias mentioned in his book about travelling around Greece, that he had seen those ruins at a seabed and wrote a detailed description about the city and its citizens. The doom of Helike was mentioned by several authors in that time. For more information please click adequate part on our website   http://www.idyllion.gr/NewsE.htm

The expected discovery of the city, that has been looked for since about 20 years by now, and whose successful finding will hopefully be soon - as there were new evidences from last years' research results - gave the impulse for writing the opera-libretto. An impressive Poseidon temple with a bronze statue of Poseidon and an Agora are recorded since antiquity.

On the one hand the story of two lovers in ancient times is told, who survive the earthquake and the tragic destruction of their hometown including the extinction all citizens, on the other hand intellectual delight of an ancient symposium and love are subject of the opera. Dramaturgical turning point is the change to the "future" - our present - when 2.500 years later, an archaeological team searches for the lost city. Indeed the search is shaken by another not that strong earthquake, but at the same moment at the place where the archaeologists are searching, an earth-wall collapses and an impressive part of the ruins of the temple is revealed and finally also the bronze statue of Poseidon. The success of the yearlong archaeological excavation is coming: the whole place is excavated. The opera ends with a big, triumphal celebration at the long awaited find spot in honour of archaeology and ancient Greek culture, with choral singing and old and new Greek dances.

The contrast between the ancient, fictitious story on the one hand and the modern, scientific archaeological excavation on the other - Helike's excavation gives reason to praise archaeology - and also the personal fate of the lovers being integrated in the storyline - their love story survives time - characterizes the exciting libretto.

By songs and choirs in ancient Greek as well as by a philosophical symposium the beauty of the ancient language and the impressive force of free thinking are shown. In order to ease probably occuring language problems and to facilitate a performance in other languages, the libretto is also available in English, German, included a phonetic translation of the ancient Greek text into Latin characters. A knowledge of ancient Greek is not needed. On our website http://www.idyllion.gr you will also find a file with acoustic data to give you an impression of parts of the libretto in ancient Greek. Whoever is interested in participating our competition will receive the complete libretto in ancient Greek, a phonetic transcribed version in Latin characters (Erasmus-pronunciation) and several important voice recordings of some parts of the play.

An impressive implementation of  the ancient Greek aesthetic and dynamic language and of Greek culture is expected. Only ancient Greek or modern (modern Greek?) sounds or a combination: To realize in a musical way the contrast between old and new and the harmonic joining of past and modern times in a composition should be seen as a very special artistic challenge. Both natural events – the two earthquakes in their different extent, being important for the storyline and the end - are appreciated to be represented by compositional marking points. Also the integration of non-musical special effects – e. g.  electronic effects – would be possible.

In case you are seriously interested in participating, in transferring the libretto to an opera / Singspiel, we will send you the complete libretto on request. All  competition conditions can be read below.

The competition is open to composers of every age and nationality. The submitted work has to be send by 15th September 2010, closing date. The submission should not have been presented in public before this closing date, it has to be anonymous and by registered letter.

The letter has to contain:

3 copies of the score, each marked with the same code word

1 closed envelope with name, address, CV, recent photo of the composor and his statement, to be the sole originator of the submitted composition. Please write the chosen score password on the envelope.

The instrumentation should the minimum instrumentation of a classical symphony orchestra.

The length of the composition should be 90 - 120 minutes.

 

Reward

1. Prize

Premier of the opera – if possible in Greece or elsewhere – travelling expenses for the composer to Greece, 2 weeks accommodation, full board for the composer and a second person at "Hellenikon Idyllion", Selianitika / Egion, Greece

2. Prize

2 weeks accommodation, full board for the composer and a second person at "Hellenikon Idyllion", Selianitika / Egion, Greece

3. Prize

1 week accommodation, full board for the composer and a second person at "Hellenikon Idyllion", Selianitika / Egion, Greece

In case of rewarding the composor has to provide the performance material.

It is to the jury's decision to award a prize or not to award a prize. The jury has also the possibility to award special prices, as for example for some parts of a work or to recommend for presentation an unawarded work. We will strive to recommend and awarded works to ensembles we know.

Furthermore many conductors (also those of youth orchestras and choirs) will be asked by us this year, if they are interested to enact the opera both in their home country and/or to come to Hellenikon Idyllion and also other Greek cities or ancient theatres to enact the opera with our organisational help. Interested conductors will receive 6 to 10 awarded or recommended scores, to choose a score according to their aesthetic and their possibilities to practice and present the opera.

In case of success of an awarded or recommended composition, the organizer of the competition and the librettist will share in utilization and marketing,  appropriate to copyright.

Closing date: 15th of September 2010 (postmark date)

The submission has to be in written form (address see below)

Jury-Meeting: Beginning of October 2010

 

Jury:

Werner Schulze, professor University of Music and Performing Arts Vienna, composor, Austria

Alois Springer, conductor, Germany

Dr. Spyros Mazis, composor, Greece

Andreas Drekis, head of jury, founder and leader of the international musical and cultural centre "Hellenikon Idyllion", Greece

 

Textual and literal implementation "Helike Athanatos":

Franz Knappik, Dr. philosophy, ancient Greek und musicology, LMU München, Germany
 

Information and competition submission:

Andreas Drekis

Hellenikon Idyllion

Kyanis Aktis 20

25100 Selianitika / Egion

Greece

Phone: 0030-26 910/72 488

Mobil: 0030 - 69 72 26 33 56

e-mail: hellenikon@idyllion.gr

Homepage: http://www.idyllion.gr

 

Here you can find some parts of the libretto in ancient Greek with Latin phonetic (you can read and hear)
and English translation.


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Past Events

                                                                                         Selianitika 10.12.2005

 

The Results of the

International Composition Competition - in honour of the Greek poet Pindar and the athletes of the ancient Hellas
Hellenikon Idyllion spoke with the jury member Werner Schulze, Professor at the University of Music and Art Vienna, about the results of the international composition competition.

How did the jury judged the received compositions?

....We paid attention on certain characteristics, for example whether the five ancient disciplines run, long jump, discus, javelin, wrestling became effective, whether the metrical measure of Pindar’s text was converted, how the orchestra and the choir or speakers were used or how the quality of a composition is jugged in general. We did not prefer any specific style; It was important to try to go towards a new direction. We examined whether the composer -by dealing with the topic- was able to develop his own view, with the courage to find and express his own personal language. Further it was important, that people who are interested in music are able to find an access to the musical representation of the topic. The piece of work, which had a too popular style or on the other hand a too avant-garde style one was less in demand.....(The hole interview with Prof. Werner Schulze can be read at the end of this message.)
more information about the Composer's Competition

 

Twentyone compositions from eleven countries - Brazil, Canada, USA, Australia, Japan, Austria, Finland, Germany, Greatbritain, Greece and Spain – were submitted. The jury met on Saturday, July 12th 2003, under the presidency of the competition´s initiator Andreas Drekis at Hellenikon Idyllion. Personalities from Austria, Germany and Greece formed the jury.

 Unanimously one first, two second and special prices were assigned:

1.      Price:    Andrew Michael March (London, Greatbritain)
           - "5 Songs of Pindar" for Soprano Solo, Choir und Orchestra - (1 or 2 pianos, 2 flutes, 2 oboes, Bb Clarinets, 2 bassoons, piccolo, cor anglais, clarinet in A, Contrabassoon, 4 french horn, 2 Bb trumpets, 2 Trombones, bass trombone, tuba, doubling trumbets in C, Timpani, bass drums, 4 low tom-toms, crash cymbals, medium stand-mounted suspended cymbal, triangle, large tam-tam, large thunder sheet, fine grade sandpaper blocks, fine bead maracas, crotales, chimes, Glockenspiel, marimba, 1 harp, 16 first violins, 14 second violins, 12 violas, 10 violoncellos, 8 bouble basses)

Concert in honour of the First Prize Winner

 and to hear the first taste of the 'Wrestling' discipline transforming
the ancient Greek athletic spirit into music inspired
by the text of Pindar.
 click here

2.   Price:    Ken Ito (Tokyo, Japan)
                       - "Choreia Pteroessa" („Flying Choir“) for Tenor Solo, Choir und Orchestra - (2 flutes, 2nd. doubling with piccolo flute, 2 oboes, 2 nd. doubling with corno inglais, 2 clarinets in B flat, 2 bassons, 2nd. doubling with double basson, 4 horns in F, 2 Trumpets in C, 2 Tenor Trombone, 1 bass trombone, 1 bass Tuba, Timpani, 2 suspended cymbales, 1 anvil, 1 sistre, 1 triangel, chromatic cymbales antiques (with water bath), 1 glockenspiel, 1 xylophone, 1 vibraphone (without motor, with double bass bow), 1 marimba, 1 pair of small crush cymbales, 1 small Tam-tam (or Korean SAMULNORI middle-sized Tam-tam), 2 tom-toms, 2 caw-bells, 1 triangle, 1 chromatic tubular bells, the same instrument for that of Perc.3 player is available; 1 pair of large crush cymbales, 1 gran cassa, 1 tam-tam grave, 1 snare drum, 1 pair of bongoes, 1 pair of congas, 1 triangel, 1 chromatic tubulas bells, the same instrument for that of Perc. 2 player is available; 1 celesta, 1 Pianoforte, 1 harp, wood winds, brass, strings)

2.      Price:    Shigeru Kan-no (Fukushima, Japan - Hilgenroth, Germany)
           - "Millenium Soldier III - Hymnen Pindars“ for Choir und Orchestra - (2 flutes, 2 oboes, 2 clarinets in A, 2 fagottes, 4 horns in F, 2 trumpets in C, 2 tenor trombone, bass trombone and tuba, timpani, metal percussion, violins, violas, violoncello, contra bass)

A special price was given to Aaron David Miller (Bowling Green, Ohio, USA) - "Five Hymns of Pindar" for Soprano Solo, Tenor Solo, Choir und Orchestra. (2 flutes, 2 oboes, 2 clarinets in Bb, 2 bassoons, 4 horns in F, 2 trumpets in Bb, 3 trombones, tuba, timpani (4 drums), glockenspiel, chimes, suspended cymbal, tam-tams, bass drum, tom-toms, sleigh bells, triangel, bell tree, crotales, snare drums, violins 1&2, violas, cellos, basses)

 

A special price for young composers was given to

 Enrique Hernandis Martínez (25 years, Cárcer/Valencia, Spain) - "The Musical Games 2004"for Choir und Orchestra.

 

Other compositions recommended for performance:

Gerold Amann (Schlins, Austria)
- "Olympias Agona" humanistic peace for Speaker, Choir (4 mimes) and Orchestra (2 flutes, oboe, clarinete in B, fagot, 3 horns in F,  2 trumpets in Bb, 2 Trombones, tuba          

Dinos Constantinides (Athens,Greece - Baton Rouge, LA, USA)
- "Hellenikon Idyllion" for Speaker and Orchestra

Claude Lachapelle (Gatineau, Québec, Canada)
- "Olympic Music" for Speaker and Orchestra

Spiros Mazis (Athens, Greece)
- "Pindar´s Hymns" for Lyric Soprano,Mixed Choir and Orchestra  (2 flutes, 2 oboes, 2 clarintes in Bb, 2 bassoons, 2 horns in F, 2 trumpets in Bb, 2 Trombones, glockenspiel, suspended cymbales, castanets, 3 gongs, bass drum, xylophone, temple block, tubular bells, snar, crotales, marimba, tambourine, tamburello, 3 timpani, chinese cymbal, violins 1&2, violas, violoncellos, bouble basses)                                                                                                  
 Tina Ternes (Ludwigshafen, Germany)
- "Five Rings" for Solo Singer, Choir and Orchestra (2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 trumpets, 2 french horns, 2 trombones, 1 tuba, 4 timpani, percussion, strings)

John White (Denver, Colorado, USA)
-  "Hymns of Pindar" for SATB Choir und Orchestra (2 flutes, 2nd piccolo, 2 oboes, 2 B flat clarinets, 2 bassoons, 4 french horns in F, 2 trumpets in C, 2 tenor trombones, bass trombone, tuba, timpani, percussion (2 players), strings)

The jury was impressed by the general high level of the submitted compositions. In total the compositions solved the competition´s task, to remind the present on the antique olympic games, in an outstanding way.

 

Initiator of the competition:

Andreas Drekis


Manager of the cultural centre “Hellenikon Idyllion”

 

Jury:

Alois Springer
                                                                                                         
Principal conductor, director of music
Frankfurt/Main

Werner Schulze


University professor for music and representing art Vienna, composer
Vienna

Rafaïl Pylarinos


Conductor, composer
Athens, Greece

  
Andreas Drekis, Rafaïl Pilarinos, Werner Schulze            Rafaïl Pilarinos,Werner Schulze and Alois Springer
and Alois Springer
 

  
  
1st Prize

 

Andrew Michael March

Andrews Biographie :

Born 1973, studied composition and orchestration with Jeremy Dale Roberts at the Royal College of Music from 1992 - 1996 gaining BMus (Hons) RCM.

Performances (inter alia)
 Marine - à travers les arbres (1997)       Moscow Radio Symphony Orchestra
                                                                European Union Youth Orchestra, Conductor Vladimir
                                                                Ashkenazy
A Stirring in the Heavenlies (2000)        London Symphony Orchestra, (World Premiere)
Nymphéas for 2 Pianos (2002)               piece was premiered in the Royal Palace, Stockholm in Autumn
                                                                2002, and received a total of 5 live performances in and around
                                                                Scandinavia in 2002

Awards (inter alia)
1996                                                        Winner at The Royal Philharmonic Society Composition Prize
1998                                                        Winner at Masterprize International Composing Competition
PINDAR  -  the greatest lyric poet of Ancient Greece522 - 446 v.Ch.

   Concert in honour of the First Prize Winner and to hear the first taste of the 'Wrestling' discipline transforming the athletic spirit into music inspired by the text of Pindar.  

 

 

Pindar-Text Song Video with choir (half) (Click the right mouse button and press SAVE TARGET

Video "Pale"with Choir (full)" He Pale" "Wrestling"  (Click the right mouse button and press SAVE TARGET AS)   -  a part of Andrew March's Composition 

 


 

T
his competition discipline "Wrestling" is performed by the Chorus Urbanus of Gozo (Malta) in the Ancient Greek language with piano instead of orchestra. The conductor was John Galea. The concert took place in the Archeological Museum in Egion, September the 20th / 2003. Present at the concert; (pictured above left), was the Mayor of Egion, Mr. Andreas Drekis President of Hellenikon Idyllion, composer Enrique Hernandis Martínez winner of the Young Persons' Prize, the composer Andrew March winner of the 1st Prize and the president of Chorus Urbanus. Also present was competition jury member Alois Springer, the Chief of Police for Egion, the High Priest of the Greek Orthodox Church and Professors of the University of Patras.   

A pretaste of the other future performances of all honored compositions worldwide with symphonic orchestra and choir.
 

Speaker 1 mp3   

Speaker 2 mp3    


English Translation:

- "5 Songs of Pindar" -

 

Born 1973, studied composition and orchestration with Jeremy Dale Roberts at the Royal College of Music from 1992 - 1996 gaining BMus (Hons) RCM.

Performances (inter alia)
 Marine - à travers les arbres (1997)       Moscow Radio Symphony Orchestra
                                                                European Union Youth Orchestra, Conductor Vladimir
                                                                Ashkenazy
A Stirring in the Heavenlies (2000)        London Symphony Orchestra, (World Premiere)
Nymphéas for 2 Pianos (2002)               piece was premiered in the Royal Palace, Stockholm in Autumn
                                                                2002, and received a total of 5 live performances in and around
                                                                Scandinavia in 2002

Awards (inter alia)
1996                                                        Winner at The Royal Philharmonic Society Composition Prize
1998                                                        Winner at Masterprize International Composing Competition


 

2nd Prize

Ken Ito

- "Choreia Pteroessa" („Flying Choir“) -

1965 in Tokyo, studied composition, piano, cello and physics in Tokyo.

Positions Held (inter alia)
Present                      •     Professor of composition and conducting, University of Tokyo
                                   •    Commissions of Composing and Conducting
                                   •    Music Technological Collaboration with bigger Japanese companies
                                   •    Colaboration with visual media

Performances (inter alia)
1998                                Orchestra Director of posthumous work by John Cage "Ocean" together
                                        with Merce Canningham and his Dance Company
2001                                recording Beethoven´s "Symphony No. 5 " and Tchaikovsky´s
                                        "Violin Concerto"
2002                                Conducting Japan Yomiuri Symphony Orchestra

Awards (inter alia)
1993                                Awarded 1st Prize of Tokyo Metropolitan Competition of Orchestra
                                        Composition
1999                                Awarded Toru Takemistu Award judged by Luciano Berio
 

2nd Prize
Shigeru Kan-no

   - "Millenium Soldier III - Hymnen Pindars“ -

Born 1959 in Fukushima/ Japan, studied music and musicology in Tokyo, conducting at the college of music Vienna, composition at the college of music Stuttgart and conducting and composition at the college of music Frankfurt from 1980 - 1997.

Performances (inter alia)
1986 - 1992                 conducting for example with the Tokyo Symphonie Orchestra and the Radio Symphonie
                                    Orchestra Stuttgart particularly within the range of "New Music"
1992                            Assistent for Professor Karlheinz Stockhausen with Ensemble Modern Frankfurt
since 1998                  conduction for example at the Lisboa Philharmonic Orchestra and National Symphonie
                                    Orchestra Uzbekistan

Awards (inter alia)
2000                            2nd Prize at Quebec/Canada French Chorus Composition Concour
2001                            3rd Prize at 2 Agosto in Bologna/Italia
2001                            1st Prize at Cantus Ensemble in Croatia

                             
Special Prize

Aaron David Miller

 

 - "Five Hymns of Pindar" -

born 1972, studied Composition and Organ Performance at the Manhattan School of Music, New York, NY, graduated D.M.A. in 1999

Positions Held (inter alia)
1998 - 2002                 several larger compositions and public recording, especially for organ
2001 - 2002                 several professional engagements for festivals in the USA
1997 - present            Assistant Musicologist, Scarsdale, NY
                                    Music transcriptions and analysis for copyright infringement disputes

Awards (inter alia)
1998                          Improvisation and Bach Prizes, Calgary International Organ Festival and
                                  Competition, Calgary, Canada
1999                          Helen Cohn Award for Research in Medieval and Renaissance Music,
                                  Manhattan School of Music, New York, NY

 

Special Prize for young composers

Enrique Hernandis Martínez

- "The Musical Games 2004" -

born 1977 in Spain, studied music in Valencia and graduated "Profesor de Percusión, Composición e Instrumentación" (2000).

Positions Held (inter alia)
Present                                • Director de la Unión Artística Musical de Navajas (Castellón)
                                             • Professor de Armonía, Análisis y Fundamentos de Composición
                                                en los Conservatorios Profesionales de Chella y Amussafes (Valencia)   
                                             • several recordings for Orchestra for brass band and Symphonyorchestra
                                             • several broadcasts at Spanish broadcasting stations

Awards (inter alia)
2001                                        1st Price in Concurso Nacional de Composición Musical"Ciudad de
                                                Alicante"
2002                                        1st Price in Concurso de Composición de Tolosa (Guipúzcoa)

 

Other compositions recommended for performance:

Gerold Amann

- "Olympias Agona" -

born 1937 in Voralberg/Austria, studied (i.a.) sience of music, Professor for Middleschool and Composition
 

Dinos Constantinides

- "Hellenikon Idyllion" -

studied first in Athens and later Composition und Violin in U:S:A:, Boyd Professor und Coordinator of Composition at the School of Music at Louisiana State University
 

Claude Lachapelle

- "Olympic Music" -

born 1951 in Drummondville (Québec), Professor for Music


Spiros Mazis

born 1957 at Korfu, studied (i.a.) Composition, Director of the "Classic and Contemporary Music and Center of Elektronic Music" Conservatory in Athens

- "Pindar´s Hymns" - live recording from the anthems of Pindar

in the ancient theatre of Argos

in the context of the composer competition of Hellenikon Idyllion,  a composition of Spyros Mazis, staged in the ancient theatres of Oiniades and in Argos, which is acted and sung by the orchestra and the choir of the opera studio Meran in Italy supervised by Prof. Richard Sigmund
 to download click here (mpg 1MB)

 

Tina Ternes

- "Five Rings" -

born 1969 in Kaiserslautern/Germany, studierd (i.a.) School- and Filmmusic, Collegeteacher


John White

-  "Hymns of Pindar"  -

studied Cello und Composition, Ph.D., Professor for Music


 

Interview: 12.07.2003

 

“… that’ s the athletic idea!”

 

Hellenikon Idyllion spoke with the jury member Werner Schulze, Professor at the University of Music and Art Vienna, about the results of the international composition competition.

 

HELLENIKON IDYLLION: Did you expect that so many composers from all over the world would develop such an enthusiasm for this competition?

SCHULZE: To be honest: No! The task was not that simple to solve, because there were ancient Greek texts and sports of the ancient  games supposed to be converted into music. As you know ancient Greek is not spoken any longer nowadays as well as it is taught less and less. We were very happy about such a worldwide interest. However without Hellenikon Idyllion and the initiator of this competition, Andreas Drekis, it wouldn’t be possible to make it that known. Indefatigable he sent electronic post to every kind of musical institution around the world and answered a multiplicity of questions. A big “Thank You” to him.

 

Classical music and the athletic games, how does this fit together?

For us it was important to express the ancient athletic idea with the means of the art of music. Moreover sports training and artistic activity were both an equivalent part of an extensive education in the antiquity. Sports and art were regarded as absolutely equal and important.

 

How did the jury judged the received compositions?

We paid attention on certain characteristics, for example whether the five ancient disciplines run, long jump, discus, javelin, wrestling became effective, whether the metrical measure of Pindar’s text was converted, how the orchestra and the choir or speakers were used or how the quality of a composition is jugged in general. We did not prefer any specific style; It was important to try to go towards a new direction. We examined whether the composer -by dealing with the topic- was able to develop his own view, with the courage to find and express his own personal language. Further it was important, that people who are interested in music are able to find an access to the musical representation of the topic. The piece of work, which had a too popular style or on the other hand a too avant-garde style one was less in demand.

 

Could you tell more details about the participants?

We received twenty-one compositions from four continents; among them there were two female composers. We were glad to see that also younger musicians took part in the competition.

Is it known already, when and where the compositions are going to be presented for the first time?

For a first impression, an orchestra is planning to play a concert on the island Kefalonia, in Olympia, in Corinth, in Galaxithi near Delphi and at Hellenikon Idyllion in the end of July End of July. Where honored pieces will be presented. Furthermore two recommended compositions for representation will be presented for the first time this July and September in concerts, in Athens, Olympia und Corinth.

So far a successful competition?

Absolutely! Noticeable was the generally good dealing with the verse measure of the Pindar text. And it was marvelous to hold works in our hands from all over the world-from Brazil to Australia- that represents exactly the ancient Greek athletic Idea
  

For scholars, students and those who are especially 

interested in classical greek.
 For more information click: program 

and Classical Greek

Most recent past events  Chorus Urbanus from Victoria, Gozo Malta

 Concerts in Nikea Athens in Kipotheatro at 19. 9. , 21.00 h and in Egion in archeological museum at 20.9. , 21.00 h with music from operas, international volksongs and as a high point music with texts by Pindar from our international music composition competition Olympia 2004  Entrance free!

More information about the concert schedule shortly

The Chorus Urbanus, established in 1975, is nowadays considered as one of the best choral groups in Malta. Ever since its formation as the resident choir of St George's Basilica in Victoria, the choir has always strived to attain high levels of musical quality. 

 

 

 

 

 

 

 

 

 

 

 

        MuMro John Galeasical director

 JOHN GALEA was born in Malta in 1960. After his early musical training as pianist, obtaining the Fellowship of Trinity College (London) and the Licentiate of the Royal Schools of Music (London) in Pianoforte performance, he graduated with honours at Durham University studying composition.

He has also studied musicology at the Universita` degli Studi di Pavia.

John Galea studied contemporary composition techniques with Charles Camilleri, furthering his studies with Franco Donatoni at the Fondazione Romanini in Brescia. His compositions have been performed in Malta, Greece, France, Italy and the UK. He has also been invited to sit on the judging panel of the prestigious Valentino Bucchi competition in Rome.

 

Since 1978 John Galea has been a regular guest conductor with the Manoel Theatre Orchestra. During 1998-99 he was appointed Principal Conductor of the National Orchestra of Malta. As musical director of Opera Studio in Malta (1990-93), he collaborated with Professor Dobreva in realising various operatic productions at the Manoel Theatre, Valletta. John Galea has been the musical director of the Chorus Urbanus since 1979. Lately, John Galea has been commissioned to prepare a performing and critical edition of Nicolo` Isouard's Messa Leggiera (1795) which has been recorded on CD, featuring the Sofia Symphony Orchestra and the Chorus Urbanus. Under his direction, the Chorus Urbanus has toured the Vatican, Nottinghamshire, Sofia, Budapest and Vienna.

 

During September - October 2002, Mr. John Galea directed "The Merry Widow". This Chorus Urbanus Production featured the Chorus Urbanus and its leading soloists as the main protagonists of this production.

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Agon Aretes 2005 - Results

Statement and awarding of the prizes from the  jurymembers  Prof. Dr.Werner Schulze - University of Arts and Music Vienna,  Helmut Quack - Graecist, Husum und Julia Diamantopoulou - Graecist, Athen.

 

The number of contributions and their quality surprised us:

26 contributions were made - more by women than by men – from 3 nations (23 Germany, 2 Argentina, 1 Spain). The group of pupils (16-18 years) entered the majority of 23 works in the contest. The task was hard. It demanded both intellectual and creative content.  An equally great level for the text and the poster was hard to achieve. That is the reason why we decided to honor everyone with a prize. We suggest to award a special prize to the best poster: Nadine Steiner from Germany. She entered 2 posters. Quote Werner Schulze: “Both on a very nice artistic and philosophical level.”

A special prize for originality will go to MARIA PÄTZOLD- student in Leipzig. Her contribution is text and poster in one. An additional special prize is awarded to MARIA ALEXANDRA LÓPEZ GABRIELIDIS (Universidad Nacional de Cuyo) from Argentina for her high quality text and poster.

The contribution from EVA BOTTLER (Kaiser-Heinrich-Gymnasium) from Germany is also worth a special prize.  Quote Helmut Quack:” Eva Bottler chose a more original saying and appropriately used Christian thoughts to support her argumentation. She also give a more elegant reason for learning Greek. GERRIT KURZT (Kieler Gelehrtenschule),  JUDITH HOF (Johannes-Turmair-Gymnasium Straubing), THOMAS ROSENHAMMER (Robert-Schumann-Gymnasium), EVA HENKE (Katharineum zu Lübeck), MAXIMILIANE BERGER (Gymnasium Casimirianum Coburg), JÖRG VON ALVENSLEBEN (Katharineum zu Lübeck) from Germany and CRISTINA RADOS (Universidad del Salvador) from Argentina also deserve a special award for their exceptional work.  In the group of students we award one special prize to ADRÈS MOULINS (Universidad National de Cordoba).

For the first prize in the categorie for pupils we suggest KLEONIKI RIZOU (Kieler Gelehrtenschule) from Germany. Both the expressive poster and the text are exceptional.

Quote Helmut Quack: “Kleoniki Rizou enchants the reader by her casual and easy tone. The big words which usually describe ideals about education  are totally missing. Like a new Alice in Wonderland she takes the reader by the hand and awakes in him the same love for the greek language abd culture that live in her.”

JOHN RAUTHMANN (Augustinus-Gymnasium Weiden) from Germany
is one who wrote his complete text in ancient Greek and is awarded the first prize.

A commentary by Julia Diamantopoulou:”Flawless use of the attic dialect combined with his own style. Felicitous examples in every area to illustrate the philosophical saying. His own conclusions about wisdom and the happiness that the learning of the ancient Greek language gives one form the details no matter if the language is still spoken or not.

The young people found a lot of good arguments for the protection of the ancient Greek. Plenty of enthusiasm for the Greek culture and language were expressed. The contributions which were awarded a price were those which took a less well known philosophical saying as a basis for a high quality analysis and an artistic poster.

 

The prizes are:

For the first place a written recognition and a big briefcase with stamps from the Olympic Games 2004 in Athens with the title “the champions” and a two weeks stay with a companion in Hellenikon Idyllion.

The special prize is a special briefcase from the Olympic Games 2004 in Athens.

All special price winners and all other participants with their interesting contributions will get a written recognition by mail and a one week stay at Hellenikon Idyllion ( time of stay only in accordance with prior arrangement).

It was not easy for us to choose the winners from the great variety of contributions. The great distance made the collaboration with the jury members also difficult.

We apologize for the late Announcement of the competition results. We would like to publish your photo aside your text and poster on our website if you send us one.

Thank you for your participation

The jury members Prof. Werner Schulze, Helmut Quack, Julia Diamantopoulou and the initiator and benefactor Andreas Drekis (founder and manager of Hellenikon Idyllion)

 

 

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Bizet                             from the opera "Habanera", Carmen   Video

                                                     

 

 

 


 

In Hellenikon Idyllion greek music!! 
 Song "Ximeroni" from Manos Chatsidakis. 

     Video 

The young symphony orchestra

    from Fuerth/Germany
      (55 instruments) 


  is making music 
in the village Peristera which is placed at the mountain "Chelmos"
 (hight 2350 m). 
The mythologic Styx spring is situated there at the left side. 

Here the story goes, Archileus was dipped into the famous spring Styx held at his heel by his mother Atthis. 

Therefore he became invulnerable with the exception of his heel.

Video

 

More Informations  about 
   "A  bukolic concert in a mythological atmosphere...."
  please click  Press

 

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Historical video
 from July 1993
  in the garden of Hellenikon Idyllion 

(at that time still without wooden stage) 
with the young symphony orchestra from Leipzig (100 musicans).

 Rehearsal of the famous greek Song "Samiotissa" 

with the  sopranist Barbara Luther  

and the tenor Nikos Voutsinos 

(Deutsche Oper Berlin)
Conductor: Iwan Ivanov         Video 

    for  back  click   www.idyllion.eu