‘IT SOUNDS GREEK TO ME’: GREEK ART MUSIC SINCE THE NINETEENTH CENTURYWorkshop Programme

FACULTY OF ARTS & HUMANITIESCENTRE FOR HELLENIC STUDES

10.00-18.00 Thursday 9 May 2019Council Room K2.29, Strand CampusKing’s College London WC2R 2LS

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2 Programme

10.00-10.15 Welcome Gonda Van Steen, Roderick Beaton and Katerina Levidou, King’s College London

10.15-12.00 Session 1: Disciplining Greek Art Music Chair: Martin Stokes (King’s College London)

Kostas Kardamis (Ionian University): ‘Exceptions’ and ‘Deviations’: The Ionian Islands

Katy Romanou (European University of Cyprus): Greek Musicology and the Division of Greek Music

Dafni Tragaki (University of Thessaly): Epistemologies of Greek Music

12.00-12.30 Coffeebreak

12.30-13.40 Session 2: Snapshots of the Twentieth Century Chair: Dimitris Exarchos (Goldsmiths College)

Katerina Levidou (King’s College London): Music and Politics in the Writings of PetrosPetridis:DefiningGreekNationalMusic

Kostas Chardas (Aristotle University, Thessaloniki): Exploring the Relationship ofGreekMusicalModernismandtheNotionofGreeknessthroughtheSoundArchiveoftheContemporaryMusicResearchCentre(KSYME)

13.40-14.45 Lunchbreak

14.45-16.30 Session 3 Greek Art Music in Dialogue with Other Arts and Other Genres Chair:GondaVanSteen(King’sCollegeLondon)

Avra Xepapadakou(Independentresearcher):TheFormationofanUrbanAudienceandtheEstablishmentofEveningEntertainmentintheNineteenth-Century Cultural Markets of the Levant

Manolis Seiragakis (University of Crete): Jazz as a Challenge for Greekness. The Interwar Period

Dimitris Tziovas (University of Birmingham): Cultural Metaphors and Music in GreekFictionalNarratives

16.30-17.00 Coffeebreak

17.00-18.00 Roundtable discussion Chair: Roderick Beaton (King’s College London)

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3Abstracts & biographies

Kostas Kardamis (Ionian University)‘Exceptions’ and ‘Deviations’: The Ionian IslandsThis paper discusses certain aspects of the Ionian Islands’ art music in terms of identity and ideology. The Ionian Islandsaretheonlypartofpresent-dayGreecethathasmaintainedimmediatecontactwiththeEuropeancultural,social and ideological currents already since late medieval times. This fact placed them in a peculiar position regardingtheirculturalprofileduringthenineteenthcentury.FromthepointofviewofmainlandGreece,theygraduallycametobeconsideredasanexception,havingthepost-1850shistoriographicalandideologicalnormsof ‘Greekness’ as a point of reference. From the western point of view, they were seen as a ‘shared world’, where the‘pureSpiritoftheNation’wastobedetectedintheislands’ruralregions.Atthesametime,theurbancentres’cultural achievements were regarded merely as peripheral manifestations of the Western canon, and thus not always worth any mention. Nonetheless,besidestheir‘cosmopolitan’works,composersoftheIonianIslandshadstrivedfortheexpressionofGreekness in their music already since the late eighteenth century. This was mainly manifested through use of the Greek vernacular language, the themes of their compositions and the use of folklore elements. In this sense, Ionian composershadcreateda‘nationalschool’alreadysincethe1820s,followingtheeventssurroundingthe1821WarofIndependence,throughtotheislands’annexationtotheKingdomofGreecein1864andbeyond.In late nineteenth century, the consolidation on the one hand of folklore studies in Greece and, on the other, of the historiographical thesis proclaiming the nation’s continuity from antiquity, through Byzantium up till modern times, as well as the adoption of these approaches from the West, gradually placed the Ionian Islands’ musical achievements in the margins of the Greek cultural life. They featured as an ‘exception’ deviating from what was perceivedtobethe‘canon’.Thismarginalisationwasvividlyillustratedintwentieth-centuryhistoriesofmusicandtheIonians’fixationwith‘theirown’music.RethinkingGreekidentitysincethe1950swasadecisiveturningpointforculturalreappraisaloftheIonianIslandstoo,althoughmusichadtowaituntilthemid-1990s.Yet,itwasthisideaof‘exception’ and ‘deviation’ that made the Ionian Islands’ music an ideal starting point for a general reappraisal of art music in Greece as a whole.

Kostas Kardamis (kardamis@ionio.gr) is a musicologist, serving as Assistant Professor at the Music Department of the Ionian University (Corfu). He has collaborated with Oxford University Press, the Megaron Athens Concert Hall, the Greek Composers’ Union, the Piraeus Bank Group Cultural Foundation and Durrell School of Corfu. His published studies, papers and articles mainly concern Neohellenic music, as well as opera, windband music, and the interaction of music, society and politics. He is a member of the Hellenic Music Research Lab (Ionian University), the Greek committee for RILM and co-editor of the musicological journal Moussikos Ellenomnemon. Since 2003, he has been the curator of the Archive and the Museum of the Corfu Philharmonic Society.

Katy Romanou (European University of Cyprus) Greek Musicology and the Division of Greek MusicArtmusicofmodernGreekshasbeendividedbyGreekmusicologistsintotwonon-communicatingfieldsofstudy:church music and secular music. What makes this division more radical than it is in all other European countries is thespecialnotationandmusictheoryappliednearlyexclusivelytodayintheGreekChurch(calledbyzantine,butincluding all periods of its development after the Fall of Byzantium), and the fact that the musicologists who study Greek church music have restricted their terrain of knowledge to that notation and theoretical system, and to the history of the localities in which these were in use. ThenearlyexclusiveuseofbyzantinenotationinGreekecclesiasticalmusicisarecentandlocalphenomenon.ByzantinenotationwasnotusedbyalargenumberofOrthodoxGreekswhowereunderVenetian,Frankish,Genoese, and other Latin dominators, or Greeks of the diaspora (in countries of Western Europe and Russia), who uptillthetwentiethcenturyoutnumberedtheGreekswholivedwithintheGreekstate(foundedin1830).Exclusiveuseofbyzantinenotationisnotacommonpractice,either,intheGreekchurchesabroad(USA,Australiaetc.)inthetwentiethandtwenty-firstcenturies.Inallthesecases,polyphonyandhomophonyhavebeenapplied.Andincertainplaces(forexampleintheIonianIslands)thesetextureshavebeenassimilatedbythepeopletosuchanextentthattheyhavebeenincorporatedintotheimprovisatorypopularpractices.ThephilologistManolesChatzegiakoumes,achampionoftheaestheticvalueofpost-byzantinechant(havingpublishedmassivelyrecordingsofchantandmanuscriptsinfacsimileeditions)expressedhisastonishment,in1980,atthefactthattoGreeksinvolvedinchurchmusic‘Turkocracyhasalwaysbeenconsidered(andprojected)astheauthenticandgenuinebeareroftradition’.Indeed,amongmostresearchersofGreekchurchmusicithasbeenanundisputabletruththatGreeknationalswhowereunderLatindominatorshavebeeninfluencedbyforeigncultures,whilethosewhowereundertheOttomanshavepreservedtheauthenticGreekculture.Mostpossibly,thisclaimisrootedinthesociopoliticalsituationof(thepoorandilliterate)GreekswhocouldnotescapetheOttomanadvancementandremainedinAsiaMinorduringthegreatrefugeemovementsWestwardswhile Byzantium was falling. To them the Great Church acted as an ‘ethnic’, unifying, political authority.

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ThesituationdescribedabovehasaffectedthehistoriographyofGreekmusic,whichissplitintotwoparallelstreams.Events,institutionsandpersonalitiesengagedinbothstreams,havebeenslitintotwo,andoneoftheslicesremainseitherburiedorincomprehensivetothemusicologistsofeitherfield.SomerelatedexamplesaretheessaysonsymphonicmusicbyConstantinosPsachos(achurchmusicauthorityintheearlytwentiethcentury),ortheliturgicalmusicbyNikolaosMantzaros(asecularmusicauthorityintheearlynineteenthcentury).Thesituationdescribedispotentiallychanging,sinceinallmusicdepartmentsofGreekuniversities(foundedin1984-1996)bothbyzantineandwesternmusicarecompulsorysubjects,andspecialisationischosen,asarule,inthethirdyear.Undoubtedly,amongtheyoungandfuturegenerationsofGreekmusicologiststherewillappearsomewhowillnotsuccumbtotheantagonismbetweenuniversityspecialisations,andinsteadofbecomingfanaticfollowers,willtakeadvantageoftheirknowledge,inordertomergethedividedfieldsofGreekmusic.Suchastanceis,afterall,supportedbyinternationaldevelopmentsinmusicologythatfavourinterculturalrelationsandinterdisciplinarity. Greek composers have, since some time now, progressed to that direction, and performers ofwesternmusicalinstrumentshavefrequentlycollaboratedwithchurchchanters.Fromtheavant-gardeofthe1950sand’60s(forexample,MichaelAdamis)tothepost-modernmulti-culturaltrendsofthepresentcentury(forexample,CalliopeTsoupaki),composershaverefutedthedivisionofGreekmusicintotwonon-communicatingfields;andtheoutcomeissuperb!

Katy Romanou, Associate Professor of Musicology. Her research focuses on Greek, Balkan and Eastern Mediterranean music. Her recent editions are: Musical Receptions of Greek Antiquity: From the Romantic Era to Modernism (co-edited with K. Levidou and G. Vlastos) and Serbian and Greek Art Music: A Patch to Western Music History. Romanou (who studied musicology in Bloomington, IN, in 1969-1974) was music critic of the Athenian daily He Kathemerine (1974-1986), taught at several music conservatories in Greece, as well as at the Music Department of the University of Athens (founded in 1991) in 1993-2009, and the European University of Cyprus. She is coordinator of the Greek team of RIPM, and a member of the Board of Directors of the Hellenic Musicological Society.

Dafni Tragaki (University of Thessaly)Epistemologies of Greek MusicThispaperquestionsthedisciplinarisationof‘Greekmusic’throughare-considerationofnormativeepistemologiesdefiningitshistoriographies,masternarrativesandmythologies.Itdoessobyrevisitingtheperennial‘art/folk’divide next to mainstreamed analytical categories, such as the ‘national’, the ‘European’ and the ‘oriental’, and their ongoing endurance in the ways we make sense of music, musicians, genres and their histories and produce essentialisednotionsofculturalbelonging.ItalsoaddressessensibilitiesofGreekmusical‘cosmopolitanism’bothas an explanatory framework for regulating antinomies and for inspiring imaginaries of the Greek musical world, and as an orthodoxy serving the legitimacy of multicultural historicisations of ‘our’ musical heritage. Rethinking ‘Greekmusic’canbecome,Isuggest,awayofrethinkingGreekness,itsrepresentationalstrategies,rationalisedidentitiesandmythologies,ofproducingalternativehistories,surfacing‘forgotten’andlessaudiblecounter-stories,revisitingitsallegedauthenticitiesandhybriditiesandcriticallyexploringitsculturalpoliticsofbelonging.

Dafni Tragaki studied ethnomusicology at Goldsmiths College and is an Assistant Professor of Music Anthropology at the department of History, Archaeology and Social Anthropology, University of Thessaly, Greece. She is the author of Rebetiko Worlds. Ethnomusicology and Ethnography in the City (Cambridge Scholars Publishing, 2007) and the editor of Empire of Song. Spectacle and Politics in the Eurovision Song Contest (Scarecrow Press, 2013) and of Made in Greece. Studies in Popular Music (Routledge, 2018). Her recent research interests focus on performances of the political in the public sphere and the epistemologies and critical historiographies of Greek music.

Katerina Levidou (King’s College London)Music and Politics in the Writings of Petros Petridis: Defining Greek National Music

Sincethemid-1910s,theeminentGreekcomposerPetrosPetridis(1892-1977),arepresentativeoftheso-called‘national school’ of Greek composers, held a prominent position in the Western European musical scene thanks to hundredsofhiswritingsthatcameoutinEnglish,FrenchandGreek-speakingpublications(includingThe Musical Times)andsomeperformancesofhisworks.Yet,despitetheinternationalappealofhiswritingsandmusic,Petridisremainssurprisinglyunexploredbothwithinandbeyondthebordersofhismotherland.Thispaperfocuseson his essays and sheds light on his thought during his early, formative years, which coincided with World War I, when he was active in Paris and London. Petridis’s texts illuminate his nationalist vision for Greek art music, whichisconsideredvis-à-visothernationalmusics,theFrenchandGermanmorespecifically.Ishallcruciallyhighlight that Petridis’s views on Greek and French music (the latter, according to him, serving as a model for Greekcomposers)shouldnotbeunderstoodinpurelyaestheticterms;rather,theywerepoliticallydriven,closelyassociatedwiththeeventssurroundingtheFirstWorldWar,anddictatedbyhiscolonialistperspective.

Abstracts & biographies

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5Katerina Levidou (Ptychio, Athens University; MMus King’s College London; DPhil Oxon) is Marie Skłodowska-Curie Individual Fellow at King’s College London (Centre for Hellenic Studies), where previously she held a Visiting Research Fellowship. She has also held postdoctoral research fellowships at the Universities of Oxford, Lausanne and Athens, and she was Tutor at Oxford University and Athens University (Master’s Programme). Her publications focus on Greek and Russian music of the 20th and 21st centuries, and the reception of Greek antiquity in music (including the co-edited volume Musical Receptions of Greek Antiquity: From the Romantic Era to Modernism, Cambridge Scholars Publishing, 2016). She is co-convenor of the Russian and Eastern European Music Study Group of the British Association for Slavonic and East European Studies. Her forthcoming publications include a monograph entitled Composing the Nation, Performing ‘Greekness’: Art Music in Greece since the Nineteenth Century (Routledge), a co-edited volume Music, Language and Identity: Defining a National Art Music in Modern Greece (Routledge), several entries to the Cambridge Stravinsky Encyclopedia (CUP), an essay on Igor Stravinsky’s reception of Greek antiquity in Stravinsky in Context (CUP) and an essay on music related to the Greek revolution in A Critical Dictionary of the Greek Revolution (Harvard University Press).

Kostas Chardas (Aristotle University, Thessaloniki)Exploring the Relationship of Greek Musical Modernism and the Notion of Greekness through the Sound Archive of the Contemporary Music Research Centre (KSYME)ContemporaryMusicResearchCentre(KSYME)hasbeenthelastinachainofinstitutionsthathassupportedmusicalmodernisminGreecefromthelate1950suptillthepresent.Althoughitwasfoundedin1979,ithasessentiallybeenactivesince1986.ItwasfoundedbyIannisXenakis,butitsartisticvisionsandimperativesweremarkedbytwohistoricfiguresoftheGreekavant-garde:themusicologist,pianistandarchitectJ.G.PapaioannouandthecomposerandmusiceducatorStefanosVassiliadis.OfthemostvaluableresourcesthatCMRChostsisitsSoundArchive.ThismainlycomprisesthepersonalarchivesthatPapaioannouandVassiliadisaccumulatedthroughouttheirlongcreativeroutes,anactbetrayingtheirmodernistapproachoftryingtocapturethesignificanceofthehistoricalmoment(s).Thearchiveconsistsofnumerousunofficialrecordingsoflandmarkperformancesofmodernist(Greek,andother)music.However,italsorecordsmanyliveperformancesofPapaioannouandhissister(thewell-knownpianistMarikaPapaioannou)andmanyoftheresearchandpublicactivitiesoftheHellenicAssociationofContemporaryMusic(themostimportantinstitutionalancestorofCMRC),suchaspubliclecturesanddiscussionsontwentieth-centurymusic,soundresearchcollections,etc.Italsounveilsacomplicatednetworkofpeople,notonlymusicians,whocontributedtotheGreekmusicalmodernistproject.ThepresentpapermakesreferencetoitemsofadifferentnaturefromtheCMRCSoundArchiveandcontextualisesthemwithinbroaderculturalideascurrentinGreeceofeachera,indiscussingaspectsofGreeknessastheyareexpressedartisticallyorverballybymembersoftheGreekmodernistcycle.AlthoughaninternationalistattitudetoartisticcreationwasatthecoreofthepublicdiscourseonanemergentmodernisminGreeceinthe1950s,thepresentpaperparticularlydiscusseshowtheperceptionofpastandfuturehistoricaltimewas gradually deepened and ‘hellenisized’ in the context of Greek musical modernism. In this perspective, ancient Greekelementsofferedatfirstafirmcosmopolitan,butunmistakablyGreek,identity–theatricalelementsfromancientGreektheatre,thenationalartinthe1950sand1960s,werevariouslyassimilatedbyGreekmodernismoftheera.Moreover,manyitemsintheCRMCarchivetestifyhowHerderianmeansofperceivingnationalidentity(language,folksong)arevariouslyandgraduallymoreinfocusfromthe1970sonwards(e.g.collectionsofGreekfolksong and Byzantine chant) while, during the same period, they were artistically treated through the modernist perspective of authenticity.

Kostas Chardas BMus (AUTh), PGDip (Trinity), MMus (London), PhD (Surrey) is Assistant Professor of Systematic Musicology at the Department of Music Studies of the Aristotle University of Thessaloniki. Research and educational areas: music theory and analysis, 20th- and 21st-century music, Greek music, theoretical approaches to music performance, Greek pop/rock. He has presented papers at Greek and international conferences (CIM 2008, IMS 2012, EuroMAC 2014, etc.). He is the author of articles for Grove Music Online and has published in Greek and English (for Benaki Museum, Cambridge Scholar Press, Bloomsbury Academic, etc.). Three chapters in collective volumes on Greek culture are due to publication by Routledge. He has conducted the research programme ‘Study on the Performing Practice of Modernist Music in Greece, 1960-1990’ (funded by the Research Committee of the Aristotle University of Thessaloniki) and is the founder of the Research Group ‘Research on Musical Performance’ by the Hellenic Musicological Society. Kostas is also an active pianist. He has given concerts in Greece, the U.S.A., England and elsewhere. Recordings for Naxos, Irida Classical and Centaur Records. His recording ‘Yannis A. Papaioannou: In the Depth of the Looking Glass’ (Naxos) was awarded a distinction by the Greek Union of Music and Theater Critics in 2014.

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Avra Xepapadakou (Independent researcher)The Formation of an Urban Audience and the Establishment of Evening Entertainment in the Nineteenth-Century Cultural Markets of the LevantThispaperaimstopresenttheearlystagesandthesocio-culturalparametersoftheestablishmentofmusicalandtheatricalinstitutionsinnineteenth-centuryGreeceandinthewiderareaofex-OttomanSoutheasternEurope.Concerts,opera,balletandtheatreproductions,balls,lightmusicaltheatre,wereallinstantiationsofanurbancivilisation,linkedtocitypubliclife,andbourgeoisneedsandhabits.Aboveall,operacorrespondedtotheurbancustom of evening entertainment, involving social interaction, amusement and spectacle. We shall therefore attempttotracethetrajectoryofthesemusicalgenreswithinthemoregeneraltrendforurbanisationandwesternisationrunningthroughthevastareabetweentheAdriaticSea,theBlackSea,theAegeanarchipelagoandthe Eastern Mediterranean.

Dr Avra Xepapadakou is an independent researcher of opera and theatre. She has worked as a faculty member at the University of Crete (2009-2016), and as an affiliated lecturer at several other academic institutions. She is the author of the books Pavlos Carrer (Athens: Fagotto Editions, 2013) and ‘Interspersed with Musical Entertainment’. Music in Greek Salons of the Nineteenth Century (Athens: Hellenic Music Centre, 2017), co-authored with Alexandros Charkiolakis. She has published widely and has given numerous lectures on topics related to her research interests. She has worked intensively on cultural documentation and has participated in a number of EU-funded Research Projects. From 2012 she has worked on the processing of the archive of the Italian theatre director Romeo Castellucci and his team, the Socìetas Raffaello Sanzio, and from 2016 she is documentation consultant and curator of the above mentioned archive. Avra has conducted research as a grantee visiting scholar at California State University–Sacramento (2015). In 2016 she was awarded a research grant and research visitorship as part of the Balzan Prize in Musicology Towards a Global History of Music. Within this framework, she has curated the session ‘Greece: A Cultural Crossroads between East and West’ at the University of Oxford (2016), and has conducted research at the Musikwissenschaftliches Institut, Universität Zürich (2017).

Manolis Seiragakis (University of Crete)Jazz as a Challenge for Greekness. The Interwar PeriodTheinterwarperiodischaracterisedbyintenseupheavalsinthemusicworld,upheavalswhichGreecestronglyfelt,eitheracceptingandembracingorrejectingtheupcomingchanges.Jazzasamusicgenreisakeysymbolforthisevolution.In1929twoFrance-basedpianists,JeanWiener(1896–1982)andClémentDoucet(1895–1950),invitedbytheAthensConservatorium,presentedarecitalfortwopianosthatdeeplydividedtheaudience.Thetwopianists’intentwastoacquaintadeclaredhostileaudiencewithjazzasanartgenreandthustolegitimiseit.TheirparticipationintheParisiancabarettheatresofthebeginningofthe1920s(LaGayaandLeBoefsurleToit),theirinvolvementinJeanCocteau’savant-gardemusical-theatreexperimentsandtheirconnectiontothewidercircleof‘LesSix’attachevenmoresignificancetotheirundertaking.Greekmusiccriticsweredividedintotwogroups:thosewhoremainedopposedtojazzevenaftertheconcert,andthosewhobeganthinkingofthepossibilityofrecognizingjazzasanartform,albeitunderverystrictconditions.IfsomeonetriestoassesstheimpactoftheconcertoftwoFrenchinthedisseminationofjazzintheGreekartisticmusicspace,hewillfindasmallbutdynamicengagementwiththegenrebyYannisKonstantinidis,NikosSkalkottasand Dimitris Mitropoulos. In the literary manifesto of a new generation of Greek writers, the Ελεύθερον Πνεύμα [FreeSpirit],writtenandpublishedin1929byYiorgosTheotokas(1906-66),jazzisreferredtoassynonymofthenewcosmopolitanera,asasymbolofmodernism.The aim of the paper is therefore to present the reactions of Greek composers and critics to the new genre in the name of Greekness and Modernism, and to name the factors that facilitated its entry into the country, itsdisseminationandpopularisation,andfinallythechangingofthemusicallandscapeinthecountryafteritsdominance.

Manolis Seiragakis is Theatre Studies Professor Assistant at the University of Crete. He is contributor to The New Grove Dictionary of Music and Musicians (Grove Music Online), as his main research interests focus on issues related to the connection between theatre and music. He has coordinated three conferences: on the Greek Operetta (Thessaloniki, 2011), on incidental music composed for the contemporary staging of ancient drama in Greece (Rethymno, 2012), and on Greek Theatre Revue (Rethymno, 2015). During 2009 his revised thesis was published in a two-volume book: Light musical theatre in the Interwar Athens (1922-1940). He is contributor to the edited volume Naomi Matsumoto (ed.), Staging Verdi and Wagner Operas, Brepols (Turnhout, Belgium, 2015), which includes his chapter ‘Mediterranising the Composer of the North: Richard Wagner, Contantinos Christomanos and the Early Modern Greek Theatre’. At the University of Crete he supervises six theses: on the librettos of Greek and French Operetta during the Interwar period (Evi Nikita), on Stand-up comedy in Greece (Anthony Iliadis) on theater in Crete in the 20th century (Anna Tzanidaki), on vanguard Shakespeare staging in Greece (John Matsamakis) and on Light Musical theatre during the 1940s (Apostolos Poulios). Since 2013 he is co-founder of the Theatre troupe and the Festival named Antivaro which is held every Lent in Rethymnon, Crete.

Abstracts & biographies

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Dimitris Tziovas (University of Birmingham)Cultural Metaphors and Music in Greek Fictional Narratives

InanalysingtherelationshipbetweenmusicandliteratureinGreecetheemphasistodatehasbeenonpoetrysettomusic.Lessattentionhasbeenpaidtotheinteractionbetweenmusicandfictionandparticularlytothewaysmusichasbeenusedtoexploreissuesofculturalidentity.ThispaperwilldiscussthefictionofAlexisPanselinos,aleadingcontemporaryGreekwriter,whomakesconstantreferencestomusicinhisfiction.Iwillfocusonhisnovels: Zaide or Camel in the Snow /Ζαΐδα ή Η καμήλα στα χιόνια (1996)andThe Lame Angel / Ο Κουτσός Άγγελος(2002).TheformerinvolvesanencounterbetweentwomenontheislandofCorfuattheendoftheeighteenthcentury:theViennesemusicianChrysostomosMazariniotherwiseknownasGotliebPertlandtheGreekpoet from the island of Lefkada, Andreas Roilos. Critics have associated these two characters with Wolfgang AmadeusMozartandDionysiosSolomosrespectivelyandtheirjointpresencelateratthecourtofAliPashainIoanninahasbeenseenasrepresentingthetensionbetweenEastandWest.Thetitleofthenovelalludestoanunfinishedopera,writtenbyMozartin1870,andPanselinosalsodrawsonanovellabyEdwardMorike,Mozart’s Journey to Prague(1855),whichhehimselfhastranslatedintoGreek,toaddanintertextualmusicaldimensiontohisnarrativeofculturalidentity.Thesecondnovel,anoirnarrativetakingplacein1940sGreece,centresaroundasimilarpair,MiltosBeratisandBontoFroberger,whorepresentdifferentmusicalstylesandareintendedtoremindthereaderoftheGreekcomposerNikosSkalkottas(1904-1949)andtheGermanconductorandcomposerWilhelmFurtwängler(1886-1954),thesonofawell-knownarchaeologistwhoexcavatedinGreeceandflirtedwiththeNazis.The Lame AngelcanalsobeseenasalludingtoThomasMann’sDoctor Faustus(1947),whoseprotagonistisamusician,thusofferinganintertextualcontexttotheclashofculturesandmusicaltraditionsoutlinedinthenovel.

Dimitris Tziovas is Professor of Modern Greek Studies at the University of Birmingham (UK) and General Editor of a translation series of Modern Greek literature published by the university’s Centre for Byzantine, Ottoman and Modern Greek Studies. His books include The Other Self: Selfhood and Society in Modern Greek Fiction (Lexington 2003; translated into Greek 2007) and the edited volumes Greek Modernism and Beyond (Rowman & Littlefield 1997), Greece and the Balkans: Identities, Perceptions and Cultural Encounters since the Enlightenment (Ashgate 2003), Greek Diaspora and Migration since 1700 (Ashgate 2009), Re-Imagining the Past: Antiquity and Modern Greek Culture (OUP 2014) and Greece in Crisis: Culture and the Politics of Austerity (I.B. Tauris 2017). He is currently a Leverhulme Fellow.

Abstracts & biographies

The workshop is funded by the Marie Skłodowska-Curie Actions (Individual Fellowships) Attendance at the workshop is free. Registration via Eventbrite: itallsoundsgreektome.eventbrite.co.uk