Theme: A History of Modern Greek Choral Practice
A brief history of Greek choral practice, focusing mainly on the last 80 years that took place in our homeland.
Greek choral practice is oriented toward the Western way of musical thinking and has two aspects:
- Choral compositions
- .Choral activities
The development of good choirs directs composers toward engaging with choral works. It is a fact that the presence of significant composers attracts the interest of choirs, which in turn request choral compositions from them.
As is well known, my friends, and as all the available manuals state, this history begins with the renowned Nikolaos Mantzaros (1795–1872). However, the beginning of our musical history is pushed back about three centuries, since there is historical evidence—and the preserved work of Leontaritis is rich enough—to form a clear picture of the composer. He wrote 76 motets, mainly in Venice and Munich, since Greece was still in musical darkness due to Ottoman rule.
Modern Greek musical culture begins in the Ionian Islands which, due to Venetian rule and their location, are close to Italy—a country already musically advanced. Therefore, musical influence in the Ionian Islands was strong, and from 1700 onwards polyphonic religious chants began to be sung there.
The Hymn to Liberty by N. Mantzaros, for four-part male choir and piano, was one of the best-known works of the era. Among Mantzaros’ major works are also the Cantata, the Te Deum, the choruses from La Clemenza di Tito, Xanthoula, Pharmakomeni, Oneiro, and three liturgies—two Catholic and one Orthodox. The latter was written in 1834 and performed the same year in the central church of Corfu.
Musical ensembles, bands, and choirs developed impressively on the island. In fact, the Philharmonic Society even granted “Chorister” diplomas. A similar—though smaller—choral development occurred in the other Ionian Islands, such as the choir of the Argostoli Philharmonic, the choir of the Zakynthos Philharmonic Society, the Dellaportas Choir in Lixouri, the choir of Dimitrios Lavragas in Kefalonia, and many others.
A contemporary of Mantzaros was Konstantinos Nikolopoulos (1786–1841), originally from Andritsaina, who lived mostly in Paris and composed religious hymns, romances, and more, a small portion of which survives.
Returning to our more recent choral history: in 1949 the children’s choir of the palace chapel was founded, conducted by Michalis Adamis, born in 1929, whose ensemble became a point of reference for many children’s choirs. In 1953 the music department and the choir of University Arts were founded at the University of Thessaloniki with the well-known Yiannis Mandakas, born in 1932, as conductor. He emerged as a pioneer of choral activity and especially of contemporary choral idioms, greatly promoting Greek choral creation and practice. In 1957, after the death of Philoktitis Oikonomidis, the Athens Choir was taken over by Menelaos Pallantios until 1970, presenting major choral repertoire works such as Bach, Gluck, Fauré’s Requiem, Haendel’s Messiah, and others. From 1982 onward the composer Yiannis Ioannidis continued this work.
In 1959 the Symphony Orchestra of Northern Greece was founded in Thessaloniki under Solon Michaelides, presenting many operas in concert form, and his successor, Nikos Astrinidis, gave significant impetus to the Philharmonic and the mixed choir of the Municipality of Thessaloniki. Also important was the contribution of Michalis Vourtsis, who served as director of the Greek National Opera Choir and helped promote the choral idea.
In 1977 the first permanent radio choir was formed by the well-known and beloved conductor Antonis Kontogeorgiou, on the initiative of Manos Hadjidakis, then director of the Third Radio Program. This remarkable choir has performed hundreds of concerts to this day, starting with its first appearance at the ancient theatre of Argos on 28 July 1978. Its repertoire was diverse, including many Greek and international works.
From 1961 onward many choral meetings and competitions were organized in Atalanti, Kifissia, Nikaia, Preveza, Kefalonia, Tripoli, and other cities. From 1977 Thrasyvoulos Kavouras organized international competitions and seminars in Greece, which greatly contributed to the qualitative development of choirs and helped Greek choirs achieve global distinction.
Alongside the multiplication of choirs, Greek composers developed a keen interest in choral works—both smaller pieces and large compositions for choir and orchestra. Led by pioneers such as Manolis Kalomiris, Alekos Ainian, Mikis Theodorakis, Michalis Adamis, and Theodore Antoniou, many younger composers followed up to the present day.
In closing, what I observe is that there will always be a need for people to cultivate artistic sensibilities and create musical ensembles. This desire is what drives creative expression—so that choirs meet polyphony and achieve aesthetic, artistic, and creative fulfillment!
Artistic Director of the Anagennisi Music School
and President of PAN.SY.DI.CHO
Timotheos Lignos