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Mikis Theodorakis Stage and Concert Works


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Photos: Haris Bilios (Cover, 11), Peter Andersen (4, 32), Asteris Koutoulas (12, 25, 26, 30), Juliusz Multarzynski (15), dpa (p 17), Archive Mikis Theodorakis (6, 8) Layout, Typesetting: Christopher Peter Printed in Germany KAT 110-99

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Mikis Theodorakis Stage and Concert Works Up to January 2010

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Mainz · London · Berlin · Madrid · New York · Paris · Prague · Tokyo · Toronto © xxxx SCHOTT MUSIC GmbH & Co. KG, Mainz · Printed in Germany

© xxxx SCHOTT MUSIC S.A. Paris for France

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The Acropolis as seen from Mikis Theodorakis´studio

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Contents Biography .................................................................................................... 6 Biographie.................................................................................................... 8 Opera......................................................................................................... 13 Ballet.......................................................................................................... 16 Orchestra.................................................................................................... 19 Concert Band.............................................................................................. 21 Solo Instrument(s) with Orchestra............................................................... 23 Vocal Soloist(s) with Orchestra.................................................................... 27 Chorus with Orchestra or Instruments......................................................... 31 Vocal Soloist(s) and Chorus with Orchestra or Instruments.......................... 33 Index.......................................................................................................... 40

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Biography · Biographie Music and Nothing but Music… The development and career of Mikis Theodorakis Mikis Theodorakis is possibly the one contemporary composer in the world with an audience larger and more wide-ranging than anyone else, a unique phenomenon in the musical life of our time. His popularity is mainly due to two factors, his extraordinary talent for melody and the sheer extent of his musical output. His oeuvre comprises not only of around 1000 songs but of also more than 100 major compositions including chamber, ballet, theatre and film music as well as symphonies, concerti and operas which have been performed by internationally renowned conductors such as Thomas Beecham, Dimitris Chorafas, Charles Dutoit, Herbert Kegel, Dimitri Kitajenko, Zubin Mehta. All these works continue to hold their place within international concert repertoire to this day. Dispite the distinct nationalistic Greek element in his music, characterized by Byantine, demotic and Cretan infludnese, Theodorakis is an extremely cosmopolitan, liberal and outward looking artist both in his music and thinking. Among his favoured writers are international authors such as Federico García Lorca, Brendan Behan, Pablo Neruda and Martin Walser. His diverse oeuvre also comprises of numerous film scores (Honeymoon by Michael Powell, Phaedra by Jules Dassin, Five Miles To Midnight by Anatole Litvak, Zorbas the Greek by Michalis Cacojannis, Z by Costa Gavras, and Serpico by Sidney Lumet) and his songs, which over the past 40 years have been have been sung by performers like Agnes Baltsa, the Beatles, Dalida, Maria Farantouri, Mary Hopkin, Liesbeth List, Maria del Mar Bonet, Marino Marini,

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Milva, Mouloudji, Georges Moustaki, Nana Mouskouri, Edith Piaf, and Herman van Veen. Theodorakis‘ discography extends to around about 300 titles many of which contain solely recordings of his own songs and works. Youtube currently holds over 2,400 video featureing Theodorakis’ music and a Google search for his name yields over 400,000 hits. How did this tremendous popularity of an originally classical composer come about?

Theodorakis 1937

Apprenticeship and rise of a composer (1943-1959) From the early 1940s, all the energies and aspirations of the then fifteen-year-old Mikis Theodorakis were directed toward one goal: to become a composer. Even the experience of war (1941-1944), civil war (1944-1949), imprisonment and exile (repeatedly between 1946 and 1949) and forced recruitment in the early 1950s did not discourage him from his plans. Theodo-


rakis‘ life is that of a man possessed by music who, notwithstanding the circumstances, has always read and composed music. He completed his composition studies with Filoktitis Ikonomidis in Athens and graduated with distinction. His symphonic and chamber music works have been performed regularly in Greece since the early 1950s and also abroad from 1953. In 1954 he received a scholarship for additional studies at the Paris Conservatoire with Olivier Messiaen (composition) and Eugène Bigot (conducting) which he completed in 1958. Almost all the chamber and symphonic works written between 1948 and 1960 (including the ballet Greek Carnival, Symphony No. 1 and the First Piano Concerto Helicon) were performed by the National Orchestra of Athens as well as by other major orchestras in Paris, London, Strasbourg and Rome. In 1957 an international jury in Moscow headed by Dmitri Shostakovitch and Hanns Eisler awarded him the First Composition Prize ahead of 240 other composers for his Suite No. 1. In 1958 the French newspaper ‘Le Figaro’ hailed Theodorakis as the ‘new Stravinsky’, and Benjamin Britten refered to him in several interviews as one of the most talented new composers of Europe. In 1959, on Darius Milhaud’s recomendation, Theodorakis received the Copley Prize as Best European Composer of the Year. His ballet music finally made the international breakthrough with Les Amants de Teruel (1958) staring Ludmilla Tcherina at the Theatre Sarah Bernhardt, Paris directed by Raymond Rouleau and also with the undisputed success of Antigone (1959) at Covent Garden, London, with choreography by John Cranko which was staged more than 100 times and became part of the repertoire of the Stuttgart Ballet in 1961. The world of folk song (1960-1979) In 1960 Theodorakis apeard to suddenly give up his career as a symphonic composer, moved from Paris to Athens and, for next twenty years, occupied himself exclusively with what he called ‘contemporary folk song’. For Theodorakis, this was at the same time a declaration of

his origins: Greece, Crete, the Hellenistic Asia Minor. During this period, he disowned his works written before 1960 which earned him his reputation as a rising star in the realm of classical music, and developed the ‚aesthetics of dialogue‘ which were based on the amalgamation of poetry, song and social commitment. This new aesthetic manifested itself artistically in the composition of numerous songs and large-scale oratorios which developed such momentum that it triggered a cultural revolution in Greece in the early 1960s. In 1967, after the military putsch, Theodorakis‘ music was banned. He was able to put up resistance in illegality for four months, but was then arrested, tortured and imprisoned. Until his deportation to Paris in 1970, the composer again had to endure house arrest, exile and second prison sentence. Shortly after his release, he set out on a worldwide tour with his music to protest against the military dictatorship which only ended with the fall of the junta in 1974. Theodorakis returned to Athens immediately and tried, although without success, to continue the cultural movement of the years before 1967. Return to symphonic music, discovery of the opera (from 1980) In 1980 Theodorakis returned to his self-chosen exile in Paris after he again had to live with artistic and political disillusions during and after the time of the junta. This time he returned to symphonic composition, picking up his compositional thread from the period before 1960. He revised a number of his earlier works and wrote several symphonies, choral works and oratorios as well as the operas The Metamorphoses of Dionysos (1984-1986), Medea (1988/90), Electra (1992-93), Antigone (1994-1996), and Lysistrata (2000-01). Within these ‘lyric tragedies’ as the composer calls them, he combined a Greek sound world referring to folksong-like melodies with the Western European music tradition that formed a genre that reflects the composer’s personality, namely that of the melodist and symphonic composer.

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Immer wieder Musik ... Zum kompositorischen Werdegang von Mikis Theodorakis

Theodorakis at the BBC Studios London, 1958 Until 1998, when he stopped conducting for health reasons, Theodorakis conducted concerts of his songs, oratorios and symphonic works all over the world. He recorded his operas and many other works himself and in recent years has occupied himself with the publication of his complete oeuvre. Despite overcoming massive political barriers, Theodorakis has managed to create an unparalleled oeuvre in the field of both folk and symphonic music, which delights, inspires and motivates millions of people throughout the world. His life and work are, without a doubt, unrivalled in the history of culture and music of our time. Asteris Koutoulas Translation: Esther Dubielzig

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Mikis Theodorakis dürfte der zeitgenössische Komponist sein, der über das weltweit größte und breit gefächertste Publikum verfügt: ein einzigartiges Phänomen im Musikleben unserer Zeit. Zwei wesentliche Gründe für seine Popularität sind seine außergewöhnliche melodische Begabung und die erstaunliche Bandbreite seines Schaffens. Sein Werk umfasst neben etwa 1.000 Liedern über 100 größere Kompositionen, darunter Kammer-, Ballett-, Theater- und Filmmusik sowie Sinfonien und Opern, die von so berühmten Dirigenten wie Thomas Beecham, Dimitris Chorafas, Charles Dutoit, Herbert Kegel, Dimitri Kitajenko, Zubin Mehta aufgeführt wurden und nach wie vor ihren Platz im Konzertleben haben. Theodorakis offenbart sich in seinem Schaffen wie in seinem Denken als äußerst kosmopolitischer Künstler – trotz des ausgeprägt „griechischen“ Elements in seiner Musik, die von byzantinischen, demotischen und kretischen Einflüssen geprägt ist. Unter den von ihm favorisierten Textdichter finden sich internationale Autoren wie Federico García Lorca, Brendan Behan, Pablo Neruda, Martin Walser und viele andere. Zu seinem vielschichtigen Œuvre gehören die Musiken zu zahlreichen Filmen (darunter Honeymoon von Michael Powell, Phädra von Jules Dassin, Five Miles To Midnight von Anatole Litvak, Zorbas von Michalis Cacojannis, Z von Costa Gavras und Serpico von Sidney Lumet). Einzigartige Bedeutung kommt natürlich seinen Liedern zu, die in den letzten vierzig Jahren von zahlreichen und sehr unterschiedlichen Interpreten gesungen worden sind; genannt seien hier Agnes Baltsa, die Beatles, Dalida, Maria Farantouri, Mary Hopkin, Liesbeth List, Maria del Mar Bonet, Marino Marini, Milva, Mouloudji, Georges Moustaki, Nana Mouskouri, Edith Piaf und Herman van Veen. Theodorakis’ Diskographie umfasst etwa 300 Platten- bzw. CD-Veröffentlichungen, die aus-


schließlich seinen eigenen Liedern und Werken gewidmet sind. In Youtube kursieren derzeit über 2.400 Videos mit seiner Musik, die Google-Suche zu seinem Namen ergibt über 400.000 Einträge. Wie kam es dazu, dass Theodorakis, ursprünglich ein klassischer Komponist, eine so einzigartige Popularität erlangen konnte? Lehrjahre und Aufstieg eines Komponisten (1943-1959) Ab Anfang der 40er Jahre war das Streben des damals erst fünfzehnjährigen Mikis Theodorakis auf ein einziges Ziel hin ausgerichtet: Komponist zu werden. Selbst die Erfahrung von Krieg (1941 bis 1944), Bürgerkrieg (1944 bis 1949), Gefängnis und Verbannung (wiederholt zwischen 1946 und 1949) und die Zwangsrekrutierung zu Beginn der 50er Jahre brachten ihn nicht von diesem Vorhaben ab. Theodorakis’ Biografie ist die eines Musikbesessenen, der – gleich unter welchen Umständen – immerzu Musik las und komponierte. Sein Kompositions-studium in Athen bei Filoktitis Ikonomidis schloss er mit Auszeichnung ab; seine sinfonischen und kammermusikalischen Werke wurden seit Anfang der 50er Jahre regelmäßig

in Griechenland und ab 1953 auch im Ausland aufgeführt. Im Jahr 1954 erhielt er ein Stipendium für ein Zusatzstudium am Pariser Konservatorium bei Olivier Messiaen (Komposition) und Eugene Bigot (Dirigat), das er ebenfalls sehr erfolgreich beendete (1958). Fast alle zwischen 1948 und 1960 entstandenen kammermusikalischen und sinfonischen Werke (darunter das Ballett Griechischer Karneval, die erste Sinfonie und das erste Klavierkonzert Helikon) wurden vom Staatlichen Orchester Athen sowie von anderen großen Orchestern in Paris, London, Straßburg und Rom aufgeführt. Im Jahr 1957 verlieh ihm eine internationale Jury unter Leitung von Dmitri Schostakowitsch und Hanns Eisler in Moskau den Ersten Preis für Komposition für seine 1. Suite; 240 Komponisten aus aller Welt hatten bei diesem Wettbewerb ihre Werke eingereicht. 1958 begrüßte „Le Figaro“ Theodorakis als den „neuen Strawinsky“, und Benjamin Britten bezeichnete ihn in mehreren Interviews als einen der talentiertesten neuen Komponisten Europas. Im Jahr 1959 wurde Theodorakis auf einen Vorschlag von Darius Milhaud hin mit dem Copley-Prize als bester europäischer Komponist des Jahres geehrt. Der internationale Durchbruch gelang ihm

Theodorakis with Yannis Ritsos 1974

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schließlich mit seiner Musik zum Ballett Les Amants de Teruel (1958, Theater Sarah Bernhardt Paris, Regie: Raymond Rouleau, Hauptrolle: Ludmilla Tscherina) sowie mit dem großen Erfolg des Balletts Antigone (1959, Covent Garden London, Choreographie: John Cranko, Bühnenbild: Rufino Tamayo, Hauptrollen: Svetlana Beriosova, Donald Macleray, Leslie Edwards, Rudolf Nurejew), das über 100 Aufführungen erlebte und 1961 auch vom Stuttgarter Ballett ins Repertoire aufgenommen wurde.

Die Welt des Volkslieds (1960-1979) 1960 brach Theodorakis scheinbar plötzlich seine Karriere als sinfonischer Komponist ab, zog von Paris nach Athen und beschäftigte sich zwanzig Jahre lang ausschließlich mit dem, was er „zeitgenössisches Volkslied“ nannte. Für Theodorakis war dies zugleich ein Bekenntnis zu seiner Herkunft: Griechenland, Kreta und das hellenistische Kleinasien. Sein Werk der Jahrzehnte bis 1960, das ihm den Nimbus eines aufsteigenden Shootingstars im Reich der klassischen Musik eingebracht hatte, negierte er in dieser Zeit und entwickelte eine „Ästhetik des Dialogs“, die auf der Verschmelzung von Dichtung, Lied und sozialem Engagement beruhte. Dieses ästhetische Konzept schlug sich in der Komposition vieler Lieder und großer Oratorien nieder und entwickelte eine solche Durchschlagskraft, dass dadurch in Griechenland Anfang der 60er Jahre eine kulturelle Revolution ausgelöst wurde. 1967, nach dem Militärputsch, wurde das Spielen und Hören der Musik von Theodorakis per Gesetz verboten. Er selbst konnte vier Monate in der Illegalität Widerstand leisten, wurde dann jedoch verhaftet, gefoltert und eingesperrt. Bis zu seiner Abschiebung 1970 nach Paris musste der Komponist erneut Hausarrest, Verbannung und einen weiteren Gefängnisaufenthalt überstehen. Kaum wieder in Freiheit, begann er eine weltweite Tournee mit seiner Musik als Ausdruck seines Protests gegen die Militärdiktatur, die erst 1974 mit dem Fall der Junta zu Ende ging.

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Theodorakis kehrte sofort nach Athen zurück und versuchte – allerdings ohne Erfolg –, an die kulturelle Bewegung der Jahre vor 1967 anzuknüpfen.

Rückkehr zur Sinfonik, Entdeckung der Oper (ab 1980) 1980 ging Theodorakis zurück ins „selbst gewählte Exil“ nach Paris, nachdem er während und nach der Zeit der Junta künstlerische und politische Desillusionen hatte erfahren müssen. Er wandte sich abermals dem sinfonischen Schaffen zu, nahm den kompositorischen Faden aus der Zeit vor 1960 wieder auf, bearbeitete eine Reihe seiner früheren Werke neu und schuf mehrere Sinfonien, Chorwerke und Oratorien sowie die Opern Die Metamorphosen des Dionysos (1984 bis 1986), Medea (1988/90), Elektra (1992/93), Antigone (1994 bis 1996) und Lysistrata (2000/01). In ihnen strebt er eine Verbindung zwischen dem charakteristisch griechischen Klang und volksliedhafter Melodik mit der westeuropäischen Musiktradition an. Mit der „lyrischen Tragödie“, wie er seine Opern nennt, scheint Theodorakis das Genre gefunden zu haben, das seiner kompositorischen Mentalität – der des Melodikers und Sinfonikers – am nächsten kommt. Bis er 1998 aus gesundheitlichen Gründen seine Dirigiertätigkeit einstellen musste, gab Theodorakis weltweit Konzerte mit seinen Liedern, Oratorien und sinfonischen Werken. Er nahm seine Opern und viele andere Werke selbst auf und beschäftigt sich in den letzten Jahren mit der Edition seines Gesamtschaffens. Es gelang Theodorakis, allen extremen Herausforderungen des Schicksals trotzend, sowohl im Bereich der Volksmusik als auch in dem der sinfonischen Musik ein unvergleichliches Œuvre zu schaffen, das weltweit Millionen Menschen begeistert, inspiriert, motiviert. Seine Biographie und sein Werk sind in der Kultur- und Musikgeschichte unserer Zeit ohne Zweifel einzigartig. Asteris Koutoulas


Theodorakis 2005

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Opera I Metamorphossis tou Dionissou (Kostas Karyotakis) The Metamorphoses of Dionysos (Original Version) Tragédie lyrique satyrique, AST 271 (1984-1986) Libretto by Mikis Theodorakis with added poems by Kostas Karyotakis and Kostas Varnalis [Greek, German version in preparation] Roles: Poet · baritone - Romiosini · alto - Phaedra · soprano - Dionysos · bass - Journalist · tenor - Officer · baritone - Punentes · tenor - Queen Amalia · soprano - Queen Frederica · soprano - King Otto · tenor - King Paul · tenor - Angel · baritone - mixed choir (5 S, 5 A, 5 T, 5 B) Orchestra: timp.2perc(tri, sus cym, tam-t, tamb, b.d, wdbl, whip)-str 100‘

I Metamorphossis tou Dionissou (Kostas Karyotakis) The Metamorphoses of Dionysos (Version for small symphony orchestra by Henning Schmiedt [1999]) Tragédie lyrique satyrique, AST 551 (1984-1986) Libretto by Mikis Theodorakis with added poems by Kostas Karyotakis and Kostas Varnalis [Greek, German version in preparation] Roles: Poet · baritone - Romiosini · alto - Phaedra · soprano - Dionysos · bass - Journalist · tenor - Officer · baritone - Punentes · tenor - Queen Amalia · soprano - Queen Frederica · soprano - King Otto · tenor - King Paul · tenor - Angel · baritone - mixed choir (5 S, 5 A, 5 T, 5 B) Orchestra: 3fl.ssax(can be played by flute 2).tsax(can be played by flute 3)-0.1.1.1-timp.3perc(glsp, vib, 2mar, 2tri, crot, 3sus cym, 2cym(pair), tub bells, 3gongs, 2tam-t, 6tom-t, 2tamb, 2bng, 3s.d, b.d, 2steeldr, drum set(b.d, s.d, 3tom-t, h.h, chin. cym, crash cym).3wdbl, 3tempbl, casts, 2marac, guiro, vibraslap, 2caxixis, 2metal plates, roll bells, jingle rattle)-pno(also hpd ad lib.)-4vc.2db 100‘

Medea Tragédie lyrique in two acts based on the homonymous tragedy of Euripides, AST 284 (1988-1990) Translation and Libretto by Mikis Theodorakis [Greek, German version in preparation] dedicated to Verdi Roles: Medea · dramatic soprano - Jason · tenor - Creon · baritone - Aegeus · baritone - Nurse · mezzosoprano - Chorus leader · mezzo-soprano - Pedagogue · bass-baritone - Messenger · tenor - mixed choir Orchestra: pic.2.2(2.ca).2.2-4.3.3.1-timp.3perc(glsp, xyl, vib, mar, metallophone, tri, jingles, bell, little bell, cow bell, sus cym, cym(pair), tam-t, tamb, tom-t, bng, military drum, b.d, wdbl, whip, reco reco, slap stick, flex, pandeira, rhythm stick)-hp-str 240‘

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Electra (Original Version) Tragédie lyrique in two acts based on the homonymous tragedy of Sophocles, AST 289 (1992-1993) Translation by Kostas Georgousopoulos Libretto by Spyros Evangelatos [Greek] dedicated to Puccini Roles: Electra · mezzo-soprano - Orestes · baritone - Chrysothemis · soprano - Clytemnestra · alto Pedagogue · bass-baritone - Pylades · tenor - Aegisthus · tenor - mixed choir Orchestra: 3(3.pic).2.2.2-4.3.3.1-timp.3perc(2glsp, tri, bell, sus cym, cym(pair), tam-t, tom-t, bng, military drum, b.d, very big b.d, wdbl)-str 160‘

Electra (Revised and shortened version of the composer, 2006-2007), AST 289a 125’

Antigone Tragédie lyrique in two acts, AST 298 (1994-1996) Libretto after texts by Aischylos, Sophokles and Euripides by Mikis Theodorakis [Greek] dedicated to Bellini Roles: Antigone · soprano - Oedipus · bass - Creon · baritone - Eteocles · baritone - Polynices · tenor Jocasta · mezzo-soprano - Haemon · tenor - Chorus leader · bass-baritone - mixed choir Orchestra: pic.2.2.ca.2.2-4.3.3.1-timp.4perc(vib, cow bell, bell, sus cym, cym(pair), tam-t, tamb, tom-t, bng, military drum, b.d, wdbl)-str 135‘

Lysistrata Opera in two acts based on the homonymous comedy of Aristophanes, AST 321 (2001) Libretto by Mikis Theodorakis [Greek] Roles: Lysistrata · soprano - Kleoniki · soprano - Myrini · coloratura soprano - Lambito · mezzo-soprano Poet · tenor - Chorus leader · soprano - Chorus leader · baritone - Provoulos · tenor - Kinisias · baritone Kirix · bass - male choir, female choir, mixed choir Orchestra: 3(3.pic).2(2.ca).2.ssax.asax.tsax.2-4.3.3.1-timp.4perc(vib, xyl, metallophone, glsp, bell, cow bell, tri, cym, bng, tamb, tam-t, tom-t(h., l.), military drum, b.d, flex, whip, wdbl, reco reco, pundeiro, rhythm stick, slap stick)-gtr.2bouzoukis-str 130‘

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Electra 1995 in Luxembourg

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Ballet Carnaval (Eliniki Apokria) Ballet, AST 47 (1947-1953) dedicated to Rallou Manou Introduction - I Men‘s Dance - II Great Dance - III Love Dance - IV Divertimento V Three Carnaval Dances: 1. Maypole · 2. Pony · 3. Camel - VI The Girl‘s Dance - VII Finale Orchestra: 3(3.pic).3.ca.2.sax.2-4.3.4.1-timp.3perc(tri, sus cym, cym(pair), tam-t, tamb, tom-t, military drum, b.d)-hp.cel-str 45‘ Score ER 3

Les Amants de Teruel Ballet, AST 118 (1958) I Andante con moto - II Andante con moto · Allegro con brio · Andante · Allegro vivace - III Allegro · Agitato · Andante · Allegro - IV Andante - V ♩= 60 Orchestra: 2(2.pic).2.2.2-4.3.3.1-timp.3perc(xyl, tri, cym, tam-t, tom-t, s.d, b.d, wdbl)-hp.cel.pno-str 35‘

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Zorbas Ballet in 23 scenes for solo alto, two bouzoukis (ad libitum), mixed chorus and orchestra (1987-1988) [Greek] First Act: I Daybreak / 3 Zeibekikos Songs - II John’s Entrance - III Zorba’s Entrance - IV Gran Ballo - V Madame Hortense - VI In the Orchards - VII Zorba, John and Hortense - VIII Dance of Tsifteteli - IX Evin-Evan / Bacchic Dance - X The Dance of Love Second Act: XI The Return of Zorba - XII Veatriki (Marriage of Hortense) - XIII Women’s Dance - XIV Little Star - XV Marina - XVI Ritual of Widow’s Murder - XVII Hassapiko Dance - XVIII The Death of Hortense - XIX The Death of Hortense - XX The Death of Hortense - XXI Zorba’s Dance - XXII Zorba’s Dance - XXIII Zorba’s Dance Roles: Zorbas · John · Marina · Madame Hortense · Yorgos Original Version, AST 281 Orchestra: 3(3.pic).2.ca.2.sax.2-4.3.4.1-timp.4perc(glsp, xyl, tri, bell, sus cym, cym(pair), tam-t, tamb, tom-t, military drum, bng, b.d, wdbl, whip)-2bouzoukis(or 2cl).2hp-str Reduced version, AST 337 (2008) Chamber orchestra: 1(1pic).1(1ca).1.1asax(1tsax).1-1.1.1.0-timp.2perc(glsp, xyl, tri, cym(pair), sus cym, tam-t, tamb, tom-t, military drum, bng, b.d, wdbl)-hp-str(8.6.5.4.2) 105‘ Score ER 2 · Vocal Score ER 54

Anthony Quinn and Mikis Theodorakis performing Zorbas in Munich, 1995

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The Girl´s Dance from Carnaval, Score ER 3

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Orchestra Carnaval (Eliniki Apokria) Suite-Ballet for orchestra, AST 47 (1947-1953) dedicated to Rallou Manou Introduction - I Men‘s Dance - II Great Dance - III Love Dance - IV Divertimento V Three Carnaval Dances: 1. Maypole · 2. Pony · 3. Camel - VI The Girl‘s Dance - VII Finale Orchestra: 3(3.pic).3.ca.2.sax.2-4.3.4.1-timp.3perc(tri, sus cym, cym(pair), tam-t, tamb, tom-t, military drum, b.d)-hp.cel-str 45‘ Score ER 3

Preludio - Penia - Choros for strings, celesta, 2 timpani and triangle , AST 57 (1948-1949) I Prelude - II Chant - III Ball 15‘

To Panigiri tis Assi-Gonias The Feast of Assi-Gonia Scherzo sinfonico for symphony orchestra, AST 48 (1947-1950) Orchestra: pic.2.3.ca.2.bcl.2.cbsn-4.3.3.1-timp.perc(tri, cym, sus cym, tamb, s.d, b.d)-str 10‘

Les Amants de Teruel Suite-Ballet for symphony orchestra, AST 118 (1958) I Andante con moto - II Andante con moto · Allegro con brio · Andante · Allegro vivace - III Allegro · Agitato · Andante · Allegro - IV Andante - V ♩= 60 Orchestra: 2(2.pic).2.2.2-4.3.3.1-timp.3perc(xyl, tri, cym, tam-t, tom-t, s.d, b.d, wdbl)-hp.cel.pno-str 35‘

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Serpico from the homonymous film directed by Sidney Lumet for orchestra, AST 213 (1973) I Theme from „Serpico“ - II Honest Cop - III Alone in the Apartment - IV Meeting in the Park - V Shoe Shop - VI Laurie‘s Fable - VII On the streets - VIII Disillusion - IX Flashback - X End of Title Orchestra: pic.1.recorder.0.ca.1.ssax.tsax.bcl.1-0.1.0.0-3gtr(class., 12 strings, acoust.).2bgtr(electr., class.).hp.3pno(class., electr., acoust.).hammond org-perc(glsp, vibes, h.h, tamb, drum, guiro, cabaza)str 33‘

Actas de Marusia Suite in 21 movements from the homonymous film by Miguel Littin for small symphony orchestra, AST 225 (1975) Orchestra: 2.1.0.0-1.0.2.1-timp.2perc(tamt-t, tamb, bng, military drum, wdbl)-gtr.pno-str 22‘

Elliniki Chori Greek Dances Suite-Ballet, AST 552 (1984) for symphony orchestra arranged by Tasos Karakatsanis (2001) I Chios - II Lesvos - III Siros - IV Tripoli - V Argostoli - VI Ikaria - VII Oropos - VIII Zatouna IX Makronisos - X Kriti - XI Patra - XII Pirgos - XIII Athina Orchestra: 2(2.pic ad lib.).1.2.2-2.2.2.1(or 3tbn)-timp.perc(xyl, mar, tub bells, bell, tri, cym, drum set, b.d)-2mand.hp.cel-str 48‘

20


Concert Band The Neighbourhood of Angels (Popular Suite No. 1), AST 564 (1963) Arranged for concert band by Dimitris Michas (2006) Orchestra: pic.2.2.Ebcl.3.acl.bcl.asax.tsax.barsax.1-4.3.3.1.eup.bar-timp.7perc(2xyl, tri, cym, tam-t, tamb, s.d, tom-t, b.d, casts) 10‘

Zorba‘s Dance (Popular Suite No. 2), AST 565 (1988) Arranged for concert band by Dimitris Michas (2006) Orchestra: pic.2.2(2.ca).Ebcl.3.acl.bcl.asax.tsax.barsax.1-4.3.3.1.eup.bar-timp.7perc(2xyl, tri, cym, tam-t, tamb, s.d, tom-t. b.d, casts) 9‘

21


Rhapsody for guitar and symphony orchestra ER 10

22


Solo Instrument(s) with Orchestra Sinfonietta for solo flute, piano and string orchestra, AST 42a (1947) I Adagio - II Allegro vivace - III Andante mosso 27‘ Score ER 11

Suite No. 1 for piano and orchestra, AST 61 (1949-1955) I Allegro - II Allegro - III Andante sostenuto - IV Allegro - V Calmo Orchestra: pic.2.3.ca.3.3-4.4.3.1-timp.perc(cel, glsp, xyl, tri, sus cym, tamb, tom-t, s.d, african dr, military drum, cong, b.d, marac, wdbl, whip)-str 25‘

Helikon Concerto for piano and orchestra, AST 69 (1952) Also available for piano and strings I Allegro con fuoco - II Largo Orchestra: 2(2.pic).2.2.2.cbsn-4.4.3.1-timp.perc(cym, s.d, b.d)-str 20‘

The Story of Jacob and Joseph Suite for santouri and small orchestra, AST 208 (1972-1973) from the homonymous film by Michael Kakoyannis I Jacob and Esau - II Jacob and his Brothers Orchestra: pic.2.1.1.0-1.0.1.1-timp.5perc(glsp, bell tree, tri, cym, tam-t, tamb, tom-t, bng, b.d)-gtr[12 strings].lute.cel.pno-vc 52‘

23


Rhapsody for guitar and symphony orchestra, AST 256 (1983/1995) Orchestration by Mikis Theodorakis I Allegro con brio - II Andantino · Allegretto - III Andante - IV Andante - V Lento · Allegro - VI Allegro moderato - VII Andante · Allegro Orchestra: 2.2.ca.2.2-3.1.0.0-timp-str 30‘ Score ER 10

Adagio for solo flute (or oboe or clarinet in Bb or trumpet in Bb), string orchestra and percussion, AST 293 (1993) dedicated to the victims of the Bosnian war Orchestra: 2perc(tam-t, b.d)-str 4‘ Score ER 11

Rhapsody for violoncello and symphony orchestra, AST 306 (1996) I Euterpe - II Erato - III Melpomene - IV Calliope - V Clio - VI Urania - VII Terpsichore - VIII Polyhymnia - IX Thalia Orchestra: 2.2.2.2-4.3.3.1-timp.2perc(tam-t, military drum, b.d, wdbl)-str 25‘ Score ER 24

Concerto for Piano and Orchestra No. 2 AST 331 (2007-2008) I Allegro con fuoco - II ♩= 54 - III Presto Orchestra: 3(3.pic).3.3.3(3.cbsn)-4.4.3.1-timp.perc(glsp, xyl, tri, cym, sus cym, tam-t, tamb, bng, s.d, 3tom-t(h./m./l.), b.d, slap stick, casts)-str 28‘ Study Score ED 20819

24


Concerto for Piano and Strings No. 2 AST 332 (2007-2008) I Allegro con fuoco - II ♩= 54 - III Presto 28‘

Rhapsody for trumpet and orchestra, AST 561 (2008) arranged by Robert Gulya I Moderato - II Vivace - III Andante - IV Allegro Orchestra: 2(2.pic).2.2.2-4.3.3.1-timp.4perc(glsp, xyl, tri, cym, sus cym, tamb, s.d, 3tom-t, b.d, wind chimes, 3wdbl)-str 24‘ Study Score ED 20820

Tatjana Vassileva and Mikis Theodorakis at a rehearsal of the Rhapsody for violoncello and orchestra

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Theodorakis conducting Raven in 1974

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Vocal Music Soloist(s) with Orchestra Epitafios Epitaph Cycle of songs, AST 558 (1958) Arrangement for voice and symphony orchestra by Tasos Karakatsanis (2003), edited by Dimitris Michas Text by Yannis Ritsos [Greek] I Where has my boy flown - II Your fragrant lips - III A day in May - IV My star, you have set - V You were good sweet - VI You stood at the window - VII If only I had the water of immortality - VIII My sweet, you are not lost Orchestra: 2.2.2.2-2.2.3[btbn or tba].0-timp.perc(cym, drum set, b.d)-2bouzoukis.hp.cel.pno-str 27‘ Vocal Score with solo part ER 37

Strose to stroma sou from the play „The Neighbourhood of Angels“, AST 154/4 (1963) Text by Iakovos Kambanellis for voice and orchestra arranged by Tasos Karakatsanis [Greek] Orchestra: 2.2.2.2-3.2.3.1-timp-str 4‘

Mikres Kiklades The Little Cyclades Cycle of songs for voice and symphony orchestra, AST 574 (1963) Text by Odysseas Elytis Orchestrated by Tasos Karakatsanis (1993) [Greek]

I I Maya - II Of the Little North Wind - III Marina Orchestra: 2.2.2.2-2.2.2.0-timp.perc(cym, drum set)-str 11‘ Vocal Score with solo part ER 38

27


Romancero Gitano Song cycle for alto and symphonic orchestra, AST 340 (1967) Text by Federico García Lorca, Greek translation by Odysseas Elytis Orchestration by Mikis Theodorakis (2009) [Greek, Spanish version in preparation] I Ballad of the doomed man - II Antonio Torres Heredia I - III Antonio Torres Heredia II - IV Death for love - V The gypsy nun - VI The wind and the beauty - VII Soledad Orchestra: 2.2.ca.2.2-3.1.0.0-timp-str 19‘

Raven Symphonic poem for mezzo-soprano, flute, two harps and string orchestra, AST 296 (1970) Text by Giorgos Seferis Orchestrated by Mikis Theodorakis (1993/94) [Greek] 14‘

Romiosini Cycle of songs, AST 576 (1966) Texts by Yannis Ritsos Arrangement for voice and symphony orchestra by Tasos Karakatsanis (2003) Edited by Dimitris Michas [Greek, German version in preparation] I These trees - II All have been thirsty - III When they shake hands - IV So many years - V They were imprisoned - VI Tree by tree - VII Who can say - VIII The bells will ring - IX They climbed so high Orchestra: 2(2.pic).2.2.2-2.2.2.0-timp.perc(glsp, xyl, vib, mar, tub bells, cym, tom-t, drum set)-2bouzoukis.cel.pno-str 29‘

Phaedra Cycle of songs for alto, baritone and small instrumental ensemble, AST 246 (1980-1985, arr.: 2000) Texts by Angeliki Eleftheriou [Greek] I A day that it will be cold - II My sheets wept - III Love dream - IV When I found you - V You played my heart - VI Provincial station - VII The blood froze - VIII I want one night - IX The night falls - X Loneliness found me again - XI Closed windows - XII You must now remain alone Orchestra: 1(1pic).1.0.0-0.0.0.0-timp.3perc(xyl, tri, bells, tam-t, tamb, tom-t, bass tom-t, b.d, drum set, wdbl, metal chimes)-3gtr(class., 12 strings, electr.).2bouzoukis-str(0.0.0.2.1) 51‘ Vocal Score with solo part ER 41

28


Syllogi apo 18 tragoudia Collection of 18 songs for solo voice and symphony orchestra arranged by Tasos Karakatsanis and Dimitris Michas, AST 553 (2002) Texts by Manolis Anagnostakis, Brendan Behan, Manos Eleftheriou, Odysseas Elytis, Iakovos Kambanellis, Tassos Livaditis, Federico García Lorca, Leonidas Malenis, Mikis and Yannis Theodorakis [Greek] I Beautiful City - II Lost - III My Betrayed Love - IV On the Eighteenth Day of November V The Golden-Green Leaf - VI Song from the play “The Neighbourhood of Angels” - VII My Love - VIII Marina - IX I Mayia - X Of the Little North Wind - XI Antonio Torres Heredia I - XII Antonio Torres Heredia II - XIII The Train Leaves at Eight - XIV In the Murderer’s Bazaar - XV Ancient Roads XVI When One Spring - XVII I Open the Door in the Evening - XVIII Magic Night Orchestra: 2.2.2.2-3.2.3.1-timp.perc(glsp, xyl, vib, mar, tri, cym, tamb, drum set)-2bouzoukis.hp.cel. pno-str 60‘

Odysseia for voice and chamber orchestra (2006) Text by Kostas Kartelias Arranged by Henning Schmiedt [Greek] I Beside the Sea - II The Song of the Companions - III Shipwreck - IV Song of the Sirens - V In the Underworld - VI To Calypso - VII Beautiful Helen - VIII Circe - IX Like a Beast - X The Love God - XI Sea Witch - XII To Nausica - XIII Penelope’s Song - XIV Without Identity Ensemble: fl.sax-gtr.bouzouki.pno-vl.vc.db 52‘ Vocal Score ED 20863

Syllogi apo 5 tragoudia Collection of 5 songs for tenor and orchestra, AST 577 Texts by Tasos Livaditis, Giorgos Seferis, Manolis Anagnostakis and Yannis Theodorakis [Greek] I I open the door in the night (from the cycle of songs “Lyrika”) - II Refusal (from the cycle of songs “Epiphany”) - III Ancient Roads (from the cycle of songs “Ballads”) - IV Magic Night (from the cycle of songs “Cheretismi”) - V Beautiful City (from the cycle of songs “Deserters”) Orchestra: 2(2.pic).2.2.2-2.2.1.0-timp.perc(glsp, tri, cym, drum set)-2bouzoukis.hp.cel.pno-str 18‘

29


30


Vocal Music Chorus with Orchestra or Instruments Kapodistrias Music for the theatre, AST 230 (1976) for female chorus, flute, guitar, three violins and violoncello Texts by Nikos Kazantzakis [Greek] I The Sun Has Set - II The Great Gates - III Your High Mind - IV Our Helmsman - V Oh, if I Could Hold Myself on the Earth - VI The Sun Has Set 20‘

Choifori Libation Bearers (Part II from the “Oresteia”-Trilogy) for women‘s chorus and orchestra, AST 273/2 (1987) Text by Aischylos [Greek] I Entrance Song of the Chorus - II 1st Choral Ode - III 1st Choral Song - IV 2nd Choral Ode V 2nd Choral Song - VI 3rd Choral Ode - VII 3rd Choral Song Orchestra: 0.1.1.1-1.1.1.1-timp.2perc(cym, tam-t, tom-t, b.d)

Promithefs Desmotis Prometheus Bound Music for ancient drama for chorus, violoncello, horn, English horn, bassoon, timpani and percussion, AST 290 (1992) Text by Aischylos [Greek] Ensemble: ca.bsn-hn-timp.perc(b.d, tom-t, tam-t, bng)-vc 30‘

31


Canto General as ballet in Athens, 2005

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Vocal Music Soloist(s) and Chorus with Orchestra or Instruments Finisses Phoenician Women for mezzo-soprano, women‘s chorus and orchestra, AST 122 (1959-1960) Text by Euripides [Greek] I Introduction - II Entrance Song of the Chorus - III 1st Choral Song - IV 2nd Choral Song - V Procession and Lamentation of Antigone - VI 3rd Choral Song Orchestra: 2(1.pic).1.1.0-2.2.2.0-2perc(xyl, metallophone, sus cym, tam-t, 2tom-t, bng, african drum, b.d)-pno-str(0.0.0.2.1) 40‘

Axion Esti Oratorio for baritone, lyric baritone, narrator, mixed chorus and orchestra, AST 292 (1960-1963/1993) Text by Odysseas Elytis [Greek] I The Genesis - II The Passion: 1. Behold here am I · First Reading: The march to the front · 2. A solidary swallow · 3. My foundations · 4. With the star-lantern · Second Reading: The great exodus · 5. O sun of justice · Intermezzo · 7. Temples with the sky’s scheme · 8. The blood of love · Third Reading: Prophetic · 9. I open my mouth · 10. I’m on my way now - III Axion Esti Orchestra: 2(1.pic).2(1.Ebcl).2.2-2.3.3.1-timp.perc(glsp, metallophone, xyl, gong(tam-t), tri, cym, tamb, tom-t, s.d, military drum, b.d, bng)-2bouzoukis.santouri.gtr.egtr.bgtr.4-8mand.2pno-str [The brass instruments are ad lib. Whenever they are used, the woodwinds should be doubled.] 71‘ Score ER 15

Mauthausen Cantata for mezzo-soprano, chorus and orchestra, AST 545 (1965) Orchestrated by Tasos Karakatsanis (1993) Text by Iakovos Kambanellis [Greek, German and English in preparation] I The Song of Songs - II Andonis - III The Fugitive - IV When the War is Over Orchestra: 2.2.2.2-2.3.3.0-timp.2perc(glsp, vib, tri, tub bells, tom-t, military drum)-gtr.egtr.ebgtr. hp.hpd.pno-str 20‘ Vocal Score ED 20861

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Mithistorima (Mythologia) Cantata for mezzo-soprano, chorus and orchestra, AST 295 (1968, orch.: 1993) Text by Giorgos Seferis [Greek] I Now that you will leave - II The wound in my chest - III Sleep wrapped you - IV A little longer Orchestra: 2.2.2.2-4.4.3.1-timp.2perc(cym, tom-t, military drum, b.d, drum set)-hp-str 11‘

Epiphany - Averoff Cantata for baritone (or alto), mixed chorus and orchestra, AST 557 (1968-1969) Text by Giorgos Seferis Arrangement by Tasos Karakatsanis (2003), edited by Dimitris Michas English translation by Edmund Keely and Philip Sherrard [Greek, English] Orchestra: 1.1.1.1-0.0.0.0-timp-hp-str 13‘ Vocal Score with solo part ER 55

Pnevmatiko Emvatirio March of the Spirit Oratorio for mezzo-soprano (or alto), lyric baritone (or tenor), baritone (or bass), mixed chorus and orchestra, AST 190 (1969) Text by Angelos Sikelianos Arrangement by Mikis Theodorakis (1970) [Greek] I “As I threw the last torch into the spark of light...” (mezzo-soprano) - II “Gigantic thoughts like fiery clouds...” (tenor) - III “And I said: In know, yes I know...” (baritone) - IV “Fate; and Your Fate is mine to my innermost depths!...” (baritone) - V “Forward: help us raise the sun over Greece!...” (mezzo-soprano) VI “Forward, creators... Your burdened thrust...” (mezzo-soprano) - VII “The new Word draws near, which will color everything...” (tenor) - VIII “Thus, as I threw the last torch into the spark of light...” (mezzo-soprano) Orchestra: 2.2.2.2-4.2.3.1-timp.2perc(tri, tom-t, b.d)-2gtr.2mand.2bouzoukis.pno-str 35‘ Score ER 13 · Vocal Score ER 33

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Ippis Knights 22 popular choral odes for tenor, actor, men‘s chorus and instruments, AST 239 (1979) Text by Aristophanes [Greek] Introduction - Entrance - 22 choral odes Orchestra: pic.1.0.0.2-0.0.0.eup.0-3perc(glsp, xyl, cel, tri, cym, jingles, tamb, tom-t, bng, s.d, b.d, tempbl, wdbl, marac, dauli(gipsy tom), jazz drums, sistrum, xilakia, toubes(big toms), metal plate, maltroire, whip)-2gtr(class., electr., 12 strings).acc.pno.org(synth.)-vc.db 70‘

Canto General (Original Version) Oratorio for mezzo-soprano, bass-baritone, mixed chorus and fifteen instruments in 13 movements, AST 217 (1972-1980) Text by Pablo Neruda [Spanish] I Algunas Bestias - II Voy a Vivir - III Los Libertadores - IV A mi Partido - V Lautaro - VI Vienen Los Pajaros - VII Sandino - VIII Neruda Requiem Eternam - IX La United Fruit Co. - X Vegetaciones XI Amor America - XII A Emiliano Zapata - XIII America insurrecta Orchestra: 3fl(or 3 bouzoukis)-timp.5perc(glsp, xyl, vib, 2mar(or 2xyl), cel, tri, cym, cym (pair), cow bell, gong, chin. gong, 2tam-t, tamb, 4bng, 2s.d, military drum, ind. tom-t, 4tom-t, b.d, drum set, chimes, guiro, marac, sistrum, reco reco, casts, clav, wdbl, tempbl, 2whips)-3gtr(3.12 strings).bgtr(or db).2pno 115‘ Vocal Score (hardcover) ER 86 · Vocal Score (paperback) ER 86-1

Canto General (Symphonic Version) Oratorio for mezzo-soprano (or alto), tenor, bass-baritone, mixed chorus and orchestra in seven movements, AST 569 (1972-1980) Text by Pablo Neruda Orchestration by Henning Schmiedt and Jens Naumilkat (1998) and Yannis Samprovalakis (2005)

[Spanish] I Algunas Bestias - II Voy a Vivir - III Los Libertadores - IV Lautaro - V La United Fruit. Co. VI Vegetaciones - VII America insurrecta Orchestra: 3(3.pic).2.ca.2.bcl.2.cbsn-4.3.3.1-timp.5perc(glsp, xyl, vib, mar, metallophone, tri, cow bell, jingles, bell, cym, chin. gong, gong, sus cym, cym(pair), tam-t, tamb, ind. tom-t, 2tom-t, 4bng, marching drum, 2military drums, s.d, 2b.d, drum set, casts, 2whips, wdbl, marac, reco reco, chimes, bamboo scratcher, metal rattles, cel)-2hp.pno-str 67‘

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Cheretismi Salutations Cycle of songs for mezzo-soprano, mixed chorus and orchestra, AST 236 (1978-1981) Texts by Mikis and Yannis Theodorakis and Angeliki Eleftheriou [Greek] I Magical Night - II Be courageous - III Love lives with a dream - IV The words again I will dry - V Pathways of your voice - VI Behind my eyes I lived - VII Ship in the sky - VIII Do not betray me - IX We parted - X Salute Orchestra: 1(pic).1.ca.0.0-0.1.0.0-timp.perc(glsp, vib, tam-t, drum set, s.d, 3tom-t, b.d, 5bng)-3gtr(1 12 strings).acc.pno-str 53‘ Vocal Score with solo part ER 22

Kata Saddukeon Sadduceon Passion Cantata for tenor, baritone, bass, narrator, mixed chorus and orchestra, AST 251 (1981-1982) Text by Michaelis Katsaros, German translation by Dirk Mandel [Greek, German] I Form of my ego - II Blind time - III This step now - IV Dorians - V In the dead forest - VI Fair-haired youth - VII I open the lips - VIII My will Orchestra: 3(3.pic).2.ca.2.2.cbsn-4.3.3.1-timp.5perc(xyl, vib, mar, tri, bell, cow bell, cym, tam-t, tamb, tom-t, gong, military drum, b.d, wdbl, tempbl, casts, marac, metal chimes)-egtr.hp.cel.pno-str 60‘

Requiem Oratorio for soprano, alto, baritone, bass, mixed chorus, children‘s chorus and orchestra, AST 546 (1983-1984) Extracts from the church‘s texts “Burial Service” and “Particular Funeral Chants” of Ioannis Damaskinos Addition of the symphony orchestra by Nikos Platirarchos (1993) [Greek] Orchestra: 2.2.2.2-4.1.3.0-timp.3perc(glsp, tri, bell, sus cym, tam-t, tamb, tom-t, b.d, marac, incendiere)-hp.pno-str 72‘ Score ER 5

Requiem Original version without symphony orchestra, AST 266

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Dionyssos Religious musical drama for baritone, mixed chorus and small instrumental ensemble, AST 270 (1984) Texts by Mikis Theodorakis [Greek] I The sacrifice - II The plea of Dionyssos - III A prison - IV The refrigerator - V The bear - VI On the tenth of December - VII The traitor - VIII The crofter - IX Feel sorry for the Greek people - X The crystals of the abyss - XI Good mountains - XII The voyage - XIII The procession continues Orchestra: 1.1.0.0-0.0.0.0-timp.3perc(tri, cym, tam-t, tom-t, b.d, tuberleki)-3gtr(class., 12 strings, electr.).2bouzoukis.baglamas-str(0.0.0.2.1) 45‘ Vocal Score with solo part ER 39

Symfonia No. 4 “Ton Chorikon” Symphony of the Choral Odes for soprano, countertenor (or alto), narrator, mixed chorus and orchestra, AST 275 (1986-1987) Texts after Aischylos and Euripides, translations by Kostas Georgousopoulos and Yerasimos Spatalas [Greek] I Choral Odes from Aischylos‘ “Eumenides” - II Choral Odes from Euripides‘ “Phoenician Women” Orchestra: pic.2.2.2.2.cbsn-2.2.2.1-timp.2perc(metallophone, cym, tam-t, tom-t, b.d)-pno-solo vcstr(0.0.0.14.8) 70‘

Oresteia-Trilogy for alto, tenor, baritone, bass, men‘s chorus, women‘s chorus and orchestra, AST 273 (1986-1988) Texts by Aischylos [Greek] I Agamemnon - II Choifori - III Evmenides Orchestra: See individual works

Agamemnon (Part I from the “Oresteia”-Trilogy) for bass, baritone, men‘s chorus and orchestra, AST 273/1 (1988) Text by Aischylos [Greek] I Entrance Song of the Chorus - II 1st Choral Song - III 2nd Choral Song - IV 3rd Choral Song Orchestra: 1.0.1.0-1.0.1.1-timp.2perc(cym, tam-t, tamb, tom-t, b.d)-str(0.0.0.1.1)

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Choifori (Part II from the „Oresteia“-Trilogy) See “Chorus with Orchestra”

Evmenides Eumenides (Part III from the “Oresteia”-Trilogy) for alto, tenor, men‘s chorus, women‘s chorus, 6 flutes and 6 violoncellos, AST 273/3 (1986) Text by Aischylos [Greek] I 1st Entrance Song of the Chorus - II 2nd Entrance Song - III 1st Choral Song - IV 2nd Choral Song - V Lamentation - Strophe 1 - VI Strophe 2 - VII Exodus

Zorbas Suite-Ballet in 23 scenes for solo alto, two bouzoukis (ad libitum), mixed chorus and orchestra (1987-1988) [Greek] First Act: I Daybreak / 3 Zeibekikos Songs - II John’s Entrance - III Zorba’s Entrance - IV Gran Ballo - V Madame Hortense - VI In the Orchards - VII Zorba, John and Hortense - VIII Dance of Tsifteteli - IX Evin-Evan / Bacchic Dance - X The Dance of Love Second Act: XI The Return of Zorba - XII Veatriki (Marriage of Hortense) - XIII Women’s Dance - XIV Little Star - XV Marina - XVI Ritual of Widow’s Murder - XVII Hassapiko Dance - XVIII The Death of Hortense - XIX The Death of Hortense - XX The Death of Hortense - XXI Zorba’s Dance - XXII Zorba’s Dance - XXIII Zorba’s Dance Original Version, AST 281 Orchestra: 3(3.pic).2.ca.2.sax.2-4.3.4.1-timp.4perc(glsp, xyl, tri, bell, sus cym, cym(pair), tam-t, tamb, tom-t, military drum, bng, b.d, wdbl, whip)-2bouzoukis(or 2cl).2hp-str Reduced version, AST 337 (2008) Chamber orchestra: 1(pic).1(ca).1.asax(tsax).1-1.1.1.0-timp.2perc(glsp, xyl, tri, cym(pair), sus cym, tam-t, tamb, tom-t, military drum, bng, b.d, wdbl)-hp-str(8.6.5.4.2) 105‘ Score ER 2 · Vocal Score ER 54

Antigone Music for ancient drama for mezzo-soprano, chorus, guitar and double bass, AST 286 (1990) Text by Sophokles, translation by Minos Volonakis [Greek] 24‘

38


Canto Olympico Oratorio for tenor, solo piano, mixed chorus and symphony orchestra in six movements, AST 287 (1990-1991) Texts by Dimitra Manda and Mikis Theodorakis [Greek] I Three Odes a) Ode to Zeus · b) Ode to Apollo · c) Ode to the first Olympic Victor - II The Athletic Games - III Victory - IV War - V Hymn to the Motherland - Earth - VI The Rebirth of the Olympic Games Orchestra: 3(3.pic).3(3.ca).3.3-4.4.3.1-timp.5perc(glsp, crot, xyl, bell, tri, sus cym, tam-t, tamb, bng, tom-t, military drum, b.d, marac, casts, wdbl, whip)-cel-str 45‘ Score ER 1

39


Index Actas de Marusia....................................... 20 Adagio ...................................................... 24 Agamemnon.............................................. 37 Antigone................................................... 14 Axion Esti.................................................. 33 Canto General............................................ 35 Canto Olympico......................................... 39 Carnaval (Eliniki Apokria)..................... 16, 19 Cheretismi................................................. 36 Choifori............................................... 31, 38 Concerto for Piano and Orchestra No. 2.... 24 Concerto for Piano and Strings No. 2......... 25 Dionyssos.................................................. 37 Electra .....................................................14 Elliniki Chori.............................................. 20 Epiphany - Averoff..................................... 34 Epitafios.................................................... 27 Evmenides................................................. 38 Finisses 33 Helikon 23 I Metamorphossis tou Dionissou................ 13 Ippis ...................................................... 35 Kapodistrias............................................... 31 Kata Saddukeon......................................... 36 Les Amants de Teruel........................... 16, 19 Lysistrata................................................... 14 Mauthausen.............................................. 33

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Medea .................................................... 13 Mikres Kiklades......................................... 27 Mithistorima (Mythologia)......................... 34 Odysseia.................................................... 29 Oresteia-Trilogy......................................... 37 Phaedra..................................................... 28 Pnevmatiko Emvatirio................................ 34 Preludio - Penia - Choros........................... 19 Promithefs Desmotis.................................. 31 Raven ..................................................... 28 Requiem.................................................... 36 Rhapsody............................................. 24, 25 Romancero Gitano..................................... 28 Romiosini.................................................. 28 Serpico 20 Sinfonietta................................................. 23 Strose to stroma sou.................................. 27 Suite No. 1................................................ 23 Syllogi apo 5 tragoudia.............................. 29 Syllogi apo 18 tragoudia............................ 29 Symfonia No. 4 „Ton Chorikon“................. 37 The Neighbourhood of Angels................... 21 The Story of Jacob and Joseph................... 23 To Panigiri tis Assi-Gonias.......................... 19 Zorbas ............................................... 16, 38 Zorba‘s Dance............................................ 21


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Mikis Theodorakis bei Intuition

INT 30592: Theodorakis Sings Theodorakis

INT 33992: Rhapsodies for Cello & Guitar

INT 31032: Zorba – Ballett in 2 Akten

INT 34002: Die Metamorphosen des Dionysos

INT 33772: First Songs

INT 33782: Resistance

INT 34242: East of the Aegean

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Mikis Theodorakis - Stage and Concert Works