Chopin and Greece

The Hellenic connection and the reception of the composer’s music in Greece through performances of distinguished foreign and Greek pianists.

.Greece had been under the Ottoman Empire for nearly 400 years, i.e. from 1453 when the Ottoman Turks invaded Constantinople. The year 1821 saw the beginning of the Greek Revolution which officially lasted until 1829. The Greek War of Independence touched the whole world and especially the European countries. Leading figures of the so-called Romantic Movement were inspired by this powerful revolution of the people from a country which had rightly been named the cradle of civilization.

One of the leading figures of Romanticism, Lord Byron (1788-1824) not only wrote works inspired by Greece, but also provided financial support to the Greek rebels and fought for the country. He passed away in his beloved Greece, in Missolonghi, a town in the western continental, on April 19^th,1824.

Some years following the beginning of the Greek Revolution of 1821, the Polish rebellion, widely known as the November Insurrection (1830-1831), that tried, sadly unsuccessfully, to overthrow the Russian rule, took place. Even though Frédéric Chopin (1810-1849), Poland’s cherished son, spent many years of his life in Paris, from the 5^th of October until his death, never returning to Poland, his thoughts were always close to his native country and the ideals of struggle for freedom can easily be traced in his works.   

During his lifetime, Paris was full of famous artists and writers who were inspired by the same ideals. The Greek Revolution had fired the imagination of painters and literary figures who were members of his circle, e.g. Ary Scheffer (1795-1858), Eugène Delacroix (1798-1863) and Victor Hugo (1802-1885). In addition, great composers such as Gioacchino Rossini (1792-1868) and Hector Berlioz (1803-1869) were amongst those who also received inspiration from the Greek revolution.

Of course, it was not only the Greek Revolution that impressed the great minds of Chopin’s time, but also the spirit of ancient Greece. Mythology was always present and can be found in creations by illustrious composers close to Chopin such as Charles Valentin Alkan (1813-1888) and of course, Franz Liszt (1811-1886).

One should also be reminded of the ancient Greek architecture that inspired the beautiful Nouvelle Athènes mansions occupied not only by Chopin, but also by brilliant figures such as George Sand (1804-1876), Alexandre Dumas (1802-1870) and Alkan. Artistic salons and gatherings of prominent personalities were held in this district.

Among the personalities of Greek connection or of Greek origin who were close to Chopin, one finds his students, Maria Kalergis (1822-1874), a patron of the arts and pianist, wife of landowner Jan Kalergis, member of the old Cretan family, and Catherine Soutzo (1822-1874), wife of Greek diplomat Jean (Ioannis) Soutzo (1813-1892) member of the old Soutzos or Soutsos Phanariote family.

Also, his colleague, Greek-French pianist and composer Camille-Marie Stamaty (1811-1870), born in Rome by a Greek father, Constantin (Konstantinos) Stamates (1764-1817, a French consul), and a French mother, Marie-Thérèse-Nanine Surdun (1778-1846, a singer). Camille-Marie became one of the most exceptional students of Friedrich Kalkbrenner (1784-1849) and additionally studied with Anton Reicha (1770-1836), François Benoist (1794-1878) and Felix Mendelssohn-Bartholdy (1809-1847). He was considered one of the most distinguished teachers of his time. Among his many pupils were Louis Moreau Gottschalk (1829-1869), the first to play Chopin’s works in America, and Camille Saint-Saëns (1835-1921).

Greece, after the victorious revolution of 1821 against the Ottoman Empire, entered its so-called modern history. This period was far from easy and the struggle, after the great sacrifices of war, had to be continued.

However, the Ionian islands or the Heptanese (Επτάνησα, Seven Islands) were for centuries ruled by the Venetians, thus not having faced the threat of the Ottoman occupation. Among the Ionian islands, especially Corfu and Zakynthos, produced a number of accomplished composers and musicians who kept the musical torch of Greece alive and burning during the 19^th century, e.g. the composer Nikolaos Chalikiopoulos Mantzaros (Νικόλαος Χαλικιόπουλος Μάντζαρος, 1795-1872), founder of the Ionian School of music and composer of the Greek national anthem, the composer Spyridon Xyndas (Σπυρίδων Ξύνδας, 1812-1896), the composer Antonios Liveralis (Αντώνιος Λιβεράλης, 1814-1842), the pianist-composer Susanna Nerantzi (Σουζάνα Νεράντζη, active between 1830-1840) and the composer Pavlos Carrer (1829-1896). The name of famed contralto Elena D’Angri Vitturi (1821/1824-1886) ought to be added as she was born in Corfu and had a distinguished career around Europe and America, also collaborating with Chopin’s exact contemporary, renowned Austrian composer and piano virtuoso Sigismond Thalberg (1812-1871). Composer Spyridon Samaras (1861-1917) was also born in Corfu but spent many years in Paris and Italy, where he became an important opera composer and is today remembered internationally mainly as the composer of the Olympic Anthem.  

In Greece, from the early part of the 19^th century, beginning from Corfu, operas, especially Italian ones, flourished. This form became a favourite of the local public and up to our days continues to be very popular. Chopin was a composer who not only loved opera but was extremely influence by it. The beautifully finished long vocal lines of arias by composers such as Vincenzo Bellini (1801-1835) had provided an important source of inspiration for the Polish master. His “singing” themes, his bold and dramatic expression, as well as his passionate, romantic and direct style, made him one of the very favourite composers in Greece.

Examining old private music collections, one notes that his scores were to be found from fairly early in Greece. But it ought to be underlined that it was well after his death that his works were brought to the attention to the wider Greek public and taught to Greek students. It is worth reminding that the first official music educational institution of the country was founded as late as 1871, being the Athens Conservatoire, followed by others from 1919 onwards.

During the 20^th century a whole array of famous pianists arriving from abroad performed Chopin’s music in Greece, thus forming the special taste, correct articulation and expression, as well as the proper general manner of the interpretation of his works.

Undoubtfully the most important influence came from the many visits in Athens of the eminent French pianist and conductor Alfred Cortot (1877-1962), whose close connection to his adored Chopin hardly needs to be emphasised. He had studied with one of the master’s very last students, Émile Decombes (1829-1912). Cortot was an admirer of the ancient Greek culture and an unreserved Hellenophile, who returned to Greece, each time with renewed enthusiasm and was always warmly welcomed by the local audience who rightfully considered him to be the leading Chopin interpreter of his day. The poetic qualities of his readings, his deep feeling, rare vision and exquisite cultured mind, were admired by the public. It was because of his deep sensitivity and education that he profoundly appreciated the ancient Greek spirit found in art, literature and architecture. Some young Greek pianists travelled to France or other parts of Europe in order to attend his master classes. Explanations on phrasing, style, sound production and various details on the interpretation were carefully noted by them and passed on to future generations of students. His critical editions of Chopin’s oeuvre were and still are widely used by Greek conservatoires and students, of course in conjunction with recent critical editions. Furthermore, a number of Chopin’s original first and lifetime editions that once belonged to Cortot’s personal collection and in places include his fingering written in pencil, now form part of a private collection in Athens.   

Of Cortot’s many appearances in Athens one should mention the following:

A recital given on November 30^th, 1930, with a program including among works by other composers Chopin’s Sonata no. 3, in B minor, Op. 58.

Two lecture recitals given on November 2^nd and 4^th, 1934, at the Pallas Hall (Αίθουσα Παλλάς, during the same visit, on October 27^th and 31^st of October he performed chamber music concerts with the French violinist and frequent music partner Jacques Thibaud, 1880-1953). The first recital comprised Chopin’s Piano Sonatas no. 2 in B♭ minor, Op. 35, and no. 3 in B minor, Op. 58. The second recital was dedicated to his other favoured composer Robert Schumann (1810-1856).  

A recital given on the 100^th death anniversary of Chopin, on March 18th, 1949, at the Kentrikon Theatre (Θέατρο Κεντρικόν), with a program dedicated to Polish composer and to Schumann. The recital began with the Fantaisie in F minor, Op. 49, by Chopin, continued with the Kinderszenen, Op. 15, by Schumann and the Sonata no. 2 in B-flat minor, Op. 35, by Chopin. After the interval, Schumann’s Carnaval Op. 9 was heard. On March 20 of the same year, at the Parnassos Hall (Αίθουσα Παρνασσού), he offered a recital exclusively with works by Chopin.

Apart from the Cortot recitals, worth noting are some other historically significant appearances by distinguished foreign pianists.  

The French pianist Youra Guller (1895-1980), offered two recitals on November 4^th and 5^th, 1927, at the Kentrikon Theatre. The second one was concluded by a selection of three études (unspecified in the printed programme), four mazurkas (unspecified in the printed programme) and the Polonaise in A-flat major, Op. 53. 

On April 1^st, 1928, at the Atticon Hall (Αίθουσα Αττικού), the German pianist Emil von Sauer (1862-1942), a pupil of Franz Liszt (1811-1886), accompanied by the Symphony Orchestra of the Athens Conservatory (later to become the Athens State Orchestra), under the direction of the famed Greek conductor, composer and pianist, Dimitri Mitropoulos (1896-1960) performed the Piano Concerto no. 1 in E minor, Op. 11.

French pianist and pedagogue Monique de La Bruchollerie (1915-1972), a pupil of French pianist Isidor Philipp (1863-1958, who had studied with the French pianist and composer Georges Mathias, 1826-1910, a pupil of Chopin), performed Chopin’s Piano Concerto no. 2 in F minor, Op. 21, in collaboration of the Athens State Orchestra, under the direction of American conductor Howard Mitchell (1911-1988) at the Orpheus Hall (Αίθουσα Ορφεύς), on January 23^rd, 1955. Brucholerie taught the contemporary French-Cypriot pianist and composer Cyprien Katsaris (Κυπριανός Κατσαρής, b. 1951), who up to our days is considered a fine Chopin performer.   

The distinguished Georgian-Russian pianist who had studied with Liszt’s pupil Alexander Siloti (1863-1945) and Philipp, Nikita Magaloff (1912-1992), important champion of Chopin’s music and the first to record the composer’s complete works, during his Athens performances often included works of Chopin in his programmes, e.g. during his recitals at the Athens Theatre (Θέατρο Αθηνών), in May 1958 and April 1968. Also, during the second half of his very last recital in the Greek capital, that took place at the Odeon of Herodes Atticus, on August 9^th, 1990, he performed the Préludes Op. 28. The author of the present article was present and can vividly recall the beautifully shaped and deeply touching readings, delivered in the highly romantic, sensitive and sincere manner of the old piano school.

 Among the Greek pianists of some reputation, it is difficult to think of any who did not honour the composer with performances of his works. But there always existed the few connoisseurs, who returned to his repertoire in a consistent and thoughtful way, always searching for the deeper truths of his music.

The Alexandrine Greek pianist Georges Themeli (Γιώργος Θέμελης, Cairo, 1915- Athens, 1997), who was blind from birth and had learned music and piano through the braille system, studied with Marguerite Long (1874-1966), delivered recitals in Greece and abroad consisting entirely of works by Chopin. His sensitive touch and phrasing always brought special breath to the music. He was especially fond of the Sonata no. 2 in B-flat minor, Op. 35, and the Sonata no. 3 in B minor, Op. 58. He recorded the Études no. 4, in C sharp minor, Op. 10, no. 2, in F minor, Op.25, no. 12 in C minor, Op. 10, and the Berceuse, in D flat minor, Op. 57, for the His Master’s Voice, Greece, label.

The Corfiot pianist Athos Vasilakis (Άθως Βασιλάκης, 1897-1971) made his career performing mainly works by Chopin in Greece and abroad, especially in Paris. His distinctive and refined style impressed all who heard him.

The much-lauded Greek pianist Gina Bachauer (1913-1976), of Austrian and Italian descent, was a pupil in Athens of the Polish pianist and teacher Woldemar Freeman (Lublin, 1894-Athens, 1945), who had a special understanding of Chopin’s music. After completing her studies in Greece, Bachauer took lessons from Cortot and Sergei Rachmaninoff (1873-1943). She had come in contact with Rachmaninoff through a letter of recommendation given to her by Freeman who was a friend of the famous master. During her career, she frequently performed works by Chopin, recording both concertos and a selection of pieces, but never complete cycles.

Maria Cherogiorgou-Sigara (Μαρία Χαιρογιώργου-Σιγάρα, 1921-2005), one of the leading Greek pianists and pedagogues of her generation in Athens, a pupil of Long in Paris and Alfredo Casella (1883-1947) in Rome, not only performed Chopin frequently but also taught his oeuvre to the many students she had during her long teaching career in Athens.

In more recent times, renowned Greek pianists such as Dora Bakopoulou (Ντόρα Μπακοπούλου), Domna Eunouchidou (Δόμνα Ευνουχίδου), Natalia Michailidou (Ναταλία Μιχαηλίδου), whose mother Calliope (Popi) Panagiotidou (Καλλιόπη Παναγιωτίδου, 1921-2012) had studied with Cortot, and Alexandra Papastefanou (Αλεξάνδρα Παπαστεφάνου), among others, have extensively performed and recorded his works.

From the younger generation of Greek pianists, Sotiris Louizos (Σωτήρης Λουΐζος, b. 1982), a pupil in London of the highly cultured South African pianist Yonty Solomon (1937-2008) who played all-Chopin programmes, has enthusiastically embarked on a project to perform the complete works for piano in combination with lectures, papers and presentation of rare documents.

In 2023, one of the most enlightening books on Chopin and his teaching, Chopin: Pianist and Teacher, as seen by his pupils, written by esteemed Swiss musicologist and chopinologist Jean-Jacques Eigeldinger (b. 1940), originally published in 1970 and with following updated editions, was translated into the Greek language by Stefanos Theodoridis and edited by Constantine P. Carambelas-Sgourdas (Edition Orpheus). It is worth noting that the author has included minor additions presented for the first time in the present edition. During the book launch, that took place on January 18^th, 2023, in Athens, at the Music Library of Greece “Lilian Voudouri”, Eigeldinger was present and offered insights concerning Chopin’s art and his interpreters. Ms Michailidou performed works by the composer at the end of the presentation.

.In conclusion, even though Chopin never visited Greece, both the Apollonian and Dionysian elements of his creations will always captivate his listeners leading them to the Olympian hights of his treasured inspiration.

Constantine P. Carambelas-Sgourdas