Franz Liszt (1811 – 1886), Nuages gris, S. 199

Frederic Chopin (1810 – 1849), Ballade No.4, Op.52

The Beatles (two piano transcriptions by Manos Kitsikopoulos),

Norwegian Wood
Eleanor Rigby

Yiannis Konstantinidis (1903 – 1984), Eight Island Dances (1954)

I. Allegretto con grazia
II. Allegro moderato ma energico
III. Allegretto
IV. Andantino mosso
V. Con moto
VI. Allegretto vivo e con spirito
VII. Moderato
VIII. Vivo e giocoso

Franz Liszt, Ballade No.2, S.171

Piano, Manos Kitsikopoulos

Helena Winkelman (1974 – ), Ciaccona for violin solo (2002)

Johann Sebastian Bach (1685 – 1750), No.3 in E major for violin solo, BWV 1006

I. Preludio
II. Loure
III. Gavotte en Rondeau
IV. Menuett I & II
V. Bourrée
VI. Gigue

Alfred Schnittke (1934 – 1998), Fugue for violin solo (1953)

Iannis Xenakis (1922 – 2001), Dhipli Zyia” for violin & cello (1952)

Béla Bartók (1881 – 1945), Duos for 2 Violins, Sz.98 (selection)

Benjamin Britten (1913 – 1976), String Quartet No. 2 in C major, Op. 36 (1945)

I. Allegro calmo, senza rigore
II. Vivace
III. Chacony: sostenuto

CAERUS chamber ensemble
Jonian Ilias Kadesha & Tim Crawford, violins
Pablo Hernán, violin & viola
Vashti Hunter, violoncello

“Artistic man can be wholly satisfied only by the unification of all forms of art in the service of the common artistic endeavour. Any fragmentation of his artistic sensibilities limits his freedom, prevents him from becoming fully what he is capable of being. […] When eye and ear mutually reinforce the impressions each receives, only then is artistic man present in all his fullness.”
Richard Wagner, The artwork of the future (1850)

This performance explores the endless possibilities and limits of music and paint. How does what we hear influence what we see and vice versa? If music is the art of the moment, then painting must be the art of capturing a moment.

From Bach to Britten, over Kurtág and Dutilleux, paint and music will enter a dialog over important works of these composers. It will remain up to the viewer and listener to draw the lines between what is lived, and what remains of that experience. This performance presents an opportunity for the audience to challenge any assumptions they have about painting, music and the qualities they share.

PROGRAMME

Johann Sebastian Bach (1685 – 1750),
Suite No. 3 in C major for violoncello solo, BWV 1009, I. Prélude

György Kurtág (1926 – ),
PilinszkyJános: Gérard de Nerval: Largamente

J. S. Bach, Suite No. 3 in C major for violoncello solo, BWV 1009, II. Allemande

G. Kurtág, Jelek II Op.5b, II. Giusto, vivo

J. S. Bach, Suite No. 3 in C major for violoncello solo, BWV 1009, III. Courante

G. Kurtág, Jelek II Op.5b, I. Agitato

J. S. Bach, Suite No. 3 in C major for violoncello solo, BWV 1009, IV. Sarabande

G. Kurtág, Az hit: Parlando, rubato, con slancio

S. Bach, Suite No. 3 in C major for violoncello solo, BWV 1009, V. Bourrée I & II

G. Kurtág, Árnyak: Presto

J. S. Bach, Suite No. 3 in C major for violoncello solo, BWV 1009, VI. Gigue

Henri Dutilleux (1916 – 2013), Trois strophes sur le nom de Sacher

Benjamin Britten (1913 –1976), Cello Suite No. 3, Op. 87

I. Introduzione: Lento
II. Marcia: Allegro
III. Canto: Con moto
IV. Barcarolla: Lento
V. Dialogo: Allegretto
VI. Fuga: Andante espressivo
VII. Recitativo: Fantastico
VIII. Moto perpetuo: Presto
IX. Passacaglia: Lento solenne

Jean-Guihen Queyras, violoncello
Jérémie Queyras, painter

Based on the namesake novel of the 2nd-century writer Longus, Daphnis and Chloe was written and directed in 1930 by the poet and early film pioneer Orestis Laskos. All actors, including the protagonists – Greek-American dancer Loucy Matli and Apollon Marsyas (pseudonym of the later photographer Edison Vichos) – were amateurs. The film is sometimes considered to be the first European film containing nude scenes, causing notable reaction at the time of its release in 1931.

Set on the island of Lesbos, Daphnis and Chloe is a story of sexual awakening between a boy and a girl, each of whom were abandoned at birth. A goatherd named Lamon discovers Daphnis, and a shepherd called Dryas finds Chloe. Each decides to raise the child he finds as his own. Daphnis and Chloe grow up together, herding the flocks for their foster parents and eventually falling in love. Only after facing many obstacles and challenges do they eventually succeed in fulfilling their desire.

The film remains quite faithful to the ancient work. It was shot on the island of Lesbos and at the Lake Vouliagmeni. The original copy and the negative of the film were lost for many years. However, after a copy was found in the USA, the film was restored by the Greek Film Archive with the collaboration of its director in 1992.

The original music by Arionas Gyftakis will accompany the bucolic mood and spirit of the film through its harmony, rhythm and improvisation. At the same time, it will intertwine into an aesthetic dialog with the cinematic work by Laskos. With influences from musicians like Steve Lacy, Alban Berg, Sam Rivers and Paul Bley, the music will follow the sexual awakening, anxiety and despair of the two lovers, and offers a fresh concept of moving image accompaniment.

Arionas Gyftakis Jazz Trio

Gabriele Milozzi, alto and soprano saxophones
Arionas Gyftakis, double bass and piano
Anastasis Gouliaris, percussion und vibraphone

The screening is in co-production with the Filmhouse – New Film Club of Kalamata and the Greek Film Archive.

With Greek intertitles and English subtitles.

Ludwig van Beethoven (1770 – 1827), Piano Trio Op. 1 No. 1 in E-flat major

I. Allegro
II. Adagio cantabile
III. Allegro assai
IV. Finale. Presto

Dmitri Shostakovich (1906 – 1975), Piano Trio No. 2 Op. 67 in E minor

I. Andante
II. Allegro con brio
III. Largo
IV. Allegretto

Alexia Mouza, piano
Felix Froschhammer, violin
Indira Rahmatulla, violoncello