Mikis Theodorakis: Finding Greece in His Music

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This book (2007) interrogates the construction of modern Greek identity in Theodorakis’ music. After examining the composer’s musical and political life in connection with Greece’s modern history and culture, the author focuses on characteristic works of varying genres − from Axion Esti and The Song of the Dead Brother to Lysistrata – discussing Theodorakis’ unique re-interpretation of modern Greek identity through them, and concludes with the phenomenon of Zorba as the all-encompassing representation of the modern Greek.

In the words of Cornell University professor Gail Holst-Warhaft, this book “is an important contribution to the understanding of Theodorakis’ music, a subject which has been largely neglected by musicologists in his own country, and which deserves to be better known in all its brilliance and abundance by music lovers all over the world”. (From the author’s website: Angelique Mouyi)

Angelique Moyui’s interest for Mikis Theodorakis started already earlier: with her doctoral thesis: “Mikis Theodorakis and the articulation of modern Greek identity”.  This can be read as a PDF document on the website of the University of the Witwatersrand and/or printed.  The book is a short version of her thesis.

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The author: Angelique Mouyi                                                                                  

Angelique Mouyis was born in Johannesburg, South Africa to Greek-Cypriot parents. She graduated with a Masters Degree in Music Composition with distinction at the University of the Witwatersrand and an MFA in Musical Theatre Writing at NYU’s Tisch School of the Arts.

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She is the recipient of a Southern African Music Rights Organisation (SAMRO) post-graduate studies scholarship as well as the prestigious Ernest Oppenheimer Overseas Scholarship for the Performing Arts. In 2003 and 2006, she was selected and funded to attend the New Music Indaba Composition Workshop at the Grahamstown Arts Festival, where several of her compositions were performed. Her songs have been heard at venues such as The Dance Factory in Newtown, Johannesburg, The Zipper Factory and the Bruno Walter Auditorium (Lincoln Centre) in New York, New York, Goodspeed in East Haddam, Connecticut and Barrington Stage Company in Pittsfield, Massachusetts. In 2010, published a book entitled Mikis Theodorakis: Finding Greece in his Music (Kerkyra Publishers, Athens, Greece). Productions include Forget this City (Enthuse Theatre), The Boy Who Never Grows Up (Lee Strasberg Theatre and Film Institute).​ (From her website.)

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Interview: Angelique Mouyi speaks about Mikis Theodorakis                                  

In this interview recorded at this year’s Classical Association conference, the composer, Angelique Mouyis talks with CC’s Anastasia Bakogianni about classical echoes in modern music.

In the first part of the interview Angelique tells us about her own contribution to this on-going dialogue when she was asked to write the music for a contemporary version of Euripides’ Bacchae (2010).

In the second part of the interview you can follow the discussion about Mikis Theodorakis and  “The Ancient Ideal in Contemporary Greek Music”. Angelique talks about her love for the Modern Greek composer and explores his dialogue with the classical past and in particular with Greek Drama. Theodorakis believes that there is a living connection between ancient and modern Greece that finds its purest expression in the medium of music.
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Sources and additional information

 

Updated: 19 November 2015

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About "The Music of Mikis Theodorakis"

The blog "The Music of Mikis Theodorakis" started in 2010. The not-for-profit activities of the initiator were and are to collect, create and publish information about the MUSIC of the Greek composer Mikis Theodorakis via YouTube, Google+, Twitter, and this blog. Sources for this information are utterly strictly related with Mikis Theodorakis' Music only. The icon is a bouzouki. It is Greece's national symbol for freedom. During the Regime of the Colonels (Military Junta, 1967-1974) the bouzouki was forbidden. Mikis Theodorakis used this authentic Greek instrument in almost all his compositions, and Greeks were listening to Theodorakis's music in the underground scene, during the Military Junta time.
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