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“I Dipsa sto Mistra” (“The thirst in Mystras”)
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THIS IS THE LIVE RECORDING OF THE WORLD OPENING NIGHT
“I Dipsa sto Mistra” *
(“The thirst in Mystras”)
symphony
on poetry by Yannis Ritsos.
Composid by Pighi Likoudi
Interpretation by Manolis Mitsias
Recitation by Giannis Fertis
The Camerata Orchestra of the Friends of Music
and 19 more musicians were conducted by Alexandros Myrat
The setting to music of Giannis Ritsos’ poem “I DIPSA STO MISTRA”, was realized within the frame of the celebrations for the 100 years of his birth. It was officially presented for the first time on September 19th 2009 in the “Christos Lambrakis” hall in Athens Concert Hall under the conduct of Alexandros Myrat, and for the second time a year later in the same place, with the same factors.
The poem was written in Mistra, on June 1945, while a new period in the poet’s life has already begun, where he would gradually leave the hardship of the past behind him. At the same year, he gets married to the doctor Garoufallio Georgiadis and a year after, Eri, his beloved and only daughter is born.
The answer to the question why this specific poem was chosen, is easily given a visit to the castle of Morias.
It’s strange but in Mistra one doesn’t feel the same like in other archaeological places. Whenever one visits Mistra, they get lessons beauty from that very place and that very nature that surrounds it.
The place lives. Fermented with the sun and the eternity, the shine and the silence when the time came for it to submit to its destiny, the place conserved this last trophy: Not to remınd of death.
Nature, art, history and tradition are specially matched together with this last bastion of the Byzantine civilization. Mistra was created and prospered between two mourned invasions in Constantinople: the invasion of the Franks in 1204 and the invasion of the Turks in 1453. Confined in its walls, it’s got its own contest. It can’t be compared to anything else. It’s the beginning and the end of a meaning, which managed to be competed before it declined and transferred the Byzantine mentality to the western Renaissance.
Each visit brings you to an absolute identification with the traveling writings of Stratis Mirivilis from Grece, with the title “Taygetos, the male mountain”.
“… There are some landscapes that are interpreted inside us more by music rather than by art or literature. I haven’ t managed yet to define in detail in which way this respond of the lines happens, of the shapes and colours and rhythms and how the interpretation of the optical impressions with acoustical depictions is explained.
It seems that in the mechanism of the five senses there is a musical point of contact, interaction and successiveness, where all the different depictions that come from five different routes meet and compose a unique aesthetic resultant”.
Thus the result was created and is dedicated to all of us.
________________________________________
*“The Thirst in Mystras” is the third and more complete part of the unity
“The Circular Glory” of the greek poet (Romiosyni). It is a deep poem, with dense, intertextual texture, a canvas of ideas, symbolisms and multiple levels of meaning, the discovery of which rewards us generously.
It is a poem illustrating the greek dignity and conveys the timeless sense of trial of the rundown but always proud greek nation throughout the centuries,part if which is also thetrial of the cruelly chased fighters and co-fighters of Ritsos during those Ruthless years of the exile.
The poem is vibrated by the sense of resistance, loneliness, thirst, deprivation, as well as stamina and optimism of the people, feelings expressed sentiently through it setting to music.
“I Dipsa sto Mistra” *
(“The thirst in Mystras”)
symphony
on poetry by Yannis Ritsos.
Composid by Pighi Likoudi
Interpretation by Manolis Mitsias
Recitation by Giannis Fertis
The Camerata Orchestra of the Friends of Music
and 19 more musicians were conducted by Alexandros Myrat
The setting to music of Giannis Ritsos’ poem “I DIPSA STO MISTRA”, was realized within the frame of the celebrations for the 100 years of his birth. It was officially presented for the first time on September 19th 2009 in the “Christos Lambrakis” hall in Athens Concert Hall under the conduct of Alexandros Myrat, and for the second time a year later in the same place, with the same factors.
The poem was written in Mistra, on June 1945, while a new period in the poet’s life has already begun, where he would gradually leave the hardship of the past behind him. At the same year, he gets married to the doctor Garoufallio Georgiadis and a year after, Eri, his beloved and only daughter is born.
The answer to the question why this specific poem was chosen, is easily given a visit to the castle of Morias.
It’s strange but in Mistra one doesn’t feel the same like in other archaeological places. Whenever one visits Mistra, they get lessons beauty from that very place and that very nature that surrounds it.
The place lives. Fermented with the sun and the eternity, the shine and the silence when the time came for it to submit to its destiny, the place conserved this last trophy: Not to remınd of death.
Nature, art, history and tradition are specially matched together with this last bastion of the Byzantine civilization. Mistra was created and prospered between two mourned invasions in Constantinople: the invasion of the Franks in 1204 and the invasion of the Turks in 1453. Confined in its walls, it’s got its own contest. It can’t be compared to anything else. It’s the beginning and the end of a meaning, which managed to be competed before it declined and transferred the Byzantine mentality to the western Renaissance.
Each visit brings you to an absolute identification with the traveling writings of Stratis Mirivilis from Grece, with the title “Taygetos, the male mountain”.
“… There are some landscapes that are interpreted inside us more by music rather than by art or literature. I haven’ t managed yet to define in detail in which way this respond of the lines happens, of the shapes and colours and rhythms and how the interpretation of the optical impressions with acoustical depictions is explained.
It seems that in the mechanism of the five senses there is a musical point of contact, interaction and successiveness, where all the different depictions that come from five different routes meet and compose a unique aesthetic resultant”.
Thus the result was created and is dedicated to all of us.
________________________________________
*“The Thirst in Mystras” is the third and more complete part of the unity
“The Circular Glory” of the greek poet (Romiosyni). It is a deep poem, with dense, intertextual texture, a canvas of ideas, symbolisms and multiple levels of meaning, the discovery of which rewards us generously.
It is a poem illustrating the greek dignity and conveys the timeless sense of trial of the rundown but always proud greek nation throughout the centuries,part if which is also thetrial of the cruelly chased fighters and co-fighters of Ritsos during those Ruthless years of the exile.
The poem is vibrated by the sense of resistance, loneliness, thirst, deprivation, as well as stamina and optimism of the people, feelings expressed sentiently through it setting to music.