Yannis Ioannidis: Chamber music I
Born in 1964 in Donaueschingen in the South of Germany, she is mostly known through her solo and chamber music repertoire. She has been particularly active in the field of contemporary music, having worked with the German ensembles “Vivier Triο” and “Ensemble Köln”. Her interest in modern musical creation has brought her in contact with a large number of composers like Clarence Barlow, Walter Zimmermann, Tom Johnson, Chris Newman and James Tenney. In 1992-93 she was invited to Basel, Switzerland, as resident performer at the studio of electroacoustic music at the Music Academy. Her activities there were focused οn the combination of modern technological media with live interactive performance. Since 1993 she has been settled in Athens. She has done many first performances of works for the flute by modern Greek composers. She is a founder member and co-director of the ensemble ACTIS, which specializes in the performance of contemporary music. In the period 1996-98 she was a permanent member of the Orchestra of the Friends of Music “Camerata” in Athens. She is a permanent collaborator of the Institute for Research on Music and Acoustics, IRMA.
Born in Athens, she studied the piano at the Greek National Conservatory, at the Έcole Normale de Musique de Paris and at the USC School of Music in America. Along with her musical studies she also studied French Literature at the Sorbonne University. Α pupil of M-F. Bucquet, Chara Iacovidou has more recently been working with Alfred Brendel. She performs as a solist in many European countries as well as in the USA. She participates in Musical Festivals such as Cambridge and Metz. She is an active chamber musician and has played with the Orchestra of the Friends of Music “Camerata” in Athens, and the USC Symphony Orchestra in Los Angeles. She has often recorded for the Greek Radio. While in her repertoire Schubert and the Viennese Classicism stand prominently, she is also very interested in contemporary music and she often performs new works by Greek composers. Her Schubert/Ravel CD which was released in France in 1997 by Lyrinx/Harmonia Mundi, was highly praised by the critique. Chara Iacovidou is a laureate of the Athens Academy and of the Natexis Foundation in Paris.
He was born in Iraklion, Crete. He studied with N. Froudarakis, V. Boudounis, M. Hadjidakis, L. Brouwer, A. Carlevaro, O. Ghilia and R. Aussel. He is a gold medalist and first prize winner at his Diploma at the Atheneum. He appears as a soloist with renowned orchestras and in international festivals. In 1988 he was a greek representative at the “Mediterranean meeting” in Maiori Italy, as well as at the “Festival of Palermo” in Sicily and “Greece in Britain” in London. He cooperates with important greek interpreters and he helps to widen the range of the guitar repertoire through his collaboration with first rate composers. He was the first to present the sum of the works of M. Hadjidakis – where the guitar has a central role. A number of works have been written and dedicated to him from M. Hadjidakis. ( his one and only piece for solo guitar), N. Mamangakis. Th. Antoniou, T. Koumendakis, N. Kypourgos and V.Boudounis. Discograply: a) “A Small Reference to Manos Hadjidakis” (Sirius 1996), his first personal recording with works for solo guitar dedicated to M. Hadjidakis (with very positive reviews in the British Journal “Classical Guitar), b) “Dream for Two” (Lyra 1996) together with Stella Gadedi in the work “Dialogues” of Th. Antoniou.
About two years ago Katrin Zenz asked me if I would give her one of my pieces for flute-to incorporate in a. C.D. she was considering to record. I then told her that, in order to avoid congestions, I would prefer the production of a C.D. with a series of my works exclusively. I was very pleased to see that she agreed and thus this C.D. was made.
With respect to the pieces, in this collection I would say the following:
The first, “Fragment Ι” (1971) for solo flute, was written on request of Aurèle Nicolet, who incorporated it in his collection “Studien zum Spielen Neuer Musik” of the Edition Gerig- Köln.
The “Capriccio in D#” (1995) for flute and piano, was composed as a concession to the general complain and mourning for “the loss of the tonal centre”.
About the piece “Preludio – Aria – Finale” (1991), for flute and guitar, I have nothing further to say, beyond its title.
The work “Fasma” [=”spectrum”] (1978) for flute and piano, represent a type of “rèverie” which indeed covers a wide spectrum (hence the title) of expressive and idiomatic areas.
The “Allegretto”, (1993) for flute and piano, was written for the young flutist Allegri Voulgaraki, who also realized its first performance.
About the “Scherzo- Notturno” (1995), again for flute and piano, I would like to repeat what was written as a programme note, when it was first performed: “This piece, represents a taunting review of the actual musical horizon in our country, and as mixture of church-folk-and light popular music, offers a tasty “decoction of roots”.
The “6 Monologues” (1993-96) for solo flute, are like comments (“to myself”) about various things I see around- a fact that explains somehow their saddened mood.
About the last piece now, “A-ve” (1992) for flute and piano, there I have something to say : I have incorporated in it the remembrance of the singing of a bird from Venezuela- a country which at one time was for me a “second homeland”. This bird is the “Hormiguero Mazamorero”, and his cry -like a cry of despair- is a spectacular rising in a chromatic glissando of a long, seemingly endless, series of persistent, resounding tones. The word “ave” means “bird” in Spanish but in the form: A-ve, could have also the meaning of a dedication to Venezuela (“A-Venezuela)”.