Unit:
Κατεύθυνση Εκτέλεση/Ερμηνεία της Δυτικής Έντεχνης ΜουσικήςLibrary of the School of Philosophy
Supervisors info:
Ιάκωβος Σταϊνχάουερ, Επίκουρος καθηγητής, Τμήμα Μουσικών Σπουδών, Εθνικό και Καποδιστριακό Πανεπιστήμιο Αθηνών
Νικόλαος Μαλιάρς, Καθηγητής, Τμήμα Μουσικών Σπουδών, Εθνικό και Καποδιστριακό Πανεπιστήμιο Αθηνών
Παύλος Σεργίου, Αναπληρωτής καθηγητής, Τμήμα Μουσικών Σπουδών, Εθνικό και Καποδιστριακό Πανεπιστήμιο Αθηνών
Original Title:
Το βιολί στον 20ο και 21ο αιώνα: ζητήματα αισθητικής, εκτέλεσης και τεχνικής προσέγγισης στο έργο του Θεόδωρου Αντωνίου '24 Caprices for Violin Solo'
Translated title:
The violin in 20th and 21st century: an analysis on aesthetic, performance and technical issues in Theodore's Antoniou '24 Caprices for Violin Solo'
Summary:
Violin is one of the most popular instruments among composers and performers due to his exceptional ability to produce extremely broad varities of sound. It is characterised by a lyrical sound profile which was developed along with the main playing techniques up to the first half of the 20th century. Since the second half of the 20th century and until nowadays the violin’s sound palette faced extended experimantations and new sound and techincal possibilities were added. Following these steps, but having as reference Niccoló's Paganini legendary ’24 Capricci’, the famous Greek composer Theodore Antonio composed his own “24 Caprices for solo violin’’ (2003), which is the piece that is analysed in the current thesis. The whole piece is developed based mostly on the influence of the greek folk music combined with the most complicated classical violin techniques in a manner that suits perfectly on the general principles of a caprice (different parts with frequent changes of style and mood, rythmic liberties, extensions, reductions, inversions and rythmic alterations of the themes, etc.) The violin performer faces extreme and extended technical challenges that usually do not follow the common classic norms. Even when wellknown alternative techniques are presented (f.e. left hand pizzicato, tremolo, chords etc.), they are used in a very elaborate and challenging manner. In advance, travelling between tonality and non tonality (except for some tonal centres) makes it difficult to discuss about pure tonality and, therefore, it is preferred to focus on a free note movement, occasional modality or chromatic tonality, traces of tonality and non tonality. It is, undoubtedly, a set of 24 smaller compositions written in a distinguished personal musical style which has one face on the present and an other on the future, reflecting an aura of internationality.
Main subject category:
Fine arts - Entertainment
Keywords:
Theodore Antoniou, violin, caprice, capricci, contemporary music, new techniques, Athena Gratsouna, Athina Gratsouna
