Symphony No.1 "Proti Simfonia" - Mikis Theodorakis

St. Petersburg State Capella Symphony Orchestra conducted by Mikis Theodorakis

I - Allegro - Andante - Allegro: 0:00
II - Andante - Più mosso - Andante: 14:14
III - Allegro moderato - Adagio - Allegro: 24:06

The First Symphony of Mikis Theodorakis was written between 1948 and 1954, in the middle of the turbulent and bloody Greek Civil War. Previously, the composer had enrolled in the ELAS (Greek People's Liberation Army) being involved in the Dekemvriana (December events). For these reasons, Theodorakis was arrested, sent into exile on the island of Icaria and then deported to the island of Makronisos, where he was tortured and twice buried alive. During the periods when he was not obliged to hide, not exiled or jailed, he studied from 1943 to 1950 at the Athens Conservatoire under Filoktitis Economidis.

In 1950, he finished his studies and took his last two exams "with flying colours". He went to Crete, where he became the "head of the Chania Music School" and founded his first orchestra. The Symphony was finished the same year Theodorakis went to Paris to continue studing, ending what he called the first period of his musical writing. The second and last movements were written and dedicated to the composer's friend and comrade Vassilis Zannos, a promising musician that had executed by the regime, being originally titled "Elegy and Lament for Vassilis Zannos".

The first movement is written in a close way to sonata form. It opens with a chromatic ascending motif, full of tension and dissonance. Over this basic motif, a turbulent and anguished main theme is presented by the orchestra. The theme is briefly developed, with a marcial motif and also a false fugal beginning. A lyrical, oriental-like theme is presented by the oboe over the support of the strings, then it is reexposed in different woodwind instruments. The development return to the dramatic impulse of the main theme, combined with exotic oriental motifs from the second one. After a great climax, enhanced by the brass and snare drum, the main theme is recapitulated. After a new climax, a calm section comes with the woodwinds as soloists, the marcial motif is presented again. Finally, the music crashes with a series of very dissonant chords. The oriental theme is recapitulated with deep lyricism and passion, ending calmly.

The second movement is written in a ternary form with introduction. It begins with a dark, oppressive introduction, featuring a dialogue between the violin and oboe. The orchestra presents a main theme of exotic flavour. Then, the lyrism fades away as a contrasting section is presented, with the introduction of the piano, transforming the music into a somber march. The warm main theme is recapitulated extensively with a oboe solo, before ending calmly on a violin pedal.

The third movement is written in a very free form (divided into three big sections). It opens with an big bang, followed by the introduction of a strongly willful and energetic theme, with blows of the snare drum. The music builds up, culminating in a powerful climax. Then comes a dissonant and marcial section, with percussive effects and fanfares from the brass. The main theme is developed, becoming more impetuous and violent as it becomes more and more marcial. The development culminates with a messy climax in fortissimo. Then, the woodwinds proceed to perform several solos. An afflictive but majestic theme is presented by the orchestra, elevating in a great climax. A horn call starts the recapitulation of the main theme and contrasting section. The music culminates in a new explosive climax. Finally, the work ends with a dissonant and marcial explosion.

As we can hear, the work is very dramatic and marcial in style, being in tone with the historical and personal contexts of the composer in the middle of a turbulent Greek Civil War. At times, we can appreciate the influence of Shostakovich and traditional Greek music, towards which the composer would go back, looking for his musical roots after his education in Paris in the decade of 1960. Theodorakis would leave the genre of the Symphony for a long time, not showing any interest in it until the Second Symphony of 1982, with a completely different style and approach to the genre than in this rather ortodox work.

Picture: "Vicious Circle" (1895-7) by the Polish painter Jacek Malczewski.

Historical source: https://en.wikipedia.org/wiki/Mikis_T... musical and analysis done by myself