CD 1 
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CD 2 
http://rapidshare.com/files/34474752/Manos_Hadjidakis_at_the_Roman_Agora_CD_2.rar 

The texts are here 

http://rapidshare.com/files/34621097/Manos_Hadjidakis_at_Roman_Agora_Texts.rar 


 


http://rapidshare.com/files/40421819/The_best_collection_of_Manos_Hajidakis.rar 





( October 23, 1925–June 15, 1994) was one of the greatest Greek music composers.He was born in Xanthi, Greece. In 1961 he received an Academy Award in the category of Best Music, for his Song Never on Sunday from the film of the same name. He is widely popular among Greeks and can be credited with the introduction of bouzouki music into mainstream culture. His very first work was the tune for the song Paper Moon (Hartino to Fengaraki), from Tennessee Williams' A Streetcar Named Desire staged by Karolos Koun's Art Theatre of Athens, a collaboration which continued for 15 years. 

His first piano piece, "For a Small White Seashell" (Gia Mia Mikri Lefki Ahivada) came out in 1947 and in 1948 he shook the musical establishment by delivering his legendary lecture on rembetika, the urban folk songs that flourished in Greek cities, mainly Piraeus, after the Asia Minor refugee influx in 1922 and until then had heavy underworld and cannabis use connections and were consequently looked down upon. Hadjidakis focused on the economy of expression, the deep traditional roots and the genuineness of emotion displayed in rembetika, and exalted the likes of composers like Markos Vamvakaris and Vassilis Tsitsanis. Putting theory to practice, he adapted classical rembetika on his 1951 piano work Six Folklore Paintings (Exi Laikes Zografies), which was later also presented as a folk ballet. At this point he started pursuing a double-track career of sorts, writing immensely popular "pop" songs and movie soundtracks, alongside more serious works, such as 1954's The C.N.S. Cycle (O Kyklos tou C.N.S.), a song cycle for piano and voice recalling the German lied in its form, if not in style. 

In 1955 he wrote the score for Michael Cacoyannis' film Stella, with actress Melina Mercouri, a close friend of his, singing the movie's trademark song "Love that became a double-edged sword" (Agapi pou 'gines dikopo mahairi). Hadjidakis always maintained that he wrote his serious pieces for himself and his less serious ones to make a living: nevertheless his melodic talent was so abundant that one can hardly distinguish a quality gradient between the two. 

In 1959, Hadjidakis met Nana Mouskouri, his first "ideal interpreter", a shy but superbly skilled vocalist who shaped the sounds of his music with her uniquely beautiful voice. It was 1960 that brought him international success, as his score for Jules Dassin's film Never on Sunday (Pote tin Kyriaki) won him an Academy Award, with The Lads from Piraeus (Ta Paidia tou Peiraia) becoming a huge worldwide hit. In 1962, he produced the musical 'Dream Street (Odos Oneiron) and completed his score for Aristophanes' Birds (Ornithes), another Art Theater production which caused an uproar because of Karolos Koun's revolutionary direction. The score was also used later by Maurice Béjart's 20th Century Ballets. He also wrote the music for a song which Arthur Altman added English lyrics to and gave to Brenda Lee. The song was "All Alone Am I".

 In 1965, his LP "Το Χαμόγελο της Τζιοκόντας" (Gioconda's Smile) was released on Minos-EMI. In 2004, it was re-released, digitally remastered as an audiophile LP and a CD in the EMI Classics collection. In 1966 he travelled to New York for the premiere of Ilya Darling, a Broadway musical based on "Never on Sunday" and starring Melina Merkouri. He did not return to Greece until 1972, mostly because of opposition to Greece's military dictatorship. While in America he completed several more major compositions, including Rhythmology (Rythmologia) for solo piano, his famous orchestral compilation Gioconda's Smile (produced by none other than Quincy Jones), and the pinnacle of his musical achievement, the song cycle Magnus Eroticus (Megalos Erotikos), in which he used ancient (Sappho, Euripides), medieval (stanzas from folk songs and George Hortatzis' romance Erophile) and modern (Dionysios Solomos, Constantine Cavafy, Odysseus Elytis, Nikos Gkatsos, Myrtiotissa, George Sarantaris) Greek poems, as well as an excerpt from the Old Testament book "Wisdom of Solomon". His LP "Reflections" with the New York Rock & Roll Ensemble contained several of his most beautiful songs, either in orchestral form or with English lyrics written by the band - a record that preceded fusion trends by several decades. 

Hadjidakis returned to Greece in 1972 and recorded "Magnus Eroticus" with singer Fleury Dantonaki, an opera-trained dark-toned alto who proved the consummate interpreter of his music, and singer Dimitri Psarianos. Following the junta's overthrow, he became active in public life and assumed a number of positions in the Athens State Orchestra (KOA), National Opera (ELS), and the National Radio (ERT). In 1985 he launched his own record company "Seirios" (Sirius). In 1989 he founded and directed the Orchestra of Colours (Orhistra ton Chromaton), a small symphonic orchestra. He was to assume the role of score composer for his friend Federico Fellini's films, following Nino Rota's death, but the collaboration never materialized because of Hadjidakis' mounting health problems. He died on June 15, 1994, of heart disease and diabetes. 


AUTOBIOGRAPHICAL NOTE 

I was born on 23rd October, 1925, in Xanthi, that quaint old town and not the eyesore that was later developed by migrants from rural areas. The blending, in those days, of a belle époque decorative style with Ottoman minarets gave colour and substance to a community hailing from all corners of the land, and which, incidentally, found itself living in an outlying region, dancing the Charleston in public squares. 

When I first saw the light of day, I was amazed to notice the number of people that awaited my arrival. (Even later on I never ceased to be amazed, as if they were waiting for me to make a late appearance.) My mother was from Adrianople, the daughter or Konstantinos Arvanitidis, and my father from Myrthio, the prefecture of Rethymnon, Crete. I am the offspring of two people who, as far as I know, never cooperated except when they decided to produce me. That is why I have in me thousands of conflicting elements and every kind of mixed blessing. However, my bourgeois conscience, along with my "European tutelage," so to speak, yielded an impressive result. 

Throughout the time we lived in Xanthi, I tried to get to know my parents really well and to do away with my sister! I failed in both instances. In 1932 we moved to Athens, where I could never get over my failure. In the capital I began living and studying, while, at the same time, I became initiated into the erotic and poetic functions of the times. But I received an "Attic education,” when there was still an “Attica” and "Education" in the country. I was deeply influenced by Erotokritos, General Makriyannis, the Fix Brewery, Haralambos, the waiter at Vyzantion, the damp climate of Thessaloniki, and chance encounters with strange people who remained strangers in after years. 

During the period of German occupation, I decided that music lessons were useless, for they had a way of diverting me from my initial objectives, which were to communicate, to convey, and to disappear. That is why I stopped them right after the war. Thus, I never attended a conservatory, and was saved from becoming like those members of the Panhellenic Musical Society. I wrote poems and many songs, and I made every effort to carry my point democratically, something that proved highly beneficial to me when later on I became an official. I avoided at all costs whatever hurt my feeling of love and sensibility. I travelled extensively, and this helped me realize that stupidity is not a Greek exclusivity, as local chauvinists and votaries of nationalism proudly claim and go out of their way to prove. 

In parallel, I found it absolutely essential that people who interested me should speak Greek, because communication in a foreign language proved onerous and tended to negate half of my personality. In 1966 I found myself in America. I lived there for about six years (the years of dictatorship in Greece), purely for tax reasons. It was discovered that I owed the Inland Revenue something like Drs.3.5 million. Having settled my debt, I returned in 1972, and opened a café-theatre, which I named Polytropon. It functioned until the political changeover in 1974, which marked the advent of football mania and the political defusion of the masses. I kept my cool, and refrained from partaking in national and anti-dictatorial dances in gymnasiums and football grounds packed with youths. When I shut up shop, my liabilities were in the region of Drs.3.5 million - a fatal number as far as I was concerned. 

In 1975 began for me a period in the limelight, which, for the purpose of distinguishing it, I shall call “clerical,” and which made me famous among a large and ignorant public - Greek, of course - as an implacable enemy of Greek music, Greek musicians, as well as Greek culture. During this time, and after an abortive heart attack, I strove once again, albeit unsuccessfully, to implement my costly café-theatre ideas on Greek Radio and through the Ministry of Culture by democratic means. Both these organizations, rotten to the core, made a successful stand against me - beat me hollow, as they say. Be that as it may, this period marked the nascence and commanding presence of the Third Programme. The résumé of my life to date is as follows: I shun at fame. It restricts me within its confines and not mine. 

I believe in the song that reveals us and express us deeply, and not the one that humours our naive and forcibly acquired habits. I feel contempt for those whose object is not to receive their ideas and intellectual pursuits; complacent contemporaries; dark and shady journalism; and every form of vulgarity. Thus, I managed to put the finishing touches to my personality, one traumatized in childhood, ending up by selling "lottery tickets in the sky" and inviting the respect of younger people, since I have remained a genuine Greek and a Magnus Eroticus. 

Manos Hadjidakis November 1980 - March 1981

  Manos Hadjidakis (Μάνος Χατζιδάκις) (1925-1994) est né à Xanthi, dans le nord-est de la Grèce. En 1961 il reçut l'Oscar (Academy Award) de la meilleure chanson, pour sa chanson du film Jamais le dimanche de Jules Dassin. Il est, à l'égal de Mikis Theodorakis, extrêmement populaire en Grèce, et on lui doit l'introduction de la musique de bouzouki dans la culture classique. Ses premières œuvres furent des musiques pour des mises en scène de Karolos Koun au théâtre des arts d'Athènes. 

Cette collaboration dura 15 ans. Sa première composition pour le piano, "Pour un petit coquillage blanc" (Gia Mia Mikri Lefki Ahivada) fut publiée en 1947. En 1948, il donna une conférence restée célèbre et qui secoua le monde musical officiel grec, sur le Rebetika. Ce style de chanson populaire florissait dans des villes grecques, surtout au Pirée, autour des réfugiés venus d'Asie Mineure en 1922. Avant cette conférence, il était considéré comme une musique des bas-fonds et méprisé, ses musiciens étant en outre perçus comme consommateurs de cannabis. Hadjidakis mit l'accent sur la simplicité de l'expression, le profond ancrage dans la tradition et la sincérité de l'émotion dans le Rebetika, et loua des compositeurs comme Markos Vamvakaris et Vassilis Tsitsanis. Joignant la théorie et la pratique, il adapta des classiques du Rebetika dans son œuvre pour Piano "Six tableaux folkloriques" (Exi Laikes Zografies), qui fut par la suite monté comme ballet populaire.

 À partir de cette période, il poursuivit une double carrière, composant des chansons populaires et des musiques de film, aussi bien que des œuvres plus sérieuses, comme "Le cycle du C.N.S." (O Kyklos tou C.N.S.) en 1954, un ensemble de de pièces pour voix et piano, rappelant le lied dans leur forme, sinon dans leur style. En 1955, il composa la musique du film "Stella" de Michael Cacoyannis, dont l'actrice Melina Mercouri, une amie proche, interpréta la chanson "L'amour qui est devenu une arme à double tranchant" (Agapi pou 'gines dikopo mahairi). Hadjidakis déclarait écrire ses œuvres sérieuses pour lui-même et les autres comme gagne-pain : cependant son talent mélodique est manifeste dans les deux genres. Hadjidakis rencontra Nana Mouskouri en 1959 et la déclara être son « interprète idéale ». 


Il connut le succès international en 1960, sa musique pour le film de Jules Dassin Jamais le dimanche (Pote tin Kyriaki) obtenant un oscar et la chanson Les Enfants du Pirée (Ta Paidia tou Peiraia) devenant un succès mondial. En 1962, il produisit la comédie musicale "Rue des rêves" (Odos Oneiron) et termina sa partition pour "Les oiseaux" d'Aristophane (Ornithes), une autre production du Théâtre des Arts, qui causa un scandale à cause de la mise en scène révolutionnaire de Karolos Koun. Cette partition fut aussi utilisée plus tard par Maurice Béjart pour son Ballet du XXe siècle. En 1965, son disque "Το Χαμόγελο της Τζιοκόντας" (le Sourire de la Joconde) parut chez Minos-EMI. Il fut republié en 2004, dans la collection EMI Classics. 

En 1966, il partit pour New York pour la première de Ilya Darling, une comédie musicale jouée à Broadway, basée sur "Never on Sunday" avec Melina Merkouri. Il ne reviendra en Grèce qu'en 1972, surtout à cause de son opposition à la dictature militaire. Parmi ses principales compositions de cette période, on peut citer Rhythmologie (Rythmologia) pour piano solo, sa fameuse compilation orchestrale Le Sourire de la Joconde (produit par nul autre que Quincy Jones), et le sommet de son art musical, le cycle de chansons Magnus Eroticus (Megalos Erotikos), pour lequel il utilisa des poèmes grecs anciens (Sappho, Euripide), médiévaux (des strophes de chants populaires et la romance Erophile de George Hortatzis) et modernes (Dionysios Solomos, Constantin Cavafy, Odysseus Elytis, Nikos Gkatsos, Myrtiotissa, George Sarantaris) ansi qu'un extrait du livre "la Sagesse de Salomon" de l'ancien testament. 

Son disque "Reflections" avec le New York Rock & Roll Ensemble contenait plusieurs de ses chansons les plus magnifiques, sous forme orchestrale ou avec des paroles composées par le groupe, et précéda la tendance Fusion de plusieurs décennies. Revenu en Grèce, Hadjidakis enregistra "Magnus Eroticus" avec Fleury Dantonakis, alto venue du monde de l'opéra qui fut sa meilleure interprète, et Dimitri Psarianos. Après la chute de la dictature, il eut un rôle actif dans la vie publique et occupa des postes à l'orchestre de l'état d'Athènes (KOA), à l'opéra national (ELS), et à la radio nationale (Elliniki Radiophonia Tileorassi : ERT). 

En 1976, il fit enregistrer "Ta paraloga" Op. 32 (τα παραλογα)(Les absurdités) sur un texte de Nikos Gkatsos, interprété par Maria Farandouri, Mikis Theodorakis, Dionysis Savopoulos, Melina Mercouri et Ilias Liougos. Angélique Ionatos, invitée au début des années 2000 sur France Musiques, en fit écouter un extrait dont Jean-Michel Damian admira l'orchestration subtile. En 1958, Hadjidakis lança sa propre compagnie d'édition phonographique "Seirios" (Sirius). En 1989, il fonda et dirigea l'Orchestre des couleurs (Orhistra ton Chromaton), un petit orchestre symphonique. 

À la mort de Nino Rota, il aurait dû écrire des musiques pour les films de son ami Federico Fellini, mais à cause de ses propres problèmes de santé cette collaboration ne se réalisa jamais. Il mourut le 15 juin 1994 de diabète et de problèmes cardiaques. 

Œuvres musicales (liste incomplète) 
• "Adoulotoi Sklavoi" - "Esclaves insoumis" (1946) 
• "Kokkinos Vrahos" - "Rocher rouge" (1949) • "Dyo Kosmi" - "Deux mondes" (1949) 
• "Nekri Politeia" - "Ville morte" (1951) 
• "O Grousouzis" - "Le ronchonneur" (1952) 
• "Agni Tou Limaniou" - "Lys du port" (1952) 
• Pote Tin Kyriaki (Ποτέ Την Κυριακή) - "Jamais le dimanche" (1960) 
• Το Χαμόγελο Της Τζιοκόντας - "Le sourire de la Joconde" (1964) 
• "Reflections" (1969) - joué par le New York Rock & Roll Ensemble 
• "Ta paralogia" - "Les absurdités" (1976) 

• Site officiel de Manos Hadjidakis, en grec et en anglais, avec de nombreux extraits audio. 
http://www.hadjidakis.gr/