19th-Century Salon Music from the Balkans

de Nicolae Gheorghiță (editor)

Partitură apărută în cadrul proiectului UNMB „Centre for Nineteenth-Century Music Studies” finanțat de Fondul de dezvoltare instituțională: CNFIS-FDI-2020-0067.

ISBN/ISSN: 978-606-659-124-9
An de publicare:
Tipul lucrării: Carte
Nr. de pagini: 215
ISMN: 979-0-707661-18-5
Format: 25/35.3 cm


Musical salons were a typical feature of the overall Westernizing and Europeanizing trend of Greek culture after the foundation of the Greek state in 1830 – a trend that reflected Greece’s desire to leave behind its identity from the previous Ottoman rule. Making up for lost time and falling into line with European ways was felt as an imperative need, with all eyes turning towards the West. A new, bourgeois lifestyle was thus adopted, and most Greek salons of the 19th century followed the fashion of the European salons of the same period. This included Italian opera excerpts and light dance music as the key repertoire; the piano as a bourgeois status symbol and the relative prominence of women. Musical literacy and the ability to play a musical instrument was considered a high social privilege and, therefore, the possession of a piano was an indication of wealth, prestige and, for the unmarried daughters of the upper class, an important addition to their dowry. (Avra XEPAPADAKOU & Alexandros CHARKİOLAKİS)

At the beginning of the century, fanfares of the Western European type replaced the Turkish mehterhané in the courts of Wallachian princes. Conductors busy with putting together a new repertoire (often with a national imprint and folk-inspired), would present such fanfares on both festive military and civil occasions (balls, for example); protagonists of musical evenings at court, they would also perform in public concerts or theatre shows where vaudeville and operetta prevailed. Capellmeisters would write orchestral music which they would then “recycle” as arrangements for piano, guitar, flute or other instruments, mostly destined for amateur use. Local salon music was thus born, and we are acquainted with its early period (the first half of the 19th century) through manuscripts and printed notes for amateur pianists. (Haiganuș PREDA-SCHIMEK)