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BESIEGED, BUT FREE
INVOCATION
Poem by Dionysios Solomos
1926


Orchestra: 4 3 3 3 – 4 3 3 1 – Timpani, Percussion, Harp, Strings

Duration: 5’

First Performance: 23 April 1926
Kentrikon Theatre, Athens
The Army Band and the Choir of the Hellenic Conservatory
Conducted by Dionysios Lavrangas
Soloist: Fotini Skaramanga [dramatic soprano]

Publication: Unpublished.

The Invocation from Besieged, But Free, for dramatic soprano, choir and orchestra was composed in Hania, Crete, in 1926, while the composer was there on an inspection tour of the Army Bands. The work was to be entered in a music competition announced by the Greek Army Ministry observing the Centennial of the Fall of Missolonghi in 1826, according to information given by the composer himself and also mentioned in the press at the time. The score was not found among the composer’s manuscripts after his death. In 1990, the head of the music library of the State Conservatory of Greece in Thessaloniki, Aris Basmadelis, accidentally discovered the material of the work (copied score and parts).
[Note by Fivos Anoyanakis]


Besieged but Free, lit. “The free besieged” (E eleftheri Poliorkimeni), title of a celebrated poem by Dionysios Solomos [Link], referring to the inhabitants of Missolonghi during the second siege of the city (1825 – 1826) by the Turks, during the War of Independence. The Missolonghians became famous for their heroic “sortie” leading them as refugees to the Ionian Islands. The English poet and philhellene Lord Byron, who came to assist in the defence of the city, died there 19 April 1824. [Link]


Solomos, Dionysios Count (1798 – 1857), one of the first Greek poets who, by his decision to write in the demotic, helped to elevate the spoken language of the people to literary heights. His passionate artistic response to the cause of “Greek freedom” inspired him to write the Hymn to Freedom, which later became the National Anthem of Greece having been set to music by Nikolaos Mantzaros.
[Notes by Maria Voelker-Kamarinea]

ΟΡERΑS

THE MASTER BUILDER
Ο Πρωτομάστορας

THE MOTHER'S RING
Το δαχτυλίδι της Μάνας

SUNRISE
Ανατολή

THE SHADOWY WATERS
Ξωτικά νερά

KONSTANDINOS PALEOLOGOS
(The Fall of Constantinople)

Κωνσταντίνος ο Παλαιολόγος (Πήραν την Πόλη)

WORKS FOR VOICE AND ORCHESTRA

MAGIC HERBS
IAMBS AND ANAPAESTS - PART II
Μαγιοβότανα

THE PEDDLER
Ο Πραματευτής

I LOVE YOU
IAMBS AND ANAPAESTS - PART I
Σ’ αγαπώ

SONGS OF SIKELIANOS
Τραγούδια του Σικελιανού

FIVE SONGS FROM
THE FOURTH BOOK OF

THE CITY AND THE SOLITUDE
Πέντε τραγούδια από το τέταρτο βιβλίο Της πολιτείας και της μοναξιάς

THE TWO TOWNCRIERS
Οι δυο διαλαλητάδες

THE CURSE
Η κατάρα

“HAIDE HOURDE”
Χάιντε Χούρδε

WORKS FOR SOLO PIANO

ORIENTAL PAINTING
Ανατολική ζωγραφιά

THREE BALLADS
Τρεις μπαλάντες

NOCTURNE
Νυχτιάτικο

PATINADA
Πατινάδα

TWO RHAPSODIES
Δύο ραψωδίες

PRELUDES FOR PIANO
Πρελούδια για πιάνο

THE DEATH OF THE VALIANT WOMAN
Ο θάνατος της Αντρειωμένης

ΙΝΤΕΡΜΕΖΖΟ (from the opera SUNRISE)
Ιντερμέδιο (από την όπερα Ανατολή)

PRELUDE (from the MAGIC HERBS)
Πρελούδιο (από τα Μαγιοβότανα)

WORKS FOR TWO PIANOS

PRELUDE AND FUGUE
Πρελούδιο και φούγκα

ROMEIKI SUITE
Ρωμέικη σουίτα

SYMPHONY No. 3, “PALAMIKI” – Third part
Συμφωνία αρ.3 «Παλαμική» – Τρίτο μέρος

MINAS THE REBEL - CORSAIR OF THE AEGEAN
Μηνάς ο Ρέμπελος – Κουρσάρος στο Αιγαίο

PEDAGOGICAL WORKS FOR PIANO

FOR THE GREEK CHILDREN
Για τα ελληνόπουλα

FIRST PIANO LESSONS
Τα πρώτα μαθήματα για πιάνο

INCIDENTAL MUSIC

MUSIC AND MELODRAMA FOR “STELLA VIOLANTI”
Στέλλα Βιολλάντη – Μουσική και Μελόδραμα

SABBATH OF SOULS
Ψυχοσάββατο

PARGA
Η Πάργα

MACBETH
Μάκβεθ

THE SHEPHERDESS’ LOVER
Ο αγαπητικός της βοσκοπούλας

MUSICO-PEDAGOGICAL WORKS

ELEMENTARY THEORY
Στοιχειώδης θεωρία

VOCALISE – ÉTUDE

HARMONY
Αρμονία

MUSICAL FORMS
Μουσική μορφολογία

INSTRUMENTATION
Οργανογνωσία

FIRST PIANO LESSONS
Τα πρώτα μαθήματα για πιάνο

LESSONS IN MUSIC
Μαθήματα μουσικής

MELODIC EXERCISES
Μελωδικαί ασκήσεις

RHYTHMIC EXERCISES
Ρυθμικαί ασκήσεις

HARMONY EXERCISES
Θέματα αρμονίας

WORKS NOT LISTED IN THE MAIN BODY OF THE CATALOGUE
Έργα που δεν αναφέρονται στο κυρίως σώμα του Καταλόγου