This column begins with an introduction. A double introduction, if you will. First, I find it essential to introduce myself, the author, and my connection to the subject of these texts, for those unfamiliar with my work. Then, an overview of what’s to come in these writings: why, how, when?
I am a pianist, a fortunate one – as you will see. After the conservatory, I studied at three music academies abroad, in three different languages. I first seriously engaged with contemporary music as an undergraduate student, and even more thoroughly as a doctoral candidate. There, I endeavored to uncover hidden aspects of contemporary Greek creation. Returning to Athens in 2009, an audition for the Ergon Ensemble took place shortly after. I attended the audition, secured one of the two pianist positions, and have been professionally involved with contemporary music ever since. Since 2022, I have been teaching contemporary piano to piano students at the Musikene music academy in San Sebastián, Spain.
Over these years, I have learned to love and respect contemporary music, and I frequently perform its works. This, of course, does not mean I like everything that is written at any given moment. The great advantage of so-called contemporary music is that the term does not refer to a specific musical style, like classicism or romanticism. Even more so than in those eras, contemporary music encompasses many styles (or genres, if you prefer) of composition; it has not been molded into fixed forms and is rather difficult to categorize. Fortunately! The avant-garde broke free from the past – which certainly had historical reasons (such as World War II) – but subsequent generations either bypassed this rupture, covering it with new systems, or built upon the principles of the past (harmony, melody, form, etc.).
The three main problems of contemporary music: the sheer volume of music being “written” at any given moment is certainly much greater than in the past. Furthermore, there is an immediacy in time, so much so that it is impossible for works to be filtered over time. Finally, there is no geographical distance. Once, you had to travel to hear works live – a laborious task, or at least leave your home! Later there were records (cassettes, CDs, etc.), few at first, but accessible through physical searching. Now, with the internet, you can listen to anything you want, almost anywhere on the planet. And if something isn’t there, you’re unlikely to go to the trouble of further searching…
This series of texts we are launching is aimed precisely at anyone with the daring and curiosity to explore contemporary music: for music lovers, but also professionals who want to learn more about it. It is less aimed at the musician deeply involved in contemporary creation, as it is not a product of research. It is a perspective based on personal aesthetics, my own taste, and less on the choices of others. Finally, not all works presented will belong to the contemporary era in the literal sense of the term.
* Manolis Kalomiris (1883-1962)
