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H andkAion and Touc Kavoves mou Biériouv Th ta 4 Thy GAAn Houauh wopgr pnopel va éxet BeriKd Hf apvntIKG antoTek{oaTa KaL GUTS quOKd e€apraral, Kard peydo 6a86, and Tm peyaAUTepn r wikpStepn, akia Tou ouv8érn nou emyer- pel autt tv andwhvon. ‘Eva rok yrwoté napaSeryya anotehei n $n Suuowvia tou Beethoven ‘drtou 7 diedpuvon Tou TeAguTaioU WEpoUG YE TH CUNPETOXT TNS XOOWBiag Ka TwY payout Otcav-cohior Epepe anotéhcquata 1600 npopav} nou motedouue OT1de yperdZetai va Ta Oxo" aooupe. Ganpénei ed va napamnpiooupe dt1n Moppohayia cay KAdBo¢ Tc poULre emuaTH ENC elvai wdAAov véo. Apyitel va avantWoveta: Katd To 180 audva, Kuping orn Fepyavia, ‘Eva mpwtapyiKd otoixelo oth ouyxpdrnan Ka8e yououmtic pSpuac elvat autd tne evoTn- Tas, Kai Bev npéxerrai yia KGti MoU agopd ydvo Tig pouTKKEs gépyes. ANd my ahAN UEpid Ouwe efioou cnOUBaIo pdho naiZei kai to atoixeio He avTiBean¢ Kat TNC NoIKIAlag. “Etat AOL dy He Ty \Gopponia Tov avriBeTav croxxeiwy ~icopponia nou Ba Tv eEacpaAice’ n ueyaho- guia Tou ouvBErn- 8a xTioTe! TO LoUENKS OIKOBSNWa nou Ba ueTaddaei oto SéKTn-aKpoaTA Ta pnvipata Tou nopnol-cuvBétn.10 a Mmopodue va Bioxpivoupe £& BacwKés poppies: a) Aepig nopon, 8) Toepric yoo, . y) ZuvBer Suepric f $6pua aovara, 3} Povto. €)MlapadAayés. ot) @ouyKa ay ‘Oucixd ynopaby va yivouv nohAol ouvoUaSNOL TwW NponYOULEvwv Snproupywvtag eto iio Leyahn nomidia Véwr popeoRoyiKawy Tuna. HXOZ 0 Fyoe amoreAel to BaoiK6 UAKA ya THY KaTOOKEUM KABe LoUOKOU Epyou. Kau xoc Elvan BéBaia ond/ynote npoKaAel To aicBnNA THE aKOrS. Xwlg va emGupoUpe vo UNEWEABoUnE ce aie @ eMUOTHPOVIKES avadopEc OXETIKG Ue TO BELA AUTO Ga MpEnel va nod ye dt UNdpXoUY EUXGoI- ott? TOI Kai SuSdPETO! FXOL, UOUMIKO! FXOI Kal BopuBor, av Kal OTN VedTEpN ToUAdyioTOV Mepio50 Ta. dpia PeTakU Tous dev eival Toco CadH NAgov agod n OUyXpOvN poUTIKA xonoILONOLel yOu ’ TOU 96 NaalGTepes enoyés 8a BewpoUvTay anapddextor, Ev ndget nepirtéael, ta KUpia XapAXTHPIOTIKG TOU Xow Eival To Lyos (OEATNTA), n Bidp- eid, 1) éVTAON Kal r xpOLd (NKOXPUL). Ze onovodiinore 6i6Alo Ouows}e (AKouCTIKAC) unopel va Bpet Kavelg GxETiKés AerrtouE~ pales, Eliele ywig va SéAoupe va Eenepdcouye ta dpia autou Tou Bi@Aiou Ba avapepoupe us ouvtoula ta napaKdrw: “Hyog yeviKd napdyetai éaw Kénovo avrikeljjevo dovelrat, ondte o1 Bovijaeig auTEG TIPO- aAOUY NXNTIKG KipioTa Nou @TdvouV ato auTi Tou axpoaTh (aTn LENBpdvN Tou akoUGTIKOL tupnavou). ~ “Yoc, Efaptarai and tov api8ud twv Sovficewv om wovdda tou xodvou. Meyahitepog apiduds Sovfjoswy weap pdzerai ge aLTEpO FXO, vw LKBOTEpOE apIBLdg Ce BapLtepo. Ga noéne! £8) va onuewOei dri to avBpdrivo auti Sev unopel va oUNAgBer Fyxouc onoiagdinote ofl Tytoe, 'HyoLoFtepo1 and auToUc nou axoueLo dvBpumac ovoUdZovrat UNEpnyot (Avw twy | 20.000 Hz) evi 01 Bapéreporané tous avtknnTods Aéyortat Urényot (dru Tw 16 He), BEBaIG | 2 opta aur dev sivat andauta | diGpxcia, 'Oc0 nepicodétepo ouvexiget va uplotatal to aitio nov npoKahel tov rhxo, 1600 yeyahitepn elvat n SidpKeid tou. ‘Evragn, Onuc elnape rio nav, Axes Ga undpxe: drav éva ody apyifei va Sovetrar Ady Groves aiting. To TAdTOG Twy MaAUV auTdY TwV ovfeewv Elval oUvéTEIM THe SUvayNg NOU | mpoxahei 1m 56vnon. Erot peyahttspo mAdTo¢ Sovrigewy npoKaAel Suvardtepe xo ev avri- ‘Beto. wIKDOTEPO MAdTOg Eye1 OAV aNOFEhEOLA XO Tho oLyavd. | Kpond. KaSévac wag éxei Ty ixavorTa va avTIAnpBel av o fXOg nou akattel Npoépyerat ond gaa aB4p0. and éva mavo, and éva TUyTavo, and wa yuvarKela pave Kar. Auté oupBaiver saBtvag am auToug Toug Axoug éxet Stagoperixr) xpoid. ‘Apa Aoindv xpotd elvat to1 Yopaxmnpiowiké exeivo Tou AxOU MoU pag enitpénet vO avTiAnGBodpE na1a eival n NXoyovos my. To qaivoyevo aur6 eivai apKeTa MOAUTAOKo Kat £xet oxéon we TO EFF yeyOOE: Otay nal- Coupe pia voTa oto mavo nx, exTdC and To BepEAiddn Fxo Tov Ba akotiooupE Ba napayGouv Kal Ot AeYOUEVOL appoviKol, aXAG Bé8a.a oe MOAN [iKpOTEON évEaCN and To BeweAudSN oF TpA- To nou Hévo éva iGiaitepa efaoKNuévo auTi, Kai ge opioUEvEC RepITT@DEIG, va éxet Tn SuvaTd- TTA va GUAAGBEL Kéno.oUG an’ aUToUS, ANG Tv Unapén Kat TO CUVOUAGHO GUTIDV axpIBAiC THY ApWOVIKwy EEapTATAL N xpo1d Tou HOU KdBE nxoydvou oupaTos. = KYPIA MOPOOAOTIKA STOIXEIA Tw npoywphooupe omy e€éra0n Twr Siapépwv yousrkiov wopgav Ba npénes va. avagep- Bouye c€ opiopéver Bose évvowes Ts Mopgodoyiac. Mori6o. Eivai éva wikpd, auBunapxto cuvoko ané Blo H nepioodtepec vétEC Le puBuIKd al (f) HEAWEIKG YapaKENpLOTIKA Dopadeiyua 1, (Beethoven: Zovata yia mavo op. 10 no. 1). Nodxerai haméy, via 17 uixpétepq Suva} unoBiaipson xaré thy avdAuen evag pouat- Kad épyou. @a npénei va éxoune undyn pac drt 0 npoaBiopioube tou yoridou Bev eivaindvrore thoo edkohog, Eto enbueve napdberyua and tm Supuvia ap. 40 tou Mozart 8a popoboaye va Bei prieouye oav porido cite ta(1, 2,3, khn) eire ta (a, 6 y, KAn). Mapdderyua 2. (Mozart: upewvia ap. 40).Fe porige anotehei To ooiKd uAIKe nave oto onoio Ba BepehiwGel ro yrioyo pag HOUT see oivGeome. Kara ouvéneia 6a npénet va yet TH eveAia nou Ba Bdoei oto auveéTh TH Sevarétyta v avantdEsi napanépa Tis (Sees TOU. Eto, popel va. uNdpXouV GdAoTE puBpIKES ean GAAOTE pehwbiKés Siagoporosjaeic TOU LotiBou H aKdya Kat o: Bo TaUTOxpova. ANAGH, wmopodpe va Exoupe To Gaivopevo THg HeyéBuVONG, Tg Opikpuvon, THE avTICTPOgTG, TIS mapaaAayti¢ Tou poriéou Kin. A. 2 Mpéraan (@pden), Mia opdida recodpwv cuvyBwE LETPwY. AnoTeAst pa avoROKAA|pwTH <5 piiioitf 1880, 0 avd vaouds nepisodtepwv Opdacewy Ba pac onytioe! ce weyahbTepa youdt- xd ouVOAG.— | TlepioBog, Av mv npirn mpdraan aKohoubijoct uta BedTepn, Ba éxoupe ya nepiodo oxrdd WéTpwW, Ula OLOKANPUPEVN PoUOIKH OE YN, Tuyve napammpouue 61. n npwTn Nodtaon me neplddou TEhetbvEL we NuITEAH ream (-V), even Sete MpStaoT Ye TéAEIO MreoN (V-I Mapadeiyua 3, (Mozart: Zovara yia mavo os ha usifova). Andante graviose 2 ji? tr Yndpxouv GéGala nohAés e€aipéaeic oto kavdva THg OkTdpETPNG NepIddou. ‘Etot eival Buvatd ve cuvayToouue nepiddouc nou anoTehoivTa: and Ayétepa A NEpLGodTepa HéTPO KQL QUTH F) HEYEBUVON Fh opiKUVON THC NEpI6Sou enituyydvetal pe Sia popoug Tpdrious, ‘Aimhi, nepiobos. 0 cuvduacubc S40 nepidSu # teaodpwV MpoTdceww (PodcewY) Sn- jwoupyet tm BinkH neploSo nou aTIe mo MOAASG NepUTTMGEI GnoTeeital aNd 16 ueTPA Kal Tipénel va TekewWvel ye Tédea rrdon, Me 1m Semhi} neploBo éxoupe tdoet méov cto weyaAl- TEpO LOpPoADYIKO oToIYelo MoU Ba xpnoIporoMNBel oTHY KaTAGKEUT) [ag GOVBECN¢Mapdberyua 4, (Saint-Saens: Kovtaépto via mdvo ap. 4), seve MOYZIKA STIA Ta Biddopa ei8n tov pouowKdy cuveéoewy, oF Sidopes wouciKés popdéc, katatdcoovtat € KaTHVOples nou efapTwvTai and tov Tpdno eneepyagiog TOU WoUTIKON UAIKOL, Ta Houcwa ‘urd oA civat Tpla: To jovoppivixd, To MOAUPUIKO Kai TO oLopuIKd, KG QUTOY TY THY OTHA Bivat Ta EFC: THR: Ero pouoixd auré suotmua undpye yovo Hid pehwSint Yoauur ywoic _ va. yiveTal Kavévag quvBuause, Kavéva TOUTaxpove dkougua ye dMouc IPOpETKOUG A oe RET Pa itat eite an6 tpayoudiotés tite and youd »Spyava. Ot xtekeotés pnopei va eiva, Eva f repiondrepotexrchouv uae Shox mW iia xg Bids peAwdia,14 H yovewvia eivai to apyaidrepe poudiKd OTIA Kai o’ auTd BaoileTai ny WoUCIKA napaywyr} wv apyaiwy Adi. Ero onpeio urd Ba npénet va napatnphooUne Oui OTH HOvOuVIKA HoUDIAT MapoUMdLe- “Tal wepKés @opée To EEfg atvéyevo: ta dpyava nou ouvOBELOUY Tov H Tou TpayoumtoTés dev aKOAOUBOUY QUOTH PG Th LEAWEIKH ypapur auTOU mou Tpayousd aAAd noiKiAAoUv tr Bao 1) wehwdia onopaKpuvopeva étot AydtEpo 1 Mepiocdtepo an’ auTH. To Pawdpevo autd now Sey clvai ondvio oTHY apxaisTnra (apxaia EAAGSa, Bulavtio K.0.) ovopdteral erepopwvia. Kata Tm Lovogwuirr) nepioSo undoyer weyadn eFdoron me pouatke and mv Toman, Eivar yrword 61. omy apyaia EAAdda 0 noinnii¢ eivai tautéxoova Kal poumikdc, Ta YapaKTnpt- oid haindy Tg weAwBlag axohouBob au7d tou MamTIMoU KeMiEvOU [SUBLEG, Boh KAN}, Boloxowaote omy enoxt Te Kuplapxiag Tg GuvnTikc pouMrKrc. BéBaia UNapyoUY Kat ouvOéoele KaBapd opyavnte poUCUKC, amoTEAOUY duu pia sAGxioTN petalnoia, Magaderyua 5, (Notker Balbulus: Avtiguvo) . Ao = Oy 6 eee — SSS e do mi oe ee er 7 eS SSS ES SS — r = ee ge = welte 8 = = att pa £ = = SSS = = ele - ww8) Nokuguviné oviA: Tipw oToV 90 WL.X. aidva apyidei va napatnpetrat ya oTabiaKh weta~ Goh} oto yapaxtipa Tw LouTIKv oUVBéoEWv, Fm BEoy TW LOVOOUVIKiY épyuV ROU em- kpatodoay jéypi rote, BAEnoupe Tispa cuvBe aig onic ontoles apxind So Kal apydtepa nepio- adtepec guvéc Kivoivrar napdAAnAa, ave€Gprnra n ya and my BAAN, Kal ou\MxoUV. Te you- GIKO QUTO OTHA OvOLATETAL Kat avtioTiEn (aTIEN, EvavT OTiEeWws) ané To ITaAIK6 punctus contra, Dunctum {kovrpanouvto) enei5r axpidue éxoupie Tic véTEG Tm plaC duvrig aNEvavTi otk WO- Teg wiag GAANG.16 Meté ta npdta Bethd neipauara ya Sqwtoupyia didwvwv A rpidwvav auvBéoewy, n neipa QUT) WOON TWY OUVEETHY TOU ONOKTATAI We TO MEPAOyG Tw ETaY Ka Tw autdva, TOUS OdN- yeioTn cbvBeon épywv pe e€aupeTIXd yeyddo apBLb pwvdv nou Ge Karlee axpaies nepmtil- 81g OTaVOUV THe... 96. BEBaIa © LeVahos auTos apis wv elvar ge Bdpo¢ Mg UOUaIKIG kal Ta épya aura Sev anotehoby napa enidergn texvix¢ ikavOthTag am6 WEpaUC Tw OUVEE- TV TOUS, TapéSeiyua 6, (Clément Jannequin: Mdyn tou Map) P ride asso tet pele pal_— Indy ewer toe gen sal ts = — a ulerese po he mi Fran oie Py eres. —— (1 Fran _gois ds nae eres —— se ea chle rot Fran gole te meable rm Faso de roi Fran — goin wes si bien cow _ ter Des coups mu. ts de tous ores ad Wend con tee Devcon madé: de town ob f xAR. *= yy Opoquwind oTiA: Avtibeta an’ 6,11 ouuBaiver ye thy MOAUwvia, oT OYogwviKd oTIA, nou etval Kat To vebTepo and ta Tpia, ExoULE THY KUPLaPYiA Wlac gwvrc, wlag WEAWBURC ypaU- lfc, mau éxei to Gacixd poke om cuvBeon Kai nou cuvobevera and guyxapBieg Hh and dhha oypata.18 Mapdderyiia 7, (Mendelssohn: «Tpayoudi yupi¢ Adyiam), Agito ¢ cen fuoca 2S ES Exo opoguwind avi, nov avoudZeTal Kar gguovind, yndoyer weyahitepn eeuBepiaan’ 4.71 ‘OTO MOhUWVIKS, H avaMTUEN TOU OTUA auTOU apyiZer Kara To 170 aidyva Kal OeiAsTal EW UEpeL ‘OTMY TeAgtontoinan Kaa Thy EnoXA GUTH Siabdpwv yoUTWKcY opyavu Kat Diaitepa TOU TOEL- Taou nou and Ty guen Tou éxet Tm SuvaTorTa va oUVoselle! appoviKd (ue cUyyopBien) pa BaoiKt} pedwdia nou exrehel cite Evag tpayoudiartc cite Kano GAAo Opyavo. MdAtata Kara THY Entoxy cur Siadiderar eupsrara to AeySpevo «yndoo tou Alberti= nou mipe To dvoyd Tou and tov Itaké cuv8éTn Domenico Alberti (1710-1740) nou to yonowonoinae Kuplic atic oovd- Teg TOU Yio Toeunaho eEooTpaxidovtag éra awa o1yé To evdpi8io BGoy10 Mou eniKpaTouae Expl TOTE, To sindao Tou Albertix ro xpnowonoinoay ata épya taug T6d0 o1 weydAoL auvBéTEG Owe © Haydn, 0 Mozart Kai GAat da0 Kat —nohil nepiacétepo- Sidpopa: ehdoooves Snuiousyoi Nipdxeirai Loindy yia pla EGappoy"| TOU oYegwViKa OUCTAYATOE Gta TANKTpOqOpA Spyava Grou mapampouus éri eve) to deEl xépt naler tr wedwaia, To apiotspd cuvoBeter apuovixd He «onaopéver cuyxopdieg19 Mapdderyua 8, (Mnéoo tou Abert. Atdbopo: guvBétes, nov éfnoay ero téAog TOU 17ou Kai apxég TOU Tou avdva, anoTe- ody, Ye To épyo Tous TH YEOuPA TOU GUVBEEI TO TOALOWVIKG [IE TO OBOQUVIKG TIA. ADKEE e6d) va avagépouue to Ovoya tou J.S, Bach om Tepyavia, tou Domenica Scarlatti omy ItaAia Kal Tou J.Ph, Rameau orn TaANia, O1 yetayevéotepot quvBéreg Tg KAaoUKg Kai apyTEpA TIE popavrinfic enoxtic ypddouv ta épya Tour Kata Bday ato CYopwriKd OTA. Opwx Sev eivar Aiyeg ot nepimtaceig rou pmopoupe va SiamotoooULE Gri undpyEr avaYEIEN Tay 640 auTiAy OTA oe cuvGéoere elite Tov nponyouLévwy nepidéwv elte Kal vedTEpwy. TPHTOPIANO MEAQZ Wot 6% bu) Me tov 6p0 auTé ewoupe To cllvoho Twy Uuvav nou Hep! ofyepa Xpnowororel n KaBoht- Kf} ExxAnoia. Ta yapakmptonixd tou Fpnyopravou Mékoug eivai ta efti¢: H yhdiooa autibv Tow pedwBidv sivat n AaTiveKt, TpayoudiedvTal xwpig opyaviKr} cuvodela Kal o pUBLiSg Tous elvat sehedBepoce, eEapTapevoc and 10 pubud Tou Keluévou (Bev uNdpxouy Biactoée Kai pérpa). Tow Tpnyopiavod MéAous ele nponynBel to Auspoctavé MEAog (40g audvac). O AuBpo- 106, entoxoroc MiAdvou, npoonaBivrac va BdAei tAEn oTHV avapyia Tov Guvwv Mou xpnaO- rotolae 1 AutiKH ExKAngia ka86piae Ty xprfon 4 TpéMuy KaBdie Kal TOUS GuVous nou Ba érpe- neva Wakkovrat, Eto téAog tou Gou auwva o Ndnag Fpnypios avaGedpnoe kai NGAI TO GUVOAO Tw [EAU Stay MoU xonomonotodce n KaBohiKt) ExkAnoia Kai KaBdpice molec aKpIBtie peAwdiEs Ba YAA- AOVTAL Kal OE NOI ONYEIO TH AcrToUpyiag. MaAioTa CTOUG 4 aUEpoctavous Tpdmous npboBedE GAhoug 4 ye anoréAcoua va undpyel peyahUTEpN MouKIAia OTN WOUIKT GUTH, SnLWoupydwtac ror Eva oTabepd TuMK6 yia OA TH SuTIKA EKKANOIG. Mapdderyus 9, (Tonyapiavdg ‘Yyvog oe onpEloypapia enoytic). Kyrie der Messe ,in festis duplicibus 1 Greroriantoen z ee 3] By-ri-e - + des it -s0n, fo r ——— Chri - ate : fs me20 Dapdderyue 96, (Toqyopiavag Yuvog) ee = ~~ ee Sp RE RN ay 9 =. - ee oe ame fepfis Year Timimrted te ths Ped vetoes a en wee BS Si Betcha gal: fy nominee DO | mk Ho | — ane OPrKANOYM Eivat ia nod anéneipa dnptoupylag nokuowviKre HoUNWK}C, Betyyora auToO TOU ele Sous cuvavtdpe and Tov 9o auava, O1 ouveeres Tou organum XPnoiwonoiUoay qua Fpnyopia- vi} pekwBia atnv onoia npdaberav apyixd wia Sedtepn @iovh apybrepa de Kal nepioodrepec. Zuvmeue 01 Bio uvég Eekivouoay ané thy (Gia vOra, OTM cUvExela anopaKpUVoVTAY 7 jia nd my dAAn kivotjpever napaaknha kat téhog KaTéknyay kai ndAL oTHy iGia vora,24 NaoaBeiyuia 19, (Organum 1 tou-120u au). g21gd add stpsededisidied 2s did distal 4 d¢J4 tude dds ig? wtegds see Ambo. fim si Crum xpi ta_ men, Reka bidet, NTIZKANTOYE WA NoAuguwxt yopod, vedrepn tou Organum, npdira Sipwvn kai apyoTepA Tpigwyn, We KU PIO MapAKTAPLOTIKG THY avTiBETy KivnaN Tw dwviv, KONTOYKTOYE = 5 EiSoc obvBeon¢ tou 12ou kai 130u autiva. H npwtorunia TOU eiBoug aUTod éykerrai aro yeyovds Om oro conductus © ouv8érne xpnowonouel ja BIKA TOU WeAwBia F [la BAAN KOOURT al 6x! wa Ponyopavh, Grig ouvéGatve we ra nponyolyeva eién, Tapaseryua 11, (Conductus 130u ar)mack) cle -fe/ Deve gai propter ho mi nem/ fa dom. men bt ds Gott der hn der Memachen Scud au tel23 MIMHZH ‘Eva. and ta KUpia oto1xela Tou NoAUgwviKOU OTA Elval y Linon. Npdkerra yia Thy ena- OAM amd ia Hwvh EvEs TpfLOTOG HeyaAUTepON Fh uUKpOTEpOU [lac pEAwBlag nou Exel Tiponyooweva napoumddel Kérioia GhAN Quy, H enavaAnyn auTH nopel va yivel eite oTHY idia cite os BapopetiKh roviKérnTa. Em ulunan n Gov4 now napoucraeei to Tyhya autd Aéyerai nponyoupevo ¥ mpéraon, 7 Se uve} Tou pipeita: ASyerai emaydpevo. To arorxeio me ulunone Xenowonoindv o1 540 onaveKorepes avTioTuKTIKés HOpOER: 0 kavovag Kal 1 @odyka, Naodderyia 12, (Scart: Fovdra oe pa H pei), Adie utd To napdberyya enayduevo elvary xayMASTEDH Pave] nou apyifer oto 30 uéTpO KAI pelea omy Bx my YMASTEDR Guve.24 KANONAE Elval exeiva to s(50¢ riokupwvintic auvBeonc Grou apyixd ja Qu exBeres wa wedwBia kat om ouvéyeta pita GkAn, H Kai nepioodtepes, 1m LodvTaL mors, Vora Npog vora. (Aéyovtac suvég» Sev evvoouye unoypewTixd avEpanive quvéc, Ee oprouevec nepintaceic 1m Bn, ‘Tous uMtopodv va nbpouy Bidgopa youoxKd épyava), Ga neni E8 Va OTyleudooupe Sui xaBe ‘pov apyiel va tpayoudd To Aéua Npotod To TeAEuioeL n Nponyoupevn, ‘Exoupe dipwvouc, ‘Tpigwvous. Tetpddwvauc KAT. KavOvEC avaAoya LE Tov ‘ApLB YEG Tw puavidv Mou nalpvouy je- os. Eivai npogavéc howdy 6r1n Louakh aut} pOpya elvar iaitepa SUoKokn Kai anattel ue ‘yah \naveThTe and To ouveéth Lia Kat auTéc elvat ‘UMIOXPEWLEVOS va GkoAOUBIOE! META TOUT vouous Tg avtioniEnc. Kavéves unopodue va cuvavtooupe o¢ onotobrinore Sidarnua, cuvnSéatep0 Cue evar Ol kavoves atny TauTopwvia, oTAY oy6n (Stav TpayoUBouy avbpinés kat yuvaiketes gwvec pod y avépmxt eivar pia oxréa xaunAstepn and m yuvarceia puvt) Kat otny néunty (SqAa- Brn) wa Gwvh aNéyer and my GAN Bidorqua néuntg npoc ta ndvw). TapéBeiyua 13. (Bononcini: Kavovac ta 12 guivéc}. a ty a2 226 Yndpyouy Kavéves Siapbpwv evbav. Mepikol ar autouc eivar: 4} Kavovas oe peyéduvon. 3° auth my nepiwon to ertayouevo nrapouoidtet to 8é ua pe afieg BmAdoieg at aUTE Tg MPSTaING mx. ra térapTayivovTaL ios, 1a BEKaTa ExTa VvoVTaL ‘oy500 KAT. 8) Kavévag, oe opixpuvon. Ed. ayrigera and Thy Rponyoupevn nepimrwon Bhénoupe Ott Ta piod yivovrat tétapta, Ta Térapta yivevTal oy500 KOK, 1) Kavvas ce avacrpop, Tapa naparnpeirat avaatpogi tw StaetnpéTuN Tou BéyaroS ry. va BtdoTma tole Karibv Ba vives Tpltyg aviev KA 8) Kavévag xapkivixés, Edd, To enayouevo apyivet ané Ty teAeuTaia vera Tou BEpaTOG mmyaivovtac nipog Thy apy" (ZuvfBus 0° auté to eiBog ot Bo Guves apyiZouv tautéxpova). BéGara ce pia térola nepintwon elvat oagéc ti 0 axpoariic Sev eivai SuvaT6 va avTunodel 7 ulunon, mpdnettat Aounéy and Kal yOvo Yia pId eniBerén iavoTntag and wépous Tou Guy- Berm, £) Kovévac Siapuie, © xavévag autég eval érat ypaypévos dove Udhic n KOBE uv} ord et oTo TEAOS, apyifet xax MAL and THY OpYT We anotéAcoya va jn Otapatd noré o KavOvaG. (ducikd Ba undpEet éva téog aga OL Quvég ouvevvonBolv nbves gopés BEAoUY va TOY e- wreAGgOUV). or) Aimhbs navbvas, Yrdpxowv 50 Kavéveg nou ouvnyodv. ‘Exoune Shad Bus npott- ‘sig NOU axoAoUBouvTaL and BUo enaydyeva. Aiaxpivoupe 5u0 Kamnyopleg Kavovwv: TOUS ‘avoTnpaug Kal tous cheUBepoug, H KaTryO- ia efapréra: ané to av 70 enayOuevo puuetrar axprBiag ra fiaoTF|yoTe now tpayoubd 1 npO- ‘aan f Oxt. AvoTHS Kavova ExoULE NGVTOTE, mporpavidg, oToUG KavdvEr oTHY. TauTopuvia Kat ommy ayB6n,. Eric dAkEg duu nepurTibaexs ExoUpE pkpoBlapopes Ta Biaorpara enopévog ot kavévec autoi elval eheUBepor. Zuventig ot edeBEpOL Kavévec elvat Kal Ol cuvnBEoTEpOL. Tia my wTopia a npénes va avagépoupe oui Evag até tous MavaibtepOUG Kavéves TOU yvwploupe ~av dx! o maAaitepo¢- elval o ‘ayyAiKdg «Sumer is icumen ins twv apK@V TOU 130u cuva. FlaodBerua 14, (Kavovag ‘Gaye oTOV Kavova (BA. AéEN) mx. THY aEnon Kal ehaTTWON, Tv avaoTpOgH KAN H gépua aumy anoteAei npoyovo tne pauyKas.29 lapdderyua 15. (Willaert: Ricercare)OOYTKA Anokopupuua THE Mohu>uvinnc-avrionuminnie TExvNg anotedel | PoUyKa (fuga). Eivar givBeon yo évav KaBopiouéve api8ue «pwvav» (Sipuves, tpipwves pouyKes KA), Xpno\d- TiotaUpe Tov 6po «quveg» elte MPSKEITal Yid Gwvntint sire yia opyaviK bobyxa, Npdyya nou Seixvet m duvnTexy KaTaywyn TOU MOAUgaVvIKOL AUTO Eidoug. Npdspopot Th pouyKag Geu- POUVTAI TO pirSEpKApE (Ricercare), opyaviKH oUvBeon tou 1Bou-17ou audva Kat To poréTo (Mo- tel), cnouBala quvntxt} cuvéeon Tou Mecaluva Kai th Avayéwwnane. Baoixd ovoneio me potryKag sivai To Béya, wa WAAAOV GlvToUN AAG we Evtove Xapa- kifjpa wehwSia nou napoundZerat SraBoyKd and dnec Tie Quvéc oe aria ulunone. And to ye~ Yovds QuTO Paiverai dui MpoRAGE Kal n OVOLAGIA Polyxa (fuga=duyh) enEIdH Ot dwvés agOL Tapovaticouv to Béya oT guvéxela «pesyourn. 52 opiopéves nepinTaoels oto BELA [no- Poupe va SiaKpivoupe So TpRpata AtyotEpo H Neplogdtepo cuKpivA: TY Kegadt Kal THY OU- 0, MopdServua 16. (1S, Bach, «Kaki ovyxepaayévo KheiBoxti6aka! Bouya ap. 1 ~ Tojo 206). Ss web ‘oupat Apw avagepBoupe om Sour THE PouyKas Ga npénel va TovIcoUpE dri MAG oTAY aVTIOT: sux} eneepyacia undpyouy Kai noAAd apyovixd aroiyeia Tro mpisro tuhYa THs PoUyKaG, Nou Agyeral ExBean, Gdec 01 Gaver (amd BUo péxoi névTe ‘cuviiGuc) 60 napovardoouv BiaBoyixé to Béua. EuyKexpipéva, ja and Tig quvéc Ba napou- 14061 yovéqwva To Béua. Karémy yla GAAn wv Ba napoUcidoe: 10 BEya om SeandZouca Aun} 1 Bebtepn euupavion Tou Béyatog Aéyetai andvrqon. NpéKerrar SmAAEH ya pea piyon TOU @épatog oTHy Sn, Kava Tm SidpKeia Te andvnang n npdTM dwt} uvoBevei le avtioTIKTL- rd Tpdno Kal aur} cuvoBeia ovopACerar avriBepa, H KaTaCKeU TOU avTIBE arog npénte! va eival Tét010 ore va ynopel va cuvBuaterai téco ye To BEG S00 Kai we Thy andvinon, Yndpyouv nepurrboeic Kara Ti onofec to avTiBeya eypavitera xaBe gopd nou ewoavite- ‘Tal Kal To Bia, Tore to avtigepa ovopdteral povipo, Ze dAAEg Okt nepimmbaeic umopel va Exuus nepioodrepa and éva avmBéuara nas Téhog oki ondvia umopei va Aeines To avTiBeya ondte orn Béon Tou undpyer éva eAeuBepo avTIOTIATIKG THNpLa AV Fl QouYKa Exel nepiogdtepes and Glo gwvec Ba Exoue Kal avdRoyEC eicd5ouc Tw uviv ka NGA LE Tov i810 TpOno (BnAady} Géya-ondvenon KAm.), Me TY Euddvion Ohio tay ‘Swviy Teheuvet n EkBeon,un H andvmnon eivat duo ewav. Eav ev elvat wa morh, EnlavaAntn Tou Béuatos oe MeTaTpO- Tia, T6te ovoydletar npayyarini, 2° QUT TV nepintwon éxoupe my ‘OKpi6y LeTapOpE THY biaonydrwy rou Béyatoe ory ondvtnn, HopaBewyua 17, Bach: Sobyxa ap: 5 — Tépog oe), Jendwenen mpauatiRH om Fe apxetés Ouug nepimrisaeig napouotéZovra: ndmnoleg peTOohse (xa autd Yiveras nu lve Via va nv anowaKpuveodue and rm Baows roveKéta) onére n andvenon Ayer Tov ~ Mapébciyua 18, (Bach: Oodyra Qp. 11 ~ Ta y0¢ 2oc),S2 ‘Ag onpewwooupe 611 xavd- my ExBeon OheC OL Qwvés KivouVTal OTA TAalota Th¢ ToVIKTIG KaL me Beanddoueag, Eva eninAéov croryelo nou Ba npénel v' avagepBel oto onjieio auTd eival n KovtéTa (co detta). Euvf@we n andvmon axohouBei Gueoa To Geya (BA, napaSeiyya 17). Ymdpyouy duis nepitt@oeig nou ya héyous site puBwKOUG cite apLOVIKOUE n andvInON Sev NapoUNfeTaL auéows peta to BEd. To oxeTiKd oWVTOO AoIN6V TufYa Nou anoTekel NpoeKTaGN TOU BEya- TOC Kai To GUVOEEL LE THY aNdvInan AéyeTaL KovTéTa. To iio Paivoyevo yNopei va MapaTnpN- Gel Kar omy Mepintwor andvtnoN¢-Bepatos ondte EXOUE KOVTETA THE aTavTHONS, MopdBeiyua 19. (Bach: Souyra ap. 7 — Topas 200) ea Ta eneiaddia- ouvdéouv Tic et9650ug Twv gwvav (exBEdEIC) Kai GonBollv OTO va yivouV Bidgoper uetatponiec oe Kovtivés TovixdTATES, BéBaia o poAog Tw Enciooiuy Sev nEptopl- Tetat uovo 0’ auté. Ga pnopodoaye va oGye 6 cnoteAoUy pay avénauAa oto GUvEXég a Kouoya Béyatac-andvrnonc Kat Eva cToixelo wopporiag oto MOAUpwvIKS GUT oiKOSOUNUA. Mnopei opiwe pra pouyKa va pnv éxet KaBOAOU eneioddia. Ze noAAge nepitWoeis papel va uNdpEOUW nepioTdTEpES aNd pia EKBEAEIG, “Oyu even) pan éxBeon npénel va elvar nAvipng (SnkdH va apoumaote: To BEya aT dAec Tic puvés) 01 undAaines pnopel Kal va pny eival AKGua onic uméAoIMes exBEoeIg XONooNoWoU VTA Sia- QOpETIKES TOVIKETHTES aN’ 6,tL oTHV NWT] éKBECN Kat o' aUTO GonBouv Ta enciGd51a, Grwe elSaye nponyospeva, “AMAa cToKEla NOU XOnOONOLUVTAL or HoLyKa eival ta Eff. To orpéTO (stretto) eivar exelvo To Tunya THE PolyKac (navtoTe LETG THY MpdTr EKBEON) Srou o1 Bidgpopes Pues el- CépyovTa! OA Kai TAnoWaTEpa n qa Mpos THY GAAN, SnAadH n Sebtepn qwvt apxiZer nav: ‘akdLa f mpdTn chakAnpdwet to BEYa K..K, To OTpETO enopévuas cival eva siog Kavéva. Mav- we Bev eivar unoxpewtuxt 7 UnapEn Tou ve KG8E ModyKa. Fro oTpETO elvat SuvaTé va xonar- ortoinBel tuhwa ydvo Tou Bépartog,Mopdderyua 20. Bach: CovyKa ap. 1 - Téyo¢ 100). te: ft To nevréa (pedal) woxpatng eivai yia vora (7 TowuRy Hn] SeonéFoUoN fowe aKbLa KaL O1 ‘Suo padi) KpaTnpevn eri NOAAG uétpa evw o1 GAAEC gwvéc KivoUVTaL KavaviKG, TopéBeryia 21, (Bach: ©otyka ap. 3- Topo¢ 2). ‘AdAg Croryeia Nou uNopei va xpnoPOROINoby ce pia PoUyKa eivar auTd Tg weyEBuVENS, THE OuIRDUVONS, THE avaoTpOPrc Kal THE KapKIVIKC Kivnon¢ MoU eEeTdoapE Mo Ndvw (BA. wavova). Tékag ymopel va undpxet Kai ua kévTa (coda=oupd) nou anorehetrat and Ayes vétEC H ‘ego mem. ond pepecd ueTpa kai we MY onloia Tehewivel y PouyKa. H KOvTa unopel va nepAaL- ‘Gavel to Béya 4 ctoneia ond To Géua A akdpa Kat SapoperiKd UAiKd, H godyea tehewive! ue to Turhua exeivo dnou yiverat ja teAIKT} ExBECn oTH BaoUKH Tovt-1 As 34 L¢ ) gv A/ Yrapxet SmAq Pouyka drow xpnoiponoiouvral Slo Géyata, To SeUtEpo dev cugavicetal auéows aAAG axohousel apyérepa. Yndpxouv ak6u10 TpimAEs Kau TerpamAEs ollyKec av ExOU- We GuvSUACLS TplaW h TecodpwV BeLdTW. Kata Gaon MdvTu noua eival ovBEon tiovo- BeyaTuxt), Axdya Kal aToUC MponyOULEVoUG THnoUg MobyKag névtote To éva aNd Ta BEyaTa 8a eivai to Opto. _ Tapabeiyua 22, (Bach: Cobyka ae GOA pelt. ya 3 QuvEd).fic Emmy Tpigwvn auTH Pouyka de ood pelZova, To Gépo KaTaAgLBdvei ta 6 Npdta yeTpa Kal TeAgubvel OTHY MpatH vata (pe) Tou Tou wetpou. Ta undAotma MévTe SéKaTa ékTA aUTOU Tou wétpou anoteAoty Thy codetta nou ouvSéei 10 Béua ye To avriBepa rou apxivet oto Bo UETPO voll ue Tv ToviK andvrqay nou Tpayausd n peoaia Quvr, H TplM qwwA (xauNAdtepN) Ma- poundlei to Béya oto 150 péTpO evd napatnpodye 6ti to NpdTo avTiBeya dev eugaviterai Miéov, opoundiovtal Opwe oro onpelo autd Uo véa aviGéyaTa Mou 84 Ta Bpolpe Kar Mo adem omy e&MEN TH PouyKac, Ero 230 wétpo apyifai To npdro enei96Bio rou xpnowonote( 1a 5Uo para pétpe tou B- tates Eve oto 450 uétpo Exoupe To Seutepo enciadbie ys ta ahuoisa nou apyife1 ond ty Astegy Sev, mpoywpei ow pecaia kat téAog KaTaAHyel om YapmAdreon‘Ero 560 pérpo undpyei évanevTdA ‘07m BeondZouca (pe) oto 650 WétpO Se eudavitera ya ‘Tehcutala opd To Bé ya oTHV TOUR and Th weoala ‘uvt Kai n godyKa Teheldvet we pia ov- TOUT coda, Flow tehedooune Ba npénet va naparmphaouye én, Grwe gdvnxe and Thy Tponyouevn Gvahuan, 1 HOPHH THE PolyKag napouNLAZet apKETH EhOOTIKOTITO £101 Wate O1 WEYGADI oUV- 8étec va Lnv eivat uroxpewévor va nepiopicouv auth THY nohugwvIKA uopOr OF oTEva Aa Gia GAAG xApq OTT eyaAoguia tou va ‘Snuwoupyroouy ‘apicroupynyata énwe n «Téxvn me GobyKag» Tou Bach Kal avrioroixa épya GAAWY onoUSaiwy cuvBendy, Dg omovberbtepor ious ouvdérec otyrac, kard thy enoxt Tou Mnapdx, nou Ga déie va uehetfoei kavelc ra épya Youg, Ba npénet va avapepGouv ypovokoytkd, exté and To 4.8 Ba- ch al ot Byrd, G. Gabriel, Sweelinck, Frescobald, Froberger, F. Couperin, Buxtehude, Pasquini, Fux kat Pachelbel. Luyyevele wopdéc pe tm gobyxa sivai n pouynéra (ughetta) xaito @ouyxtiro (fuga), H gouyséra eivar wa uexpn, civroun ¢ouyKa nou Tig Mepioodtepes Popes nepiopiferai ¢ bio ubvo uvés evd to pouyndro sive auvmGu Tufua junc weyahirepne olvEeone (uta ‘govdTaG, lag oULCeviag KAN} NOU, eva éxe1 TOV ‘ApXUKO XapaKTH|pA plag souyKag, on gUvE- Xeid Sev axoAauBel tour Kavoveg mH¢ ouyKag kat Sev avantuogerai énwe auTH. Th vopen ‘Souyxaro pnopoipe va ouvevTf}eoune o& mokAd épya Tou Beethoven (3n xat 7m Zuyguvia, oo- tes hm) GANG Kat Tou Mozart, Tou Brahms 1.4. MOTETO AnoteAet lows THY mo onNaVTiKy dwvnText Loop TMG MOAUWWKT}C LOUSLAr}G Kat TO Me- Talwva kai thy Avayévvnon, Tayoréta (motets) Htav cuvGte ouv@éuEic BpnoKeuTKOU Teptes XOHEVOU nav Ge AATIVIKG KEILeVO Mou Tic TpayoudoUGaV KaTd TH Bidipkeia tHg KABOAIKTIC AEI- Tounyiag, Ze moAAEe nepamwaEic 0 Tevopoc Tpayousouse yaa BpnoxeuTiny (KinoTE Owwr Kau MOOHIKH) HEAWSia Kou YATES aM quTdy Sdo knee guvés Tpayoudoboav voTES ps wuxpdre- Peg aie, Zuxva uahiota 01 Biddopec guvés tpayoudovoay Kai GSiagopetind Adyta! An 10 150 opwe aiwva ta npdypora apyivouy va ahAafouv Kat nadouy va undpyouv biapopeTiKd Keieva atic biddopec duvég mepiopitetai de to HovéTo oe éva LativiKxé Keivevo nou Tpayou- Biéta1 xupic opyavext ouvodeia Znpovrikal auvBétec Lotétw¥ unripEav: o Machaut, © Ockeghem, o Palestrina nav éypaye nepl Ta 180, 0 Lassus, o Byrd k.d. O Bach éypape 6 yotéta GhAd Ge xeiLevo yeppavixd Kat oye Aarivixd,37 Mapaberyua 23. (Machaut: Talpwvo poréro). ¢ Trop pls est Br. aut ‘F WDicir 1d modus unt) F am a a roeide nee a fl. ne ian ttCer tow-ve ta jie | et te bien, Que jay; de ‘de poin[fuare de dow [gour,MAAPITAAI 84 unopoiicaye va node dui to pabprydAs (madrigal anorEAti tov avrinoda tou hotétoy Goov agopd to Keievo, Eivai kat utd Eva tpayouidt ‘Xwplg cuvedeia (a cappella) ad nave ce KEINEVO KOOIKG, GUXVa NOMevIKOD xapaxtripa, n Se kataywyr Tou eivat ttaAiKn. To ouvavtd- He Hdn and ta TéAN tou 130u aitiva, Euviiduc fray nevragwvn obvaeon Mepioodtepo eheibe- Pn arr’ 6,11 70 wotéro, Mera and pia nepiodo: Tapakuiie @rdvoupe ato 160 auiva énoy XOpn ge ITaAote AAG Kar Phapavbouc ouvéetes 10 e150¢ auto ywupifet véa dvBion Kai efanAdveTal Kot ce aMeg cup Traikés xipeg (OAAavdia, Ayyhia, FAA, lmvavia, Fepyavia). Ani Toug onyavriKkdtepoug ouvBéter HOBpIyaAl@y UmpEaV 0 Gabriel, o Palestrina, o Byrd, 0 Morlay, o Dowland, © Gibbons, 0 Willaert, o Arcadelt, 0 Monteverdi kai dAAOI, Dlapéderyua 24, (Monteverdi: «Fil cara @ amatas), — ES = dim = ml per cor -t7 = si - a, ques -ts tue bel - la = SS SS dim mt fer corte = al = 4, quessu tu bel SSS =| dim mt per cor-te - + = 3 = S| om 7‘questa tug bel - Ia Ab rh- spon-di_in- gra rri-spon-di Jn - gra non Fl-spon-di in—gra non ri-spon-dijn-gra-ta, ¢ col si - len - io nie - ghttar scol - tar, d'a - scol - tar 1 miei pie = = = gh. Fiac-cia-tiai-men, se ta - cl d'u - sar in Piac~cia-tial-men, se 9 t= Pine ~ cia -tial-men, Piae -cla-ti gl-men, di rl—spo-stat bu ve = ce di ri-sporsta} ta - cfa2 = ve - co di rh-apo-stai ba - cl, | To spocine — ck ta al. a eH ae po fe oe Vola t ts oh i ri-spo-atal ba - el. eae = se ob re ee 2 = 2 7. ae ne E = <— = = === = = Mori-spostgf be = = = = ak 2B Piac~cla-ti al-men, se au- rn Piac-cla-tial-mes, se ta - cf di — sar Pino -cia-tlal-men, se ta = Piac-eit-tgl-men, se ta - of duo or in 0 3 ve = ce ve - ce di ri-spo-stai ba - ve = ce a43 40 di ri-spo-stat ba - el, @iori + spostaiba = ch i ba = aor = spo-wtat ba - 1 be - ol, it~ - chy stat tee a @ ri-spo-staiba = = = = =a KOPAA Tunog Upvou th¢ Aoudnpaviic yepuavixte exxAnotac 0 AoUBnpos em@upiivtas Tr oupeToXt TOU EKkKAnodouatod OTH Acitoupyia Kal Bewpiv- Tag ST OL UNPYAVTES GyVot FTaV MIOAY SUOKOAOL yia va WaAAOVTAI GWOTd NpOKAAEDE TH On uroupyic Opvuw site pe thy ankonoinon Tpnyopiavav pekwSidy A akdpa pe th XPHEWONOinEN KOOUIKGV WEAUBUaY Ye aAAGyH Tov Crixwy Kat Ge AtyOTEpEC lowe NEpITTdNEKC NpWToTUNWY be pivuy (and to Johann Walther, tow (St To Aovenpo Kal AkAous), Oc anioi dpe auto! duvor anotéAEoay nnyf éunveuonc via Letayevéatepouc auvBEtes, Inpaveixérepy nepirrrwon eivai o v.S. Bach nou xpnoyonoinge yopixd (choral) o« Kavrdres, Md6n kai ahaa épya tou, evapyudvice Se noAAG an’ autd. Mapaderyua 25, (Bach: «O Jesulein...»)Stim wil Wes any e d= em With hae ts +m —— Da 2 esi tein mitt Tai ieiy ut! ia 4 den lech = Jette Di Seinen | H Bouh tou Kopaa elvai archi} Kat yapaxTpIoTIAn), H OAn LeAwdla ywpiferar oe wiKpdTEpa ‘Turiyara nou Kaéva Toug TeheIdve! CUvHBWE OE Vora Le Koptova Dopdderua 26. (Kopah 150u audva). S isat) oe ~;~~ de maldlthe gods bes bon. de Wathe etme Bel lide, “Got = ter a stor. han dem Ene. gowatts on sedis From 1 mew Gineh” eal Freud'und Bis. he mach X |btemya be | cri ates] soa Ge sega! set [Chri tts | Kom ee eee NPEAOYAIO Tevixd 8a unopotoaye va nope 6170 npedoubio (prelude) civat éva eveoywyikd KoWari (prelude=eicaywyr}, neoavaxpouoya). Auté Onwialvel Ori to npedousto nponyeirar lag dAANng Gnuaveatepns alvdeans. Noaypan Acinby, Sidpopo1 awvEéTeG gouyKaG, Kupig KaTG TO Y7o auiva, via va npderoy.dcouy Tov axpsath, ypapouv Eva eroaywyiKd KoyUc omy iba TOVIKOTHTa He TH POUYKA nov Ba axoAoUBroEI, Fe mmaAatoTEpES entoyés GUTH N npoetoliaoia yiwdtay jie pla oeipd and OuyXopdieC nou LE To Népaqya Tou xpévou anotéheoay iG OAOKAN- PULEWN EvoTTTA Kal KOTAANEGY va yivauy pa avefdptntn ouveon, Kati avéAoyo cunEaiver TO endjsevo NachouSio tou Bach. Mopabeiyua 27, (Bach; Noehoudio os ha ehdog0va),46 Zypavixétato napdderypia auTHS THS HOPOHHS anoTehouy Ta 48 NpeAoUdia and To *Kauic uynepaouévo KAsiSoxUyBako» tou Bach. To Kowvd xapaKrnpiatiKd O° Oha auTd Ta nperoUGia elvar 611 €xouy THY (Sia ToviKGTAITA He Tr douyKa Tlou aKoAOUBel, O Bach Exel ypawel axdua mpeAoudia kat oe GkAse nepiTTioEic nx. oTI¢ GoultEG TOU FGF EpyaYia EKKARGLGCTIKG Gpya~ Vo. O KaTanAnktiKdc auTdc ouvBérne eKyeTaAAetetat ro voyo THE avTiBeans Nou Bywoupye! Hid 1600 GOpH toopponia, adol GuvbudZera ia GUvBecn TeAElws EhedBepNS HopMAG, dmwE To MpEAOWDIO, HE sta Popya doo auoTHpH oan HouyKe. Ta mpehotdia aviKouv as S00 BagiKaus Tinoug: Tov aBepaTiKG Kat To BepaTiKO. ZtrW Tpwm™ nepintian Bev undpxel éva cuykexp\sév Béla GAA LGAAoW &va PUBLIKS cyte ena- VOAQUaveueve mou Herd and yerdBaon oe Siddope¢ BaBylSer Ga KaraktiEei omy Tov, Ta TepIOGOTEPA aNd Ta «48» npehodoia Tou Bach avijKouy a” auto Tov roma, Mapddeiyua 26. (Bach: Noehoudio ap. 2~ Tép0¢ 109). Allegro ( Sous 6 ae, Senergico,articataseTo aBeuariké npehoUbio we ro puBund Kau texviK6 rou yapaxTpa galvera: én npokpye= at and thy TonGra (6A. AEEn), 31a SepaTixd npehodsta ynopel va und Ta, Téro.a npekolGia ouvavrdye ota Adrepn éxtaon kai avérrtuEy ané 1a nponyouueva, Napdderyue 29. (Bach: Npehodtio ap. 4—Tdpioc 109). PXOUY Eva, Uo, kai Mo oiévia nepioadrepa Béua- heydAa épya yia exkAnoiotixé épyavo éxouv Be peya- Andante espressivo eeecaa gestTe opiopéver nepuTTaoeig To NpeAOUBio anoTehe! To ELGaywyIKo KOLA GE ja Onepa fy win npn Gnepac avtiKabiota@vtas THY Mio EKTETOPEWA Kal TUTONOMNLEWN ELaywyr). BOW Ba mpénet va BuunBoupe ta avahoya Epya tou Wagner (AdevyKpty KAN). Téhoc oe vedtepec nepiddoug To mpedoulBio aveaptonoieital kot anoteAel pia oUvBEn, oe TeAcing eXeOBepn Lopgy. FwwoTd napdBeLyya arioveAouw ta 24 npEhowbia yia Mavo Tou Chopin nai to BpOue nou Avoike auréc axohoUEnoay apyétepa Kat GAAot ouvBEreR dni 0 Rachmaninoff, 0 Scriabin, o Debussy ¥.d. TOKATA Fpdxerrai ya épyo opyavinfig poUCUTg Kat CUyKEKpILEWa Yio TMANKTpOpOpO Opyavo (ek- Kangiaotixd pyavo, Toéunaho, midvo), npdypa rou SAivel Kain OvoyAdia (toceare=ayyitw). Apytxd nave (1609-170 audvag) 0 6pa¢ autos elxe pita YEviKéTEpN ONHAAla yun KaL and thw nepiodo auth undpyer éva KoaTi ya AaoUTo, Lia Pavodpa Tou Monteverdi, ula douiTa yia ERKAnglagTIKO Opyavo KAn. rou éxoUV THY ovOHaGia ToxdTa (Loccatz). Oaiverat hoindy Orin ovouaoia auth xoneonoiOnKe Tore yia va Eqhdoet pia abvBeon rou naiferar Ge KATOIO op yovo Kal Bev tpayousiéral. H toxdta eivai épyo eketBepou OTA, SeftarexviKou XapaKTHpA MOU Neplayédver cuyxop- Bieg, yoryyopa repaowata Kai peprKés @opée Kal TO aTorEtO Ths HluTONG. And Tous naAaLOtE- pouc ouveétes toKdtag eivai o A. Gabrieli (1520-1586), o Mervlo (1533-1604), 0 Frescobaldi (1589-1643) K.4. Ze apxetés nepmmtdoeig 1 Toxtira antorékece To eioaywyixd KopUdTL Tg dotyKac, rac cupBaivel we Tic Bauder ToKaTEs Via EKKATOLTIRG Opyavo tou Bach, MoAU ywworés elvat kal 01 ToKGTes yia mdvo Twv Schumann, Debussy, Khachaturian. Mapdderyya 30, (Massenet: Toxdta). Prestissims molt i 8 estar PIANO j YrENBANZION H ovopagia «Evéavoidys (Invention) 568nKe and tov Bach ve yia oeipd and 15 puKpée ouy- Géoeig pia MANKTpopdpo. Elvar épya Si>wva Grou xupiapyel to otorxeio me piynonc. ‘Onwe Née1 0 (St0g 0 cuvBETAG o' Eva yaya Tou, MpSkerral yee KOULIGTIO exnaISEUTIKON XapAKTAPA AAG Mou anotehody kai npdtuna avTioTIKTIRAC Ypagrc. Nav oto (510 akpiédig oA 0 Bach éypaye Kai NAA! 15 rpigwver aur Tm PopA cuVeesEIG MOU OL EKbOTES TOU OVaHAOY «Tpidwves evBavoidve eva 0 [Siog Tic elye ovopdoe! wZULpa- vieg» npoodiopiovtag Ue Tov Tito npopaviig To TauTéxpove dxcuoya. Yndpyouv 8é8aia ouvdéceic ye to [S10 6voya Kal AAAwy auvdeTéby oyt 6uwe Too onpavtl- xég 600 autég Tou Bach (Bonport, Dowland KAN). AN6 popponoyiKt drown dev unopodye va kaTaTdEouuE autd Ta épya ae Kdnaio auyKe- xpiuévo TUno oUVBEaNG, NpOKELTaL AoITOY Yio KOUYGTIG LaAAOY EkedlBepne Popgrig MopaSeryua 31, (Bach: Tpipwvn Invention ap. 2), Andante con moto af mole express.Emmy nponyouwevn Tpigavn evBavordy napatnpodye du. ato Bea nou rapovotdter apx'- xdn umAotepn wrt, Biaxpivoupe ta 860 TyfuaTa nou avagepEnKay am @ouryKa: Ke@ady (10 uérpo) Kat oupé (20 uéTpO). Naparnpouye otc om ouvéxeia To Béua eupavitera orn peoaia dwt} (Bo-do wétp0) Kal TEhog n xaUNASTEPN wh MapouMLel uovo THY KEGaAF (50 UETpO..) 28 Blapopes rovKStytEG KAM. AINT AgoU wexpe Tapa eldape Tous mo onpavmkods TUTtoUg rohupwVIKEY GUVBECEWY, MepVERE Ge SidQopEs OLOHWUIKES LOPE Kal MpsTa oT HOO? TOU Awvt (lied=rpayoudt). H ovouaoia pavepaiver thy KaTaYwYT) MS LOPOY}C aUTHg (LEcIwVIK TpayouBta) nou xn- olyeuge cay mpétuno via TM Sqyioupyia Siaddpwv Tinwwy ouvBécewy (Extdg twv tpayoududy) opyowikhg wouotrie, EnmAgoy, ané Thy Khaixr neplodo kai peTd oe popdi) Kivteivat apKeTéc opéc ypayuéva ta apyd pépn weydhwy cuvBéoewy (covdrac, cupduviag KAm). H ankouotepn Wopor Tou Aivt pnopel va aToTEAgtTal axdpa KaL aNd jlo povo WoUGA 9pdon Tuy 6 pétpwy. Mopaberua 92, (Christoph Praetorius: MeAwdia),H pop aut Agyetat wovoueprs Kal Th OUVavTdpe apKeTd ondvia, Kupinng OF Adiké HOE naidixd Tpayoudia. ‘Ea ouvéxeia Exoupe tT Syleph yopor} ou oupBokiferat: A-B. Téspa undpxouy SUo pépy BrapopeTuKd weTaku toug. odie 98. WF Bah: Ai Moderato a ® Tega53 “Onwe 6Agnoupe Sev undpyel ueyaAn avriGeon weraEW twy Tunudtwy A Kal B. H BaoiKh Biagopd Tous cuviotata oto yeyoves Ori To eV A BpioxeTal ory BacIKs TovIKOTTA Kal KavE ustarponia npog ty Seonégcuaa rtm axeixh peiova av n Bao tovixéwnra elvar eAdoowy ro8e 8 apxifei pe Tn ven TovIKOTATO Kal OTM OUVEYELA EMOTpEge OTHY apXUKH,. YndpXOUY [d- hiota So capslg maoeic, nparn orn SeandZouca H tH axeriny ueiova Karn SeutEpn oT ToviK Ot ouvBéaeig autiig tng HoRONE ExoUV piKpés SiaotdaEIc Adyw axpiBlag THe EAAEWYNG av- iECeWW NOU MapoULdtel To PoUTKS UKE NOU xpnoyonoLE!TaL Se noAhdc nepirtiioet¢ ynopod ue va Sobye Ori to para tpiwe exteAeitar Buo oper (A- A-B) f oxOya pmopel va eravahnoéei xat to B (A-A-B-B) yupig aUTO GéBaua va aAAdCex Ty Ba- cir ¢6oua Tipoxwpavtag axdya nepiocétEpo pravoue oY TpYLEDA LOPpA Tou AivT: A-B-A. Auto onpaiver 61 undpxouv pla yépn and ta onoia To npwro Kat To TeheUTalo eivai Oyote, Th yop- $F autH 8a Ty ouvavTHooULE oF NokAég nepirceig, MapdSerua 34, (Schumann: Album fiir die Jugend). we \a how Nicht sehnell Ag5 Ta A anoreAsirar and pic pddAov autoTehh pekwdia Kat To B nepiéyel ula GAN WeAwoia, oxedov ndvrote oe wa Stapopeti«r aAha onwobrinore ouyyevt towixdtyTa (Geor6fouca Hh oKeTinh uelliay 7 edboowy), dev sivar ondvia n nepirtwon va éxoupe To oxfa A-B-A’. Anaadr to Tpito TyrWwa va UNV sival axpiBiig enavaAnym TOU NpdToU GAG Kéno1a MapaAAayH tou TlapSdeiyy 35, (Schumann: Album fir die Jugend). a Im lagenden Ton M.A d= #1 Bars Boleros 2 Wie im Aatang | Gas ert — iz 5 of cgi] otal = “Ong BAEroupE, To TpiTo HEpog (A’) TOU MponyouNévou napadeiypatag anotehei napaA- Aayf Tou npwTou (A) apo, evdd apyKd n wedwOia HHrav oTHY endvw QwvA, aro A’ axaByeTat youn55 Ayyérep0 ouvnBiopévn eivarn Wopph A-B-F ér‘ou BrAAGA ta tpia yéon elvat tehsiug bia goperikd wetakl toue, Tékog unopodue va quvayTHGONLE NapadAayés Tuv Mio nave ‘romov ry. A-A-B (erravaihn- yn tou rpsTOU TpryaroG), A-A'=A' (To BeU'Tep0 KaL Tplro TuhHa arotEAOLY tponrur}oerG TOU mipwtou), A-A-B-A, H rplueptic Loppr xenowmonotanKe rok orm youstkt, 1300 oe RahaiSrepes EmOxEs (ue ndpyouv avdhaya rpayoudia Tay EpwrotpayouBwriy Tou 120u audva) doo Kal oz vedTepes (17o¢ kat 1809 auiva). Kad THY Khao} repiobo orn yopd autH ypAgera! To BNYODIAES Mevoudto xara Be Tm popavTixy 9a ouvavTACOULE THY TEYLE_T }opqr} ce MOAAG Kopparia yi révo tou Chopin, tou Mendelssohn x.d., driac oe Nuxtepiva, Bake, ZrouBéc, impromptus, Ma~ ZodpKes, Nohuvétes, «Trayoddia xupie Adyia», KATE Extég amd tig popgés Tou AIT mou rapoumdoaye, unapyet Kal pla GAAN lou AEyeTat ove ern jai avarruyyvn Loper Tou AT Edi Bev éxouue inate neproabrepo Gre Ty TeHHe- pf avartuff Kae uepouc Tou Tpmspou Awe, Anhabh ExoUHE TO OKhHe A B A obo yoy = obo Tapaderyuc 96, (Schumann; Album fir die weeny Fe A sia 8 Soh wrePONTO To pévro (rondo) napei va Bewpn del cay uid eméKTaon THs TpIBEpous popOrs. H KaTayw- ij Tou eivai yopeuTiKy Kal nOAD joKpivf, To ouvavrape omy Italia, PaAAia Ko. we B14G0p0 ovduara (rondellus, rondel) yUpw oto 190 auiva onde elval popgr XopeUTIKA Kar GuvTTIKT Zuyrexpiuéva, ume éva oraBepd Kupio pépos, to refrain nou tpayouBolloay dior ati ot “yopeutéc avid avdyedd ov enOvaAAYeLs TOU Eva, cUMRBUR, CEUYOD yoREUTINY YopELEL Ka Tpayousa 1a couplets, ‘Eta. 10 pdvio napouoriZeral pe 1m wopdy A-B-A-T-A-d-A... Onaw A elvai to pe@pév kai B.A Ta KOUNAE. Ta KOUMAE OvOHCovTal Kal Eneodora: H pppa autr nepvd and TH Gavqtixh oTHY Evopyavn poUdIKA KaTG To 170-180 quia, To pedpév ovig entavakhyeis Tou rapovoideet cuvABug Bidpoper aANayEs, BTAGBA ExoU- pe A-B-A’-[-A"... Maytag tig Twa TIOAAES @opés Bpionera atny KUpia TovinGrNTG. Ayti8eta, Ta EMeIOGBIa BpioKOVTAL ce SidpapeG TovIKdTHTES (OUVT}Bug GeoTdZoUdG, OXETIK EAGOOWY 1 ei@wv KAn}. ‘Ocov apopd to GeyoriKkd uAiKd Taw enewwoBluv, dAAote yivetaL enekepyaoia oroxyeivv Tou pegpey Evy dAAOTE NEA PEpvouY TEAEIWg VEO UAWO. And toug niputouc ouvaéter nov Edwoav pia oTabeph yopeH oto pavto urmpEav 0 Coupe- rin kai 0 Rameau, Apyétepa Ga ypayouy Mohd evbiagépovra pOvTo o1 yeyahar KhagiKoi, Haydn, ‘Mozart xa1 Beethoven, Z1a épya Tw cuvBeTy auriiv to pe@péy elvar xdde dopa oxe5ev cha O04 nopaMaypévo To povto Aoyw The KoPEUTIKS KaTaywyrAg Tou SiathpHoE Eva KapaKTHpa Cunpd, ELBULO Kai QuGiKG YpryopO, XpnowononenKe de oav teAcuTalo uepog OTN Fovara, o7r Fupgwovias.a. (Zovata «faGntut}», Zovdta op. 14 no. 1 tau Beethoven An). : TaodBeiyua 87, (Haydn: Zovdra ve pe yet). Finale 2 Presto, ma non troppo moe roceatemente age ERS! sspeer ley gpapecer fete EOYITA MeTG 10 pavto avapepopacte oF uta XOPEUTIKRS KOTAYWyTIG Kal NGAI opyaNIKH LOppA: ary-cowira (suite) nov anualver soeipde, «axohouBia». axon apyika Bev eivat TinoTe dARO and Ha Ce1p@ yopiw. = = 7 Meta tm weyGhn axur mg @wwntikfig HouoLArs KaTa THY okUpuVIKA NEpiOso, 10 evra DEpOV TwW OUVBETiv apyifer va oTpEgeTaI THY OpyaviKA woUOUMH. ‘HEN an Tic apyée tow ‘Tou aubva.fidapo1 auv8érec ypdqauy nie npdires aouites nou anoTehoUvrat and BUo Lovo Epn: roUug yopoug NaBava (Pavana) xat Fkaylépyra (Gagliarda} nau ovoyacéray Kat TpinAa (Ti- pial, iTaAuKiig Katayeoyiic, Enpdxeiro via 00 yopoue tedeiwe avtidetau yapaxtpa Téco we TpOK TO UipOG BOO KATE Mpos To LEtpo, O npTog and Tous duo wepiKéc Pooks Eudavieral sai ue Ta ovéyaTa «Padovanae f «Paduana» Belyvovrac éra1 Tov Tro KaTaywy}s Tou (fiééoua), uahMov Se Sev Ga npénet va dexrodye THY mposreuon me ovoLACiAg Tou and Tm AGEN Pavo=naywvi, Hrav xapdc apydc kal roynmbne we WETpo TeTpQUEpES r Kat Suse pec. Ga mpé- Tet vo OnpetwOEl STL apxIKG TH yeAWSia THg MaBdvag Tpayousodoay Ol YopEUTE, eneIdH Be O xopdg curds fray. iSiaitepa ayanntéc orny lonavia eixe eruxpaTroel 7) AaBELEVN doy at! ‘Tay tonaviefg KaTAywy|G. OO H yeayidpvra, avridera and my naédva, civai xopde e8uuos, yoryopoe, we wérpo Tpipe- pts, 01 Se autoi yopol Sev dpynoay va xdoouy mn SnuoTIKOTNTA Te ‘V7o aidva) avrikatactdBqKay and téovepic GAAoUG Mou anOTEAE: ‘THE HETENEITa coutrag, O1 véot auto! xopol, Biagoperinic eOvixomTaG 0 KaBévac, fTOV, eT Ge1pd nou eypaviCovrai ory couita: Allemande, Courante, Sarabande kal Gigue, Kade gaivera, 9 ouvBéthg nou KadiépwoE aUTS Toy TUno couTTag YE TOUE GUYKEKP\NEvOUG YopOLC EivaL o Fepwavog Froberger (1616-1867). cane enamine cet _ Ooav agops TI ovopacies nov xpnoyionos}OnKav yi QUT TH uopOH, avaoépouEe TK e&f\g, Zmy PadAia extos and tov dpo suite yonoyonoineav kai ty ovopiacia Ordre, ot Fepua- Via Tov dp0 Partita, omy Itakia ovouaay 1 covira Sonata da camera (oe avtidiacTokt) nipog Tov 6po Sonata da chiesa), ony Ayyhia Lesson. APYIKG 01 Goultes naifavray and haoiiTa, BibheG fh Kal rivevoTd dovava apyérepa.te and Taeynado. ——— ANG popgoAoyier| Grown Oi xopoi nou anoTehauy Th Goufta avr}xouy orov tino A-B (Sue- pric uopen). Kara Kavova O& To KAGE uépog exteheiral duo Gopéy. EvKoha nopaTypEl KOVEIG O11 TO TPUTO LEpO¢ (A) aNd THY TOVIKA ApOXwpELMpOS TH Seondoven Hp OXETIKH TovIKOTNTA vid to Setirepo (B) and tm Seondgouna (1 rm oxe Tah) emoTpE EL oTHY TOUR, ‘Eva GANO KaDO- xTyplotixtretvar 6t1 Gha ta Lépn tHe couitac Bplonovrai oyeBOv névia oMV iba tovtKoTNT.61 Ot ouvBéteg tg enoxyg Mnap6x ondvia napaBaivouy auTd Tov Kavéva Kai éTav To Kdvouy Tnyaivouy cite orn oxeTiKy ueiZova 1 eAdoova dnug NpoTmOUV MY, o Handel A o Corelli eite OTHW OLAVURN weiCova H EAdoOOVG drug Kdvouv 0 Bach Kaio Couperin. Akoya yia Adyous av- TiBeong n puBuINe aywyr Twv XopHV GUT sival EvaAAGE apy Kal yor} yooN, Tia ta teegepa BaoiKd eon Th¢ Coultac avadepoupe Ta eEfic, Allemande. Xop6c yepyiavinyg Karaywyiis, EXEL LETPIG PUBLIKH aywyT Kai UeTpO 44, Ap- yi@el ue eAhinés 2790 oTO onoio UNdpxel cuvABue Eva BEKaTO Exo (kUDliue OToV Bach). Elva Xop6g coBapod XapaKrhpa Kal HaCi He Tov endpevo (Courante) Squioupyel eva yopeUTIKO OUV- Suggs avdhoyo pe exeivo T¢ naBavac Kai yrayldpvtac (apyoc-ypr{yopoc) naAaidtEpa. Courante, Fahdidg xopbc, Gwnpdc ue tpepés petpo dpong, apioToKpaTIKOD YaoGKTH- Pa. YROBXOUY Mepirmiiceic onou ato TEAog KaBE WEpouc (A, B) Exouue wid GAAGYT} TOU uétpOU TOU NO TpIEpEs yiverat eayEpéc Sarabande. lonavixiig npatheuone o xopd¢ autéc, eivai apydc Kal euyeviKés we ustpo Tpwiepée. ApyiCet cuvHBing jue BEOT Kal elvaL xpaxTHpIOTIKGS éVaq TOVIOUGE OT XPOvO Tou Létpou. Gigue. 0 ayyhixde au76g ywptariKas yopdg eivat Gunpde, ypfyopos Kai guvavtérai He TOIKIAIG HETpwY, 3IB, G8, 9/8, 12/8 (nivra noAAGnAdaia Tou 3 GAA Kat UE KanioLes EEAIpEDEI Gnwue 1 Civkea ths ing FakAKth¢ coulrag tou Bach nou éxer wérpal 4/4!) Boxiver de jue doom. H ypfiyopn Kivon Twy oybbwy Gupifes tpinxa undpyen be ed eupavéc 10 atorxelo the plnone. Ero Bettepo yépog m¢ undpye! Kal NGAI y lunon GAG Tapa To Eépe eudavITETaT CUMABNS qvectpayueve (Bach), Dopdbeiua 38, (Handel: Eouira yia taépnaho ap. 4).tae , ieee | a SaCORRENTE ara pepe eeVivaceExtég ané toug téscepie nponyoupevoug yopoug nou anoréAegay Tov KoppO THC GouTTag kaTd THY enoxt] ynapox, umpEav Kai nmohAoi GAAoI nou oye c1ya EvoOwLaTiEnKay a aUTr Thy opyavikt Lop, Exrdc de and Toug Sidgopoug autobe opoue, Ge MOAAEC NEpMTIBGEIG xpTION- wonovi€nke éva Kouudei cav ewaywyr ato oy nou axohoudel. To KoWpAT! auto cUvABws ovoyaZorav MpeAouBio, unopotie Owwe va éye. Kar Gkha ovoyara Omue Sinfonia, Fantaisie, Ouverture, Preambule, Toccata. Téroi mapadeiyyata éxoupe o& couttes tou Bach, tou Handel, tou Purcell, tou Corelix.4. Or xopol homay rou anotehouv ween tH GoUTtaS eivat: FaAKdg yopdg petptag puBiKiig aywyrg KaL TpwJEpoUC érpou. And ToUg Tuo Eqpopuleig T OASKANAN Ty Eupurn Tov 189 aikiva unripeE évac yopds Le Tov onola aoxoAt-50. suluna cords F Menueito DC. Gavotte, Xopdg yahhikéc oe 4/4 1} 2/2. To noire wétpo nou eivar ehAnée nepiéxer duo Tétapta. Era yond auté anogEyoveal o1 pipes aBiec, éror uNdpouV ueyeI Ka BYSOO [VO. “OTLAly éyer ypaes noMouc téroIoug yopoug nou Ftav Wiaitepa EnogiAele cry yOARIRT AU- ‘Af uéxol kat To 180 cudva. H yKa86Ta, cay TuRYA THE GoulTaG, avi}KEL Kal AUTH oRGOAOYKA GTOV TUNo A-B (SJeprg LODHr) kai Eivar xapaxTnpIOTIKd Omi KdBE Mpdon THe apyiZeLoTOV Tol 6 ¥Bv0 TOU WETpOU. E6u) napatnpeltat éva Paivopevo avaAoyo ys. 1h nepintwon-Hevoustouarple—dniadh TohAég Gopéc n yxa6éta akohouBeita and éva BebTepo MapAYOIO XopO GkAA To CUyvA Ty Gon autod Tou SeUrepoU Opod Nalpver fj Musette (GA. mo Kartu). To xopd aud junopodys va cuvavtjcoupe ae épya Tou Handel, tou Rameau, tou Gluck, Tou Bach «0, 7 MoodSenyua-40, (Bach: Ayyhkt coutra ap. 3)(ts volta altengondo) Lo stesso tempo P vottovope ia Be pints dds dj _| = ee ee ‘. |Musette. Eivat xar autée yahaukds yopdc rou éyet orev axéon ie Tav riponyolueve Kat atte. éva poho avéAoyo pe Tou Tpie oto UEvAUETO. H ovoyaoia tou mpoRAge-and TH AEE ‘Mmusette = yRAITa, Ki auTd eneidh, Grwg gaiverat kal ovo Nponyauwevo mapaderypa undexer Eyac oKpdTIC MoU japeltai Tov iGoKPATT NOU GNOBIGet To oLdvULO dpyavo, ‘Exe! néTOO Sipe pag 7 tpwuepec Bourrée. Kai autéc 0 yop6g tival napanAriaos HE Th yKaBOra, TaAAIKOs Orig oF S40 nponyotjievot éyet eUBuLo YapaKtfypa Kai oUVABUE LETPO dpong NOU mepiéyet éva udvo Te ‘tapto. Euyypovor pe T yra6éra aAAG mo ypriyopeG and excivn, uropel wepmés gopes va axoAouSelrai ond pia SeaTepT HMOUPE [r.x, Tn Avyhixf Soulra TOU Bach), Tapédeiyua 41, (Bach: 2n Ayyhixt Zoutra). Ant lagen of ener Js Bo73 Lo stesso tempo. legato a Rigaudon. Nadiog yop tg Npofnyking we Siuepes H tetpayepsc wétpo, exer elBupo xepaxtipa Kat apyiZet ye dpon. Anglaise, Xupiatixos ayyhikds yonds, yorlyopoc, ae tetpayepde étpo. Aetyya tou yno- poupe va Solue otny 3y FaARiKH Zouira tou Bach. Loure. Xopdg nov pordtel Kdmig ye 17 CiyKa aAAd eivai apydtepoc and exeivn,. 'Exei wé- po TpIepes th eEapEpsc, ‘Eva TéTo1o yond Ayer nepIAdBELO Bach orm 5n TadAtKt Zoulra tou. Passepied. EvGujiog kai yphyopog yopdéc me Bperavng. Stn ooulta kanote eugavifovrar Uo naomué ondte 10 Il naiZet to pdho tou Tplo eveh to | enavaAqyGdvetat oto téAag. ‘Qoa extéBnkav mio névw apopabv tov KhaciK6 Tro Tng GoulTag, And To 190 6p audva T HOpOR auTH anoxré éva mo eheUBepo nepLeydueva, Mriopel hoindy Twpa va nepauédver 8X1 UOVO YopoUE GAAA KaL uN EvoS LMAAETOU, KATOIAg GKAVIKTIE HOUGLKT}E KAN. FvuaTés coutteg autou tov tumou Eivol o «Kapyodpaathg» tou Tchaikovsky, «To nouAl thc dwTide» ‘Tou Stravinsky, «Advig Kai XAGn» tou Ravel, «AphECidva» tou Bizet, «Mléep Fkivt» tou Grieg K.4. Téhog bidgopor ouvOéTEs VedTEpwY Nepibowy emaXeipauv va Syywoupyraouy Gouttes oto Teta TE Mahidg KAGoUKIG Hoppe. ‘Ero éxoupE Epya Srwe n GOUTIA «Holberg> tou Grieg nou nepiéxel Prelude, Sarabande, Gavotte, Musette Air xai Rigaudon, oi tpeic «Plakiée coutrec»74 Abbeniz nou €xeuy ta uépn: n 1n Gavotte-Menuet, n 2n Sarabande-Chaconne kat n 3 Meniat= Gavotte, «O Té@o tou Couperin tou Ravel xAn. Yrdpxouy Kdnoieg pousikes yoppéc nou éxouv: orev) oxéon We TH Goutra Kal MOU ava mTuy6nxav oro Sebtepo 06 TOU 1BoU aidva, Npdxerrai yia Tie: a) Serenade, 8} Cassation kat y} Divertimento, Serenade. Eivai éva opxnatpix6 pyo, uepixés @opés Lovo ye nveverd pyava, we noA- 4G WEpn Mou WeTaEU tous uNdpxel navTa éva WevoUsTo (rouhdyIoTOV KaTa THY KhaoWKT TEpiO- 50), H ovoyacia npoépyerai and my TOA AGEN sera=Cpd5u, npdxerral BAadr yia wie vy- XTEpIvT) HoVOLKR, Tétox0U eiSoug ouvBEoEiG éypawiay o Haydn, o Mozart, o Beethoven, o Brahms, 0 Tchaikovsky, o Dvorak Ko! nOAAG! 4AAOL Cassation, £60 ¢xouuie éva napanhjow Tune civBeon¢ nou n ovowaaia Tou lowe npoep- etal and Tm yepuiavint NEEN Gasse = Bp6poc, npdyya nou pavepives To yapaKrripa xa Tov TIpOOpIOS OUTWV Twv GUVBECEWY (INADSH KaTAAANARS via UNAIBpIOUT xwpOUC), iow dy Ka ‘and Thy cassa SnAaSH to KpouoTS ykpav Kdoa rou yonIPONOIONoaV a’ auTés THe CUVEDEIG Divertimento. rahi AéEq rou onuatver «SiaoKéSacn>, Napduaia olvBeon we Tic noon ‘ollueves ue 6x coBap6 yapaKtiiga, cuvmBwe Ypauuéwn Vie pa LAKH oUdda opyavwr. AIA®OPOI XOPOI 210 onelo auto Ba npénet Va avap_pBouv Kai KAnoIO xopoi mou KUpLapyouV aTY Eupwr- mn 10 190 kupiug aidva, Ot xopal auto eivar Valse, Ané toug mo yvaototg Kai mhatutepa SiaSe5ouévouc Yopouc a’ ohdKAnpn THY Eupdin ahd kat £€w on’ aur, ‘Exel wétpo tpqepés xat qaiverar dt. KaTdyetaL and to na- AaiéTepo yepuaviné Lanier Eivat xapaxtnaiotixé 611 undpyet KaTé Kavéva 1a W6vo appovla Kal otoUug TpEIG ypavous KOBE HETPOU Snug Gaiveral Kai oto endpevo napddeLypo, Bakc éypaway o1 weydAo. ehagiKol ouvaéter, Swe Tm HeyGAn aKuh Tou yvapicE «yop auTOR KUpiue We TOUS Biewvéfoug Lanner kau J. Strauss (natépa kal Yio) mou Tov KaVOUV Mo Cunpd Kal yoryopo. Bahc éypayav, ektéc ané Touc ueyGhouc Kacwotig Kat oi Schubert, Weber («MpdaKAnon Ge Bag»), Chopin (yia midvo), Brahms («16 Bag yia4 yépiae x.4,), Berlioz (ads and ty «avra- OTK EupOwvige), Sibelius, Richard Strauss (BaAg and tov «innéy ye to POSom), Tchaikovsky (oa ynahéza Tou k.4.), Ravel («Euyevixd kai Alo@nyariKkd BOAG») Kai MOAAO! GAOL, Mapdberyya 42. (J. Strauss: «Bievvézixo alam) Walzer_ E- PPolonaise, EQvikdc xopdc mn¢ Mokwviag, onwg Gavepiver kai te OvoYA Tou, o xopec au- TOG EXEL WETPO 3/4 KL LETpIC PUBIKH aywyh, PoLOleL Se NepioodTEpO pe TOM napa we Kopd. Xapaxrnpuarixd pubuind oxua me Mohuvétag civaato J oe dd Jd Eivat évag yopdg ywwords HBn iowe anté To 160 ausva avédoya Be épya éypayav 0 Bach, o Handel, o Beethoven, o Schubert, o Waber x.d, Aev 8a unopodcaye dywe va uny avagepbouye Wraltepa oto Chopin nou ot NoAwvéZec Tou eival and Ta To cWVTiKA Epya The nlaviCTIKt}G ‘itoAoyiag. Mapaderyua 43. (Chopin: Nokwveta ap. 5), Moderato Op ae e ieMazurka. Kai autéc 0 xopdg eivar noAuviKdg, apyixd 8 tpayoudidtay Kal yopeudtav TauTO- Xpova. Aia5oGKe o' An Ty Euparm ard axdpa Kal oTnY AuepiKe). “Exel pétpo 3/4 cba be xupiapyei to oyna J J J Kai undpyer évac yapaxtnptotixéc taviaLiog oto SeUTEpO xpd vo Tou HEtpoU. Kai Maal o Chopin Wag dros Gauydoia Ssiyyata ya mavo GAAG ertiong Kaic oupmatpidtng tou Szymanowski, o Tchaikovsky Kai Sudopo1 GAAOL. lapdderyua 44, (Chopin: Magoiipa op. 68 na. 2),Polka. Bonide xopde tou 190u auiiva oe péx90'2/4 Kax ypHyopn pUBUKA Ayu. PvdpLOE peyaAn eruruxia ovig xapEq Tg Eupunng, O ebviKds oUveEmE THe ToexookoBaKlag Smetana éxet ypdyer mahi evBagepouoes MédKEs tao yia midvo 600 Kau yia opyHoTpA. Mapabeyuc 45, (Flotow: and thy onepa «MapBa»), Tempo di Polka,eb _ Tarantella. [pnyopos alixée xopde ae 6/8, xardyetat and Tov Tépavta, Elvat xapaxTy- proTiKd G1 OO XopO aUTO UNdpYOUW TuAYGTA GE Weilova KaL GAG OE eAdooava Tpan, NoAAoi uvBétes THe poUAVTIKAS MepIOBoU eypaipav TapavtéAes Ka avapecd Touc.o Weber, o Liszt, © Chopin, o Mendelssohn, o Heller xa @hAou. MopdBeryua 46. (Heller: TapavtéAa), Prestoa fas é toe = . fomeecteststss ee81 - Saltarello. Zunpds rakikd YondS He TPILEpES rh eEOPEPES HETPO CUYyENtIG WE THY Ta povréAa. To teAeutalo pépoe tng alTaAKG Zupuviag» Tou Mendelssohn éxei to xapaxTnpl- oud «Zadtapéhor, Bolero, loviavikos xopéc tou 190u auiva ce wéTpo TpINEpec. Oixopeutés cuvodetouw To yond Tous [We Teayoud: Kai KaCTAMETES, AMO Ta Mo yrwaTd MrioAep6 eivat tou Chopin ya mud ‘vo Kat Tou Ravel via opxrjotpa. Xapaxmpizerat ouvr}Buc and to pUBHIKO oxfUO Ma namnn Mapaderyua 47, (Chopin: MroAepd), Allegro vivaced = 88 en ee ee ee82 Ecossaise. Zijgwva ye To Gvoyd Tou 0 xapdc auTd¢ HE HETPO Siepes exer oKwrINA Ka~ raywyt}, KET MOU OG aUpOENTeITaI aNd NOAADL eiB\KaLC, Ot yvwoTO! avaAayOL Yopoi TOU Boathoven, Schubert, Chopin 6¢ @alverai va éxouv oxéon we tT WoUGLRH TH Ekuatlag: Dapdderyua 48, (Beethaven: Exooé’), Lelcht un Yebha Habanera. 0 xopdc autéc npoépyetai and my Kova nripe Se Thy ovoyadia Tou and Thy npwrevoued Te (A6Ava). Eival LaAAOV apyde Ue uetpO dipepéc 01 Be xopeuTEs tavTdxpova Tpayoudouy. 'Eyive Sialtepa ayanntog omy lonravia @aviletai Se oto PUBYIKO oyRYO 2 eo ee Extéc and To ywword napdderyua tou Bizet (Kdppev) mapdporous xopous éypajav o Debussy, ‘0 Chabrier x.6. Mapdderyua 49. (Bizet: «Kapyev).ZONATA © dpog npogpyetar and to iahikd priya sonare=nyxw o& avtidiaatoAy ioOg To canta- re=tpayoud%d. Exot Aomdy covaTa ofpaive éva épyo aTIOKAE\OTIKG opyaveRrie LOUTIKTIG Ea T xavtdta fray odvaeon duvntiKi). And tic apxéc Tou 17ou aidva, rou xenoiyonoiody auto tov “dpo; yivetat n BidKpION avayieoa avn sonata da camera (covéTa Bupatiou) Kat at sonata da chiesa (exkAnataotixt) ovata), ot ovoyaoleg Se auTEC davépuvay ToGo To OTIA 690 Kal TOV r6no nou npoopiZovray va naixrodv. Kat o: Bo Frav ypayyéves ya éyxopda Toko pe pndco xovtlvouo (akAoTE TaéunaAo Kal GAAOTE exxAnotaotixd dpyavo}, O mia ouvnBiopévog ouvBua- Ouse Kara Thy nepiodo MnapéK fitay Uo BLOkIG Kat Eva BlOKOVTOEAO, UGAWTa Be auTés OL oovdtec énaipvav To xapakTnpiayd a tre Ki auTd eneLh Th Ouvodeia Tou NANKTpOpOpN TH Bewpovoay we SeSouevn. O Tospmadiorac Fo opyaviotag elxe a! autég Tie nepirtWoEIC Eva svdpidyo Bdcowo Bace tou onolou oxnudrile tig KaTGhAnAEs GuvOdeuTIKEs UyKopbiEg (HE TW MpoundBeon npogavtie ylag KadFig YwwONE THE appOviag). Ta Sto elbn covatag nou npoavadépaye Giagépave oto Sti th Lev sonata da camera ano- TeAoUoaV EpN we YopeUTKOUG pUBLOUG Evian sonata da chiesa eiye Eva Tedsiwg coBap xa~ paxmripa Kal Tie Mio TIOAKEC opés TéagEpA EON, wa apyri cloaywyn, Eva uEpC OE opOA ‘ooykan, éva yépo¢ apyé Kax éva ypriyopo. Me thv népodo tou xpdvou napatnpeita: wie Siag@oponoinen we ripog 1a Spyava now mai- {ouv m oovdra. “Ero: ané to 180 audva drav éxoupe évay Suo Opyava xpnowonorodye Tov 690 oovata drav owe ta Spyave sive: nepioadrepa, Tore avaAoya We TOV apIBO TOUS NOUV Seon ovopdzerar trio, quartetto, quintatto khn. O Tepuavag ouv8érng Kuhnau (1660-1722) Bew- psirai o mpwrog nou éypawe oovdres ya MAnkTpopepo (1692), H hooky covdTa anotehelrarand tplath téooepa pépn KaLTOAd onda an6 Bio. Ta wepN autd Exouy bidpopeg puBpikés aywyés Kat Sahopes rovikdthtec, ouyyeveis KATA KaVOVa. Ta4 pépn tne covarac sivar 10 —Allegro o& dpya-covera (Bh. Aén) rou kamoTe pnopel va éxei wid apy eigaywyh, 20~ApyO pépoc landante f adagio) ae Bisepy (A-B) f TpIpEpr (A*B-A) yopgr) A aKoua LTIo- pel vo éyoune Séua we nopahAayée (BA, AéEn). 30 —Mevousto 1 Eképtoo (BA. KEEN) ne TpIO, 40 — Allegro # Vivace 1 Presto o€ 6pya Pavto A Kai PopUa-oovdTa, aKdua de Kai de LOOT napanaayiv Ee hives nepimtmocig propel va GAAGEEI n OBIpd QUT TwY Hepdv daav apopd de Tie Tavi- KOTHTES, TO MpuITO Kal TeAEUTaIO pépog éxouv Thy (Sia ToIKGTNTa evd Ta evd\duieoa BpioKov- Talos Guyyeveic towKOTHTEC, Kara my npdtn nepiode thc ek€Aleng THC GovaTaC Kal OTaY aKoya Ta Opia avayeca Oo” QUT} Kai 77 Gouita Sev Atav andkuta KaBOpIOLEva Kal Capt, onWaVTIKS podo naifel oD. Sear- lalti tou we tg MoAUdplej1ec HovoBepaTiKés (Kau iowe KAMoLeG 61BeyaTIKéC) OOVETES TIOU ypa~ PEI GMOWAKPUVETAI MOV Cadad ANG TOW TNO THS coUTTaG. ‘Ero onpeio auté Sev Bo npénet va napahciyoupe kai Ta ovopata tw Corelli, Telemann, Tartini, nou ouBdAAOUY aTHY KaBKEPWON THE CoVdTAG HE TOAAG pé pn (3-4) KaBAC KaLoTN Biel puvany Tm,85 AuTog Nou E5uce Ty oploTiKA LOpoF OTM dovdra, UNO TAY EvvoIM dm Ye Th BeyariKh avarerugn mou the Bivet my oBnyel oro 6iSeuarixa tno, AtaV évag and tous Viole tou Bach, 0 Cari Philipp Emanuel (1714-1788), ‘Eypawe rokuapiBuec covares via toguraho (70) nou éxour pia uén: yoriyopa-apyd-yoryopo, aKxohouBavrac Tov Timo tn¢ IraAuxrg Exoaywyie (BA. AB Eh). Ga npéner va onpewSei Ori orig npiiwes covétes Ta uéDn BpioKovray omny [bia TOvIKé TH TON TO MOAG oth OXeTiKA psidova N EAdooova. ‘Onug eidoye mo ndvw, éva and ta wEpn THs CoVvaTac Eival Ta Mevoukro, xopdg nou KU- pigayei a ohéxAnon tm Eup Karé mv kAaoiAr repiogo xat nou Gupifer to yeyovée dry ovata mpénet va Bewpnbel e&€AiEn me Coultag. Mevougra LMopauyE va BoobuE oe Eva oUY- Seta Gmc o Haydn, o Mozart kar GAOL. O Beethoven pépvel eu Kati Kawvoupyto: avTiKasiaTd To MevoutTo We To Sképrao rou Sev éyel ma to yopeUTIKS yapaKTHipa TOU mponyouyevou Kat iva mio Zunes Kax ypryope, ‘Que n govdta Bev opeihe ctov Beethoven yévo auty ty GAA Yh. O peyahoc autdg euvBérne mg dlvel Evav ialtepa SpayaTiKd yapaKriipa iKav6 va eK ‘ppdce: KaBe avOpanive cuvaioBnpa. TlohAol ané tous pevayevéotepoug ouvBéTes uéxor Kal ofepa, éypavay Kal ypapouV oo vareg anodelyvovtag Eto 6t1 mpdkeitar yia Evay and Tous mo aEidAoyous tumour clvBeans ‘OTOV TONED THE OpyaviKtic woUTUKTIG, Extég ané tous ouvGetes mou avapépinkay wéxpr tipo, Ba npénet va npooBéaoupe Kat ta. avdyaTa Twv: Clementi, Dussek, Brahms, Chopin, Grieg, Mendelssohn, Schumann, Liszt, Scria- bin, MacDowell xAn. Ztov KatdAoyo auré Ga npéfie: koa va nepiAGBouue kat tov Domenico Scarlatti (1685-1757) nou éypaye 545 covdrec, dywe o1 neprecéTepes EXOUV Eva [i6vO Liépoc, ZONATINA Eivat wa ywKpA oovdra. ‘Exe B40 ¥ tola uépn, puxpy értacn Kau evar euKohdtepn omy extéheon, MoAd této1a épya éypatyav ox Clementi, Kuhlau, Diabell, Dussek xa BASI, OOPMA SONATA Tawy npoxuprcoune omy avéAuon autig tg uoppAg Ba mpénet va SteuKpiwfjcoupe ta e&fig. Aéyovtag @épua-sonata Sev evvoouye ohdkAnpo to Epyo oto onolo avapeperixaue mo avi (Bh, EovdTa) AAG ydvo to npéto UEpo¢ tou (Allegro). Th @6oua-sonata Ba cuvaVTHICOULE Ox! wovo Gav npdira Lépag Tg CoveTag GAAG Kai Ge AAAEG ONOVTIKES ODES GUVBEONG Gru sivaih Zuywvia, to Kovtoepto Kat Epya Movoiwtie Awpariou. AUTO Aomdy To allegro THe covéra¢ eivat andyovos me allemande (npatou ueoous Ing OUITAG), TPA Spine artoKTd nepiogdrepo evBiapépov, LeyaktepN avenTuEN Kal ané BEPC open yivetar tpweptc. Apxidovrag tm pophodoyiny} eEEtaon Th @OauaC-sonata Npénet va BaxpivauuE BG0 TU TOUG TN¢: TO HovOBEBETIKG Kai To BiBEPATING. O TiwrOg agopd Tic GovaTES MoU ypagrnKav To 170 Kal TO [l0d 180 oKbVA Kalo SeutEpog and Ket Kat Mépa, 0 povoBeparimds runo¢ 6acifevat ce éva wdvo Bépa TOU hdyw INE eMOMAE NEpIEyeL CTO xela Tdc0 NoAU@AVIKE 600 Kal OLOpUVIKA86 To Béya auvd Eexivd duord and Ty KUpia TovIKOTH}Ta Kat OT ouvéxela pe GUVTOLG HETO- ‘qpomioxd nepdopata grdvet OE jta KovTIVA Towxétmra (guvmOus SeondZoucn, OxeTIKA UEiZO~ va fj eAdaoova avdAoya, fy oywVULN) dru kata Kavova yivetat enawahnyn, ‘Enetta wia veo ‘oeipd yeTarpomiiv 8a yag oBnynaei amy Kipia TOVIKOTHTO ONOTE TEAEUiVEL Kal To SEUTEpO ‘UTS pépog nou cuWABus eniong enavadaudvera Tapdbeiyua 50, (Scarlatti Zovdra oe pe pel). a bod 3283 O BiBeparixds tinoc, rou @uercd eival Kal o naUBaLTEpOS, Exe tela tuhpara. A="EKBe- an, BeAvarruén kat [=Enavéxeon. ‘Onwg éxouue ABN avagepe: (BA. Eovara), pnopel va u- ‘TMPXEL Kal WiC APYT EloaywyH HE SiaGOPETIKG UAIKO A [ows KaL va Exel OTOKXeia MOU Ba xpNOT- yonomBodv ovn ouvéxeta xat 9 onoia pnapsi va eivar nod GévTOUN (uepaNd uétpO) Grune cUL- Balver om Eavdra op, 78 rou Beethoven ¥ apkerd Heyadn émws orn covdra «MasqniKi» Tou i8tou ouvGETN, O1 S40 GAAOL LeydAo: naciKol Haydn-Mozart) anopelyouv Tm xprion sioaywyhc atte covareg tous. To otiA 1H¢ SiGeuarixris gopuac-sonata eivar opopwvind dnuc Be avadépBnKe ota npor- YouLevo Ke@dAaLo, UMeUBuVog yin TRY KaBtEpwOr Thg elval o Carl Philipp Emanuel Bach. Tiapa undpyouv duo Béuara avridetou xapaxtrioa kat oe Biagoperinée tovindrytec. To eiBog auto 6a ripowSljcouy o: Haydn Kai Mozart riow duise Ba ypdwouv Kal povoBepatixés owdtes. (210 épyo tou Mozart 8a nipénet va node Oni nepiéxovea: axoua nai TpIBepaTIsés covaTEs, KéTL fou 8a oupBel Kal oe Epya Tou Beethoven). Irv éxBeon napoumid{etat npwra to KUpio BEya ory TovikT) KOL OTN GUVEKEIG TO TAGYIO (BeUte90) 84a ouvygag orn BeondJousa yev, av n KUpia TowKéTNTa Eivan pel~wv, HoT aXe TukH peiZova av To KUpio Béua sivai OF EhaGoOva ToviKOTHTA. SHY NepinTwon Twy Epyuy TOU Beethoven 8a npénei va Siapoponoindel Kat 7) Opodoyia! Avi Aomdv va YonoHoToLOuYE Tov 690 «BE yar Ba Htav mo cwoTd va Agus «BeyaTiKh opdda» drs Ga Pavel Kai oTnY avdAUoN, TOU Mapadetypatog nou aKohaudei (ovata op, 90). ‘Onuwe npoavadépape, via Adyous avtieone, ta Slo Béuara nognel va Exouv teAelwg Bic~ opetixd yapaxrripa. To Kupio Bépa civai cuv»Bws appevund, SuvauKXd, puByLKd, ved TO mhdyio efvai mio hupiKd, mo Tpepo. Ta S¥o Béuara ouvEovras yeTokd Tous ye ya yepupa, éva LetaBariK6 ép0¢ rou BonBdet va yiver n HETaTpOTIa Mpos Thy TovIKéTHTa Tou NAdyioU @éuaroc. Yndpxeur nepintdoeic nou n yépupa napadsinetal TeAsiwg. Autd cuyBalvei oe opl- aves covdtec tou Haydn Kai tou Mozart onéte To npdro Béla Katahfye omy TowiKST|TO nou Ba eudaviatei to nAdyio, Ztov Beethoven n yeoupa aurt exe Eexwpioty onpaoia Kai ev- Biagépov. Téhag pet mv napouciaan Tou Sedtepou BEyaros wa dAAn yéqupa, wis HOA coda, 8a Wag oBnyriget oro endpevo THAYC. Asirepo tutua elval, énwe einape, 1 avantugn. Zo Tuya aUTS o oUVEETIS eneEEpyate- TOL KL aVANTUGGE! TO BELATIKG UAIKO TOU MPpdToU TuhLATOG (tg ExBeonc). Mnopel va Xonar ortirjoe! Kai Ta So Béyara f pove To éva Ff akOYa Kai TufYa TwW BeLdTuW. YndpxouV nepl- nTdaeig NOU O cuVeETHC XOnOWONOLEl £bW KaLvoUpyIO UAiKd. XonowonotbvtaL entong Kal voupyies ToviKOThTES. TeWKd MpoKetTar yia Eva pépog nou Bivel peyaAn edeuBepia oto cuv- BET yla va nopéoet OUTos va avanTUel Tg WEE TOU avEAOYa UE THY IKavETHTa KaL Ty ay ‘Tagia tou. Enyy enavéx8eon Ga napoumaaBouv Kai ndAi ta Sto Béyara thc éxBeonc Spur tupa Ba Tipénei Kai ta Suo va elval oTHY TOVIKT Bore n KATGANEN Tou épyou va in Syyloupyei aodgera we Tipo Thy TovIKOTMTA. Fia To GkoNd auTé Ba xpeiaaTel guoiKd n KaTaAANAN yEqupA BéGaia napexAiceic and Tov Kavéva unopei va undpEouy nai 26%), My. undpyouv covdTes nou omy enavéxdean napadeinetar ny eppdvicn Tou evdc and ta 60 Béyara rh aKdya GAAAZEt 7 Béon Twv Beudtwy, Sev undpxet yegupa Khn,89 Ero tékag Te Enavéxdeone undpyet éva KaTAANKTIKG Epo, n KOvTa (coda=oupd), We TO o- Tole teheuivel to Allagto THE doVvaTag Kai oTo oMtoio propel va uNdpXOUV CToixeia Tw BLO Bepdtiv tows Gywe Kar Kanoio véo UNIKO. Ga npénet va TomoTel Sti. KOvTA OTA NepinTuCN THg dovdras, avTideta pe 4,71 cULGaiver oTn gobyKa, eival oe MOAéG MepiTtwaEIG apKeTa extetapévn (C.P.E. Bach, Beethoven x.¢.). Kénoia topixd atowyela nou adopaiv thy EEENEN me PdpuAC-sonata Ba Frav (ows Kor uid ea, H EEsALEN Ng POpHAC auTI}G, NOU and SyEprig yiveTaL TpIYEpI}G arOKTiAVTag éva ONWAVTL- KO peoalo HEpog SmIOU o cUVGETH Exel KAGE SuvaTdrnTa va Emidelber thy iKaVOTATA Ka! TH Pavtacia Tou, AawBavei xbpa kaTd Thy TeAeuTala Mepiodo Tou MnapdK ye tov Domenico Scar- latti, Toug ouvBETES THE OXOANS Tou Mavydxu Johann Stamitz kat Franz Richter «.4. To wevaio wépog nou ripoavagé pape, yiveTat GAO Kal To ONpavTIKG ye THY Mdpodo Tow xpdvou, Eva oroug nedroug KAaoiKous (Haydn Kai Mozart) eiva: axéwa Karwe neprapiqyéva, ora épya tou Beethoven Kai Tv poyavTKiiy MoU OxChoUBoUY GrOKTG cUVEXING HeyaAOTEpN onouSaiornta, Bé Gaia of popavtixoi anoyaxpuvovTal, apKeTd YEpiKéc opéc, aNd THY KhgoI- vf} $6pya-sonata UnaKauovTag neptaabtepo Gto GuvaioGnpa Kat GE UTOKEILEVIKG GTOIXEIa. Mapddeyya 51, (Beethoven: Zovdra op. 90) da190-198 Mit Lebhaftigkett und durchaun mit Fmpfindung wnd Auwdruck, (Con etsaciti,ma sempre con sentiments ed expresetone) \SaaS - (sense dems test EE Sieteaiiy ee ee ee\e f ore pi fi (pase Bat —,ae + £. © a ah! + SS fioteinpones — {eT og ep iS \gemnce! marcato!8 Eeeses © Gidtm ——| p malty exprenn fe = ee = = ee ets 1 as pf esatto) — ar cH "ExBeon apyitei ue wid Oepormnh Oyada rou anoteAstra an TpeKe evoTNTES. a: wéTpA 1-8, 6: 9-16 xat y:17-24. H evornra.a X61 La avobint Téon apxiovtag and TH TovikH Kat Ka yaniyovtac om axETIKy weifova (GO) an nou apyiter n evdtyta 6 (yétpo 9) nou avriGeta ipa axohousel Tdon KaB6Bou He To WeAwBIKO XapaKTpa yia va KATGAAEEI OE pla Kopava orn Seand{ouca (or) t¢ Kipiag ToviKOTHTaG, H evorATa y (vETpO 17) kaLMGAL GTN Lt ehdooova yonowporrotel pia puapIKA diyaupa tg ‘evOtntac a (So WéTPO) Kal KOTOANEA TM elval Y1O Kopuva rrdvw aTnV toviKA. Twa, (YétpO 25), apxicet ya yEGupa ortou xonoonovodvrat tpn ara Tg apxixig evormrag tng Ouatixic Oudac, Ebi yivovrat Bidpopes uerarponieg Nodra gravoupe ory cok, Seandlouea Tyg vro (uéTpO 28) Kat oTr ouvéxera KaTaAHyoupE ‘om vto peiZova (yétp0 32), Eva napdyoio pe To nponyotuevo puBwrd oxhua SeKérwv exTwV yas oByel orm Aa ehdgoove (yétP0 36), Me to [610 Tyra Mg evérITag a GTavOURE oTH OL ehdocova {uérpo 43), Tpa pra chvoiba we avaix4 hoy Ga wag oBnyhge! oro Aettepe Otya (uérpo 85) orn 0 eheogova, oudvujn mg Seondfoucag THe KUpiag Tovixdnras. To Aeitepo aut Ogi0 eugavizerar we pia evdTnTa Evioxovtas Etai THY avtiGear Tou TPES THY MpON- youulewn Oeuatixh QudSa. E6W napa mpodue ta e&A¢: oTo pétpo 60 gravoune ath BeondZou- oa (ga) 1I¢ vag TovKOTFAC, ova ueTpa 61-86 éxoupe pa napaAAayh Tv NponyoULeVuY BEL ustpay Kai Téhog akohoubel ula Codetta nou agob pac UnevBupioeL He TPE ouyxopdies (uétpa 7980.81) myv ToviKérnra ot ehdogova was oOnyei awry AVaRTTUER (uétPO BA). Méxp TO uétpo 91 enaveupavigeras n a evérnta Ts apxIATg Geparithg OyGBac Kai and to wérpo 92 Xpnowonotettar éva GARo Tha Tg (HETpO 3). And to wéTAO 100 éxoue pia xowpaTiKA KGBO- Bo uexpi to ETO 108, Tapa yiveral xenon tg gryoupag TOU pétpou 9 (tH¢ evdTnEAG 6) oT, vro yelZova omy endvw guovf xat orn ouvéxeia anavTd n Kétw uve] om} Oa peiZova (HETpO 114), Era uérpa 118-129 n Kavw guvh napounnder 7 guyoupa Tou werpou 11 Kat Karénw Eva puBuikd oytiya npdra ue Séxara éxta, doTepa ye dyboq Kai TEAog ue tétapta (131-135) rou Ga nepiapiorei énsita oTig vOTES Goh-fa - (136-143) 8a pos oBnyf}oe oT EnaveRBeon (uétpa 144-167), Fro pepo 168 Exoune wa yébupa riapouo.a [We exeivy TOU wETpaU 25 Te "ExGeonc aNAd omy ToviKdTmTa 70 peilava, to pétpo 198 Exouye to Aettepo Séua, BéBara omy ToviRh ipa, And To yéTp0 223 apy(fet ta Coda now Ba enpeTaAAeutel thy evérrTa a Kat era Thy Evornta ¥ THE GEXIKIG epaTiKAig Ovddac.EmV MpoondBe1a avavéwane te Lopdtig me Zovatag o1 FAAAo! Kuplixg ouvBéte¢ tou 190u audva cival exeivor nou ouciacTiKd KaBlepdvouy Uta Kaivoupyia wopgh TNC: Ty Kunkneh Fovora. Auto onuaive. 6x Karo10 Béla 4 xtinoia Beyanixd oToIyeia KURAOGOpOUY oF Sidgopa HEpn tou épyou emruyydvovtac éra1 MiG LeyokGrepn evornta o' auth 1m oivBeon, Enoudais- TeP0¢ exnpoounog tou elGoug Beupeiral o Franck (Sovdra yia dpyave ae $a! Ehdogove Zovara yia BioAl Kat mdvo of Aa ueiZova KAn.), ZONATA- PONTO “Onws avagépape omy Eicaywyy 0: OuvEuaqudc Twv BaciKdy yopedv ynopeiva Sntoup- Yiloet véeg, orewe cupsaiver ony nepintwon T¢ Lopgrie Sonata-Rondo nou Baveilerat oro xéia T6¢0 and TH @dpya-sonata 600 Kal ané To rondo. H OpXITERTOVIKF| AUT} TN¢ HopAye eivai Oe YeviKES YpapLie n aKdAoUBN, Tortufwa: — Nodro Béua omy tovuRr, (Elva to Avtigtorxo tou refrain oto povto), 2Zotufwa: Edi, av To peppév iva ce. uelZova towiméryta Ba HetapepPodue oth Geon6(oucd eves av eivat oe ehdooove 8a yiver hetatponia om oyeTtxh welove UVB. AUTO Eivat To np ene\ob6i0 ou Buglfer To pda couplet oto pévto. SotuALa — Enaveyodvicn tou nparou GEyavo¢ (peppév) mBavdv napahAayyEvou we Karouo tp6no, 4oTpFa: — Aetrepo eneioddi0 (kKouTAE) oe j1a veo ToVikOTNTA Kal We eneEEpyaoia nakauDy KOI VEwy oTorXelwy, Sotufve: — Eupavigerarrarndarronpisro Béya now pe pia yegupa oBnyel aro npkiro engiaddto. GotuApa: — Enavewpdvion tou Npdtou eneiaodiou oth BagiKh, TovinoTyTa we mBaveg adAayéc. Totpfwa: — Tehiki eupdvicn tou Tipdtou Béyatoe (pegpév) ye mBavr neparrépw ‘enefepyaoia nou cuvBue KaraAfyet ce pia coda. opGberyua $2, (Beethoven: Eovara op. 14 no. 1 y' uépoc) Ronpo vee Allegro comode 4:02.98See — Het ba oe itier = 7 (=. mt MONEa 5 = i BE Fp a fenpe. te er a = Ss ;Se eS Se Se syiaanite ; — = == I marcas | frames non tepnte qe Sf ane == proce piterd, decree, —— ==. ne102 Tovixdrnra jt peiZuv. Refrain (Npato Gépa) weyoi to Letpo B. Eta do wétpo éXoUPE pia KaTAANEN OTR SeonéZouca ped" 7y¢ Kal OTT OUVEXeI WE S00 YapaKThpiOTIKG OypaTa GE SO BiagopeTKés oKTABEs TEAEIAVEI TO NOdTO aUTO BEA Sra pétpa 8-14 yiverai pia enavdhnyn tou nponyouuevou Béuatos, Npwro eneioddi0. Métpa 14-30. EB Exoupe wia petarponia orm GecndZouca (a1 peigwv) he TH Xpfion Tou puBLIKoU axhwarog Tuy BeKdtwy Extwy tou dou UETpOU Tou MapouoLaeTaL Té0UEpIC Popég de didoper BEOEIC, Ero [1 22 ExoupE Eva véo TeTpALLEpo BEya nou enavahgp- GGverai ekagpd napahAayéva Kai mau Was odnyel oro Neato Aéua (pe@pév) w. 30, Erm ouvé- eta To 8épa QUTO HeTapEpETaL oTHV oLdvUN eddooovA Kal OTO . 42 BplOKOYGOTE MAEoV OTN pe (Cav Seondovea mg GOA) kal od}yoUNEBa Ye TH YYWATH OiyoUpa Tw BeKdtwy éxTw GTO ‘Acrepo eneio6di0 ot Gok weiZova (uétpa 47-83). To Bépa autoU Tou ensigoBiou Exel TH YOR ‘$n anél Kai nepvwvtac and Th Aa ehdoaova (uérpo 51) @rdver orn ot ehdgoova Kai and To p. 58 pe éva eidog nevrad (1coKpatn) nou KaTeBaiver Gnyatixd KATAARYOUPE OTM Ut EAdOGOVA (p. 66) Kai OTT ouvéyeia TO UéTPO 76 emioTpEoULE OTA OL CaY Seamdloudd The KUpiag TovIKOTN- Tag Tou Lag MpoETOWALEL éTOL yia EUpaVION KaI NGAI TOU Refrain (\:étpa 83-91). Eto onyeio ‘quTd éxoupe pia eriavenpdvion tou Npd@rou enetaodiou (y. 1), xar’ eEaipaon ce ahAn ToviKd- ‘THTG, KaTI NOU Sev Gupsaiver KaBOAOU GUXWd. Kai TEAS Ye TO EMEioddi0-auTd Otdvoupe atv TEMIKA ELOdvion Tou Refrain (u. 108) nou napovcid{eta ehadpd napahdayyevo ue ouyKOMeS TIPHTA OTHV ENaVY govt] Kal YeTA OTHY KaTW (jy. 112). Mia véa NapadAayr Tou Béyatog TO pétpo 121 pag odnyel oe pia CUvToUN coda Ye THY onola TekewiVe! aUTO To WEpAG. Np KAsiooupe To KepaAaio aur 6a npénei va avag_epboupe ce pia aKdya yopgr) nou anorede cuvBuaap6 Bio AAuy: etvat n Sonata-fuga. 27m poppy aut} Ta BépaTa, KUpIO Kal mMAayio, adou mapouciagtod otny ExBeon oTn ouvéxers yivetai n eneEepyacia Toug ony o- vartutn pe th E8080 Te HodyRag. MOYEIKH AOMATIOY 310 eiBog tTHg Mouour}g Awpatiou avfKoUV oUVvBEoeIg nou exteAoUvTal and Alva épyava, (ouvriBug 2 Héxer 9). Moppakoyixd aKohouBoliv rov Tino te Govdtas n Be avouaaia ToUC Sn AivEt Tov apis Tuy opydvuy mou maiZouv M.y. Duo (2 opyava), Trio (3), Quartetto (4), Quin- tetto (5), Sestetto (6), Septetto (7), Ottetto (8), Nonetto (9). Apyixd (1709 auivae) 0 6pog dF/\wve Ta épya rou exTehouvtav oe KGnoleg alBouose ava- xtOpay, eire fav opyavind eite Ouvntixd, aveEdprnta and Tov apiOud Tuy exteheotiN. 01 ouvduaqpoi opydve Tou pNopel va YonoponOMBod oT MouoUA Awuatiou elva: Tohhal, Ot cuvnBéotepot eivat: Biohi, BioAovraého Kai mdvo (tpio), 2 BtoiG, Bidka, iokovtad- Ao (KouapTETO Eyxop8wv), BION, 6idAa, BiOAovTGEAO, mdvo KAN. BéBaia Tovifouye ort yno- oily va xonoiyonoinBouy Kai noAAO! dhhoi cuvSuaquol ye Teel Stapaperixd dpyava. Nav- Two ONPAVTIKSTEDO GUvOhO elvat To KOUAPTETO EyyépouV yia To onolo Exouy ypadrel nohUA- pibues ouvBéoeic. TeActdvovtag 8a mpénet va TapaTnprCoULE GTi dhol oyeB6v o1 eydAo! CUVBETEC aoxo-103 AN@nKaV pe To ElBog TIE Mouawrig Awyariou Kai éypayay Epya via BidépopoUG oUvBUaqUodE opyavw. ZYMOONIA H Suppuvia Sev elvai tinore GAAo apd ula covdta yia opxtiotpa. O dpos, ue Thy €wwo1a Tou Tou SivoULE oTIuepA, GPXIGE va yonLOO.eirai and Tig apyée Tou 1BoU audva Kai évag ONO TOUS MpdTOUG GUN dwviorés UMTpEE o Sammartini (1698-175). Méxpi tote n ovoLAoIa au- TH élxe Kara Kaipoug Sidpopec onplaciec. KaTd To Meoaluva «UL puvias ovowazéray Kae Upbuvog ouvEUaaudc and S00 votes, Apyorepa ovoudtouy état Sidgopec uvnTIKés 1 Op> yavikés avtioTuixég ouveéoeis, Onug mx. To EpyO Tou Schiltz (1585-1672) «Symphoniae Sac- rag» KAM. Tov endpevo avdiva ma n ovopaota Bivetar anoxheiorixd ce opyavixés auvBeoziG Kal dyt GE QuVATKés OAAd DtagopeTiKay etSév. Ny. o Bach ovoudlel tou Berlioz, 1m «Zup- guvia tou Néou Kéoyou» tou Dvorak, my «fladapixf Suuguvia» Tou KaAoyoipn Kal MoAAES dies,105 Dlapdbeiyua 53, (Prokofiev, Euyguwvia ap. 4), I Andante Piccalo 2 Flautt 2 Obet Core ingtese Clarinetto, plecals 2 Clarinettt Clartnette ‘uate 2 Pagottl Contratagetts 3 Trombe 4 Gorn 2 Tromboni Tubs Tampa: Waed black ‘Tomburtag Tamburo Patti Cassa Plane Arps Vilial 1 Viuliat 1 Viele Vistoneettt Contesbassttisk, he tape109 ‘Ong gaivera and to nponyotnevo napdéeryua, omy pKoTpUKH napriToUpa Ta 6pyava TonoBerod vray, and névu npoc Ta Kétw, ug e€fig. Nowra ta EaAiva nveuoré: nikoho, pAdoura, ‘Spirtoe, Khapivéra, ayyALKd KOpvo, ayxora. Katémy ta yaAKiva nveuord: kdpva, Tpopnétes, ‘Tpoundvia, taduna. AKoAOUBOOy ta kpovord: tuynava, midta KAN. Zi ouvéyera tonoerelra 1 Gpria kal téAog ta éyyopda: Biodid a’, étohid 6° 6lOAEG, BiohovToeAa Kal KovTpaundoa, Béfia ong naptetodpec twv biagépuv ouvGerdv unopei va undpfouv S:apoponoiacic Asinouv Kdnotc dpyave and ta Mponyouweva (nx. dona, nixoao KAn. ) A avtibeta va éxouv Moaregel Kénoia Ada nx. roekdora, K6vTpa $ayKdro KA), KONTZEPTO Ta kovtoépto (concerto), Ontuc Ta evvooiue ofEpa, eivar {ia dUvBeon nou éva dpyavo coho (xox mo ondvia nepIoadtepa) éAAoTe ouvepyderal Kal dAAOTS Epxetal ce avtieon pe ro siivoho tm¢ opyriorpag H kataywyi Tou Kovragptou eivar noAd hakptvh av oegrel Kaveic ote 8m and to 160 cuiva ungpyouv Kovtoépra Le Teksluc SiagoperiKt Log} Optue. Suyrespruéva, ot lraAoi ouy= Bétes Andrea Cabral (1510-1586), Giovanni Gail (1557-1812) Adiano Banchien (1868-1634) kai Viadana (1564-1645) ypépouv yotéra via xopudia pe cuvodeia ExKANoaTTIKOU opydvou nou TZ OvOuGKOUY «Concert Ecclesiastici. Kan. avéhoyo ouyBaivei apyétepa He To Schite nou ora 1636 Bnuooieie: ra « Kleine geistiche Concertens (Gqhad} «Mixed mveuaTiKd Kovtoepra®| Kara to Seutepe 1106 tou tou aubva opigyévor Biomuot IraXo! BioAwoTég Ka OUVEE TES, ‘upling 0 Gorell ( 1853-1713) xa o Torel (1658-1709) Snutoupyowv tov Tro tou concerto grosso. Aut onpalvel 611 wa pixar oudba Opydvew Stapoponoetta and ta Opyava the epyrotpas Kat xpavdel éva poko cohoTiK6. To Kovtadpro auric 1n¢ mepiébou elxe tpla rh nepiocdtepa Hépn (tows Kal Aryétepa), xan: Gvahoyo 6nAady We tm goveta TG ETIOXHE Kal Oru akpIBCS OTH nepintwon TE Covétag Eto! KAI To KOVTaE PTO XuplornKe oF S40 KAdBouC: ato Concerta da camera kai ota concerto da chiesa. TuvBéceig toy TunoU concerto grosso éypaway eniane o Handel kai o Bach (ry, BpadepBouipyeia Kovroépra). Ta Kovtoépra auté éxouv auviBuc eva HovoBewariK6 npiito Lépo¢ me yoperie A-B-A (A ),110 MapdSeryua 54, (Geminiani: Concerto grosso op. 3 no. 6) Adagio Vipline Sole Violino I Salo Viola Sola’ Violoncello Salo Sete fe « Vielino 1 Violino I Basso 4 2626 dole ee, e adaH \112 An6 10 180 aldwa o1ya oryd urtoywpsi To concerto grosso Kal emikpatel 0 oUyxpovog TUNOG tou KovTagpTou Snou o coAloT elval Evag Ovo. Ané Toug npwrondpous oto véo autd ef5a¢ ummipfe o Vivaldi nou éypaye nokAa Kovtoépra yia 6tohi Kat opytforpa Kabig Kato ‘Bach nou: xaBiepiivei ta Tpia don oro Kovraépro ta ona elven ypryope-apyé-nOAL yorivopo, ExoUKE SyAadH ta Bia uepy pe TH Zypgwvia HT ovdra wove nou ebd Aeinei to wevouETO H TO OKEp- 100. Ta npiora auré KAaoING xovroEpTa aKahouBouy To uovoBcuarixé timo, BiapEpOUV oyug ané ty uovoSeuaruh oovéra eneidh amy nepimrwoh wag urgpxs Bim éxBeon, Téd0 anb mv ‘opyfiotpa doo Kat ané to cokiora. Katémv épxerat yta neproptoyévn ene §epyacia Kat TéAOG youye Tv entavéxBeon, Apyétepa, aKohouSavrag Tov Tino tng véag dovdTac, To KOVTOEPTO aMOKTA MAL aUTO Ol Gepatixd mmpibto wepag aUudwva HE TOUS Kavoves THg BiGepaTiKhs covaTa. ZuviiBuc To ye- pog autd apxiel we To tutti Tn¢ opxraTpas, Aurt) n e1gaywyt elvat, tee nepisodtepes gopéc, apKerd exteTayéyn Kai oT guvéxela pnaivel © cokiatag Tow yet Kat Tov KUpio pOAO a Ohd- Wingo to épyo. ‘Oaov agopd ta aAAa dbo Weépn TOU, To HEV ‘apyé ouvrGwe éxet Tr] @opya TOU ovr f Béua ye napadAayés to Be tpivo uépog wg ent ro MAsiatoy éxe1 7 GOpHa TOU pevto. (EE kdnoteg ondwiec Tiepmrtozig Ba ouvavTHOOUBE sovtogpta Le 4 yépn drug To 20 KovtaépTO ia miave Kai opxf}avpa Tou Brahms) Ta coAIoTING onpeia tou KhaoiKou KovTadptoU ExoUV Eva Sek\oTEXVIKO yOpaxTtpa Kal a- rnairoty sBialtepeg iKavoTNTes and Tov EKTeAEoTH, BéBaia Ként Terowo BramoTavouLe owt yet axdya xat ce KovTaépta tou Bach xat 70 Vive €xt Ouse ove 6aBpO mou aud to xopa- KTpIOTIKG UNEPKEI OTA KOVTOEPTA TOU Mozart Kat Twv peTayevéotepuv cuvBenwy, Era KOV- raépta tou Beethoven n opxharpa nai éva NOY rie ompavTXd pao an’ 6, cwvéBawve na- hastepa, “Eva otoixeio anapaimto oto KAaaiKd KOVTOEPTO elval n Kavrévtoa (cadenza). Anhabh Tipac To Tékog me enavéKBeons n OpxtiaTpA oTALATE Nav CE Hid ‘ouyxondia Ths TOvIKHS CE Beutcon avacroodH ondre o Godict UOvOS TOU ywpig Kaa ouvodeia Exel Tm Buvarornta va vel enideity tH Seflotexviag Tou Kat ‘AKOLa Kal THE IKaVOTHTGS TOU GTOV qurooyediacy0, ‘agou KaTd THY MpWTN NeploBo Tou KhagKOU Kovtoéprou 0 auveémnc Sev éypage o (tog Tv kavrévtea aXAd A@nve Tv npwroBouaia Tov exteAeoTr, ApyéTEpa Ouux, EneIBH de apKETeS repimrceic, Ady twv auBaipeauiv xat mg unepBohutyg TGonc via enlGeign Tw exteAEaTOV, 1 Kavrévtoa anouaxpuvétav and To ioc Tou Eayau, ot oWBETES apaipedaY GUT To Mpovs so and toug ooNiot nai €AEroUe Erar dn. Téa 0 Mozart doo Kato Beethoven ypdipouv navrEy- TOES Vid TO KOVTEPTA TOUG KL Quaid auTd cupéaiver noAd Tlepiaadtepo He ToUG ouvbéteg ing poyavtnic neprdSou. Ze xénotes nak nepirTioeig Tie ohuepa KabepwLEvES KavTETaeS Opiouéviwy KVTOeprwy Bev Eypaye o {toc 0 cuvBETNE AAG Evag AROS HOUMIKOg OTIwg GUY Baiver ye to Kovtaépro yia GIAl Tou Brahms nou 1 Kavrévtoa Tou elvar ypapuévn and tov Joachim, @a npénei TéAog va onpewBel 611 n kavrévroa Baoierar ndvw oF BeyaTiK UAIKO TOU KovTogprou Kai lie ro TAOS THg akoAoUBel N KOVTO We THY onoia Teheidver to npato WEpOC, Kavrévt0a ynopel va undpxei KénoTe Kai TO Tpito pepog TOU KovTogpTau Evid ovo HeaaIo elvai mod ondvia, a npénel va onpewWooups dr Sidgopol quveeteR KoouKd Kovtogptuw avti evdg coAtoT113 YonOiponoinaay 540 1 nepicadrepous. OuciKd Ed Bev EXOUpe KOvTOgpTO ypdao aAAd eva, wOmth6 Kovtaéptos (nx. ou Brahms Via Biohi xa BioRovtatho) # «Tpunhd KoVTOEpTO® (ny, tou Beethoven yia BtoAi, 6ichovto£Ao Kau midvo) KAN. Tevuxd, cuvBétes nou éypaway onuavrikd Kovtoépra via Bidgopa épyava eivar: 0 Haydn 20 yo midvo (nou onavia axouyovrat ofuspa extée and 2-3), 9 yia BIOAI 6, o Mozart 23 yia Tudvo, 1 yia 640 midva, 1 yea Tpia midva, 6 yia BION! KaL OAKS akOua'yia akAa dpyava, o Beetho- ven § vid Tidvo" (to So AgyeTai «AuToKpaTopiKé), 1 ya BiOAl, 0 Paganini 2 ya BtoAi, o Weber 2 ia Tudo, © Mendelssohn 2 yia méve", 2 via BioAl, o Schumann 1 yia Mavo, 1 ya BioAi, 1 ya Biodovtaého, o Chopin 2 via mvo, o Liszt 2 yia mavo, o Brahms 2 yia mvo, 1 yia Giohi, 0 Tchai- kovsky 3 yia mavo, 1 yia BioAl, © Dvorak t y1a mdvo, 1 yia BtOAl, 2 ya iokovtatAo, o Sibelius 1 Ya BiOAi, © Scriabin 1 yta mudvo, 0 Rachmaninoff 4 yia rudvo, © Bartok 4 id Midvo, 0 Prokofiew 5 Yia vo, 2 yia Bioki, 1 yia BiohovTOEAa, o Poulenc! via mdvo, 1 via 8do midva, o Khatchaturian Tyla midvo, 1 ya BioX, | yia BiohovTaéAo, 0 Shostakovich 2 ia mvo, 1 yta iodl,! yia Biohav- TOEAO Ka! QucrKa OAAOI AAAo1 ax6pa, * Nedopara epeuvntéc pouorkodyot avaxdkuijay éva emnAgov Kowroépto ya midve tou Beethoven Kai éva tou Mendelssohn.114 [aodderwia 55. Prokofiev: Kovroépro ya mvo ap, 3), Andante 2 Flaue 2 Ober alee, 1 Solo go 2 Clarinetel 2 Fagore! 2 Trambe 4 Cornt a Trombon! Timpant Gran Cassa Castagnent Tamburino Piace! Panoforte Solo j Andante Mlotine Viotine 1 Viele Violoncello ConrabassensB aoenN7119 NAPAAAATES “Onug ciSaye Kai omy eioaywyt auto’ tou épyou, pia and Tie &E Baouxés opuER eivar To «Béya kat napaARayég». Stn pdpya auth UNdpxel Eva «BUA» Trou 6 oUVvBETNE, He Bidibo- poug Tpénoug, To adAdZet ToL dywe Now va eivai ndvTa avaywwpiowo aNd tov aKpoaTh, aKdya Kal ovIg Mo axpales tou tpononolhee, Av Behfooupe va avixvedooupe Thy KaTaywy} auTAC Thc ddpuiac Ba npénet va nde MOA niow, oThY apXaldtATA, apoU axdya Kal OTT WOUOIKH Tw Add exeivng TNS eTOYHG NOAAES ‘hopes ywvdtav pia andxhion, wa Tpononoinon was BoorKtic wehwSiac, Apydtepa, Kara TV No AUWViKH MepioBo éxoue NOAAG Belyyara napadAaydv ndvu oe ypnyoplavés pehwdles nou Tie tponono.ooay We Th xorhon TIOkAdv EE vwow @BSyyw (rouktAyara KAm.). FlokAd napaBeiyya~ Ta 6oupe eniiong kat ce Epya tak kal DRaLaVBdV ouvBerdy Tou 150u kat 1Bou aida (nohu- quvixés napaMayéc) naBiig Kal o€ Goultec Tou 16oU axdiva 4 Kat wetayevéotepes, Eva Bau- \do10 Selyya avnoTiKTeKGV NapaAAaywy sivai to Epyo Tou Bach «Mapakaayée Goldbergs. Eni- ang 01 ‘Avyhot ouvBétec épywv ya MAnKtpOdOpa Twy apyav Tou 17ou audva evBiapépovral Wialtepa yia tie napadAayée. Mia yop@n napa\\aywv ynopotpe va cuvavTmooupE otic Goultes THC NepidSou MnapdK. Ot ouvAétes the Enoyfie eUptoxay Thy EuKaipla va eniBeiFouv TY kKavoTTTa Kat TO YoUCTO Toug napoumd{ovtac yetd and Kano. Xopd Tn¢ Goultag Kat yea rh SHO napahAayés Tou YE vTioTiKTiAT iakdouNoT. Mia Této\a Tepirtwon anoTeAoLy ot Doubles tou Rameau, tou Coupe- rin, Tou Bach K.d. Papdderyua 56, (Bach: AyyhiK} couiraap. 1). Couramte ee j ‘ ’ = 7 = ms120 Double T i Meydhn avantutn mapounrdte: to eldoc auTé Kupiiag to 190 aidva omdte Sev Undpyel aXe- Sov ouvSéme nou va ynv aoyoANdel we TIC MapaAAayés. Ot napadAayés pnopel va civai cite pia avefdpthTh HOUIKA olvBEON, My. «LoBapés Na- padhayég» Tou Mendelssohn elite va anoteAouv Tyfua evéc yeyahttepou épyou, my. 10 wépoq ‘Tix Lovérac op. 26 tou Beethoven,To Béya nou 6a YonowonomBel ya MapahAayéc 8a npénei va. tive: poMov oid ana TouO. Mropel va avi}xet orov (610 To ouveér TOAAES @opés Guus cival Savewtve ons Silke OuvGET, Kati MoU GuvnEZéTaV nodW To 196 aKdva (Beethoven, Brahms, Schumann ca). H poronoinen rou déyarog, nou pmopel va eivai oe Swept f TRWEPH HOPER, yiveTox se TpELG TpONOUG: PUBLIKG, WEAWXd KaL apuOVIKG. OuoIKA ever Buvaté va éyoULE Kae OUWum- Suous auTdv Twv TpWby Tpdnwy, Kat. emiong nou ouvnBiZouv of KhaciKot Kar (POpAVTIKO! guy 8€re¢ evar kai n aMays tow tpénou (8qhaBh and peiCova ce eAdocova Kai avtistpoga). Axo Hn, otig nepicodrepes nepiTTibaeiC, 600 Npoxwpouy OL Tapah\ayée 600 To Béua yiverar mp Suobidxpiro, To Téag twv napaAaydv propel va yivet we BiGpopouG tpénouc. Amady elvan Suve- 70 va Exouye enaveypévion tou @éuatos H va Untipret oto téhog ya wOvTaH aKéya unopei To Beja twv napakAaytov va xonowonombel oav Béya yia th SnuLoupyia Hiag douyKas. Av mipénet va napougideoupe ouvBétes nou éypawav napaddayée, eipaote UNoxpewpévor Va avacépoupe, extoc and Tov Bach, yia Tov onolo MARCaye mo ndvw, Ka To ‘OupnarpiGen Tou Handel ye tig wpaidtares Tapakhayeés yia mAnKtpopépo pe Tithe «ApuOviKGs ovSnpoup- Yyac>, Tov Haydn ye noAAd 7éro10 épya eite yia opytotpa cite yia mdvo, ro Mozart he ™ Zovéra K, 331 KAn,, Tov Beethoven pe Tig «Mlapahayéc Diabellie, rig sflapadhayég Eroiea», exeives nou UnBpXaUY Otic Govdres Tou kin, tov Brahms we ic «MapaAayéy a’ éva Béua Tou Handel, rig “Miapahaayés oto xopik6 Tou Ay, Avtwviour, tig «MapadAayée Paganini, to Schubert he to Kouaptéto o¢ pe edo. to Schumann ye Tie Eup uviKés Snou8éc», to Mendelssohn he Te “To€apés Napaddayés, to S, Saens ue ric «MapaAAayés o' éva Bea Tou Beethoven ya 50 maya, tov Elgar ye tic sMapaAAayéc alviyya» yi opynotpa, tov Britten UE Tig «MapaaAayée o° va @é ya rou Purcell» «kn, Mapdbervua 57, (Beethoven: Zovdra op. 14 no. 2). nte demos i aS OSE :Shot re Ret —f Sey =| alieSéya om vio peifove pe TpeNg napaAAayés. To Béya anotehcita: and mw nok MepiaBe (Hétpa 1-8) nou xwpierat ae Suo euxpivels @pdoeic (a=1-4, 6=5-8) Kai and ‘Thy Sedtepy me- piodo (uétpa 9-16). H 8° ppdon me Bevtepne Guttic mepi6Sau Sev eivar tinote dAAo mops Re” $pdon mg npdni¢ neprébou udvo mou wpa éxoune 6EBaIa xaTdAnEn aTHy Tow. Ka, eho axehouBobv dtha téoepa uérpa (17-20) nou amorehalv thy coda tou Béuaoc, Mapa\iayt | (uétp0 21-40), Tidpa ro Béo, nohd eubiéxprro, uetagéperai om weal gee ‘Vi Kai udvo n coda axouyeTar rAd jie cuyKonés, Napadayf Il (uérpa 41-60). To Béua axodyera ue auyKontc nat GpioxeTen uovia amy Endvw Pwr. AxouAouset wi yEpupA nave or SeondCouca nou wag oBnyel omy enduewn TiapaAhayh MlapadAays il. (uetpa 65-84), Edi to Béua eupovicerai ue akleg Sexdrwy Extwy Ka MaAL ‘ouykondro. Era péTPq 85-90 aKoAoUBe! pia coda nou TepléXel TY O° @pdon tow Béyatoc nou dye Siaxorteral fapvexd yia va akoucTouy téa0EpIC KaTOANKTIKES GUyyopBiEc. KANTZONA H ovoyaoia npoé pxerai and my enoxt tu TpoBadodpwv (120c-t30¢ audvac), H kavrodva (canzona}, apxind tpayoud1, KatdAnEe va yiver éva eid0g opyaviktig ouvaeone yia AaouTO, BK KAnotacTiKG Opyavo KAM. (150¢-180¢ auavac). H wopgh auth anoTehelral and Bio TyAWaTa rou TO Mipwto Ftav Ge Sylepse uetpo vd to SeUtepo ae: Tpiuepés, SnAGdH ovoacTiKd yiveray wo uBuuet| napaxAayr Tou Béyatos. Ynb my évvoia auTH n Kavrodva yropel va Bewonei cav Jia. and Tig naAaioTepec opdéc NapaAAaywoy. EAKON & MAZAKAAIA O1 Bio utes poppes Ga npénei va eEeTaaHody padi yiati eivax npayyariKd Soxoha va BpeGouv ouractixés Biagopéc avéyeoa ot caKGy (chaconne) kai trv nagaKGhia (passacagiia), Kat ot 50 éxouv yopeutixh KaTayuy kai npoépxovrat ané Ty lonavia n npdiTn Kat an Thy fonavia 4 hakla n Sattepn, Kat o1 S40 auto! xopoi eivat apyiie pusuine aywytic Kat éxouv étpO TpIuepés. Baoifovrat ae. éva Bey, ouvr}Buc 8 wétpwr (h axya Kat TeTpAeTpO) rou Tapaéve1 avaAAoiwto kai enavahayBaverar cuveyig oro undigo Evid or endive gavés epdpavi- Covtai xd8e gopd napahAaypeves we Tpdno avtictIKTIKG, Kanoiae S:ahopononoeic oyeTiKa y auTa TOU avapépanxay mio névwnaparnpodvrat ora 8&fg, oneia. Mipdra, undpxei nepinrwen TO «Béua» va in Bpiaxcrax oto yndoo aAAA oe wa Ynhf Save Kai KaTémy uMdpyouV Této1a épya Ye UETPO SEpse Ka Oxt Tpluepég (0 Couperin EXE1 XoNOWootfoEI TEtOLO {:ETPO oF avaAoya épya). Nohhoi ouvBétes Epywr via nhnxTpopdpa, wiaitepa To 170-180 auva, evBiapépenKay ya 7 OpLA auTr Kat avdyiecd Toug © Frescobaldi, o Buxtehude, o Couperin, o Handel, o Rameau, © Purcell kat puoikd © Bach nou éyet ypdwet ya wpardraty nacaKakia ge vro ekdeoova yia ‘exKANoIGOTIKG Spyavo. To Bua ths, Fpnyoplavig MpoéAguang, elvai oxTayetpo Kat OKOAGU-126 Bodv 20 napaAayés, dec ony idia TowKdTNTa, xwpic KOWLa anOAUTInG WeTaTpONIa. Kar Spwe xO0n oT GOGH PUBLIKH KOI aVTIOTIKTIKA MOKiAia Sev SyjtoUpyEKTaI Kaya jovoToVia. TEAag undoyel kat uta GollyKa Baciouévn oto iio Béya. Manddeiyua 58. (Bach; NacakdAia ae vro eh, vid eKKANO, Spyavo).127 NPOrPAMMATIKH MOYZIKH H Louciat unopet va yupiarei o€ 800 peythes xamyopieg: omy ‘AnoAurH kat omy Npo- YponWoTIKA. Zthv Mpsity kaTHYyOpIa Ba unopoucape va karaTéEouye pia Euypavia tou ‘Mozart, Ha Zovdra tou Schubert, AvriGera, pe my Npoypaypatax your o Guvéétng npoonagei va Hag MepIYpdWet Kari TO QUyKeKpiuévO My. dva AOAOYIKE Keluevo, eva toTopiKd yeyoves, [ia etkOva fh aKéua yi KaBopiopévn (puxiKr) katdoragn, Yndpyet Enopévwe va npodiarumué vo TIpdypappa and to ouvérn.. 9 Spo¢ Neovpaunavi youve ypovonoyeinaa and my enoyt tou Lista anoiog pdAora MpoTAOoE! Eva Npéhoyo Ge neoypayyariKd pya Tou pe tov onoio KaBopiver dxt Love Ta cu vara8H WaT nov Ga neprypayer OT OUVEXEIa N LOUCIKt Tou GAAG ‘axdya Kat Bidqopec EUKOVES, Tou 8a nipénet va yewnBouy. Oth Pavtaoia tou axpoarh Kata TMV akpdaon Tou épyou (ny. npéhoyos oro Zuueparvind Noinua «Tassos). Mlapd to yeyovde ony Mpoypappatixy pouoaxt) OuvOEOnke oTevd we To poyavtiKd kivqua TOU 190U auava ev TolTaIc npoypayaTixd Epya yMopOUUE va ouvavrijoouue néy and my ap- xavbtyta, Favi akdo etd ané npoypayyarny otvaean 8a imopovcape va Bewprooupe Tov TUB Neyo» rou Eaxtiba(7oq-bo¢ auvag n.X,) nou 0 auvBéme: Tepypdget tov ayava Tou Andkkwwa ye tov Mégwva; Apyotepa, my nepioSa me MoAUpuwviag, 0 Janneguin (1472;-1560;) yedget noduguviKd TpayouSta Le neprypapixoic Tithoug my. «To tpayoudi twv TIOUALOV», «To kuvAy! Tou hayou» ATL, 0 Kuhnau (1660-1722) ypdepex Govdrec yia TAnKtpOpOpO Ye TithoUC Onwg «Mayn avéyeoa ore Aaulé Ka to Fokid®> KAn., 0 Couperin owv¥éret owudtia ia xhadeéy Oruig «Oi netahou- Sec», 0 «Tpopayyéves Gmtivog K.a., 0 Bach ypaget éva kanpitaio Via to8ynaho «fia thy ava- xwpnon Tou ayannyévou tou adekpou» énou dha Ta uépn tou épyou éxouv TepiypapiKotic ‘TithouG. Npoxwpavrac yoovikd Ga diamtotdooupe ott Aiyo-TIOAU OTM Napaywyr dAwy oyeddv ‘Tuy OUvBeTéy undpxouV Kdno1e Mpoypayparixd épya. Liszt éypayje ta cuppuvxd Rotate «Macéna>, «Ta npehauSia», «Mpoundéac», «’AuAET» Kd, O ouvéeme aurac Sev: REPIOPIOTNXE ota OULOUVIKA nowFLOTA H6vo. MoAAd épya tou ya avo elval kaBapd npoypayyatuKée Ouvééoeic my. «O AY, payKioxog nepnard ndvw ota KUpata», Kar avdkoyo Ba oupée’ jad cudva apyérepa we tov Debussy, ye Ta mavioried you épya «Ka- Tanovepévn Mntpénolne, «Bfwara oro xiévs, «Kifnox orn Bpoxt, sAvtauyetec oto vepbm kal MlOAKG dAAa. “ARAog onplavtikés exniodounoc THG Npoypaypatixtig ouaIKI}S elvai o Berlioz, évBeppiog UnogTnpuKrig aUTOG Tou eiBouc, nou Bey Repioplomxe orn obvGeon, TIpoypauyariKioy Epywy aia Ty unootpiE Kat ue MORAG xeluevd tou. Znavrmérepo épyo rou 1 «@avtaotxf Sup- Suviae, And ToUug KUpioug exnpoodmous tou eiBoug cival Kato Richard Strauss nou éypaye Mohd evBiae)épovra Sypuvind Norjuara drug «Ta gaiBpd xayiijuara tou Tuk ‘Oukevortiyxe A», Mov Zoudve, «Tade ton Zapatouotpa» k.4, Akoya oS. Saens HE THY «AVEL TH¢ OLpaAnE»,128 0 Franck ye tov «Katapapévo xuvnyo», 0 Smetana jie Tov wpALOTATO KUKAG 6 ZuLgaviKOV Toinyetay pe yeviKd titho +H rratpida pou» (6mau nepihapBdvetat o nagiyvwotes «MoA- thane | o Rimsky-Korsakov pe 10 «EaveKo» nat wAviéin, 0 Respghi pe ra sTTeuKa tng Pug» kaw tig «fInyég THs Pounce KAN. @ANTASIA yen pe To Zyuguvnd Moin elvat xai Cavraoia (Fantasia). iva, Kat ‘uti ekewBepn vosar evdoyayne yousuxtg. Xenowonote’ Bépava xupic va To. encEepydteran wiaitepa elva Be KOTI CUVMBIOEVO OL TOAAES Kat waxpwes axdua Hetatponieg, avraoiec undpxouy 87 amé To 160-170 cua ge avtiowinTiN6 oTUA. row Me eheiiBepec and To PrtaepKaipe (6A. NEEn) xatelxav Kas to ooiyelo tg unane. O Bach Exe ‘ypdiper Savra- oieg (uepKé an’ autég eivar eioaywyind KoppdTia oe odynER Yin ExKANOWaOTING ‘apyavo). ‘avrasies axoua Eypaipay 0 Mozart, 0 Chopin, o Brahms, o Schumann xat Bid opOt dahol. Tlohkée opés 1 ovopacia auth Biverat de La civBeon nou anotehelral nb pa cei ehubid néro.ag Gntzpac my. undpxe: wa OayTadla NAV Ovo sTOUNIERHO Tého», wa «Savta- ola-Kapyev» K.0.k. PAWOAIA 0 6p0¢ ypnaqoronénke and to 190 cubva Kai avageperal oe ouvéEdeiG ekeU@epnc Hop rig ce éva Uvo népog TOU TUNOU TH avtaolag nou nokAEs ope Baciovrat mavu oe Aai- née peudles Rrtoiag xGpag driag cupBalven ye 116 15 «OuyypsKés Papudieg» Tou Liszt yia mivo, tig 2 «Poupdvixes PawBieg» TOU Enesco KAN. ‘AAO! nahi ouvBétes é5woav auth THY ovoudoia ce cuvéaeic orig ontoles xenaiyonioingay fxd roug BeyaTiKe UNIKO KOU OX DOAKAO- pid Grae o Brahms ue nig $ Paywdles tou via miavo Ks. XKEPTIO AlpGxerta yia pia obveeon opyavuxtig pouarmg (av Kat f KaTaywyr Tou, drag Ga doupE, evar Qwvntikh) we xapaKtipn puByikd, Aero Kat yoprTwLEvo, ye ypriyoon puBwiKh aYwYA Kal cuviduc pétpo TPINEpES, lotopixd 8a rpénet va avapepbei St OTe 1628 o Monteverdi Swometiet ta «Scherzi Musica- Il tou («Movowé Aotelas) nou elvar nohuguviKd KoupTia KOOHKON Kal WcAROW Ehappod xo" paxriipa. 0 dpog xanowyonoseital kat ‘amd adAoug Irakolig cuvBEtEs Tou TéEhoUG TOU 16ou-ap- be 17ou aviva, HepIKég ops ce KOLLETa BiagopETMOL xapaKTHpA, Ty. o Cia (T 584-1629) ‘Fnpoowever vupitepa ova 1614, Ta ‘eScherzi Sacriv nou Quoud Bev elvar Suvarov vo ‘you a- sreio xapakmipa ‘And Tv entoxty TOU ymIapdK To OKEpTOD (Scherzo) sivai mAgov opyaviki) CUvGeon. O Bach omy Naptita oe ot ehdoaova nepthapBdvet éva aKéptoo ot 2/4 cav EKTo HEpoc THC MIpty Thy rehuxt) Giyxa. Katd Ty KAaoukt Oywg nepiodo Exoupe TH peyaAutepn xprjan avtod Tou Tunou129 oivGeang, Tapa MAEOV To oképroo avTiKaBIOTS To HevOUETO OTN CovdTA, cULpwviG K.. 0 Haydn npditog enitayuve Tm puBwixt) aywyr} Tou pevauétou nou étm éxage Tov Mpon- yoUpevo coBapd yopeuTIKs yapaKTi}pa Tou Kai OTM GUvExeta oO Beethoven xpnowonorei to OKéptoo Ge cuupwviec, dovdtes KAN. Tov dp0 KEpTEO XenoWoroiei o Haydn GE Ula on Tig mpditec oovdTes TOU KABA Kat oTO KOUAPTETO Op. 33 OTH CUVEyEIA uw Kal yia éva SidoTNa ynoiponote! fava Tov dpo wevoueto. O Beethoven duuic elvat exeivog nou KaBiepdvel TO OKEP- 00 ypnowonoidvrac To Hon and T 2n Luppwvia Tou (ue efaipeon my By dou unapyer Kat ndMt uevoueTo) Kau Ge MOANSs CovaTe Tou, GF KOUAPTEKG KAN, Xapaxmpiotixé crov Beethoven sivat To yeyovos O1i npoxwpdvtag xowKd auEdvet Thv ToxiTHTa TOU oxéptoo EeKivaavtae we Thy évbetén allegretto o¢ npdiya épya TOU Kal pravovTag 9 presto OT0 Tpit pEpoG THS 7S LuUgwviag. 0 Beethoven kai nd kaivorouel yeraB@hhovras 10 jétpO Twv 3/4 ce opioyéva mpoxwpn- péva épya tou (ny. Zaviira op. 31 0.3, SebTepo ys pog, oxéptoo ce 24), Kart térow Ba ounset Kat oe yetayevéotepouc auvOéres (Mendelssohn, Schumann, Brahms), Katé To 199 auava pnopolue ve cuvavTH} coupe To oKéptao cav avetdprnTn obvGEon (nx. hopin, Brahms, Dukas ¥..). MoppohoyiKd to oxéptoo aKohouBel Tov tuno A-B-A Grou A Elvat To OKEpTOO Kat B10 pio we To rhpeyo xapaKTHpa, Kéti avGhoyo SnAaGA we autS nov quPBalvet ato WevoUETO. japdderyua 59, (Beethoven: Tpio of ood pelt. op. 1 no. 2). Allez.131 KANPITEIO And 10 160 audiva to Kanpitoto (Capriccio) xonowonoieita: cav ovopacia 1tahiKiw Hadpt- yahidv He Karwe eadpil yapaKttipa to 6e 170 aidva ovoydTovta: état opyaviKés auvbdoeic rou mnaidZouv to oT1A Ths TaKatag (BA, AEN), Omwg ouLBaivel We opcpéva épya yia KKATS aiaotixd épyavo Tou Frescabaldi. H ovoyaoia eniong xonaonorjénxs xat and to Handel, 10 Scarlatti kai tov Bach os épya yia ARKTPOpOpA. To 190 audva CUVaVTdYE [le Tov Op auTd Bidpopes ovvééceic, Adore opxnotplKéc, Oring To «lrahné Kanpirato» Tou Tohakovsky F to «lontavixd Kanpitaio» Tou Rimsky-Korsakov kal GAAoTe yia Eva Opyavo émuuc To «POvtO KaTIple ro6Zo» yia midvo TOU Mendelssohn 1 ta yrword «Caprice yia Biot tou Paganini. To Konpitoio yewind éyei évav avahappo xapaxrtipa kat ypriyope Téyno eivat Be ypopHe- vo oe ekeuBepn gopua. EMNPOMNTI Npdxerra: yia Gév8eon opyaviKt EAOBEONS HaAAOV popMiG KOI We QUTOOYEBlaCTIKG yo~ paxriipa (Impromptu=autooxediaquée). 0 dpo¢ npwroeugavigetar otic apyéc tou 18ou aubva Lue ta opsvupa épya tou Bonod cuvéérm Worzischek (1791-1826). ‘AAKOI ouvdéteq nou éypa- Wav eunpourrei eivai o Schubert, 0 Chopin, o Fauré xAn. Ze opiouéver riepmmmibceic n ciGean aut aKohouBel To HoppeAoyiKd TUno A-B-A (ny. Schubert) INOYAH Eivai pavepé 611 aurad rou eidou ot cuvBEcEIG éxOUV OV TOKO va BonBrhaouy Tov Exte-132 AeoTH Kénoiou opyavou va Eenepdaei Sidpopec texvixés 1} GRhes BuoKORies, Npwv and rok- ove auiveg HBr ot ouvBéres evbiagépGnKay Kai Eypabay épya naBaywyKod xapaKTpA, ‘OMY Tepiobo pMApSK EoULE Tig BoULdoree cuVBEoEIG yia Taéynako Tou Domenico Scaviatt ow anKetés $opéc avoudfovra: “AgiTioeig» rh ta «MaBAwara» (rLessons») tou Purcell Kal ta ‘good avakoya épya tou J.S. Bach, Suu and to Téhog Tou 180u KatTO 180 albva avarice TaL ovcragtiKd n évvora THg oTIoUdii¢ (Etude). Elvain enoxt rou To mdvo éxei ndper oxeddv oAo- xnpwtxd 17 BEor Tou ToLROAOU KaLn avarTUEN Ng TeXVIAT|G TwY THaWIoTEV GAA Kat Tv Giohiorév (ny. Liszt-Paganini) npoKahei ty Snwioupyic KoNWaTuoY Noy Ba NpoWwHAGOUY THY TE~ ‘yk TwV EkTEAEOTaY TwW Opydvwv. ‘EToL MapoUOLdZovTaL OL ywoTéC OUAAOYsS Ya TUdVO THY Czerny, Cramer, Clementi, Moschetes .a., yia @i0Ai twv Kreutzer, Rode KAR. Begala aTny nepi- Muon opioLévav peydhay cuvBeTay o1 onoUdEg nou ypapouv dev eivat amd SeFOTEXVKd Kopdria GAAd auvOdoeic eEaiperintic opoppiac kai akidg Onws CUpBaiver oTHY nepinTwon TOU Chopin pe Tig Etudes op. 10 xat op. 25, tou Liszt we wie GuoKohdrates «Enoubér Ynepsarinfc Taxutntag», apydtepa tou Scriabin, tou Debussy kai dAAwv, Mopokayixd xat apuOWiKd 7 KaTaOKEUF THY oMOUddY clval YaAAOV any}, Mio ouyvd aKo- houBollv tov Tino A-B fh A-B-A ywpig Ouwe va anonAsiovtal Kai AMAeg Uopmes MEpIodoTEpO ouvBerec MMAAANTA Npdxerrai via ia pop Toca nomTuKt a0 Kai wousiKT MOU MpwToouVavTdyE Kata To Me~ oalwya. H kaTaywyt mg Mrahavrac (Ballade) npénei va eivat yopeuText Grug Selxvet To 6vo- ud tne (and 70 ballare=yopeda). MAAS tpayotiGia Twv TpeBadoupuv sixay Th Hopp aUTH, Tou napovatdtei 10 cyrus A-A-B, ZUvtoua 0 dpoc éxave THY apyukH onLAoIa Tou Kai 10 160 auiiva ovouaZovraL Era Sagopa Tpayoudia Le apnyNPOTIKd nepieX6yevo Kat LE CTOIKeia toTOPIKG, NOWIKd, cUVaIeBnLaTIKG, row Tpayoudd évae tpayoustenfc. Apyérepa, 10 190 aidva, Le THY ovopacia Mnakdvra cuvavrdpe Sagopa tpayousia Kat dA agnynatikod xapaKTipa Gwe 0 «Bagihidg wv Swrindve roy Schubert ce noinen Geethe GAG Kat ouvBEceIG evépyavne yoUNIKTg {le MpdTo To Chopin Kai Tic 4 MnaAdwreg rou yia mid VO Eunveudpéves and icGpiBya MoiwaTa Tou CULMaTpWTh Tou Mickiewiez He xapAKTH pa eri- KO, SpapaTikd Kat NpWIKd. “AAAOL OUVBETES Nou Emiong éypawav autod Tou TeAeuraiou eiSoug imaddvree elvan o Brahms, 0 Liszt, 0 Grieg ¥.4, NYXTEPINO H ovopnoia Biverai ae quvAéasic nou avranoKpivovra: f «Bupifouve mm vuxtepivm yaAr= vn. Kuplng 0 tithog autée éye1 B08ei oe 6va eiBog KopYOTIOV yi Mav HE HOAAOV apy UBL Kf) aywyr Onow 7) HeAwdia Spioxetar oto Se€l xépi Kai 1 OUVOTE!a oT apiTEpd. AUTOU Tou eidoug auv8éoei¢ kypaye o ipRavdde auv8érne John Field (1782-1837) kat xuping o Chopin. Ta Nuxtepivd axohouBouy yevind Ty Tower popon.133 MNATKATEAA ZOVTOUO KOU, CUVH|BUG Ya MAVO, YupiG wBialTeDEG ak\eIG, Gre UMOVoe! Kat n ove- uiooia tou (Bagatelle=npayua uikprig a€lac), And Tig mie yvaotée ymaykaréhec efvat o1 26 nou éypaye 0 Beethoven. INTEPMETZO O dpog Ivtepperto (Intermezzo) éxEL TIOAAE StagopETiKEs oNMoies. H NaAaiGtEpN Xpr|On ‘ou dpou yiverar omy IraAia tou 16ou aidva Kal onpiaivel éva eAadporepe Epyo avayeca ce Tuhuata eve mio aoBapod (intermezzo=Bidhewua) my. KdmoL Tpayoudi, KanoIo padpryaAt a~ Vvayeoo oTig npdEeig evdg peyaAdrepou Epyou (Gnepa KAn}, To 180 aidva ovduaZay Eto wovérpaxter KwLIKés OrIEpEC MOU MapouTiaZovTay avayeoa omg npdgetc jag oo8aprc dnepag. Této1a Ivtepperta elvar o Gneper «Yimpérpia Kupd tou Pergolesi, o «Mavrng tou Xwpio» tou Rousseau Kin. Ze mo obyxpaves onepec To tepyetio cival Eva opynoTpIKs KOpHaTI MOU [opel va na- pepGAndel yéoa oe Kénowa npdén was depag Gwe cULBaivel ony «KaBahepia Pouctixdva» Tou Mascagni r} avayeoa onig RpdEeIc Gnwe my. oTRY «Kdppev» Tou Bizet, Ze opioueveg neputr@aeic to Ivtepyérto pnopel va eivat wépog tm Loultag Kat tonobe- Telrai avdeoa omy Lapayndvra Kai Ty Ziv, Téhog Bidopo1 ouvBéreg Tou 190u aidva éSwoay THY ovouaola Ivteppero oe olvTOUA Koppdtia yia mdvo onéte 6&Baia n Aén AUTH Xaver Ma THY aPKUKF TH¢ oNWaGIa. TEtoLOL oUV- Géteg eival.o Schumann, o Brahms «.4. AEITOYPFIA H Asitoupyia (Missa) dev eival io KaBaph PouTKA Pdpya. ‘Onwe gaiveral an’ thy ovoya- cia, npdKerTai yia Tn Aetoupyia TI KaBOALKTIC EKKANOlaG. ‘Erol AoIndY Gav LOUCIKO EiBoq TIpéReI va GKOAOUBEI To KABOAIKG TUTIKS. Ta BaeiKd uepN THE AeIToupylag, nou To KElyevd TI elvat ora Aotivixd, elvat névte: 1) Kyrie (KGpie=Kipte ehénaov), 2) Gloria (TkAdpia=AdEa ev Uubioto1g Oeid..), 3) Credo (Kpévro=Moreb eg Eva cb...) 4) Sanctus-Benadictus (Bavetoug- Mnevevtixroug="Ayiog, dyioc... & EuAoynuévoc 0 epyduevor...) xar 5) Agnus dei (‘Aykwour vtér=0 avg tou @e0U..) Apyund n Aerroupyia trav wia odvBeon a cappella, bruce oupBaiver we tie Aeiroupylée tou Palestrina, 10U Victoria x.d. Kavd to 170 alkiva dying evodyerai n opyaviKt cUvoBeia and eKKAN- Glactixd 6pyavo Kal apydtepa, ye TV TeAsionoinn Twy LoUOKOY opydvev KaLTHY avdrrTUEN Thg OpyaVIKTS HOUOUKE, EXOULE 100 OOxARPN OpYTOTPA Nou GUvOdetiet TOUT CORIOTEG-Tpa- youbiorée kai Ty xopuabia Otnakaistepoi cuveéres xenaiporoiotioay noAAgs Gopég AAAoTe ja ypnyopiave jehwoia ‘Kai GMAOTE Lid KOOUIKA, OT|MAVTLKOTEDOI Se aN’ auTOUC UMpEaV o Dufay, o Ockeghem, o Josquin des Pres Kat apyotepa o Palestrina nou Werakl twy 93 Aettoupyiiy Tou ypdqer Kat Tr] YuwOTH134 «Necroupyia Tou Mana MapxéAous, o Vietoria, uéxp! nou @ravoupe ovo yeyaho Bach nou n Aet- Toupyla tou oe a1 ehdo, anotehei payuaTiKé opdanjio, OTavovrac omy KAauIKt Tepiobo ava- époupe Tig Nettoupyieg Tou Haydn (14), tou Mozart (15) Kai m Aettoupyia oe pe, yyworh oav sMissa Solemnis» tou Beethoven, éva ano ra aol yxoita apictoupyfyara tg Wouaiktic diAdho- lec. lapéyo.a Enya éypapay Kai nodAot GAAoI ouvBétec tug o Schumann, o Liszt, o Gounod, o Franck KAn. PEKBIEM Napandnow ye thy nponyouusyn @apua civar Kau to PéxBiey (Requiem) nou Sev elvat tino Te GAAO napd pia vexpiowin kertoupyia. Mfjpe to dvoud TAS aN6 To NpsTO LépOg The NU elval To Requiem aetemam kal onjaivet «auvia avdnauor|, Ymapxet pia Siapoporoihan ota wépn Tou PEKBIEH auyKprTiKd pe auTd th hetToupylac. To Péx6ieu reepiAaGaver: 1) Requiem, 2) Ky- ‘ne, 3) Dies irae (Ntieg ipe=nuépa opyric), 4) Dominus Jesu Christe (NtOyrvouc ZéZou Kpiots pie Inool Xpioté), 5) Sanctus-Benedictus Kai 6) Agnus del & Lux aeterna (NouE etépva=aidvio pus). Jo Tlpoxewidvou va avapépouye peyahoug auvéetes rou evbiagépEnKav y' autd to eiSoc Ga mipénel va fexivrjooupe we tov Palestrina, tov Victoria kai apyétepa va npoxwprgoupe oto Mozart ye to Péx6ieu nou anoteAei to xilxveio doya Tou, orov Berlioz, otov Dvorak, oto Verdi TIOU To PExBiey: Tou éxet Nepioodtepe BeatpiKé napd BpnoKeuTIKd yapaKTHpa, OTO Fauré Kar ‘téhog va Otdcaupe ctov Brahms nou ypddei To «FepyaviKd péKBiep» Trou To Keivevd Tou, ya pit Pops, Sev eivar omy Activ aAd OTH yepuaviKA| yAAOOA, ywpiG aUTO BEBaLa va CTA vel out e€avrhfoque Tov KaTdAayo Twv cuvBEToY nou aoyOKABNKaY 4’ auTH Tn BpnoKEuTKth opua. OnEPA H ‘Onepa (Opera) elvai tvag cuvéuaopds Bedtp0u Kai uouenxtig exredeita Se amd roUG codlsteq-tpayoudtatéc, xopwiSla Kai opytiotpa. H onepa yevwétat ota 1600 étav orm OAwpevtia avedaivel to Epyo Tow Peri (1561-1633) sEupudixn. Bédaia 6a npénet vo onpeuicoupe oi 0 itog ouvdémne cixe ydwel ata 1597 Tm, «Adv» Tou Suwe Eye xaBel, TpdSerywa 60, (Per: «Eupubixn> - cndonacua). ws cy — == = i= [Gah ee ae ee 2 Scan See eae odes A Reta aa Pe So ees eee ee eee Poe Se ei eS Be ees ue TF = 5 == = = $135 Ss Fei neglismpi te. a — ttt al po-pal fol. to Sca_ to eet RE MG EO ao Signe i. oe aipariea-ce-ehctan. co Rechiar an Mian Wheto plese Mee a Tir @ pie wa Ue sembian . ti forte ter Mt est Sra nd Wan eee Npsyovor Tn¢ ériepac pnopoiv va BEwpnSouv To weoowvind Muotiipia (BpnoKeuTIKEs na- paotdvers nou nepiotpépovray uvmGus YOpw ANG Ty Gurl tou Xpiotod) main Maoxa (ouvSua- aye noinang, pousxtie, Xopod, We oxnvixf| Siaxdoynon, nou anorehouce SiaaxéSa0q Tuy a- piotoKpataiv), H onepa avéoya ue my undéecr TA¢ unopel va elvat aoBaph (opera sera) n xwpinf (opera buffa), Autt} n Sedrepn eugaviornKe apyiKG (tEAOg Tow 17ou audva) Gav éva eidog wrepyeTtoU (A. Aefn), nou naérav avéyeoa ong npakere tne GobapHi¢ SepaC, we avebprnto Béua. To Aiunpéro th¢ fitay enveuopévo and KowwviKd Bépata thg enoxtic exe Se Gav Howes Yapa~ erfipeg tng Kadquepivtc Gah, “On Kai ta Bearpikd Epya €or ki auTH ywpiZeTar oe TphYaTa (npdEeLe), nepiexel Be Bide opa pépn drug eivat n dpta, 10 petorraridg, 10 viouéTo, ta YopwBiaKa KAR. H épia (aria) eivai éva quvnrik6 Kopidti nou tpayousé évag tpayoudioTrIg ue opyaViKt ouvadeia. O¢ noo 17 Poppa TS, unopel va eival Sweprc, ToIMEpHE A KdroWd GAAn. Mia ouvn- Gicuévn HoRgy Apiag eival n Aeyopevn aria da capo (da capo=and thy apy) (Bh. KEEN). To perorrariéo (ecitativo) uc ywwardv elvat wa younnf anayyehia (BA, AEEn). Emy énepa now my évapen tou Kuplue Epyou undpyet n e1caywyr (BA. AéEN). Meyahor ouvéétes Onepag umfipEav: 0 Monteverdi nou 8a xenowonoujoe: ja opyrtorpa mhoucidtepn, 08 NXoxedaTa an’ 4,11 o1 naAaKOTEpOr Kal o1 cUyXAOvOl Tou GuVBETEC Kat Ba THY ave! ovgiaoTikd rapayavra avn Spayarist eEEAIEN Tou épyoU, O Lully, o A. Scaratti nou ypd- ‘et éva peyado apiépd and énepec Kal KaBlEpavEI THY GpIa da Capo KaBIG Kat Ta¥ TUT TIG tTOAIKTig eicaywytic (6A, AGEN). O Rameau nov n sHowrspya» via My ertoxr) HouGIKT] TOU Evo- Aki Tous oUyXpdvous Tou NOU Th Bewpotlw TOAY «napdquvn xat BopUBGEN*, cat yia To ontolo ‘Ba KammyopnBel apydrepa Kai o Wagner, H napTiroupa TOU Suwe, we THY MAOUoW Kal ouKlAN, ‘ApHOvia xat ta KaAOYPULPEVE YOpwEIAKa, anoTeAEl onyavtind cTorysio Tww épywy Tou. O Han- del, o Gluck rou ivai o avayoppwrtig Ins dnepas. Emotpéger ora wavixd Thg OAwpeTive}s Camerata xai Beupel 611 Oot ot ouvteksotég te Snepac, TpayoUBITéc, wousiKol te opxA-136 orpac, xopeuréc, oxnviKd KAN. Ga npénet va oToxeUouy oTHv sEurMpéTon Tou Spayatos, ern SiwKovTag HeyaAUTEpN Cadfivetd Kat anAOTHTa Gra Epya Tou. O Mozart nou ypabet Td00 Goba- Eg G00 Kat KuPIKéC OnepER. Xdpn ATHY iKaVETHTA ToU OTN XpFON The MOAUgWviag GARG KaL THE apyovlag, nou Tig Bae: aTny UTMpEgia TH¢ SpauariKtie TéxvNG, oF OnEps TOU yivovTat Epya GyioT|g KaAAMTEXvIKFIg aElac. ‘Oco yia 7h Xprion THE opyroTpaG, EEpst Baupdo.a va thy kavet va umperel ta Spapeva navw om oxnye, O Beethoven, o Weber, o Beyehuatiic Tne eBvi- fig yepuavixite Gnepac, KUpiag exmpdawmor Tou véoU YEpLaViKaU pouavTiouod. O Rossini, o Donizetti, o Ballin, o Berioz, 0 Wagner, Snjioupyos Tou UoumKod Spdyaro dou n youonni Bev Exei MAZov Tov MowtaywvioTiKs pOAo GAAG Smug kal 01 GAAOI GUVTEAEOTée Tou aTOYEUOUV oT eurinpé man tou Spdyarac nou éxei kai @ihaco gin nipceKtacsic. ‘AALa xapaKTnpLOTIKG Tey GaykvepiKi Epywy eivain Tepactia Ge apiBLd opydviov opyAoTpA Kal N Yprion TOU leitmotiv (kaBoSnyATIKOG poTiBou) Mou civai pia CUVTOLN Kat YapOKTApIOTIKA HeAWDiA, KaBopiaTIN E- vc npootirou 4 pias iSéac, rou Squioupyst wa evéryta 0 OAGKANBO To épyo. Ta Aqnpéta MPO PYOWTAL GUVTBWs aNd TOUS OKOTEIVOUS YEpWAVIKOUC WUBOUC Kar elvar ypayéve and Tov {810. O Verdi, 0 Bizet, 0 Puccini, o Debussy, o R. Strauss (nepitté va onpewSel 6r1 0 napanave KaTdAoyos elvat OMAd SerypaToAnTrixds aGOu uNdpyel évac TepdaTioc apiByde GuvBetév nou éypawa énepec}. OPATOPIO 0 6pog npoépxetar and Th AEEN oratorio=aiBouca nposeuyric. Zav yougikr pdpua To opa- TOplO Ba Adyaue Oni éxet aoKETy OXéGn We Thy énepa ya Kar xpeIdZeTai TOUS iBioUc oUVTEhE- oTéc yea THV Napouaiaay Tou BqAadH xopwoia, opxreTpa Kai CoKicT. Baw dywe Biagops avGyeoa ota duo ciSn eivai dri to opardpio Sev exer oxnvuct Spdon (kivnon). Maviwe 6a pno- podoaye Kat €6@ va Bewpr}coupe cav Npdyovo Tou opatopiou Ta weoouwviKd MuoTHpia, ‘Ooo yia Thy UNdBeon, noel va svat BpnoweuTiKA H aKdua Kat KOOUUCT. To opatdpio, onmc kain drepa, npwronapovmaterar orny HraXia (Pein) ora 1600. Npditoe ‘ouvBérng opatopiou Gewpeitai o Emilio di Cavalier (1550;-1602) ue to épyo tou «Mapdctaon TMG WuYTG Kat TOU owPATOG», NondSerua 61. (Cavalier: «Napdotaon mg puytie Kai Tou oipator» andor.) te, dov' al ber - ga Tarot Tm, es ie Nacht btu se dah fyB tateltetoversaod. ab ‘Deoasigiio = = SSS SSS SSS Net prodon-do finwer . no, Lin-mondiaet bo. Bronte fs. tarond” Sf Dnata oe @ anime dannate (verdumms Seeln) ‘una sola (Tea) ¥ Tr fyo-co, i fuocoeter --nol Crude, cru.del peren en ~ ty Per od Dias Few ey dese. ge er! He schaen, wue eehwwr mw tL fery nee ' 41 | focaatocoe Her val | focnglfoces ler — al Speenee|Rescapen| eepemengend138 ‘DO inietteto Al. mecilin Ciel go.de — te, Qualpremigin Ciel have — te, Pil ao-bitespia de — goo? ‘hr dortem Fin. onl, echichnmonkswhdorie ben #0 eomcne-elland wir. 7 ze © raime vearetreige Grisier) ‘ann gels (Sipe) cs E oe Bédaia ota npdra opatépia ypnowonowPnkav Kootodpia Unfipye Be Kat oKMWr] Bpaon, ‘Que 0 onpavrixds ouvdérne oparopiay Carissimi (1605-1674) anoxAeiet and ta épya tou th ‘exnvixr} Spdon Kai ory BEan TE YONoWonole! Tov AGAYNTH rou TEpIy~pagel THY UNdBECT TOU Ta npara Gute opatépia éxei navra BonoxcuTIKé neplexGuevo. SquavriKoi auvBétec opato- plwy umtjpEav ou Schiitz, A. Scarlatti, Bach xat peyahdtepoc SAwv 0 Handel («Meaoiags, «0 Aabe Tou lopayA omy Alyuntom, elepOde», «Za0uA» k.d.), AKdpa o Haydn («Anutoupyian kat «Erto- xéo>), 0 Beethoven («0 Ingodg oto ‘Opog Taw EAaubv»), 0 Mendelssohn, Liszt, 0 Gounod, o Franick Kai moMAol GAAoi rou éypaway cite OpnoKeutixd elte KoouiKd opatdpia. MAGH ‘Ong efvar gavepd, oto e(Bo¢ aurd yiverat wie LouarKr enévuen névu oe Kelyevo nou avagéperai ora NéBn tou Xpictol eivar be épya mpoopiopeva va extehobvrat Ty Meyahn E- @5oudia. Yrnépxouv aprupies yia exréheon Térolwy épyuv (0€ MOAU aMAF yopgy GéBara) FN and to 10 auiva. Ouciactixd ta Ma@n Bev elvat tinote aXha rand Opatépia we oUyKexpiyévo dpe neplexduevo. Mévo nou 26d agnyntiie cival o «Euayyehiariig> Ta npéowna be tou ép- ‘ou elvat auré nau avagépovrat ota Evayyéhia (o Xpiardc, 11 Navayia, o Nérpoc xin) Ta oniovtixétepa Seiypara tou eiBoug ypdigrnxav and tov Bach («flan xara Mar@aiovs sat «fdr xard lwdvyn®). NoAG a€\éAoya elvat enlong Kat ta MBn tou Schiitz. KANTATA KaBiic elSqye oe nponyodpevo Ke@dhato (8A. Zovara),y Kavtdra (Cantata eivax aroKhet- cuca GuovrTuch oUvBECN, Exreheltat ané oodicr. xopwBia Kai opytiorpa dAAoTe Ge éyei cKKAN-139 OlaOTIKG MEpieXdueVO Kai ExTeAetTaL oTNV EKKAnola (cantata da Chiesa) Kat GAAoTe KogUIK6 o- note napoumdgerai oe aigouea ouvaudsiy (cantata da camera), Ga wnopouoe va Bewpnéel cay va ollvropo opardpio Sev éxst djuwe aonynth, Eugaviferai xatd To 170 auava. O1 npdteg Kavrdtes nepielxav anoKAsionxd petoratiéa kal yovo apyérepa, Grae ouyBalver ue tv dnepa nai To OpaTSpIo, KatéKTTGE N dpia wa on Havrikh 8£n o auTH. Ag onLewBel ti ot GoAIot oTnY KavTdta, avTidera an’ 6,tt oupéaiver To OpaTopio, bev napoUadtouy KaoLo GUyKEKDILEVO TpdowNO TOU KE! Wévou. Kavrates éypayav 0 Schitz, o Buxtehude, o A, Scarlatti kalo Bach row éxel ouvééoe: Eva TIOAG HEYGAO apIBUd yia Tic Bidepopec BpnoKeuTiKéc eopréc tou Etoug kaBdg Kal KOOPIKEC. APIA Mpoxetrat yea obvBeon rou ekTeheira and wa avr ue ouvoBela, anoTehel Be Tpria eves eupdtepau Eoyou drug n ‘Onepa, to Oparépio 4. “HEN otic énepex tou Monteverdi undpxe Hild MpuToyEvig HoppA Gpiag, exeivog duc row thy ‘OpioTiKONOInce elvai KupiWg oA. Scarlatti AAG kat Ghai Haha! cuvbéteg tw apxiv Tou 180u auiva, H Gpia (aria) tou Scartatti akohouBei to enduevo oxfa: 4. Etgaywyr} nayyévn ané thy opytiotpa. 8. Npdto puwntix6 Tuya. To90 n apyt 60 kai To TéAde auTot! Tou Tuhwatoe npéne va iver OTH ToviKH. y. Zdvtoyn opxnaTpixy kaTaANEN Tou kAsivei to npéto Tuya 5, Aebtepo duvntixd tpryia oe Stapoperixt taviKétyta. EOd lnopel va éxoupe yeyahute- On MOWKIAIG WeTaTpOMUDY aN’ 6,71 OT NPwTO PwvrTiKd TpRpA. &, Tplto puvntixé tynua nou dev elvai tinote AAO and: THY ertavaAnyn Tou npwtou TyA- watog. 210 Tyra aT napadeineTal cuxva y opyaviKH e10aywyr, Madness Gopés to zplro avré Tyo Se ypagéTav avd GaAd yonowonoteira n évBeiey D.C. (Da Capo) e€ ou xat ‘Apia da capo. Navrwe O& apKetéc nepirmiaeic o Tpayoudiotés EnoixiAay auUTH Ty enavaAntn Tou pisTou TyyaTos autooyedidfovrac Kai eniBeuviovtag Tm Sekiotexvia Tous. Ze vedtepes enoxés o1 cuv@étes Sev axoAouSolly nAgov tov ‘TpllEph Tune THE Gpiag da capo. (BA. napaberyye pera 10 Petorrariéo). H apiéra (areta) eivar wea anAodorepn kai ouvtoydtepn dota ané my onola Aeinet cuvi- ‘Bug to Leoalo THe yépos. ‘To api6io(arioso) eivar wia evéxducom wope erakd ‘Apiac Kal Perorrati6ou (8R.A.). PETZITATIBO Eivat ja Qwvqrixf auvBean nou n perwbia Kai © puBLOG nalZouV Beutepevovra pro OxohoUBAVTAS TH GuEKKH POF TOU dyou. Elva SnhabH Eve eibo¢ joUoMT}G anayyehiog, Ee140 TOMAég nepimtageig nponyetta plac dptag oTHW ‘Onepa, oto Oparépio KAn. KaL Exel XapAKTH- pa GAAore agnynHarikd, dAote Siahoyixd, Of dAAes be nepuTboeic efurMpeTel Th SpapaTiKh éxppaon. Zug naAaworepes Onepec TOU 17ou audva to petartatiéo (recitativo) xareixe pia NOY Gnpavtixn Gan todo oT ITOAIa 600 Kat oth FaAAla (Lully) ka AyYALa, Kani nou Bev cULBaiver as vedrepec nepiddouc Enig ontepes Tou 170U Kat Tou atisva unpxouV duo ein petorratiBou: to recitativo secco al To recitativo stromentato h accompagnato. Emy npdrn nepirrwon n ouvobeia bev civ tino- Te GAAO napa uid deipd aNd ouyxopsieg nou onpeKivovTa ory naptitoUpa cay ap\BuNHEVo undo Kat raiZovrai and éva tosunado, Euxvé y wekwBimh ypaypt Tou undoou evioxierai Kat ue éva 6ioAovto8ho, Ero BedtEp0 eiBioc perorratidou, chapod vedtepou and To nponyoiuevo, o payoubioTig GuvoSeveTal and Thy opyfotpa. Ziv nepimtwon aun n ovvodela civar mAnpéoTepn Kal MEDIO dren opyavayévn, nepiopiZovrag érar xéniws Thy EheuBepia tou tpayoubior}. lapdSeryua 62. (Bach: Petowariéo & ‘Apia ané trv Kavtata »Weichet nut» AECITATIVO. - _ 80 L. = = = ee ee ee pre, Ss eee Pov sete [swt Berm oat flee wa ls ih Continue. Soprano, Continue.—— Jato wet ae hmmm ge fu, tm ae et we | He te 22 — apie Speers Pg oe @142 ss =e = wel aie hm wl, —— ler anni, or weal retin lnuh— Der erate pe Lap. OYBEPTOYPA “Eroi ovopdterar éva Epyo opyavixtic WowMIKNs Mou Exel MpOopIad va pag etodyel oe [Ia Gnepa, éva opatépio Hoe Kanto Ghko épyo, Ot npiites énepec wv apydv Tou 17oU auiva Sev elyay eloaywyt OANA Kdroieg Popes WEpIKES TpOYMETes NpoKaAovoay THY MpocoyH Tou Kal- vou. Me mv n&pob0 Tou xpovou duwe éywve Pave n avdyKn NpoeToaolac Twv Beatibv-o- Kpoatiby ya To pyo lou Ga akoAousroeL, ‘Eto Snyioupyy|Snkay 800 Témo1 opynoTpIAAG oU- GeptoupaG: 0 tTaAIKég Kal o YOAAKEG, Elvat Be ceva Seutvot o yev rraduKde TUTOg We TO Alessandro Scarlatti (1660-1725) o Se ya\hikdg pe To Lully (1632-87), Kar oi Bu0 autés ousep- ToUpes elyay Tpia uépn, Oywe oTHW ITAAIKH Ta WEN rtay yPriyapo-apyd-ypryopO evw oT yaA- Aikt avribeta apyé-ypryapo-apyd, Méxpt tov Gluck ot eioayuyyée auréc dev eixay Kal peydhn oxéon we To €pyo rou unoTiBe- Tai Oi mpoetolualay, Avtibeta o Gluck emyeipei va mpoetoysdcel to axpoathpié Tou ndvw ‘omy uné8eqr| Tou épyou, KdTi nou Ba Kdvel apydrepa Kaco Mozart we Tig eiaywyés Tou. MoAd onpavrixés elvat 0: ouBeprouipec tou Beethoven nou akoAougouv tm @op\a-sonata. 6a unopoicaye va Biaxpivoupe Bio Tunouc etoaywyav: exsivec nou anoTeAo Tov npd- Royo’ Eva Leyahitepo épyo nou Ba akeAousoet Kai 6osg anoTEAGUY aveEdpTHTes CUR pWM- xés ouvOeaeic yupic va Tie akohousel Kértow dAAo épyo “Oooy agopd Tig npates, napamnpoupe 6 AAAOTE HEV xpno\oTIOLY To BeyaTIKd UAKS Tou épyou nou nponoyifouy dAAote Be ytiZovtai ndvw o' éva TeAclwg aveEAprTnTO UAiKd. AveEaptnTec eicayuyée éxouv ypdwel: o Brahms tv «Tpayixr Etaaywyf|», o Mendelssohn tic «E6pi8eq», o Rimsky-Korsakov To «Meyaho Paoixd NMaoyar, o Dvorak to *Kapva6dAt KAn. O1 nepidrteper ond Tig eioaywyée aUTOU TOU i5oug akohaUBOUV TH MOpia-sonata, dAAEc duwe an’ autéc Sev elvai tinote dhdo omy npayyaTiKeTTa napd éva Eupowvixd Noinua (BA. AzEn)OINAAE F ovojaoia Owehe (Finale) Sivera. ovo tekeutaio épos eve épyou Smug n Tuyqwvia, 7 Fovara, to Kovtoépra xhn, nou anorehetrai and noXAd yépn xai oF apketés nepimtaceic éye @0eHa TOU pote. Enfons xonoyionouetral Kat omy ‘Onepa oaV TEAK Thuan lag nadine KONTA Eivar €va tufya, poxpé HeyaAUtEpO, nou npootiBetai oto ‘TEAOG [0 GvEeaNE Kal éyel EvaV KaTaANKTIKd Xopaxtpa wig Guwe Kat Va elves avayKaio and Souiny anown. Exot orm 0pua-sonata undpyer ApKErés Popes ua coda(=oupd) oto: TEROG OAOKAMPOU TOU LiepoUC eves Meplode kat kupiug xan otov Beethoven, artoxté peyaho KaTaoKevacTixd evdiagépov kai KahAmeyvinf afi.144 EYPETHPIO OPQN Axudr, 61 Ayos, 10 ‘auBpomave eros, 19 ‘avarrtugn (covdra), 88 Ea (PouyKa), 30 avyKAé?, 73 Sé uc (covaTa), 85,88 avtiBeyia (pouyKa),30 Bepatixy oyada (covara), 96 avtionign, 15 ‘anGvTmon (ouyKa), 30 Wtepuetto, 133 anduty pouout, 127 Apia, 135,138 Kavévag, 24 apiéta, 139 kavtdta, 138 apidto, 139 kavtévtoa, 112 ApHOviKG OTA, 18 kavrodva, 125, ‘auaTnpes xavdvag, 26 kanpitoio, 131 apnyntic, 138 kacaidy, 74 Két00, 28 Bade, 74 kévta, $3,143 Kovtéta, 35 yégupa (covara), 88 kKovrouxtouc, 21 ‘yka6or, 69 Kovtoépto, 109 ykaylépvta, 60 kovtaépto yxpdao, 108 yonyopiavé yéA0c, 19 Kopah, 43 kouapréto, 102 ‘Sidpxeea rou, 10 Kouwtéro, 102 ‘diepric won, 52 kourtké, 57 Bin\h nEpAB0c, 12 xoupdvr, 61 exoayayn, 142 Aart potié, 136 éxGeon (covdTa), BB Aeitoupyia, 133 &xGeqn (GobyKa), 30 Aévtaep, 74 exoot?, 82 dwt, 61 ehedBep0g Kavdvac, 26 houp, 73 eunpount, 131 evapo Bdowo, 18 Hadpryads, 139 evBavoiov, 50 afoupKe, 78 Evtaon Axou, 10 Wevouéro, 66 entayopevo, 23 wider, 69,72 emavéx@eon (covdra), 88 ulinon, 23 eneI00510, 32 Hovogpwvxé oni, 13 erepoguivia, 24 yotéto, 96 pori8o, 11 Gyno. 61 pououd otth, 13povoiki Swariou, 102 pnaykatéha, 133 umahévra, 192 indigo Albert, 18 umohgpd, 81 umoupé, 72 vovéto, 102 vriBeptiévto, 74 vtioKavtous, 21 vuytepivd, 132 ouodwvind ovth, 17 énepa, 134 opardpio, 136 Spyravouy, 20 Opvtp, 60 otéto, 102 oubeprouipa, 142 magava, 60 nn, 130 napahhayés, 119 noptira, 60 naoaKaia, 125 noomé, 73 MEVTAA (\ooKpGTIC), 33 niepiodoc, 12 néAKa, 77 modugwvixd oTiA, 15 nodavéta, 75 mpeaunih, 66 npehou610, 45,66 TpoypayyaTik} pousnkt, 127 ‘iponyouevo (np6taon), 23 npétacn (badan), 12 paywbic, £28 pénéuey, 134 petowratido, 195,139 peopev. 57 piynovtoy, 73 pitoepKdpe, 2B povto, 57 145 ‘oaxdv, 125 aahtagého, 81 capaynavra, 61 centéro, 102 ospevata, 74 geotéto, 102 oKépto0, 128 ovata, 84 ovata SiGeyatixt, BB govara KUKMKA, 97 ovata povodepaTixh, BS oovata-pévto, 97 covara-pouyka, 102 covara yra Kauepa, 60 covata wra xiéCa, 60 govariva, 85 outta, 60 aomoudh, 131 arpéto (GouyKa), 32 upgwvla, 103 upguvexd noinpa, 127 topavtéha, 78 ronda, 48 TplUepric woper, 83 pio, 67 ‘pina, 60 twos AxXoU, 10 pavtagia, 128 givahe, 143 opya covara, 85 pouyxa, 30 ‘pouyxdto, 36 pouyKera, 36 odian (npdtaan), 12 xauntavépa, 82 xopiKs, 43 xooid fyou, 10NEPIEXOMENA Npsroyox 6... ir st Etcaywyt “Hyog Kipia popgoAoyixd ororxeia Mouowd ow Tpnyopiavé uehoc - “Opykavoup Nrioxavtoug Kovtobxroug Miunon, aE Kavévac. Katoa PitoepKdpe ‘@ouyKa —— MotéTo jl MaSpoyahi = Kopdh MpedouBio Toxdra Evéavowy perenne Awe Povto Tovita Atéqopor xopot Zovera Zovativa @oppa govaTa KuxAurt) covara Zovara-pévto Mouawwh Sapatiou Dupguvia Kovreépto Taparayés Kavicéva. ZoxGv-nagaxdAia Tooypayparixf pousxt) 10 1" 18 19 2 2 4 % 43 48 51 a7 74 85 “97 oF 102 103 108 419 125 128 127Oavragia Payuwdia Exéptoo Kangiraio Eunpoyrrti Tnovdy, Mnakavta Nuytepivd MnayxatéAa Wreppetto Aettoupyia Péxéiep. ‘Onepa Oparépio Ndén Kavrata ‘Apia Perotrariéo Ouéeproupa ‘Owdde Kévra Euperipto épuy 128 128 128 1H 134 131 132 132 133 133 183 134 184 136 138 138 139 139 142 143 oo 4B, 147