Costas Papazafeiropoulos :: Sonata in C minor, Op. 64 (2010)

On my age, which seems still (surprisingly) young to the generation of my parents and very, (really) very old to the generation of my children, one slowly starts to be aware of the fact that, funny enough, not everyone shares the same idea as yourself, even not if you are so convinced of their 'truth'... I know, that sounds weird, and this process of awareness should have started way earlier in my life, but it appears that I am on the slow side...
Anyway, 'truth' in matters of emotion, beauty, proportions, style, etc... does not exist, but I'd might ad a marginal note that different 'truths' only then are equivalent, if their basis is a solid platform of knowledge, experience, and developed taste. There is nothing elite on saying that I do not take very serious a strong negative opinion on the music of J.S.Bach by someone who has never listened before to his music. Even more: you can say that the music of Bach IS reaching the top levels of beauty in every way. One is free to disagree, but I believe that that opinion cannot diminish the general truth of the worth and value of Bach's music.
Having said this, there are many topics in the amazing world of music on which we enjoyably can disagree.

One of these is contemporary music.
And let me make a confession right from the start: I do love a keynote (tonica). I am relaxed every time such a base note arrives home and closes the door behind, leaving me with a feeling that it all has ended as it should, in the most balanced way possible.
Second confession:
I do love the relationship tonica-dominant, strong as the relationships of our grandparents must have been. They give me the structure that I need to hold, to grab if everything slips out of my hands, they prevent me from falling hard to the ground.
Third confession:
If there is no keynote or tonica-dominant relationship involved in the music, I don't understand what's being said. It is as if I watch a play with closed black curtains on stage. The audience around me seem to look at something, but I simply see nothing. I once heard Leonhardt saying a similar thing in an interview, but much shorter and better than I ever could express it myself, something like this: "If I don't hear if the player plays a wrong note, there is no interest in the music for me."

I cannot agree more with that. That is very personal, I know.

We do live in a time, where an innovative element seems to be required for every new to construct construction, new to compose composition, new to paint painting. We do look behind in our approach of safeguarding monuments, in our attempt to play old music on copies of old instruments, we do study old sources, we do try to reconstruct as much details as possible, but learning by composing in the styles of the past is something that at least on large scale seems not to be inbedded in a general level of acceptance.

Well, that means that our newly built old instruments would serve only to play music of the past, or should be engaged in a rather flexible way to perform what we call today contemporary music.
I don't want to start a discussion on this, but feel free to do so in the comment box below.

Anyway, a few weeks ago, I got a question if I would want to make some time to listen to and play some of his music, my answer was... well you can imagine what it was. The YouTube channel of Costas Papazafeiropoulos contains computer renderings of compositions in late 18th century style, often of impressive dimension and form: symphonies, concerti, ... with apparently not too much attention yet. Costas wrote me not to have a website, which obviously should change (!), which might have helped attention for his music as well. It is worth visiting his YouTube page: !

A few days later, this score lay in my mailbox. It was the first time that I played a newly written work composed in a style close to the ones I know for decades now. And this experience was more then interesting. I had to play the score several times, to get rid off most connections to Mozart, Haydn, Beethoven, ... and gave room to a new style within a style.
Is this music as good as Mozart, Haydn, ... ? A worthless question.
Is there room for development? Costas is only 31 years old, so I guess yes. I don't know him, but he must be a very open person on his work. I suggested some changes, some other bridges, and he replied that he trusted me in everything I did. Well, to be honest: that is an exciting feeling, knowing that I'm playing a composition that most of you will have never heard, and on which my performance can be heard and commented by the composer himself!

Let's stimulate talented persons that want to work very hard to reach a sort of 18th century level, by playing it on our newly built "old" instruments!

Related Videos