A few thoughts with regard to the concert at the “NIMUFEST 2016”

Concert  written for two bouzoukis and symphonic orchestra,  November 10th 2016, Nis Serbia, Dom Vojske Hall.

Composer: Theodore Broutzakis

Conductor Sasha Nikolovski

Soloist Vangelis Trigas- Nikos Katsikis


On Thursday, November 10th in the City of Nis, Serbia, together with the well Known soloist Nikos Katsikis and the symphonic orchestra of Nis under the direction of Sasha Nikolovski, we presented the ‘Concert for two bouzoukis and symphonic orchestra” composed by Theodore Broutzakis, composer and close collaborator of mine.

The concert was given at Dom Vojske Hall and was included in “NIMUFEST” festival that takes place in Nis for 42 years presenting works of all major classic composers. The audience welcomed this piece with great enthusiasm and interest although it was a work  not common for such event, meaning it was a piece written for a folk instrument presented in a festival of classical music and together with a symphonic orchestra.  The composer managed to put together perfectly both folk and classical elements in a particular interesting and innovative way using his broad knowledge on both. I could say with no hesitation that the outcome of this effort met not only Theodore Broutzakis’  aspiration but also  my own seek for so many years  for a modern medium that will bring back bouzouki in the frontline.


A very special moment was when  together with Theodore Broutzakis(piano) Margarita Karamolegou (Vocals) and George Didahos (classic guitar) we performed  ” Ta  paidia tou Peiraia”  of Manos Hatzidakis from the movie “Never on Sunday” and the audience joined us  singing, confirming at the same time  the love he holds for Greek folk music. Λίγα λόγια για το μπουζούκι με αφορμή το κονσέρτο …

A music piece such as this one proves in the best way possible that bouzouki  can and must become involved into other types of music and orchestras different than the ones it had already belonged until now. In this way it will be possible for bouzouki to become further recognized and broaden its repertoire. It is possible that there are different opinions that support the idea that the instrument would lose its folk characteristics. I strongly believe that if bouzouki opened up it would not only kept its folk profile but on the contrary it would strengthen its presence. The need of new mediums in promoting bouzouki is emerging even stronger when realizing that for many years now its presence in modern folk music is so weak almost non-existent.


It is crucial to underline at this point that I use the term “modern folk” in the sense of popular and not in the sense of the old postwar song with bouzouki having a leading role and in the form we see it today.


It is possible for someone to notice that although bouzouki is still the most popular instrument in Greece, that in the minds of people in Greece and abroad it is an integral element of folk music, there is no production at all of modern pieces in order for people to have a new experience. As a result everyone turns to the old repertoire. This fact moved bouzouki backwards and tends to make it a museum exhibit, exactly the case of lute.

The revival of the past  declares in a way the inability to produce new works for the present and the future. The value of tradition is undoubtedly very high and can inspire the new modern culture.