contact ·  en | gr

about Nikos Kypourgos / his music
Garden Theatre
Live recordings at the Athens Concert Hall - Megaron

released: 2004
Music composed, orchestrated and conducted by Nikos Kypourgos


  • 01. LIGHT è LA LUCE, Sung by all
    Lyrics: Dimitris Mavrikios. From the film AENIGMA EST (1990) directed by Dimitris Mavrikios

  • 02. THE KNOW-IT-ALL, Nikos Kypourgos
    Lyrics: Agathi Dimitrouka From the play A TALL STORY by Dimitris Seitanidis,
    directed by Petros Sevastikoglou (Theatro Neon, 1997)
  • 03. THE GOLDEN FINCH, Alkinoos Ioannidis+Doros Demosthenous.
    With the participation of Savina Yannatou Lyrics: Harry+Pano Katsimichas.
    From the play SPAGHETTI WITH CATSUP by Reiner Hachfeld,
    directed by Thomas Moschopoulos (Mikri Porta, 1992)
  • 04. BETWEEN THE LITTLE BUTTONS, Savina Yannatou
    Lyrics: Lina Nikolakopoulou
    From the play THE DRUDGER by Xenia Kalogeropoulou,
    directed by Thomas Moschopoulos (Mikri Porta, 2000)
  • 05. AMOR, Savina Yannatou
    Lyrics: Nikos Kypourgos.
    From the play LES LIAISONS DANGEREUSES by Choderlos de Laclos,
    directed by Kostas Kazakos (Jenny Karezi Theatre, 1996)
  • 06. I AM WASHING CLOTHES IN THE COLD STREAM, Camea Vocal Quartet +Chorus
    Lyrics: Genny Mastoraki.
    From the play YERMA by F. G. Lorca,
    directed by Mimis Kouyoumtzis (Art Theatre, 1992)
  • 07. YOUNG CLAUDINE’S VINEYARD, Alkinoos Ioannidis +Doros Demosthenous
    Lyrics: Nikos Kypourgos
    by Eugene Labiche, directed by Tassos Bandis (Embros Theatre, 1996)
  • 08. AT NINO'S CIRCUS, Philipos Nakas Youth Symphony Band
    From the play A STORY WITH STORIES by Gianni Rodari,
    directed by Thomas Moschopoulos (Mikri Porta, 1998)
  • 09. ADVERTISING, Alkinoos Ioannidis +Doros Demosthenous+Miltos Papastamou
    Text: Nikos Kypourgos.
    From the ballet IN ATHENS (1998), choreographed by Rallou Manou
  • 10. MASSAKAM, Camea Vocal Quartet+Chorus
    Lyrics: Nikos Kypourgos.
    From the film BLACKOUT (1998),
    directed by Menelaos Karamaghiolis
    Published by Ankh Productions
  • 11. SAVE ME [I’m still falling], Savina Yannatou
    Lyrics: Wallace Shawn.
    From the play FEVER by Wallace Shawn, directed
    by Viki Georgiadou (Theatro tou Notou, 2000)
  • 12. SAVED, Alkinoos Ioannidis +Doros Demosthenous.
    With the participation of Savina Yannatou.
    Lyrics: Nikos Kypourgos.
    From the play SAVED by Edward Bond,
    directed by Tassos Bandis (Embros Theatre, 1990)

  • 13. O SUN, Alkinoos Ioannidis
    Lyrics: Nikos Kypourgos - Lena Kitsopoulou
    From the play THE SNOWMAN AND THE GIRL by Evgenios Trivizas,
    directed by Thomas Moschopoulos (Kalamata Municipal Theatre, 1991).
  • 14. DREAM, Alkinoos Ioannidis +Doros Demosthenous+Savina Yannatou
    Lyrics: Thomas Moschopoulos.
    From the musical SILENCE, THE KING IS LISTENING,
    directed by Thomas Moschopoulos (commissioned by the Athens Concert Hall - Megaron)



  • 15. ANGELA’S SONG, Maria Farandouri
    Lyrics: Michalis Ganas.
    From the film PRESUMED SUSPECT (1990),
    directed by Lefteris Xanthopoulos
    From the film THE DEAD LIQUEUR (1992),
    directed by Yorgos Karipidis
  • 17. TRANSIT, Maria Farandouri
    Lyrics: Yorgos Kakoulidis.
    From the film PRESUMED SUSPECT (1994),
    directed by Stelios Pavlidis
  • 18. TANGO
    From the film TERRA INCOGNITA (1994),
    directed by Yannis Typaldos
  • 19. THE SPARROW’S SONG, Nicola Floki
    Lyrics: Michalis Ganas- Nikos Kypourgos.
    From the film MASTER OF THE SHADOWS (1990),
    directed by Lefteris Xanthopoulos
  • 20. DON’T GO, Liseta Kalimeri
    Lyrics: Lina Nikolakopoulou.
    From the film BLACKOUT (1998),
    directed by Menelaos Karamaghiolis
    Published by Ankh Productions
    From the film PASSEURS DE REVES (1999),
    directed by Hiner Saleem
  • 22. CARAVAN, Liseta Kalimeri+Doros Demosthenous
    Lyrics: Stamatis Dagdelenis.
    From the film ROM (1989),
    directed by Menelaos Karamaghiolis
  • 23. THE GYPSY’S SONG, Doros Demosthenous
    Lyrics: Georgios Drossinis.
    From the film ROM (1989),
    directed by Menelaos Karamaghiolis
  • 24. ROM, Doros Demosthenous+Liseta Kalimeri+Alkinoos Ioannidis
    Lyrics: Anonymous.
    From the film ROM (1989),
    directed by Menelaos Karamaghiolis

  • 25. O EYELID, Chronis Aidonidis
    Lyrics: Lina Nikolakopoulou.
    From the play THE DRUDGER by Xenia Kalogeropoulou,
    directed by Thomas Moschopoulos (Mikri Porta, 2000)

  • 26. YELLOW, Philipos Nakas Youth Symphony Band
    From the play THE SNOWMAN AND THE GIRL by Evgenios Trivizas,
    directed by Thomas Moschopoulos (Kalamata Municipal Theatre, 1991)

On Nikos Kypourgos’ “Kipotheatro” (Garden Theatre)

Music with Pictures – Music for Pictures

An unusual conjunction of circumstances brought Nikos Kypourgos in contact, very early on, with such distinguished personalities-cum-mentors as Mattheos Mountes, Manos Hadjidakis and Yannis Papaioannou. He made his first recordings while still a schoolboy, whereas he benefitted from such unique opportunities as his appearance on Greek Radio and Television (ERT) in the 1970s, when Hadjidakis was head of the Third Programme; his participation in “Lilipoupolis”, a satiricial radio programme written for children but equally appealing to grown-ups; and the Musical Contests, also organized by Hadjidakis.

In pursuit, he attended the Paris Conservatory to study electro acoustic music. At the same time, he sought to discover the essence of music on various levels: from folk music to musical pedagogy, physics and mathematics as an access to contemporary classical music (Pierre Boulez and Ianis Xenakis), analysis and synthesis (at the Ecole Normale under Max Deutch), music worldwide, seminars on musical issues, music for the stage, the existence of a variegated musical orgasm in European centres, experiences from voyages in Europe, Africa, Asia and the American continent, and the atmosphere of doubt as lived by the post-1968 generations.

Nikos Kypourgos, in the course of his twenty-five-year-old career, has written music for about fifty theatrical performances, forty-two films and TV serials, fourteen vocal and instrumental works, and has recorded over twenty records (personal compositions, orchestrations, and as an instrumentalist). Nevertheless, whereas his oeuvre is held in high regard, on the whole it has not had its due. Only a few people have a sound knowledge of his overall musical creativity. He is not ranked among commercial composers, being an unclassified musician, and as such he belongs nowhere! He is a charismatic musical acrobat who moves on the outside edge, in the slot of various musical genres, and even in the work itself.

Thus, there unfurls before us, the oeuvre of a versatile composer, open to all trends and sounds, multifaceted, with a spontaneous, free-flowing melodiousness, and a wonderful sense of musical blending. In effect, his work is devoid of stylish limitations, self-censuring, complex or abstruse usage of musical language. His music breathes, is bright and free, its strain is variable, functional, sometimes subtly melancholic, and tallies with and is interpreted by the creator’s persona.

Rhythms, scales and our “oriental” modal structure combine with the corpus of Western music and harmony. Folk instruments associate with the timbre and coloration of those of a classical orchestra, refractive sounds of nature (e.g., birds’ warbling), musical themes and styles of non-European cultures are introduced, enriching his musical language which is called upon to serve each work in a pleasingly surprising manner, and also lightening from another aspect circumstances as evoked by speech and image.

However, despite the ostensibly disparate ingredients, the canvas of a uniform aestheticism is distinct, making the creator recognizable. This is not the outcome of mannerism but quite the opposite: avoidance of habitudes and questioning of standard forms; endless pursuits of new chromatic tones, new ideas, and engrafting something new into creativity.

His orchestrations are characterized by sensitivity, imagination and minimalist use of instruments, while adhering to the tenets of the West’s musical idiom. Oftentimes they coincide with ethnic and aesthetic trends, without at any time the exotic vein excelling. In his avant-gardism one can discern the sporadic use of certain chromatic tones and melodious unisons. There is an absence of magniloquence, pompous demeanour, and heavy tonality. Thus, his tone is characterized more by an airy and supple sound game, reflecting the Mediterranean light, than the austere, grandiose central European sound qualities. He opts for developing his chromatic tones by using conventional instruments, thus avoiding the temptation of modern technological means with their countless facilities and possibilities.

The CD

The CD is divided into two basic unities: music for the stage and music for the cinema. A selection from a wide range of stage performances and motion pictures, covering Nikos Kypourgos’ creative presence in the last two decades. At first sight the juxtaposition of disparate elements into a musical flow and unity may seem somewhat risky. Nevertheless, beneath the songs’ surficial otherness lies the unifying power of Kypourgos’ musical concept and chromatic handling, creating thus sound panels of musical pointillism.

Garden Theatre

From the score of theatrical productions are picked a series of songs intended for children, and especially sensitive, childlike grown-ups. Here the musical approach is set off, whereby the “game” can be played seriously and innovatively: respect for children by composing songs that honour their sensibility and intelligence; musical and poetic ingenuity, and the way our lost childishness conceives and comments on the world. At length, it appears that amid the baseness that surrounds us, there is a crack through which emanates something really fresh, new – that which has justification for existence.


The inspired music for the cinema, notwithstanding the fact that it follows frame by frame the scenes that appear on the big screen, should also be seen in a parallel role, the cinematic dimension. A role which doesn’t simply intensify the goings-on, but which illuminates the invisible side of things. And the composer succeeds in this respect through the medium of memory, symbolism, sound associations, reference to sound models, etc. Kypourgos is very adroit in the art of writing music for a movie production. Simultaneously, by rallying his richly melodious powers, he has become one of the most authentic composers of music for films, of international repute, a fact verified by the many awards he has received at home and abroad. Music that had the power to detach itself from the screen and create pictures of its own.

Nikos Dionysopoulos (Translation: Yannis Goumas)


Maria Farandouri, Chronis Aidonidis, Savina Yannatou, Alkinoos Ioannidis, Doros Demosthenous, Liseta Kalimeri, Nicola Floki
The Children’s Chorus and members of the Mixed Chorus of the Larissa Municipal Conservatory under the direction of Dimitris Karvounis
The Camea Vocal Quartet of Sofia (Lada Kantardjieva, Elena Ginina, Elitsa Dankova, Irina Gocheva)

With the participation:
The Philipos Nakas Youth Symphony Band, directed by Stathis Kiosoglou
The GYRO-GYRO Group: Stavros Gasparatos (electric guitar, programming, samples), Ourania Gouseti (synthesizers), Yannis Katsafaros (bass, programming, samples), Kostas Kondylis (percussion), Alexander Tsilfidis (synthesizers, programming, samples)

Hercules Vavatsikas, accordion. Irina Valentinova-Karpouchina, piano-harpsichord. Nikos Ghinos, clarinet. Panayotis Drakos, flute. Kostas Theodorou, contrabass. Yannis Karabetsos, trumpet. Stella Kypreou, guitar -lute. Charis Lambrakis, ney-wooden flute-kaval. Miltos Papastamou, violin. Socrates Sinopoulos, lyra from Constantinople -lute. Vangelis Skouras, horn. Alekos Christidis, percussion. Alexander Mato, violin. Renato Ripo, cello. Gerta Sinai, viola

This site requires flash to be installed