Greece special (4): Aspasia Nasopoulou hits the mark

When I went on holiday four weeks ago, the European Union was anxiously awaiting the Greek government's response to its latest ultimatum on the terms of a new money loan. After being offline for over a month, I read that it is still muddling through, with yet another 'ultimatum' expiring on 20 August. Ah well, 'there is nothing new under the sun', as the Bible says preached, so I prefer to pay attention to something positive from Greece: the wonderful music of Aspasia Nasopoulou.

Her work can be heard on two recent releases. The CD Taracea by recorder quintet Seldom Sene includes her specially composed for this young ensemble Lelia doura and the Doelen Quartet presents its cycle Night work, music for string quartet that she composed to Micha Hamel's poetry series of the same name. This is a live recording of a Poetry International project, in which Hamel himself recites his poems.

Bull's-eye

Besides the now firmly entrenched Calliope Tsoupaki in the Dutch music scene, the slightly younger Nasopoulou (Athens, 1972) is also firmly establishing herself. In 2012, for instance, she won the incentive prize in music publisher Donemus' competition for female composers, which I reported on Cultural Press. Rightly so, as the draft submitted by her at the time Lelia doura for recorder quintet is a hit. Nasopoulou drew inspiration for this from one of the 'cantigas de amigo' by Galician-Portuguese troubadour Pedr' Eanes Solaz, who in turn drew on Arabic models.

The (Arabic) title 'Lelia doura' means as much as 'now it is my turn', words uttered by a love-starved medieval wench. Nasopoulou translated the structure of the poem into Arabic rhythms and a love-bound tone sequence ('maqam'). This is introduced by a sultry, slow-drawn-out solo, after which the five recorder players surround each other in now lyrical, then bouncy motifs that evoke the frisky love play of a young couple. Like her colleague Tsoupaki, Nasopoulou manages to organically link old and new ways of playing. The performance of Seldom Sene is exemplary: lived-in and spirited, but at the same time understated.

Affinity with language

Nasopoulou's affinity for language also shows up in Night work well expressed. Micha Hamel's seven poems describe the creative process, from the reluctant first 'Attempt' through diligent 'Labour' and painful 'Silence' to liberating 'Inspiration'. It is clever how the composer allows the four strings to seamlessly join Hamel's declamation. With subtle musical gestures, she underlines a word, an underlying meaning, without ever overpowering the speaker. Although Nasopoulou does indulge in word painting - for instance, when she evokes the sound of clapping hands with bouncing bows on the strings in the case of 'applause' - she never lapses into flat illustration.

How Greece will fare further, I cannot predict, but Aspasia Nasopoulou will certainly be fine.