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Obituary:Mikis Theodorakis
Soul music
Mikis Theodorakis, composer and political activist died on September 2nd, aged 96.
1.It is quite possibly the most famous two-note phrase in post-war European music: a stepwise trip up the scale that sounds like a question. Repeated over and over, it invites you to stretch your arms out wide, lift your chin and start clicking your fingers. The first time you hear the opening notes of the theme tune to “Zorba the Greek”, which was composed in a single late-night jamming session in 1964, Anthony Quinn is telling Alan Bates about his santuri, the instrument he cares for like a child. “It makes the best music. It goes with me always.” From then on, at every dramatic turn, you hear a little bit more of Zorba’s theme, until the moment on the beach when the tune swells into an ode on Grecian virility and romantic spirit as the two men leap into the rhythmic, slow-fast, sirtaki dance that cements their friendship.
2.Five years after “Zorba”, the composer is living in internal exile in his homeland. His music has been banned, for arousing passions and causing strife among the people, it is said. A young woman is put on trial for playing one of his records and turning up the volume as high as it would go. The Greek colonels who had seized power in 1967 judged his compositions to be in the service of communism. His two small children are forbidden from playing with the other kids at school; his wife is strip-searched each time she goes shopping for groceries—and again when she returns to make sure she is carrying no smuggled messages. He writes a poem and calls it “I Had Three Lives”:
the wind took one
the rain the other
and my third life
shut in behind two eyelids
was drowned in tears
3.The three lives of Mikis Theodorakis was a theme that would grow with the telling, until he seemed to be using it to braid together all the threads that gave his life meaning: boundless artistic energy, heroic political struggle and private love and sorrow. Chios, the island where he was born, had a reputation for courage and adventurism. His mother grew up in the Greek colony in Asia Minor, his father’s family on Crete, each the source of very different folk traditions. The elder Theodorakis was an official in the Ministry of the Interior, so the family moved around the country often, exposing young Mikis to different musical influences. At seven in Ioannina he learned to sing Byzantine hymns; at ten in Argostoli, a town of 7,000 people and one piano, the bishop asked him to perform the Passion in church on Good Friday. Later, in Patras, he was given a violin and an accordion. He formed a band and wrote his first compositions. In his teens he directed a choir, assembled an orchestra and gave the first concert at which his Byzantine ode, “Kasiani”, was played. In his 20s, during the Greek civil war, when he was imprisoned and tortured for being a communist, he saw friends killed and dedicated his symphonic work, “Elegy of Zanos and Karlis”, to two victims of the fratricidal conflict.
4.With the advent of peace he left Greece at last in the early 1950s, winning a bursary to study counterpoint and musical analysis under Olivier Messiaen at the Paris Conservatoire. He became part of a fashionable circle of artists that included Salvador Dali and Jean Renoir, and quickly made his name as one of the most important symphonic composers of the age. The “New Wave” was coined to describe how cinema was changing, but music and dance were also part of the great post-war renewal. And he might well have stayed at the centre of it, had he not noticed, one evening at Covent Garden in London, quite how viscerally the audience responded to the Byzantine hymns he had woven into the music for his ballet “Antigone”. Within months, he returned to Greece and his roots in Greek music.
5.He sought inspiration from poets: Odysseas Elytis, and also Yannis Ritsos with whom he had been imprisoned during the civil war. Drawing on rembetika, the Greek blues that is played in every taverna in Piraeus, he wrote music for their verses. So common did these songs become, so much part of the country’s aural dna, that Greeks might be able to sing every note he had composed yet not know who wrote the words.
6.He channelled his interest in politics into cultural activism and energetically supported better relations between Greece and Turkey. Yet he drew criticism too. Left-wing friends castigated him for suggesting, while the colonels were still in power, that Konstantin Karamanlis, the former rightist prime minister who had banned his music, was the only leader who could restore demo-cracy to Greece. Friends abroad blanched at his excessive criticism of Israel, his friendship with the Serbian leader Slobodan Milosevic and his periods of support for the Soviet bloc.
Three lives
7.But to judge him for who he cosied up to politically is to misunderstand the deep roots of his popularity. Going back at least as far as the revolution of 1821, rebel songs and poetry have allowed differences of opinion to be given voice in Greece. In other countries, as Vaclav Havel showed in post-communist Czechoslovakia and now Bobi Wine in Uganda, nothing unsettles entrenched power quite like a pied piper.
8.If there was a day when his three lives came together, it was September 22nd 1971. Greeks poured into Athens for the funeral of the Nobel-prizewinning poet, George Seferis. Slowly they began to sing the song that he had composed for Seferis’s poem, “Denial”. From across the crowd rose cries of Dimokratia! Eleftheria!—Democracy! Freedom!—words that had barely been whispered since the colonels seized power. On an old recording, the shouts sound like gunfire. It would take another three years, and much additional pressure, but in the rhythm of his soulful anthem—an anthem that every Greek knows—on that autumn day you can hear the seemingly implacable face of the junta start to crack. 
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