Daniel Damaskinos plays Mozart
Daniel Damaskinos, one of Greece’s most outstanding young instrumentalists, will play Mozart’s Flute Quartet no. 1 in D, K.285 at a gala evening at the Theotoki Winery (in the Ropa Valley) on Saturday 23 September at 19.00 hrs. The quartet will be performed by Daniel with Elizabeth Perry (violin), Richard Wolfe (viola) and Niall Brown (cello).
Admission is 25 euros to include a reception featuring wine from the Theotoki Estate.
Daniel Damaskinos came to prominence at national level in 2015; his professional debut in Corfu in 2016 brought him international acclaim and he subsequently studied the Mozart quartet with James Galway at his annual masterclass at the Royal Irish Academy of Music.
Exhibition of paintings and mosaics
Patricia de la Fargue and Alyson Deléglise
Kerkyraiki Pinakothiki (Corfu Art Gallery)
3 July – 10 August
The Gallery is on I. Theotoki street (just beside the Atlantis Hotel at the new roundabout at the entrance to the Port)
AN EXHIBITION BY KATHERINE WISE
26th May until 25th June 2017
Palace of St Michael & St George
Opening times 10am – 4pm excluding Mondays
Gallery contact (+30) 26610-48690
The Haiku Poem ‘Life’ by Anditya Bhaskara introduces this exhibition
‘Rain appeared in mid air
sky & earth rushed,
to make connection’
Katherine Wise studied art in the UK before taking her Master’s degree in Fine Art at Southern Illinois University. She has exhibited in London, Birmingham (Alabama), St Louis (Missouri), Fullerton (California) and Chicago. She has been Resident Artist at centres in Scotland, Missouri and California. Her work is in permanent collections in London, San Francisco, Sydney and Geneva.
“Familiar with packing up and re-locating to wherever necessary, living on the move gave me a predisposition to travel and a deep curiosity about humanity. At the same time, it produced a yearning to belong somewhere with an attachment to community and place.
Now living in Greece, I continue my exploration, experimenting with materials and ideas. I love the settled community in which I have found myself, most of whom come from families who have lived on the island for centuries. It is an inspiring place in which to create and a stimulating point on the planet from which to look both East and West.”
Katherine Wise writes about this exhibition:
“I am always amazed by the fine balance of nature with its seasons and cyclical exchange from air to droplets of water, oceans, land, life and back to atmosphere once again. This eternal and fragile rhythm is central to my work.
“My sculpture and drawings are simple in structure and image. The elementary materials of wood, steel, beeswax and plaster are used vigorously and impulsively. Tall oak ‘monoliths’ stand outside in groups of benign companionship, and other works are installed singularly as points on which to focus. The inherent properties of the materials used evoke a feeling of monumentality reflecting the immense force of universal laws and the basic instinct to survive. As with the sculptures, the drawings are grouped into triptychs or single pieces and begin in my studio as a daily practice centering my focus.
“The precarious nature of the making process reflects the fragility of life itself. Through this duality I seek to suggest the massive strength of mother nature teetering in balance with the vulnerability of all that lives.”
IN PADDY’S FOOTSTEPS – Patrick Leigh Fermor Guided Tour, 2017
Following its successful inaugural tour of “Patrick Leigh Fermor’s Greece and Crete” in 2016, the Patrick Leigh Fermor Society has announced a second tour, for 7-19 May 2017.
PLF’s house at Kardamyli in the Peloponnese
Tour leader Dominic Green has supplied the following information
In Paddy’s Footsteps is a unique journey into Patrick Leigh Fermor’s Greece and Crete. Between 7th and 19th May 2017, a group of no more than twenty travellers will visit major sites in PLF’s life: from his favourite restaurants and hotels, to the homes where he lived and wrote; from Classical monuments to the caves in which the Kreipe kidnappers hid. Our guides will include several Leigh Fermor experts.
The tour begins in Athens, where we will eat at Tou Psara, where Leigh Fermor and George Katsimbalis often ate. We then travel through Mycenae and Epidavros to Leigh Fermor’s preferred hotel in Nafplion. From there, we visit the Ghika house at Hydra, where much of Mani was written, and the mill at Lemonodassos where Leigh Fermor lived in 1935-36. Then, after stopping at Mystras, we will visit Leigh Fermor’s house at Kardamyli and explore the Mani. Next, we travel to Crete where, after visiting Knossos and the Kreipe kidnap site, we will be based at Rethymnon. From there, we shall trace the kidnappers’ journey into the White Mountains, and tour the Resistance sites of the Amari Valley. Our journey ends at the beach at Rodakino, from which the Kreipe party were evacuated in 1944. The terrace at Kardamyli
* Four-star hotels, air-conditioned private transportation. * Expert speakers and guides, including Chris White (contributing author of ‘Abducting a General’), and Costas Malamakis (former curator, Historical Museum of Crete). * Private visit to Leigh Fermor’s Mani home, guided by his housekeeper Elpida Beloyanni. * Guided tours of the Kreipe abduction site and escape route, and the Resistance sites of the Amari Valley. * Optional tours of the Benaki Museum, the Hadjikyriakos-Ghika House, the town of Chania, and the Samaria Gorge.
* The tour is strictly limited to no more than twenty travellers.
* Cost: 3000 Euros per head (party of 10-14), 3300 EU (party of 14-20), including Athens-Heraklion flights, all private ground transportation, hotels, breakfasts, 16 lunches or dinners, conference fees, and guide fees.
* To register or request further details, please email firstname.lastname@example.org
See below (Study Group on The Alexandria Quartet) for Rebecca Fisher’s new blog “Love in Stereo: Reading The Alexandria Quartet”
AWARDS FOR DURRELL WILDLIFE CONSERVATION TRUST
In global recognition of how zoos can be significant for species conservation, in October 2016, the Durrell Wildlife Conservation Trust (DWCT) became involved with two major International Conservation Awards. On Thursday 13 October, Durrell’s Chief Executive, Dr Lesley Dickie attended the 71st annual meeting of the World Association of Zoos and Aqariums held in Puebla, Mexico, and collected on behalf of the Trust the ‘WAZA Conservation Award’. And two days later, on Saturday 15 October, Durrell’s Chief Scientist, Dr Carl Jones, was honoured at a dinner held in Indianapolis by being the recipient of the ‘2016 Indianapolis Prize’. Such an award was in recognition of Dr Jones’ outstanding achievements in helping to save animal species from extinction, including the Mauritius kestrel, the pink pigeon and the echo parakeet.
DWCT’s Honorary Director, Dr Lee Durrell, was delighted about both of these global honours and said: ‘I am overjoyed with the news that the Trust has won the WAZA Award, and so proud that we are the award’s first ever recipient. For it validates the efforts begun by Gerald Durrell so long ago to prove that zoos could become agents of species survival, and his firm belief that all zoos should strive towards this goal’.
STUDY GROUP ON LAWRENCE DURRELL’S ALEXANDRIA QUARTET , TORONTO, July 2017
Eye of the Beholder: The Alexandria Quartet
A study group, led by Rebecca Fisher, will meet at the University of Toronto in July 2017. Ms Fisher has provided the following overview:
With memory, with love, with any strong emotion, there often come many-sided truths. The Alexandria Quartet, Lawrence Durrell’s experimental tetralogy of mystery, love, and espionage, explores memory and knowledge, contrasting in its story the love affair of a young writer with the recollections of other people. Anglo-Irish novelist, poet, translator, travel writer, and dramatist Lawrence Durrell (1912–1990) set the tale in Alexandria, Egypt, in the years before, during, and after World War II. The four volumes, Justine, Balthazar, Mountolive, and Clea, involve the same characters, but each narrator tells the novels’ complex saga from his or her own perspective and place in time—“stereoscopic narrative,” in the words of Durrell.
What is the relationship between memory, place, and time? How should we define truth and knowledge? Does Durrell’s narrative approach better capture how we make different meanings from shared events? We’ll explore these questions and many more against the backdrop of a lushly written portrait of an ancient city.
FOR FURTHER INFORMATION, follow this link:
Rebecca Fisher’s blog on the Quartet:
By Becca Fisher
[Editor’s note: Becca will be leading Eye of the Beholder, a Toronto Pursuits seminar on Lawrence Durrell’s much-loved tetralogy The Alexandria Quartet. She is Director of Continuing Education at our partner Harrison Middleton University and a longtime member and discussion leader in the Great Books community. We are excited to welcome her as a Toronto Pursuits leader!]
“Far-off events, transformed by memory, acquire a burnished brilliance because they are seen in isolation, divorced from the details of before and after, the fibres and wrappings of time. The actors, too, suffer a transformation; they sink slowly deeper and deeper into the ocean of memory like weighted bodies, finding at every level a new assessment, a new evaluation in the human heart.” — Justine
When can we trust what we believe?
The Alexandria Quartet is a literary embodiment of this year’s Toronto Pursuits theme “What can we know?” We are given four beautifully crafted novels of the same sequence of events; the first three run simultaneously and the fourth is set six years later. Various narrators people this “modern investigation of love,” each with his or her own point of view. Author Lawrence Durrell says in the introduction to the quartet that he intended the first three novels (Justine, Balthazar, and Mountolive) to be siblings, not sequels. They cover the three dimensions of space: different perspectives but all present at once. The fourth novel (Clea) “unleashes the time dimension” on the events described in its predecessors.
As I worked my way through these novels, I was lost in the city of Alexandria, in the characters, in the exploration of love, in the varying perspectives of experience, in time itself. I was, in all senses of the word lost – at times perplexed, at times immersed and enraptured. I was reading a song. As I think Durrell intended, each novel provided a different movement of the quartet. Recounted through differing points of view, the events of a scene were like chords or melodies across—endlessly reinterpreted and set in a new context. I came to understand Durrell’s description of reality as a prism and began to question my own reality and what I know to be true.
Even as the quartet examines the idea that shifting perspective makes us reevaluate what we think we know, Durrell’s poetic passages capture what we do know. His characters intricately explain our common human experiences, questions, and emotions about love. Along with all the question marks, the margins of my text are filled with comments of “Yes” and “So true”! The tension between feeling lost while encountering familiar landmarks is part of what makes the novels so compelling. Durrell said of his masterwork, “You might call it a sort of stereoscopic narrative with stereophonic personality.” What might that mean? And how does Durrell change our understanding of perspective, of reality in time and space, of the concept of knowledge itself? We will take on these questions in depth in our seminar, but a useful place to start is the meanings of stereoscopic and stereophonic. The first is defined as “relating to or denoting a process by which two photographs of the same object taken at slightly different angles are viewed together, creating an impression of depth and solidity.” Stereophonic describes a similar concept, but for sound: a stereophonic system uses “separated microphones and two transmission channels to achieve the sound separation of live hearing.”
Is truth simply the whole that forms when multiple viewpoints or inputs come together? Eye of the Beholder will reflect on how and when we can trust what we believe in relation to the concepts of time, place, memory, reality and perspective. Join me, and let’s explore this lushly written portrait of Alexandria.
“Our view of reality is conditioned by our position in space and time – not by our personalities as we like to think. Thus every interpretation of reality is based upon a unique position. Two paces east or west and the whole picture is changed.” — Balthazar