>> Michelle Stefano:
Welcome, everyone.
I am Michelle Stefano,
a folklife specialist
at the American Folklife Center
in the Library of Congress.
Today, we have the
opportunity to learn
about the Rodopi Ensemble,
whose concert performance
you have hopefully watched
and enjoyed and that is now
available on the Library
of Congress website, as well as
the Library's YouTube channel,
along with, of course,
this interview.
The ensemble takes its name
from the Rodopi Mountain range
in north-northeastern
Greece, in the historical
and culturally rich
region of Thrace.
The ensemble draws on many
musical and dance traditions
of this beautiful
region and beyond.
And so, together the Rodopi
Ensemble is Kyriakos Petras,
who plays violin, Nikos
Angousis on clarinet,
Drosos Koutsokostas, who
sings and plays the lute,
Yorgos Pagozidis on the
toubeleki and daouli, and last
but not least, the leader of
the ensemble, Alkis Zopoglou.
So, to learn more about the
ensemble and the traditions
at its heart, I have
the pleasure of talking
with Alkis Zopoglou, who
is joining us from Greece,
where it is evening time now.
So, good evening, Alkis.
Thank you for joining us.
I think it would be
great to just start
with you telling us a
little bit about yourself.
I know, you wear
a musician's hat.
You're also a professor, and
you are the director of a number
of musical festivals as well.
>> Alkis Zopoglou:
Hello, a lot of things.
Hi, Michelle.
>> Michelle Stefano: Hello.
>> Alkis Zopoglou: Well, I
was very happy when I found
out that I would be
chatting with you just
because you have a little
bit of a Greek origin.
I hope to see you
soon in Greece also.
Well, my name is Alkis Zopoglou.
I'm a musician.
The music instrument
I play is the kanun.
And with that musical
instrument, I participate
with Rodopi Musical Ensemble.
>> Michelle Stefano: Okay.
And you're also director of a
number of festivals as well?
>> Alkis Zopoglou: Yeah, that's
not so nice because I would
like to play a lot of
music, but I should do it
because of many reasons.
Yes, I am artistic
director of a festival
in Switzerland called
Mithraeum, this festival.
And I'm also director
of a festival
in my hometown called
Cosmopolis Festival in Kabbalah,
Greece, north of Greece.
>> Michelle Stefano:
Beautiful city.
>> Alkis Zopoglou:
Yeah, it's amazing.
>> Michelle Stefano: Yeah.
So, tell us a little
bit about the history
of the Rodopi Ensemble, how you
all came together, how and why?
>> Alkis Zopoglou:
Yeah, love Story.
With this musical company,
we started working together
in the 1990s in Thrace and
Macedonia, regions of Greece
where people live together and
they form a special culture.
The mountains of Rodopi, that's
why we call this group Rodopi,
the largest mountain of --
in Thrace, cross Bulgaria,
Greece, and Turkey.
I would say that these
mountains are a unifying link,
connecting the people of these
three countries musically.
So, in 2000, we started
our corporation
with Sokka San [phonetic], a
Muslim clarinetist from the city
of Komotini, a musician with
a unique musical identity.
At that time, because
of a [inaudible]
in [inaudible] Germany,
we recorded our first demo
with three typical melodies
of this region, really.
Continuing our wonderful
journey,
we are still playing [inaudible]
today in many events, weddings,
and festivals and trying to
keep our special musical style.
In 2016, Rodopi Ensemble, with
a new member on clarinets,
Nikos Angousis, started actively
working on its first record,
record the production, wishing
to spread its musical
style all over the world.
>> Michelle Stefano: Thank you.
Yes. I'm wondering if you
could talk a little bit more
about what makes, in
general, the traditions
of this cross border
region, so distinctive?
And I know the music
is very much tied
to dance traditions,
which you also teach.
Yeah. So, if you don't mind
talking a little bit more
about that.
>> Alkis Zopoglou: Well, the
area we live in is a cultural --
I think it is a cultural mosaic,
something that has definitely
influenced our musical identity
as a band.
The musical references of Rodopi
Ensemble reflect this mosaic,
and that it's absolutely certain
that we have been influenced
by it to form our own
way of expression.
Our [inaudible] also
includes the --
this rich variety of [inaudible]
in the musical scales
of the Balkan Peninsula
and the East.
For example, violin,
clarinets, kanun, [inaudible],
toubeleki were instruments that
someone could hear every day
in the streets and
neighborhoods of the cities
that are the birth places
and the place of residence
of the members of our group.
Among others, we will
call them our neighbors.
They are vocal improvisations,
ecstatic dilutions [inaudible]
melodies were in the past
that continue today
to be the way
of enjoyment for
the local people.
All this exists around
us today, and the music
of Rodopi Ensemble focuses
exactly on this soundscape.
You know, we try to keep
these melodies and spread them
through our participation in
all kinds of social events,
always enjoying the people.
This is very important for us.
>> Michelle Stefano: Right.
Now, as a folklorist,
we're always so interested
in learning how people
come into traditions.
And often musicians and dancers
and other culture keepers talk
about being born into
particular traditions.
It's all they knew growing up.
But how about your
own personal story?
When did you first become aware
of these distinctive traditions
and wanting to get
more involved?
>> Alkis Zopoglou: You know,
the kanun is the
instrument that I play.
It's a kind of [inaudible].
The kanun is very widespread in
the eastern Mediterranean region
and in north African countries.
In our region, it was used and
played mainly by Greeks who live
in the Asia Minor region.
It was near Istanbul.
And after the exchange
of population in 1922,
they came with it, with
the instrument, to Greece.
It -- now it's a very
beloved instrument.
And it has an important part
at the music reality in Greece,
even though it was in danger
of being lost during the years
of the population exchange.
Personally, I started to learn
this instrument in [inaudible],
the second capitol
city of Gaul or Greece.
And then I continued my studies
in Istanbul, which is only four
and a half hours from the
city of Kabbalah Vika,
next to very important
experts in kanun.
Anyway, I knew it from long
before, as my grandparents
and my parents had
these musical sounds.
And they themselves were part of
these refugee Greeks who moved
from the Asia Minor and
[inaudible] to Greece in 1922.
>> Michelle Stefano: Okay.
So, you yourself have learned
from masters of the instrument?
>> Alkis Zopoglou: Yes, exactly.
Yeah.
>> That's -- wow,
that's so fascinating.
Do you play any other
instruments as well, or--
>> Alkis Zopoglou: No, this
is [inaudible] vertical.
So, I'm trying to
make focus on this.
>> Michelle Stefano: All right.
So, let's get into the concert
that hopefully our
listeners have also watched.
Now there are particular
songs and dance music
that the your performance
for the Library highlights.
And I know one of those
is a wedding song that is
about the departure of
the bride from her mother.
So, they have these deep
meanings behind much
of this music.
Could you talk a little bit
about a couple of the songs
that are played in
your performance?
>> Alkis Zopoglou: Yeah.
Yes, indeed.
There is a vocal improvisation
that refers to the separation
of the daughter from her mother.
And she's about to
marry and live
with a new family from now on.
It's a bit strange to me even
as I'm still thinking about it
after all these years.
While marriage is a
time of great joy,
people want to hear
this wonderful song
of daughter separation
from her mother every time,
and after that they start the
celebration and enjoy a dance.
You know? In our concert
for the Library of Congress,
we try to play the most, let's
say characteristic melodies,
mainly from different groups
of dances and rhythms.
We played melodies with our
dancers facing each other
in couples, I mean,
like cigar stores in 9/8
with [inaudible] in 7/8.
We also played the
melodies which are danced
in a circle such as [inaudible].
We also play the very
typical and popular verse,
which is introduced
into our musical culture
in the early 19th
Century from the West.
And finally, we played some
melodies, both from Thrace,
region and from Asia Minor,
which are danced in a circle
and the dancers hold each
other by the shoulders.
And we also played a
characteristic melody
in 5/8 rhythmic called
[inaudible].
It's a very characteristic
melody in our region
and very popular among the
people of this region of Thrace.
>> Michelle Stefano:
I'm curious.
Are there any traditions that
you would say are, you know,
common across Greece, you
know, beyond the Thrace region
in Greece elsewhere
or that you are --
that you play and promote?
Or is it mainly of the region?
>> Alkis Zopoglou: Yes.
You know, I think that
we are in the middle
of so many different traditions.
And we always exchange our
knowledge and our music,
and you know, the music is
not -- does not have borders.
So, we always be with the people
and exchange our
knowledge and our music.
So, we have lot of melodies
that are common in our region
in Greece and are almost
the same in Bulgaria,
almost the same in Turkey.
So, it's a kind of
exchange between us,
and we are very often meet
musicians from these countries
and play together, and
it's something so easy.
It's something that we
are all day together.
>> Michelle Stefano: And
hopefully, all night.
Well, [inaudible].
You know, earlier you noted
how the ensemble also plays
in local events, such
as, you know, weddings
and other ceremonies
or celebrations.
And to me, that has me
thinking about the safeguarding
of these traditions within the
communities that they are from.
I'm curious about, you know,
how strong these
traditions are these days?
I mean, you know, just
thinking in general
about cultural traditions,
they're living.
They're ever changing, but
some in the world are weakening
and there are efforts to
keep traditions alive.
And it sounds like the
ensemble is very much involved
with bringing these
traditions to new audiences
but also keeping
their source meanings
and functions alive as well.
Could you speak a little bit
about efforts to keep alive,
sustain these traditions
and maybe even
if younger people are
getting involved in passing it
on to the next generation,
if you will?
>> Alkis Zopoglou: You know,
honestly, I feel very lucky
because I travel
abroad in many countries
with this professional
group, with the music.
And I saw how is going
with the traditional music
and the traditional dances
in several countries.
We are very lucky in
Greece because this process
of transmission is still
going on naturally.
At the same time, university
institutions have been created
with support for this tradition
and especially the naturalness
of transmission, so that both
the specialized education
and the natural actors or
bodies can participate.
This is very important.
So, generally, we're very happy
that many young people
now appreciate the
multi-dimensional,
nature of this music
and this way of entertainment.
And so, I think that the
Greek tradition is not
in danger at all.
Traditional musical
dance is now in --
I think, in good hands
and is being passed
on to the future generations,
both through traditional,
cultural institutions
and universities and,
on the same time, with the
natural way through festivals
and celebrations as
you talked before.
>> Michelle Stefano: That's
really interesting and,
of course, very positive to
hear and hopeful for the future
that these traditions remain.
And I love how you note
how there may be outside,
so to speak, university
interest in helping
to support these traditions.
But there's a respect for
maintaining that organic way
that they're transmitted
and passed on in connection
with the places and spaces
and people and actors
who are integral to
those traditions.
>> Alkis Zopoglou: Exactly.
This is very important.
And I think that what
we're like in Greece
because this procession
is very natural.
And all the institutions
and the natural environment,
the people on the wedding
center are in collaboration
and we create a unique
environment at the end.
>> Michelle Stefano: And
am I mistaken to think
that you also are part of the
transmission of these traditions
in terms of teaching
dance and music?
>> Alkis Zopoglou: Yes.
You know, I started from that
from very early, young age.
I was dancing in a
group, a dancing group.
And then I started -- I was
studying at the university
with this specialize of dancing
[inaudible] dance I mean.
And I continue until now,
if I have the opportunity,
but the music is my big love.
So, I continue with that.
>> Michelle Stefano: Right.
You said that earlier.
I just wanted to
hear a little bit
about your teaching activities,
which are so important.
Yeah. So, I guess I'm curious
about what's next
for the ensemble?
It's summertime, I'm
sure, in Greece as well.
The heat is upon you, I
would imagine, as it is here
on the East Coast of the US.
So, do you have many events
coming up this summer and plans,
maybe even for recording, or--
>> Alkis Zopoglou: Well,
first of all, we're very happy
to have had the opportunity
to play
for the Library of Congress.
Thank you.
Thank you very much.
It was really great
[inaudible] for us.
And we would love
to meet in person.
Already with the
epic of COVID-19,
we have started with
the concerts.
This was very important for
us to keep our relationship
with the audience live.
And we have just returned from
touring Brussels, Frankfurt,
and Zurich and completed
a great musical production
in the concert hall
into Santa Anita
with very important
Greek artists.
Now, during the summer, we have
several gigs at the weddings
and festival in our region.
And even some trips abroad like
ticket festival in Hungary.
It's a very big festival,
and it's [inaudible]
in Portugal and many others.
Since the autumn, there
are many proposals
that we have been
booked and others
that we are still discussing.
We hope everything will go
much better with the pandemic.
This is very important for us.
and we are looking forward
to meet the audience live
to present our music.
Also, we have already started
to prepare our new album.
>> Michelle Stefano: Good.
Good to know.
Is there a title yet
or a draft title?
>> Alkis Zopoglou: Not yet.
This will be the last one.
>> Michelle Stefano: I was
hoping for that exclusive scoop
for the news on your next
album, but that's exciting.
Yeah, the pandemic, how
did you all -- did you --
what did you do during
pandemic in terms of --
you know, in terms of the group?
Did you have -- did
you pivot, as they say,
to the virtual world as you are
now with the Library concert?
Or--
>> We did have so many
concerts, even the internet.
But the most important is that
we take the time to prepare
on our new production.
And to just because we are
very close each other, I mean,
half an hour from the one CD to
other, we have them make a lot
of meetings between us.
And generally, we work a lot,
but not in front of the people.
This is what we missed.
And I think that the
next year, we will --
the next years, we will have it.
>> Michelle Stefano: Yeah.
Knock on wood, absolutely.
And I'm also curious about how
audiences, wherever you perform
across Europe, how they
respond to your group
and the music that
you bring them?
>> Alkis Zopoglou: Yeah.
When we are in Greece,
the result is amazing.
The people enjoy the music and
the melodies and the dances,
and they are dancing with us.
This is very important.
We also enjoy it.
If we are abroad, this is
also very important for us
because it's very, very --
it's something that attracts
the people to participate.
So, this is very important
for us because we also --
we always need to see the
people to move on their chairs,
you know, and they
are trying to dance.
Sometimes we manage it,
and sometimes not but okay.
It's -- the feeling
is amazing at the end.
>> Michelle Stefano: Yeah.
I can imagine some audiences
may be a little timid,
but hopefully they get moving
as the concert progresses.
I know when we were watching
your concert for the library,
which I just should say we
are so thankful and honored
to have you all perform for
us and our audiences here,
but yeah, we couldn't not dance
while we were watching it.
>> Alkis Zopoglou: You can try.
>> Michelle Stefano: Yes.
Yeah, so I mean, is there
anything else that, you know,
I didn't touch upon that
you would like to share
at this chance to speak
to such wide audiences?
Anything else that you feel is
important for audience members
to know about the group
and the traditions?
>> Alkis Zopoglou: The
most important for us is
that at the end, we find the way
to bring our music to the people
and make them happy and to make
them enjoy with the melodies.
And not only the melodies
that they can dance,
but with the melodies
that are improvisation,
so vocal improvisations.
And I really -- we
really appreciate
that whenever we play
it all over the world
that people really appreciate
the music, our music.
And sometimes they never
think that there is kind
of Greek music like this one.
You know, all the
people usually know
that the Greek music is
bouzouki, just bouzouki,
you know, the music
instruments are so vast.
But this is not the only thing.
We have a very, very, very rich
musical tradition in Greece.
Each area has its own musical
style, and it's very important
for us to make this
music very well known
to the audience all
over the world.
>> Michelle Stefano: Well,
I think you're doing an
excellent job of that,
and we certainly need it
to remember our humanity
and our cultural differences
even and to celebrate
that diversity in
traditions and expression.
Well, on that note, I, again,
would love to thank you
and please pass on our thanks
to all the other members
of the Rodopi Ensemble.
And for those listening from
home, you can find Rodopi
on Facebook, as well
as on YouTube.
And again, thank you so
much and have a great day
and the evening for you, Alkis.
>> Alkis Zopoglou:
Thank you very much.
It was very kind meeting you.
And I hope to meet you in
person very, very soon.
>> Michelle Stefano: I may
take you up on that offer.
Thank you.