At the same time he expressed his views concerning the use of elements from the Western music culture in Greek National Music. Lambelet was the first to point out that Greek music should be based on the study of folk songs and their melodic, rhythmic and other textural features. By critics and colleagues he has been characterized as “a milestone” of his era, as a “nobleman composer” who had lived with dignity and moral values. He bequeathed to us his vast work –theoretical, aesthetic, literary and musical– which not only has never been evaluated but also not in the least registered.

A multifarious personality, he has been active in Athens in the first half of the 20th century as a composer, a columnist, an author, a music educator and a music-philosopher.

George Lambelet has been a pioneer in the systematization of the study for the creation of Greek music, according to the standards of national schools. I conclude by reflecting on the performativity of rhythmic gesture as a material of national-cultural identity. Building on both existing and new empirical findings, I investigate experiential and phenomenological aspects of rhythmic gesture in the musical performance of this repertoire, and the effect these have for the cultural performance of an alleged authentic Norwegian folk identity. This paper develops and extends my research on the performance practice of this repertoire. 72, I examine the interplay between the two aforementioned categories in recent (re)constructions of cultural identity through an empirical performance-analytical study of two pieces. Focusing predominantly on the Slåtter, op. My paper is more closely allied to the categories of ‘musical materials’ and their ‘appropriation’ in relation to the expression of Norwegian national cultural identity in the performance of Edvard Grieg’s later piano music.

These three areas do not only bear relevance for Chopin reception and nineteenth-century European nationalism, but also in the context of the conference as a whole effectively frame the broader themes of nationalism in music which emerged from this three-day international gathering. In his keynote address, ‘Hearing the Nations in Chopin’, Jim Samson reflected on the three key ingredients of musical nationalism: agendas, musical materials, and appropriations.

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