Label: Argo - ZRG 753 • Series: Calouste Gulbenkian Foundation Series - 5 • Format: Vinyl LP, Reissue • Country: UK • Genre: Classical • Style: Modern
A member of the Emscherkurve 77 - Die Macht Vom Niederrhein Viennese Schoolhe drew his influences from both the classical repertoire and the Greek tradition. Skalkottas was born in Chalcis on the island of Euboea. He started violin lessons with his father and uncle Kostas Skalkottas at the age of five, three years after his family moved to Athens because Kostas had lost the post of town bandmaster in due to political and legal intrigues Thornley He continued studying violin with Tony Schulze at the Athens Conservatoryfrom which he graduated in with a diploma of high distinction.
The following year a scholarship from the Averoff Foundation enabled him to study abroad. Deciding in to give up his career as a violinist and become a composer, he studied composition with Robert KahnPaul JuonKurt Weill and Philipp Jarnach. In Skalkottas devoted considerable effort to having some of his works performed in Athens, but they were met with incomprehension, and even in Berlin his few performances did not make much better headway. In he seems to have had a personal and artistic crisis: his relationship with Temko came to an end and he is also reported to have fallen out with Schoenberg, though the nature of their disagreement is unclear and Schoenberg continued to rate him highly as a composer.
In March he was forced by poverty and debt to return to Athens, intending to stay a few months and then return to Berlin. However, he suffered a nervous breakdown and his passport was confiscated by the Greek authorities Thornley apparently because he had never done military service [ citation needed ] and in fact remained in Greece for the rest of his life.
Among the various possessions he left behind were a large number of manuscripts; many of these were then lost or destroyed although some were found in a secondhand bookshop in In Athens Skalkottas sought other means of funding through scholarships or Octet - Skalkottas* - Instrumental Music work as an orchestral player, but he was quickly disillusioned with the state of musical affairs in Athens at the time.
Until his death he earned a living as a back-desk violinist in the Athens Conservatory, Radio and Opera orchestras. In the mids he worked at the Folk Music Archive in Athens, and did transcriptions of Octet - Skalkottas* - Instrumental Music folk songs into Western-music scores for the musicologist Melpo Merlier. As a composer he worked alone, but wrote prolifically, mainly in his very personal post-Schoenbergian idiom that had little chance of being comprehended by the Greek musical establishment.
He did secure some performances, especially of some of the Greek Dances and a few of his more tonal works, but the vast bulk of his music went unheard. During the German occupation of Greece he was placed in an internment camp for some months.
In he married the Bel Me Op Als Je Eenzaam Bent - Bobby Prins - Bel Me Op Als Je Eenzaam Bent / Het Is Te Laat Maria Pangali ; they had two sons.
Inat the age of 45 and shortly before the birth of his second son, he died of what appears to have been the rupture of a neglected common hernialeaving some symphonic works with incomplete orchestration, and many completed works that were given posthumous premieres. Skalkottas' early works, most of which he wrote in Berlin, are lost, as are some of those written Octet - Skalkottas* - Instrumental Music Athens.
The earliest of his works available to us today date from —24; these are piano compositions as well as the orchestration of Cretan Feast by Dimitri Mitropoulos. Among the works written Octet - Skalkottas* - Instrumental Music Berlin are the sonata for solo violin, several works for piano, chamber music and some symphonic works.
Although during the period —34 Skalkottas did not compose anything, he resumed composing in Athens and continued until his death. His output comprised symphonic works 36 Greek Dancesthe symphonic overture The Return of Ulyssesthe fairy drama Mayday Spellthe Second Symphonic Suite, the ballet The Maiden and Deathworks for wind orchestra and several concertoschamber, vocal and instrumental works including the huge cycle of 32 Piano Pieces. Besides his musical work, Skalkottas compiled an important theoretical work, consisting of several "musical articles", a Treatise on Orchestrationmusical analyses, etc.
Skalkottas soon shaped his personal features of musical writing so that any influence of his teachers was soon assimilated creatively in a manner of composition that is absolutely personal and recognizable. Throughout Carillon - David Smith Quintet - Anticipation career Skalkottas remained faithful to the neo-classical ideals of Neue Sachlichkeit and ' absolute music ' proclaimed in Europe in the Already in Berlin he was taking an interest in jazz and at the same time developing a very personal form of the twelve-note method, making use of not one but several tone-rows in a work and organizing these rows to define different thematic Octet - Skalkottas* - Instrumental Music harmonic areas.
For example, the Largo Sinfonico employs no less than 16 twelve-tone rows. Like Schoenberg, he persistently cultivated classical forms such as sonatavariationssuitebut his worklist is divided between atonaltwelve-tone and tonal works, all three categories spanning his entire composing career. Such apparent heterogeneity could have been intensified by a love of Greek folk music. The most striking example of his commitment to Greek folk music is the series of 36 Greek Dances composed for orchestra between andarranged for various different ensembles in the ensuing years and in part radically reorchestrated in — About two-thirds of these dances are based on genuine Greek folk themes from different parts of the Greek mainland and islands, but the other third use material of Skalkottas's own composition in folk style.
Nevertheless, he remained sceptical of the attempts of his Greek contemporaries to integrate folk music into the modern symphonic style, and only juxtaposed and mixed folk, atonal and note styles in a few works such as the incidental music to Christos Evelpides 's fairy-tale drama Mayday Spell. Skalkottas was evidently reluctant to deploy the kind of structural and stylistic tensions that would have betrayed the integrationist ideals of his Schoenbergian inheritance.
Around he seems to have reappraised his aesthetic direction to some extent and written several works in a more conventionally tonal idiom - many of these have key signaturesfor instance. Yet the general level of dissonance is not significantly lessened. It was only after his death that Skalkottas' music began to Octet - Skalkottas* - Instrumental Music played, published or critically estimated to a great extent, partly due to the efforts of friends and disciples such as John G.
Papaioannou and George Hadjinikos. In a short documentary 60 mins about Octet - Skalkottas* - Instrumental Music life and work was filmed with funding from the local authorities of Goodnight - The Champ - Greatest Hits Vol.
2 birthplace the isle of Euboea as well as the Greek Ministry of Culture. Between the years andthe Swedish record label BIS records released recordings of his works. From Wikipedia, the free encyclopedia. This article needs additional citations for verification.
Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. See also: List of compositions by Nikos Skalkottas. Twelve-tone and serial composers. Categories : births deaths 20th-century classical composers 20th-century classical violinists Greek classical composers Greek classical musicians Greek classical violinists Greek National School Modernist composers People from Chalcis Pupils of Arnold Schoenberg Second Viennese School Male classical composers 20th-century male musicians.
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