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269:). In 1930 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 1931 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 any event Skalkottas seems to have composed nothing for at least two years.
419:(1938). It is based on a well known Greek folk-poem in which the dead love interest of young Konstantis weighs heavily on his mind. Like Orpheus, he is determined to fight destiny and unite with her. She remains in the land of the dead until Konstantis arrives at the end of the work and takes her back to the world of the living. According to the Gramophone Musical Guide (2010), which reviewed a recording with the
277:) (apparently because he had never done military service) 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 1954). According to another account, his manuscripts were sold by his German landlady shortly after he left Berlin (
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329:. Among the works written in Berlin are the sonata for solo violin, several works for piano, chamber music and some symphonic works. Although during the period 1931–34 Skalkottas did not compose anything, he resumed composing in Athens and continued until his death. His output comprised symphonic works (
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composed for orchestra between 1931 and 1936, arranged for various different ensembles in the ensuing years and in part radically re-orchestrated in 1948–49. 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
281:). In Athens Skalkottas sought other means of funding through scholarships or paid 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
447:. Skalkottas was evidently reluctant to deploy the kind of structural and stylistic tensions that would have betrayed the integrationist ideals of his Schoenbergian inheritance. This could be seen (in terms of a comprehensive connecting impulse) as a link between the
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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
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Nevertheless, he remained skeptical of the attempts of his Greek contemporaries to integrate folk music into the modern symphonic style, and only juxtaposed and mixed folk, atonal and 12-note styles in a few works such as the incidental music to
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Skalkottas's early works, most of which he wrote in Berlin, are lost, as are some of those written in Athens. The earliest of his works available to us today date from 1922–24; these are piano compositions as well as the orchestration of
189:. 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 1906 due to political and legal intrigues (
359:, musical 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.
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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 and harmonic areas. (For example, the
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In March 1933 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
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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 1946 he married the pianist
427:, "Here Skalkottas's brilliant orchestration shines through in what's much more than a pre-run of The Mayday Spell. The idiom is less fragmentary than the latter; indeed, it suggests a Greek
435:
reviewed it with the phrase "The piece is drop-dead gorgeous, and will thrill fans of late-Romantic
Nationalist music." It too was later orchestrated for a full symphonic orchestra (1948).
285:, Radio and Opera orchestras. In the mid-1930s he worked at the Folk Music Archive in Athens, and did transcriptions of Greek folk songs into Western-music scores for the musicologist
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It was only after his death that
Skalkottas' music began to be played, published or critically estimated to a great extent, partly due to the efforts of friends and disciples such as
265:); they had two children, though only the second, a daughter, survived infancy, and the end of their relationship increased his already-present feelings of self-doubt and insecurity (
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schools. Around 1945 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
302:; they had two sons. In 1949, at 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
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In 1988 a short documentary (60 mins) about his life and work was filmed with funding from the local authorities of
Skalkottas' birthplace (the isle of
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works, all three categories spanning his entire composing career. Such apparent variety could have been intensified by a love of
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Besides his musical work, Skalkottas compiled an important theoretical work, consisting of several "musical articles", a
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employs no fewer than 16 twelve-tone rows.) Like
Schoenberg, he persistently cultivated classical forms (such as
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The other outstanding tonal work from this period is his ballet suite
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Foundation enabled him to study abroad. From 1921 to 1933 he lived in
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third use material of
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Nikos
Skalkottas official discography (Thomas Tamvakos, 2019)
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Between the years 1998 and 2008, the
Swedish record label
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241:'s Masterclass in Composition at the Academy of Arts (
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Nikos
Skalkottas. Sketch by Véronique Fournier-Pouyet
49:. Unsourced material may be challenged and removed.
551:The Life and Twelve-Note Music of Nikos Skalkottas
586:"The Friends of Nikos Skalkottas's Music Society"
142:; 21 March 1904 – 19 September 1949) was a
559:. 1954. "Nikos Skalkottas: An Original Genius".
529:The New Grove Dictionary of Music and Musicians
483:(1948-1949), which comes from the dance suite
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527:Thornley, John. 2001. "Skalkottas, Nikos ".
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109:Learn how and when to remove this message
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316:List of compositions by Nikos Skalkottas
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573:Nikos Skalkottas Discography at discogs
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154:, he drew his influences from both the
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471:(1947), the astonishingly atmospheric
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621:Free scores by Nikos Skalkottas
539:. London: Macmillan Publishers.
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479:(1948); and the programmatic
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487:(1948) for solo piano.
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497:John G. Papaioannou
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150:. A member of the
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