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BIS-CD-1364 STEREO Total playing time: 80'53

SKALKOTTAS, Nikos (1904-1949)

Concerto No. 3 for Piano and Ten Wind Instruments(1939) 65'50World Première Recording (Skalkottas Academy Critical Text)

I. Moderato 21'14II. Andante sostenuto 25'47III. Allegro giocoso 18'26

The Gnomes (∆· ¶·Á·Ó¿), ballet music (1939) 14'13World Première Recording (Skalkottas Academy Critical Text)

1. Introduction. Molto allegro e vivace 0'452. Espressivo molto 1'213. The Gnomes in the Underworld. Allegro scherzando 0'534. Carol 0'305. Hearth 2'416. Carol 0'247. The Gnomes (I). Allegretto 0'298. The Gnomes (II). Allegro ironico 1'039. The Monster. Poco vivace 0'4510. Chase. Molto allegro 0'5711. Dismissal. Allegretto 0'5112. Chorale 0'3213. The Song of Joy. Allegro vivace 1'4214. Finale. Andante 0'55

Geoffrey Douglas Madge, piano ( - )

Caput Ensemble conducted byNikos Christodoulou31

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Concerto No. 3 for Piano and Ten Wind InstrumentsThe Concerto No. 3 for Piano and Ten Wind Instru-mentswas written in 1939. Very different from thefirst two, which have a normal-size orchestra (as wellas the fourth, the late Concertino in C major), thePiano Concerto No. 3is one of Skalkottas’s mostindividual and architecturally impressive works. It issaid that Skalkottas was particularly fond of thiswork; however, as with most of his works, he neverheard it performed. The concerto was premièred inLondon in 1969 (English Bach Festival) but, becauseof the extraordinary demands of the solo part, threedifferent pianists shared its movements. GeoffreyDouglas Madge was the first to play the entire con-certo in 1985.

Skalkottas’s eleven concertos, nine of which sur-vive (for piano, two pianos, violin, two violins, violinand viola, and for double bass) are the largest part ofhis orchestral output. His predilection for the con-certo form can be considered as relevant to the ques-tion of dichotomy and unity in his life and œuvre. Hewas, for instance, philosophical and introverted,estranged in his creative modernity from his musicalenvironment, and yet he was an active member ofthat environment, spending his everyday professionallife as an orchestral violinist, quartet player, and evenoccasionally as an arranger of other composers’ mu-sic. A stylistic dichotomy – in his alternative use ofatonal and tonal idioms – and an overall unity ofconception mark his work.

Antithesis and unity are the essentials of the con-certo form; in a concerto the solo instrument and theorchestra have separate, definite structural rôleswhich, in the course of a sonata movement, for exam-ple, move towards a common structural goal. Skal-kottas’s affinity to the concerto is characteristic of his

nature. That he himself was an outstanding violinistis relevant to his extraordinary solo writing. But theconcerto form, in using two opposing structural vehi-cles, requires a compositional virtuosity which Skal-kottas felt an urge to display. Arguably, in a pianoconcerto, the essential antithesis of the form is mostmarkedly manifested, since the polyphonic piano isan ‘orchestra’ in itself and opposes the orchestra in afull linear and harmonic substance. Maybe this is thereason why Skalkottas composed more concertos forpiano (five, including that for two pianos) than forany other instrument, including his own, the violin(the Piano Concerto No. 1, written in 1931, is theearliest twelve-tone piano concerto).

In the Piano Concerto No. 3, the coexistence ofopposing qualities is discernible in further aspects,causing ambiguities that characterize the work. Thesecan be found between form and sound, in phrasestructure and polyphony, and in emotional character.The work has an extraordinary size and formal ex-pansion, and also an often dense polyphonic texture,yet it is written for a most economical ensemble often winds and percussion, instead of a symphonyorchestra. Piano and winds seem clearly to define theshape and articulation of the musical phrases (thetimbre of the instruments contributes to the clarity);however, throughout the concerto we find an almostcontinuous, multi-layered overlapping of phrases, be-tween the soloist and the orchestral ensemble as wellas within the orchestral texture. This overlappingobscures the clear-cut delineation of phrases andphrase-structure; not openly apparent, it creates anunderlying ambiguity in the phrases’ definition andinterrelationships. The work has a polyphony of lay-ers and phrase units, a metaphorical ‘counter-phras-ing’ that goes beyond counterpoint (polyphonic imi-tation is absent). Generally, with very few exceptions,

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the phrase structure does not follow established pat-terns (such as period, sentence, etc.), but developsthrough continuous interconnections of small motivicgroups. This cohesive motivic development, as wellas the overlapping, makes for a sense of constantevolution, continuity and movement.

Overlapping contributes also to a further ambi-guity, concerning the emotional character. This isapparent mainly in the first movement, where dra-matic quality is combined with a dance elementderived from the syncopated rhythms of mid-war,contemporary jazz and music hall. The dance ele-ment relates naturally to the sound of the wind instru-ments. The winds’ timbre, with its ‘open-air’ quality,seems to contradict the work’s intimacy. Yet, espe-cially in the pensive Andante sostenutocentral move-ment, Skalkottas achieves an elusive combination ofinner expression and sound, creating a sound worldtotally his own.

His use of the wind instruments is masterly andoften unconventional, resulting in a broad expressiverange. Occasionally the instruments are stretched totheir limits. The contrapuntal and harmonic com-plexity of the work is rendered in vivid, sometimesalso dark-hued aural images. Skalkottas’s style isexpressive, even passionate, yet unsentimental andconcentrated; it also combines dark undertones and asomewhat bitter wit. These are ideally conveyed hereby the wind ensemble. Skalkottas loved wind instru-ments and he wrote frequently for them, e.g. in theConcerto for Violin, Viola and Wind Orchestra, theClassical Symphony in A, the transcription of nineGreek Dances, etc. But these works are written for alarge wind orchestra, whereas the Piano ConcertoNo. 3uses a small ensemble.

The wind ensemble consists of flute, oboe, coranglais, clarinet, bassoon, contrabassoon, horn, trum-

pet, trombone and tuba. The percussion, includingtimpani, side drum, bass drum, cymbals, tambourine,whip and xylophone, is used in an unexpected, mostsparing way: on just a few occasions it punctuatesstructural events such as moments of culmination orthe articulation of formal sections. Significantly, anduncommonly, there is no percussion at the end of anymovement, not even at the dynamic conclusion of thelast movement; this accords well with Skalkottas’sunrhetorical style.

The concerto is composed with a very free do-decaphonic, atonal method, not exactly serial. Thereare two principal twelve-tone series. There are alsosome secondary series, as well as (very often) otherfree twelve-tone note groups, not functioning asseries; these are twelve-tone textures embodyingmelodic segments and chords. As usual in Skalkottas,the series are conceived and used thematically; theyare thematic and motivic germs. All the basic themesin the work’s three movements are connected withthe two principal series; through the thematic cross-relations, the work has a cyclical character. The twoprincipal series also appear to be related to two fun-damental expressive characters: the first, opening thework (heard in the first movement’s first theme, thesecond movement’s main theme and the third move-ment’s second theme), is linked to a dramatic, expres-sive quality and inner emotion, while the secondseries (in the first movement’s second theme and thethird movement’s first theme) is associated with alighter, dancing, more extrovert vein. The first threenotes of the first series constitute a motto-motif heardin all movements.

The breadth of the Third Concertois related to its for-mal expansion and emotional adventure as well as toa wealth of ideas, many of which grow through a

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developmental transformation of the primary mat-erial. The first movement, Moderato, is in sonataform. As always in Skalkottas’s concertos, it startswith a classical orchestral ritornello in which the twomain thematic groups are presented. The dramaticfirst theme is exposed through phrases and motifsshared and interwoven between various instrumentsand instrumental groups. It begins with nine consecu-tive appearances of the first principal series; the seriesappears in various melodic and harmonic, combinedsegments which, after several note permutations,dissolve into non-serial twelve-tone groups. The sec-ond theme starts with an oboe melody, accompaniedby syncopated, dance-inflected rhythms. The pianoopens its own, solo, second exposition introducing anew idea with dramatic bravura, which graduallyleads to the first theme. In all the movements, thesolo exposition is greatly expanded with inner devel-opments, here ingeniously worked into both thematicgroups. The exposition is rounded off by a brief orch-estral ritornello. Following such an extensive exposi-tion, the development – starting by a new entry fromthe soloist – is accordingly shorter. Instead of the-matic fragmentation and motivic isolation, the devel-opment has here an episodic, divertimento characterand is organized in two parts. The first part ends witha short culmination, underlined by flutter-tonguedwind chords and two bass drum strokes; the secondpart follows immediately and the trumpet plays mer-rily a new idea, ‘neoclassical’ in style and with dis-tant thematic relations, which then is taken up – as areply, in a varied form – by the soloist. In all themovements, the recapitulation has a rather uniquefeature in that it mirrors the entire pattern of thedouble exposition and combines both an orchestraland then a solo recapitulation (this does not happenin a classical concerto). This is a logical structural

response, but also underlines the importance of theorchestra’s rôle against the instrumental and structur-al richness of the solo part. The percussion accen-tuates the arrival of the coda. The last phrase of thecoda exhilaratingly recalls the conclusion of the ex-position and recapitulation, but suddenly the appear-ance of the motto in the two last bars calls a halt, anda concluding chord fades – a final, melancholic shade,which sums up the movement’s expressive ambi-valence.

That ambivalence has a long-term resolution inthe work’s continuation; the inner expressive char-acter is inherent in the second movement, while thefinale exhibits an uninhibited, dancing gaiety. Thesecond movement, Andante sostenuto, has indeed asustained expressive quality and a restrained pathos.Its form does not fully fit into any specific category:it might be seen as a sonata-like formal design, withthe three sonata sections – exposition, development,recapitulation – but without a definite sonata the-matic organization. This suggests a ternary scheme(A–B [development]–A'); yet the exposition equalsthe length of development and recapitulation togeth-er, so, as both the exposition and recapitulation haveparallel climactic endings, there is a binary symmetryin the form as well. The form also incorporatesvariation. The movement has a single main thematicgroup. Instead of a second thematic group, in the soloexposition we find a group of new motifs (notdefined as a theme), which act rather as an extensionof the main thematic group in a new direction andthen lead to a melodically retrograde, varied appear-ance of the main theme. There is an almost impro-visatory freedom throughout, both in the solo partand in the orchestral instruments; this is combinedwith a firm formal balance.

The broad main theme, in ternary structure, is

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initially exposed by the orchestra. Its opening melo-dy in the clarinet, starting with the first principalseries, establishes the movement’s mood of reflectivemelancholy. The rest of the theme grows through afree complex of several tone-rows, with exquisitepolyphony and an overlapping phrase texture. In theconsiderably longer solo exposition, the piano entersmeditavely, presenting the main thematic material ina greatly varied form, enriched with motivic andpolyphonic development. At a certain point the solo-ist, while developing thematic motifs, unobtrusivelyintroduces a new harmonic and motivic element.Subsidiary melodic phrases, usually interwoven ascounter-melodies in the wind instruments, are bornthrough permutations of the serial and the freetwelve-tone material. With unbroken continuity, themain theme’s material then reappears transformed,the winds playing the thematic melodies in retro-grade (backward) shape and rhythmic variation. Avery brief, subsidiary closing idea is successivelyheard from the oboe, bassoon and piano, leading to adramatic culmination which marks the end of thewhole expository section (only with this passage isthe long-delayed move to a new area completely af-firmed, after the exposition’s journey). The muchshorter central development section has two comple-mentary parts. In a transformative discourse, a the-matic variant is heard in the flute, contrapuntally sup-ported by woodwinds and horn, while the pianoaccompanies with an autonomous part developing the-matic motifs. A terse climax leads to the second part:the piano, in dreamy sonorities, continues the flutemelody, with contrapuntal comments from the winds.An orchestral passage closes the central section, whilealso acting as an unobtrusive transition to the recap-itulation. The orchestral recapitulation is (as in all themovements) followed by the soloist’s recapitulation,

now greatly condensed, eschewing the internal devel-opment of the exposition. The brief closing ideacomes in the piano alone, and initiates a cadenza-likesoliloquy from the soloist, which sums up the inten-sity of the movement. The closing motif, repeated inthe orchestra, leads to a final culmination. The epi-logue follows immediately, the clarinet almost plain-tively recalling the work’s motto-idea, echoed by thepiano. Short, melancholy phrases from the cor anglaisare heard under distant, high register piano chords;then some weird pianissimo, staccatowind chords,separated by unexpected pauses, seem to dissolve themusic. The piano resumes its spare chords, arpeg-giato, and the last chord is doubled by the winds in astoic, mezzopianoending – a poignant conclusion ofthis movement, the work’s emotional centre.

The third movement, Allegro giocoso, is in so-nata form. The orchestral exposition opens with themain theme in the clarinet, a springing tune withjoyous wide leaps. The second theme is introducedby the oboe and has a more melodic, lyrical char-acter. The orchestral exposition ends uproariouslyand the piano, as in the first movement, enters with anew idea, energetic and very virtuosic. The soloist’sensuing exposition of the two thematic groups isagain significantly varied and expanded. The devel-opment section starts, briefly, as a false recapitula-tion: the piano wittily restates the first theme’s open-ing (not yet heard in its original form in the piano)and immediately continues alone with its own sub-sidiary virtuosic idea. Then, rather unexpectedly, thesoloist and orchestra go their separate ways almostcompletely in the course of the development section,which continues (or, in real terms, starts) with anorchestral ritornello, developing and combiningmotifs from the first theme and the piano’s idea. Theorchestra fades out; the piano enters gently, musing

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on the second theme’s motifs, and soon continuesalone. The orchestra enters again, with fragmentaryphrases punctuating the soloist’s passages. Therecapitulation proper has a reversed and mixed the-matic order, and starts again with the orchestra.Under a rhythmic ostinato the contrabassoon, halfamusingly and half expressively, plays the secondtheme. The piccolo in its highest register is added,mockingly juxtaposed with the contrabassoon. Theclarinet plays the first theme and then the piano –briefly supported by the percussion – humorouslyundertakes the continuation of the first thematicgroup. After a while the piano remains alone andstates its own share of the second thematic group.The work’s motto in the orchestra (directly recallingthe opening of the first movement) initiates a shortcoda, where the soloist dominates with a final, vir-tuosic passage. In the last five bars, eight of thewinds (no flute or oboe), in their middle and lowregister, forcefully intone a concluding phrase unitingthe initial motifs of the two serial themes, the pianorhythmically punctuating the proceedings with strong,low chords; the laconic, dramatic epilogue cyclicallyrounds off the work.

The GnomesThe ballet The Gnomeswas written in 1939, thesame year as the Piano Concerto No. 3. It is a suitefor instrumental ensemble, much of which consists ofinstrumentations by Skalkottas of small piano piecesby Bartók and Stravinsky; there are also three shortpieces by Skalkottas himself. It is a delightful score,showing Skalkottas’s craftsmanship and originality.

Throughout his life, Skalkottas composed both inatonal and tonal idioms. His ballets, all tonal, forman important part of his work. Dance and dance ele-ments generally have a vital presence in Skalkottas’s

music – as in the famous 36 Greek Dances, for in-stance, or in various atonal works referring to thedances of his era (tango, fox-trot, etc.). In 1938 Skal-kottas composed his first ballet, The Maiden andDeath, one of his major works. He then continued tocompose regularly for ballet productions until thepremature end of his life.

Skalkottas collaborated with all of the few butpioneering ballet companies in Athens at that time.Koula Pratsika, director of the Pratsika Dance Schooland a leading figure in Greek ballet, asked Skalkottasto collaborate in the production of The Gnomes, givenin a double-bill Christmas performance on 22ndDecember 1939.

Around her dance school Pratsika had assembleda circle of eminent Greek artists, musicians and writ-ers. For the production of The Gnomes, she alsocommissioned Stratis Myrivilis, one of the leadingtwentieth-century Greek writers, to write a free poeticnarration on the ballet’s subject and symbolism.

Regarding the music, Pratsika originally formeda suite of her own, selecting pieces from Béla Bar-tók’s piano collection For Children, and then askedSkalkottas to orchestrate the music. The Bartókpieces, like all of the For Children collection, arebased on authentic Hungarian and Slovakian folk-songs, so they are suited to the folk-inspired ballet’ssubject. In the original printed programme, Bartókalone is named as the composer, and Skalkottas islisted only as the arranger (in the manuscript score nocomposer’s name is mentioned, not even that of Skal-kottas). In fact, though, some of the pieces in thefinal suite, are by other composers than Bartók. Themain body of the suite – seven pieces – are by Bartók.It seems likely that, as The Gnomeswas taking finalshape, more music than Pratsika had originally sel-ected was needed. Myrivilis’s poetic narration, divid-

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ed into two parts, was used as a frame for the ballet’smain action. It is therefore possible that a new intro-duction, preceding the narration, was needed, as wellas some music to accompany part of the narration.

As the introduction (No. 1), a Stravinsky pianopiece was effectively used, likewise taken from a col-lection for children, The Five Fingers. As Skalkottasparticularly liked Stravinsky, it seems possible thathe suggested this piece. Skalkottas himself composedthree short pieces: No. 2, with a beautiful cello melo-dy of modal character, as well as Nos. 11 and 12.No. 5 is an unidentified piece of early music, prob-ably selected by Pratsika, who frequently used ba-roque music in her productions. Appearing at firststylistically incompatible with the Bartók /Stravin-sky/Skalkottas pieces, it was evidently chosen toprovide a marked contrast, as it is the first and prin-cipal dance of the chaste Vestals around the Hearth,against the pagan-country Gnomes. And, because ofSkalkottas’s witty use of the material, the styles suc-ceed convincingly, creating an enjoyable mood. Be-fore and after the Hearth dance, in another stylisticdiversion, a traditional Greek Christmas Carol isheard (No. 4, repeated in No. 6); it is played unhar-monized by the oboe, an allusion to the sound of theGreek folk wind instrument zournas, accompaniedby the traditional triangle, bells and percussion. Insummary, the provenance of the ballet pieces is:

1. Introduction . . . . . . . Stravinsky, The Five . . . . . . . . . . . . . . . . . Fingers, No. 2

2. Espressivo molto. . . Skalkottas3. The Gnomes in the . Bartók, For Children,

Underworld . . . . . . . Vol. I, No. 294. Carol. . . . . . . . . . . . . Greek folk-song5. Hearth. . . . . . . . . . . . Early music piece6. Carol. . . . . . . . . . . . . Greek folk-song

7. The Gnomes (I) . . . . Bartók, For Children, . . . . . . . . . . . . . . . . . Vol. II, No. 3

8. The Gnomes (II). . . . Bartók, For Children, . . . . . . . . . . . . . . . . . Vol. I, No. 30

9. The Monster . . . . . . . Bartók, For Children, . . . . . . . . . . . . . . . . . Vol. II, No. 29

10. Chase . . . . . . . . . . . . Bartók, For Children, . . . . . . . . . . . . . . . . . Vol. II, No. 22

11. Dismissal . . . . . . . . . Skalkottas12. Chorale. . . . . . . . . . . Skalkottas13. The Song of Joy . . . . Bartók, For Children,

. . . . . . . . . . . . . . . . . Vol. I, No. 4014. Finale . . . . . . . . . . . . Bartók, For Children,

. . . . . . . . . . . . . . . . . Vol. II, No. 2

The plot of the ballet refers to the widespreadGreek folk Christmas tales about the Gnomes. TheGnomes – ugly, vicious, grotesquely monstrous crea-tures living in the underworld – go forth annuallyinto the world on Christmas Eve; in the twelve-dayperiod from Christmas to Epiphany, they attack andtorture human beings, who should take precautions;the holy water ceremony in Epiphany puts an end tothe Gnomes’ time on earth, sending them back to theunderworld. Drawing from the myth’s essential sym-bolism, Pratsika created a choreographic plot basedat the confrontation between two groups of fiveGnomes, attired in black, and five Vestals, dressed inwhite, young girls around the house’s Hearth, thussuggesting the eternal fight between darkness andlight, evil and good. The ballet had three sections:Prologue, Twelve Daysand Epilogue. In the Pro-logue, after the Introduction(No. 1), a narrator recitesthe first part of Myrivilis’s poetic text (No. 2). TheGnomes, still in the underworld, dance wearing masks(No. 3). The curtain falls with the Christmas carol(No. 4). The Vestals, the Hearth-maidens, watch over

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the fire, dancing around the fireplace (No. 5). Thelight gradually fades, and the carol is heard again(No. 6, opening the Twelve Dayssection); one of theGnomes emerges through the fireplace and dances(No. 7); at the end of the dance, the remainingGnomes appear. The Gnomes dance, playing withtheir masks (No. 8); the music is repeated (fourtimes), the Gnomes find musical instruments andplay them on stage; by the time of the music’s finalrepetition, they are chasing one of the alarmed Ves-tals. The Gnomes hold each other, as if they were asingle being, and form a sort of monster with manyhands, which attacks the scared but defiant Vestals(No. 9). The Gnomes and Vestals chase each other,and the Vestals repel the Gnomes (No. 10). TheGnomes, forced out, exit one by one (No. 11); theVestals, representing the Virgin Mary, perform asmall Chorale (No. 12). In the Epiloguethe Vestals,as though awakening, dance in a gradually risingSong of Joy(No. 13); during this, the other fivedancers, now in dressed in white, join the dance. Thenarrator comes on and recites the poetic epilogueabout the Christmas message, the victory of Christand the joyous light; then the innocent melody of theFinale (No. 14) is sung wordlessly, as an invocation,by all the dancers in a cyclical disposition.

The instrumental ensemble consists of flute (dou-bling piccolo), oboe (doubling cor anglais), trumpet,percussion and string quintet. Skalkottas’s instrumen-tation of the Bartók and Stravinsky pieces is master-ful and full of imagination. His treatment capturesthe rusticity and verve of the Bartók pieces, in amood matching the folk character of the plot. Thesepieces, meant to be played by children, are verysimply written, usually with a limited melodic range;so Skalkottas, writing for an ensemble of winds,strings and percussion, sometimes enlarges the tex-

ture with doublings (in a higher or lower register) ordevelops a texture with new inner lines and subsidi-ary motifs derived from the original’s motivic andharmonic substance. This is clearly seen in No. 13(The Song of Joy), for instance: deliciously addeddoublings (the original melody is here in the upperoctave), pedals and ostinati (connected with the orig-inal’s motifs and continuous pedalling), punctuationby the percussion; new inner lines (often developedfrom the original ostinatosyncopated bass); a cheer-ful counter-melody in the trumpet, heard in themiddle of the piece; a new secondary motif in thetimpani, accompanying a nervous bass motif andderived from it as a rhythmic augmentation, thentransferred to col legnoviolins, and so on. In thiscompositional process, Skalkottas’s imaginative abil-ity to develop and explore musical material is evi-dent. In the other Bartók pieces, such procedures aremore discreet. Some of the pieces are transposedfrom a more mellow to a brighter tonality (e.g. fromF to D major), more appropriate for this ballet’s sonor-ity and also for tonal continuity in the suite. In gen-eral, Skalkottas is faithful to the originals and neveralters anything of the original composition whiledeveloping new textures from it.

Interestingly, Stravinsky much later (1962) orch-estrated the piece used in The Gnomesin his EightInstrumental Miniatures, an arrangement of all of TheFive Fingers. In his own instrumentation, however,Stravinsky recomposed the original piece by means of‘rhythmic rewriting, phrase regrouping, canonic [andpolyphonic] elaboration, new modulation’ (as hehimself said), modifying also its expressive characterto a certain extent. Skalkottas’s arrangement isinspired, but faithful to the original (he only asks foran intensified Molto allegro instead of the originalAllegro); his instrumentation includes an ingenious

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new texture in the middle passage and has a whollyappropriate vitality. In the piece of early music (No. 5)there is a joyous imitation of the sound of viols andlute in the central section (the melody in the cello’shigh register, partly doubled by violin pizzicati).

Skalkottas’s own small miniatures are beautifullyintegrated in the ballet. The expressive cello melodyin No. 2, in the Phrygian mode and under a staticmodal chord in a piercing instrumentation, is evoca-tively combined with the narration. No. 11 is a strict-ly two-voice, repeated phrase, with an almost Bartók-ian bitonality, creating a bittersweet feeling while thedefeated Gnomes exit one by one. It is accompaniedby bells intoning a pedal G. The bells continue in theensuing, minimal G major Chorale; the obstinate Gin the distant bells clashes with the cadential dom-inant D major chord, suggesting the ambivalence ofdawn, before the gradual rise of the Song of Joythatfollows.

© Nikos Christodoulou 2004

Geoffrey Douglas Madge was born in Adelaide,Australia, and studied under Clemens Leske at theElder Conservatorium. After winning first prize inthe ABC’s piano competition in Sydney in 1963, hecame to Europe to study under Géza Anda in Lu-cerne and Eduardo del Pueyo in Brussels. He settledin the Netherlands, where he is professor of piano atthe Royal Conservatorium in The Hague. His manyrecitals, television and radio broadcasts, and appear-ances at major festivals throughout the world haveestablished his reputation. Madge has also composeda considerable amount of music, including stringquartets, songs, works for piano solo, the balletMonkeys in a cage(premièred at the Sydney OperaHouse in 1977) and a piano concerto (premièred inAmsterdam in 1985).

Through his connections with Iannis Xenakis,Geoffrey Douglas Madge came into contact with theGreek music world and the Skalkottas Society inAthens. He was asked by the president of the Skal-kottas Society to give the first performance of Skal-kottas’s 32 Piano Piecesduring the 1979 ISCMFestival, held in Athens that year. These were thefirst of many performances and of a long-standingrelationship with the music of Skalkottas. For BIS hehas previously recorded Skalkottas’s Piano ConcertoNo. 1 (BIS-CD-1014); other CD releases for BIS in-clude Sorabji’s Opus Clavicembalisticum(BIS-CD-1062/1064), and the three piano concertos by Medtner(BIS-CD-1258).

Geoffrey Douglas Madge’s recital programmesare a wide-ranging mixture of baroque, classical,romantic and contemporary works, preferably in com-bination with well-known and unknown composi-tions – for instance a performance of the Berlioz /Liszt Symphonie fantastiquecombined with Schu-mann’s Konzert ohne Orchesteror Bach’s completeWell-Tempered Clavier. Bach’s Goldberg Variations,Ludwig van Beethoven’s Diabelli Variations and‘Hammerklavier’ Sonata, Reger’s Bach Variationsand the Debussy Étudeshave always been majorhighlights in his concert programmes.

The Caput Ensemble was formed in 1987 by agroup of enthusiastic young Icelandic musicians withthe aim of performing and commissioning new mu-sic. Caput consists of some 25 players, most of themresident in Iceland. Since its foundation, Caput hasestablished itself as a strong force in Icelandic cul-tural life and as one of the leading new-music en-sembles in Europe, with concerts in North Americaand fifteen European countries. The ensemble iswidely acclaimed for its powerful interpretations and

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technical proficiency, and regularly appears at majorfestivals such as the annual International Rostrum ofComposers in Paris, Warsaw Autumn, GulbenkianFestival, Holland Festival and Reykjavík Art Festi-val. Caput receives regular support from the Icelan-dic government and from the city of Reykjavík, butis a fully independent ensemble.

Nikos Christodoulou (b. 1959) is music director ofthe City of Athens Symphony Orchestra and Choir.He studied composition under J.A. Papaioannou andthe piano in Athens. He continued his compositionstudies at the Hochschule für Musik in Munich, andstudied conducting at the Royal College of Music inLondon. In the period 1977-81 he was an associatecomposer and advisor at Greek National Radio. Hehas composed orchestral, chamber and choral works,songs and incidental music, and has received com-missions from several institutions and festivals. Hehas taught composition at the Hellenic Conservatory.

Nikos Christodoulou has been musical directorof the Athens New Symphony Orchestra and the all-European Euro Youth Philharmonic Orchestra. Heregularly appears with the major Greek orchestrasand with the Greek National Opera. He led the firstHelios Festival – a Carl Nielsen Celebration inAthens, and the Nikos Skalkottas Tage at the BerlinKonzerthaus. He has given the world première per-formances of several new works including the FirstSymphonyby Lars Graugaard at the Music HarvestFestival in Odense, and the opera The PossessedbyHaris Vrontos at the Greek National Opera.

He has worked with the Academy of St. Martinin the Fields, BBC Symphony Orchestra, Berlin Sym-phony Orchestra, Armenian Philharmonic Orchestra,Aalborg Symphony Orchestra, Iceland SymphonyOrchestra, Malmö Symphony Orchestra, Moscow

Bach Centre Orchestra, Odense Symphony Orches-tra, Serenade Chamber Orchestra, Yerevan Sympho-ny Orchestra and the Bolshoi Opera. His series ofworld première recordings of symphonic music bySkalkottas for BIS has met with international criticalacclaim.

Nikos Christodoulou

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∫ÔÓÙÛ¤ÚÙÔ ·Ú. 3 ÁÈ· ¶È¿ÓÔ Î·È

‰¤Î· Ó¢ÛÙ¿ fiÚÁ·Ó·

∆Ô ∫ÔÓÙÛ¤ÚÙÔ ·Ú.3 ÁÈ· ¶È¿ÓÔ Î·È ‰¤Î· Ó¢ÛÙ¿fiÚÁ·Ó· ÁÚ¿ÊÙËΠÙÔ 1939. ŒÚÁÔ Ôχ ‰È·ÊÔÚÂÙÈÎfi·fi Ù· ÚÒÙ· ‰‡Ô ∫ÔÓÙÛ¤ÚÙ· ÁÈ· È¿ÓÔ, Ù· ÔÔ›·¤¯Ô˘Ó ÔÚ¯‹ÛÙÚ· ηÓÔÓÈÎÔ‡ ÌÂÁ¤ıÔ˘˜ (fiˆ˜ ›ÛË˜Î·È ÙÔ Ù¤Ù·ÚÙÔ, ÙÔ ‡ÛÙÂÚÔ KÔÓÙÛÂÚÙ›ÓÔ ÁÈ· È¿ÓÔÛ ÓÙÔ Ì›˙ÔÓ·), ÙÔ ∫ÔÓÙÛ¤ÚÙÔ ÁÈ· È¿ÓÔ ·Ú.3 ›ӷÈÌÈ¿ ·fi ÙȘ Èfi ÚÔÛˆÈΤ˜ Î·È ÂÓÙ˘ˆÛȷΤ˜·Ú¯ÈÙÂÎÙÔÓÈο Û˘Óı¤ÛÂȘ ÙÔ˘ ™Î·ÏÎÒÙ·. §¤ÁÂÙ·ÈfiÙÈ Ô ™Î·ÏÎÒÙ·˜ ·Á·Ô‡Û Í¯ˆÚÈÛÙ¿ ·˘Ùfi ÙÔ¤ÚÁÔ. øÛÙfiÛÔ, fiˆ˜ Î·È Ù· ÂÚÈÛÛfiÙÂÚ· ¤ÚÁ· ÙÔ˘,‰ÂÓ ÙÔ ¿ÎÔ˘Û ÔÙ¤ Ó· ÂÎÙÂÏ›ٷÈ. ∏ ÚÒÙËÂÎÙ¤ÏÂÛË ‰fiıËΠÙÔ 1969 ÛÙÔ §ÔÓ‰›ÓÔ (ÛÙÔ ∞ÁÁÏÈÎfiºÂÛÙÈ‚¿Ï ª¿¯), ·ÏÏ¿ ÂÂȉ‹ ÔÈ Ù¯ÓÈΤ˜··ÈÙ‹ÛÂȘ ÙÔ˘ ̤ÚÔ˘˜ ÙÔ˘ È¿ÓÔ˘ Â›Ó·È·Û˘Ó‹ıÈÛÙ· ÌÂÁ¿Ï˜, ÙÚ›˜ ‰È·ÊÔÚÂÙÈÎÔ› È·Ó›ÛÙ˜¯ÚÂÈ¿ÛÙËΠӷ ÌÔÈÚ·ÛÙÔ‡Ó Ù· ÙÚ›· ̤ÚË ÙÔ˘ ¤ÚÁÔ˘.√ ∆˙¤ÊÚÈ ª¿Ù˙ ‹Ù·Ó Ô ÚÒÙÔ˜ Ô˘ ¤·ÈÍÂÔÏfiÎÏËÚÔ ÙÔ ¤ÚÁÔ ÙÔ 1985.

∆· ¤ÓÙÂη ÎÔÓÙÛ¤ÚÙ· ÙÔ˘ ™Î·ÏÎÒÙ·, ·fi Ù·ÔÔ›· ÛÒ˙ÔÓÙ·È ÂÓÓÈ¿ (ÁÈ· È¿ÓÔ, ‰‡Ô È¿Ó·, ‚ÈÔÏ›,‰‡Ô ‚ÈÔÏÈ¿, ‚ÈÔÏ› Î·È ‚ÈfiÏ·, ÎÔÓÙÚ·Ì¿ÛÔ)·ÔÙÂÏÔ‡Ó ÙÔ ÌÂÁ·Ï‡ÙÂÚÔ Ì¤ÚÔ˜ ÙÔ˘ ÔÚ¯ËÛÙÚÈÎÔ‡ÙÔ˘ ¤ÚÁÔ˘. ∏ ÚÔÙ›ÌËÛ‹ ÙÔ˘ ÁÈ· ÙË ÌÔÚÊ‹ ÙÔ˘ÎÔÓÙÛ¤ÚÙÔ˘ ÌÔÚ› Ó· ıˆÚËı› ˆ˜ Û¯ÂÙÈ΋ Ì ÌÈ¿ÔÚÈṲ̂ÓË ÏÂ˘Ú¿ Ù˘ ÚÔÛˆÈÎfiÙËÙ¿˜ ÙÔ˘, ÙÔÂÚÒÙËÌ· ÙÔ˘ ‰È¯·ÛÌÔ‡ Î·È Ù˘ ÂÓfiÙËÙ·˜ ÛÙËÓÚÔÛˆÈÎfiÙËÙ· Î·È ÙÔ ¤ÚÁÔ ÙÔ˘. À‹ÚÍ Ï.¯.ÊÈÏÔÛÔÊÈÎfi˜ Î·È ÂÛˆÛÙÚÂÊ‹˜, ¤Ó·˜ ÌÔÓÙ¤ÚÓÔ˜·ÔÍÂӈ̤ÓÔ˜ ·fi ÙÔ ÌÔ˘ÛÈÎfi ÙÔ˘ ÂÚÈ‚¿ÏÏÔÓ, ηȈÛÙfiÛÔ ‹Ù·Ó ÂÓÂÚÁfi ̤ÏÔ˜ ·˘ÙÔ‡ ÙÔ˘ÂÚÈ‚¿ÏÏÔÓÙÔ˜, ÂÚÓÒÓÙ·˜ ÙËÓ Î·ıËÌÂÚÈÓ‹,·ÁÁÂÏÌ·ÙÈ΋ ˙ˆ‹ ÙÔ˘ ˆ˜ ‚ÈÔÏÈÛÙ‹˜ ÛÙËÓÔÚ¯‹ÛÙÚ·, ̤ÏÔ˜ ÎÔ˘·ÚÙ¤ÙÔ˘, ·ÎfiÌË Î¿ÔÙÂÂÓÔÚ¯ËÛÙÚˆÙ‹˜ ¤ÚÁˆÓ ¿ÏÏˆÓ Û˘ÓıÂÙÒÓ. √ÛÙ˘ÏÈÛÙÈÎfi˜ ‰È¯·ÛÌfi˜, Ì ÙËÓ ÂÓ·ÏÏ·ÛÛfiÌÂÓË

¯Ú‹ÛË ·ÙÔÓÈÎÒÓ Î·È ÙÔÓÈÎÒÓ È‰ÈˆÌ¿ÙˆÓ, ηıÒ˜Î·È Ë Û˘ÓÔÏÈ΋ ÂÓfiÙËÙ· Û˘ÓıÂÙÈ΋˜ Û‡ÏÏ˄˘¯·Ú·ÎÙËÚ›˙Ô˘Ó ÙÔ ¤ÚÁÔ ÙÔ˘.

∞ÓÙ›ıÂÛË Î·È ÂÓfiÙËÙ· Â›Ó·È Ù· Ô˘ÛÈ·ÛÙÈÎ¿Û˘ÛÙ·ÙÈο Ù˘ ÌÔÚÊ‹˜ ÙÔ˘ ÎÔÓÙÛ¤ÚÙÔ˘: Û ¤Ó·Ú·ÁÌ·ÙÈÎfi ÎÔÓÙÛ¤ÚÙÔ ÙÔ ÛfiÏÔ fiÚÁ·ÓÔ Î·È ËÔÚ¯‹ÛÙÚ· ¤¯Ô˘Ó ¯ˆÚÈÛÙÔ‡˜, ηıÔÚÈṲ̂ÓÔ˘˜‰ÔÌÈÎÔ‡˜ ÚfiÏÔ˘˜, ÔÈ ÔÔ›ÔÈ, ηٿ ÙËÓ ÔÚ›· .¯.ÌÈ¿˜ ÌÔÚÊ‹˜ ÛÔÓ¿Ù·˜, ÎÈÓÔ‡ÓÙ·È ÚÔ˜ ¤Ó· ÎÔÈÓfi‰ÔÌÈÎfi ÛÙfi¯Ô. ∏ Û˘Ó¯‹˜ Û¯¤ÛË ÙÔ˘ ™Î·ÏÎÒÙ· ÌÂÙÔ ÎÔÓÙÛ¤ÚÙÔ ·ÔηχÙÂÈ ÁÂÓÈÎfiÙÂÚ· ÙË Ê‡ÛË ÙÔ˘.∆Ô fiÙÈ ‹Ù·Ó ¤ÍÔ¯Ô˜ ‚ÈÔÏÈÛÙ‹˜ ¤¯ÂÈ Û¯¤ÛË Ì ÙËÓÂÍ·›ÚÂÙË Î·È ··ÈÙËÙÈ΋ ÁÚ·Ê‹ ÙÔ˘ ÁÈ· ÙÔ ÛfiÏÔfiÚÁ·ÓÔ ÛÙÔ ÎÔÓÙÛ¤ÚÙÔ. ∞ÏÏ¿ Ë ÌÔÚÊ‹ ÙÔ˘ÎÔÓÙÛ¤ÚÙÔ˘, ηıÒ˜ ¯ÚËÛÈÌÔÔÈ› ‰‡Ô·ÓÙÈÙÈı¤ÌÂÓÔ˘˜ ‰ÔÌÈÎÔ‡˜ ÊÔÚ›˜, ··ÈÙ› ÌÈ¿Û˘ÓıÂÙÈ΋ ‰ÂÍÈÔÙ¯ӛ· ÁÈ· ÙËÓ ÔÔ›· Ô ™Î·ÏÎÒÙ·˜¤ÓȈı ÚÔÛˆÈÎfi ‰ËÌÈÔ˘ÚÁÈÎfi ΛÓËÙÚÔ.™Â ¤Ó·ÎÔÓÙÛ¤ÚÙÔ ÁÈ· È¿ÓÔ Î·È ÔÚ¯‹ÛÙÚ· Ë Ô˘ÛÈ҉˘·ÓÙ›ıÂÛË Ù˘ ÌÔÚÊ‹˜ ÎÔÓÙÛ¤ÚÙÔ˘ ·ÚÔ˘ÛÈ¿˙ÂÙ·È,ı· ¤ÏÂÁ ηÓ›˜, ÛÙËÓ ÂÓÙÔÓfiÙÂÚË ÂΉ‹ÏˆÛ‹ Ù˘: ÙÔÈ¿ÓÔ Â›Ó·È fiÚÁ·ÓÔ ÔÏ˘ÊˆÓÈÎfi, ÙÔ ›‰ÈÔ ÌÈ¿«ÔÚ¯‹ÛÙÚ·», Î·È ·ÓÙÈÙ›ıÂÙ·È ÚÔ˜ ÙËÓ ÔÚ¯‹ÛÙÚ· ÌÂÙËÓ Ï‹ÚË, ÌÂψ‰È΋ Î·È ·ÚÌÔÓÈ΋, ÌÔ˘ÛÈ΋˘fiÛÙ·Û‹ ÙÔ˘. ÿÛˆ˜ ÁÈ’·˘Ùfi ÙÔ ÏfiÁÔ Ô ™Î·ÏÎÒÙ·˜Û˘Ó¤ıÂÛ ÂÚÈÛÛfiÙÂÚ· ÎÔÓÙÛ¤ÚÙ· ÁÈ· È¿ÓÔ (¤ÓÙÂ,Ì·˙› Ì ·˘Ùfi ÁÈ· ‰‡Ô È¿Ó·), ·’ fi,ÙÈ ÁÈ· ¿ÏÏ·fiÚÁ·Ó·, ·Ó¿ÌÂÛ· ÛÙ· ÔÔ›· Î·È ÙÔ ‰ÈÎfi ÙÔ˘fiÚÁ·ÓÔ, ÙÔ ‚ÈÔÏ› (ÙÔ ∫ÔÓÙÛ¤ÚÙÔ ÁÈ· È¿ÓÔ ·Ú.1,ÁÚ·Ì̤ÓÔ ÙÔ 1931, Â›Ó·È ÙÔ ÚÒÙÔ ÈÛÙÔÚÈοÎÔÓÙÛ¤ÚÙÔ ÁÈ· È¿ÓÔ Ì ‰ˆ‰ÂοÊıÔÁÁË Û‡ÓıÂÛË).

™ÙÔ ∫ÔÓÙÛ¤ÚÙÔ ÁÈ· È¿ÓÔ ·Ú.3 Ë Û‡˙¢ÍË«·ÓÙ›ıÂÛË-ÂÓfiÙËÙ·», Ë Û˘Ó‡·ÚÍË ·ÓÙÈıÂÙÈÎÒÓȉÈÔًوÓ, ‰È·ÎÚ›ÓÂÙ·È Î·È Û ¿ÏϘ Ï¢ڤ˜. ∞˘Ùfi‰ËÌÈÔ˘ÚÁ› ÌÈ¿ ȉȷ›ÙÂÚË ·ÌÊÈÛËÌ›·, Ë ÔÔ›·¯·Ú·ÎÙËÚ›˙ÂÈ ÙÔ ¤ÚÁÔ. ∞ÌÊÈÛË̛˜ ˘¿Ú¯Ô˘ÓÌÂٷ͇ ÌÔÚÊ‹˜ Î·È ‹¯Ô˘, ÛÙË ÊÚ·ÛÙÈ΋ ‰ÔÌ‹ ηÈ

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ÙËÓ ÔÏ˘ÊˆÓ›·, ÛÙÔÓ ÂÎÊÚ·ÛÙÈÎfi ¯·Ú·ÎÙ‹Ú·. ∆Ô¤ÚÁÔ ¤¯ÂÈ ·Û˘Ó‹ıÈÛÙÔ Ì¤ÁÂıÔ˜ Î·È ÌÔÚÊÔÏÔÁÈÎfi‡ÚÔ˜, ›Û˘ Û˘¯Ó¿ ˘ÎÓ‹ ÔÏ˘ÊˆÓÈ΋ ˘Ê‹,ˆÛÙfiÛÔ Â›Ó·È ÁÚ·Ì̤ÓÔ ÁÈ· ÔÚȷο ÊÂȉˆÏfi·ÚÈıÌËÙÈο Û‡ÓÔÏÔ ÔÚÁ¿ÓˆÓ Ì ‰¤Î· Ó¢ÛÙ¿,ηıÒ˜ Î·È ÎÚÔ˘ÛÙ¿, ·ÓÙ› ÁÈ· Û˘ÌʈÓÈ΋ ÔÚ¯‹ÛÙÚ·.∆Ô È¿ÓÔ Î·È Ù· Ó¢ÛÙ¿ Ê·›ÓÂÙ·È Ó· ‰È·ÁÚ¿ÊÔ˘Óηı·Ú¿ ÙÔ Û¯‹Ì· Î·È ÙË ‰È¿ÚıÚˆÛË ÙˆÓ ÌÔ˘ÛÈÎÒÓÊÚ¿ÛÂˆÓ (Ë Ë¯Ô¯ÚˆÌ·ÙÈ΋ ʇÛË È¿ÓÔ˘ ηÈÓ¢ÛÙÒÓ Û˘ÓÙÂÏ› ÛÙËÓ Î·ı·ÚfiÙËÙ· Ù˘‰È·ÁÚ·Ê‹˜). ∂Ó ÙÔ‡ÙÔȘ Û fiÏÔ ÙÔ ÎÔÓÙÛ¤ÚÙÔ,ۯ‰fiÓ Û˘Ó¯Ҙ, ˘¿Ú¯ÂÈ ÔÏ˘Â›Â‰Ë«·ÏÏËÏÔÎ¿Ï˘„Ë» (overlapping) ÙˆÓ ÌÔ˘ÛÈÎÒÓÊÚ¿ÛˆÓ, ÙfiÛÔ ·Ó¿ÌÂÛ· ÛÙÔÓ ÛÔÏ›ÛÙ· Î·È ÙÔÛ‡ÓÔÏÔ ÙˆÓ Ó¢ÛÙÒÓ, fiÛÔ Î·È Ì¤Û· ÛÙȘ ÁÚ·Ì̤˜ÙˆÓ ÔÚÁ¿ÓˆÓ ÙÔ˘ Û˘ÓfiÏÔ˘. ∏ «·ÏÏËÏÔÎ¿Ï˘„Ë»·ÓÙÈÙ›ıÂÙ·È ÛÙËÓ ÍÂοı·ÚË ‰È·ÁÚ·Ê‹ ÊÚ¿ÛÂˆÓ Î·ÈÊÚ·ÛÙÈ΋˜ ‰ÔÌ‹˜. ∂›Ó·È ˆ˜ › ÙÔ Ï›ÛÙÔÓÏ·Óı¿ÓÔ˘Û·, fi¯È ¿ÌÂÛ· Ê·ÓÂÚ‹, Î·È ‰ËÌÈÔ˘ÚÁ›‚·ı‡ÙÂÚË ·ÌÊÈÛËÌ›· ÛÙÔÓ ÚÔÛ‰ÈÔÚÈÛÌfi Î·È ÙËÓ·ÌÔÈ‚·›· Û¯¤ÛË ÙˆÓ ÊÚ¿ÛˆÓ. ∆Ô ¤ÚÁÔ ¤¯ÂÈÔÏ˘ÊˆÓ›· ÂȤ‰ˆÓ Î·È ˘ÂÚÎÂÈÌ¤ÓˆÓ ÊÚ·ÛÙÈÎÒÓÂÓÔًوÓ: ÌÂÙ·ÊÔÚÈο ı· ϤÁ·Ì «·ÓÙ›-ÊÚ·ÛË»,¤Ú· ·fi ÙËÓ «·ÓÙ›-ÛÙÈÍË». °ÂÓÈο, ÂÎÙfi˜ ·fi ÔχϛÁ˜ ÂÍ·ÈÚ¤ÛÂȘ, Ë ÊÚ·ÛÙÈ΋ ‰ÔÌ‹ ‰ÂÓ ·ÎÔÏÔ˘ı›ηıÈÂڈ̤ӷ Û¯‹Ì·Ù· (fiˆ˜ ÂÚÈfi‰Ô˘˜, ÚÔÙ¿ÛÂȘÎ.¿.), ·ÏÏ¿ ·Ó·Ù‡ÛÛÂÙ·È ÌÂ Û˘Ó¯›˜ ‰È·Û˘Ó‰¤ÛÂȘÌÔÙ›‚ˆÓ. ∏ ÊÚ·ÛÙÈ΋ ·ÏÏËÏÔÎ¿Ï˘„Ë, ηıҘ›Û˘ Ë Û˘ÓÂÎÙÈ΋ ÌÔÙÈ‚È΋ ·Ó¿Ù˘ÍË,‰ËÌÈÔ˘ÚÁÔ‡Ó ·›ÛıËÛË ÛÙ·ıÂÚ‹˜ ÂͤÏÈ͢, Û˘Ó¤¯ÂÈ·˜Î·È ΛÓËÛ˘.

∏ ·ÏÏËÏÔÎ¿Ï˘„Ë Û˘Ì‚¿ÏÏÂÈ ÂÓ Ì¤ÚÂÈ Î·È Û ÌÈ¿·ÎfiÌË ·ÌÊÈÛËÌ›·, Ô˘ ˘¿Ú¯ÂÈ ÛÙÔÓ ÂÎÊÚ·ÛÙÈÎfi¯·Ú·ÎÙ‹Ú·. ∞˘Ùfi Â›Ó·È Ê·ÓÂÚfi ΢ڛˆ˜ ÛÙÔ ÚÒÙÔ̤ÚÔ˜, fiÔ˘ Ë ‰Ú·Ì·ÙÈ΋ ÔÈfiÙËÙ· Û˘Ó‰˘¿˙ÂٷȉÈÊÔÚÔ‡ÌÂÓ· Ì ¯ÔÚ¢ÙÈÎfi ÛÙÔȯ›Ô, ÙÔ ÔÔ›ÔÚÔ¤Ú¯ÂÙ·È ·fi ÙÔ˘˜ Ú˘ıÌÔ‡˜ Î·È ÙȘ Û˘ÁÎÔ¤˜ Ù˘

ÙfiÙ ۇÁ¯ÚÔÓ˘ Ù˙¿˙ Î·È ÙÔ˘ ÌÈÔ‡˙ÈÎ-¯fiÏ ÙÔ˘ÌÂÛÔÔϤÌÔ˘. ∆Ô ÛÙÔÈ¯Â›Ô ÙÔ˘ ¯ÔÚÔ‡ Û¯ÂÙ›˙ÂÙ·È·fi ÙË Ê‡ÛË ÙÔ˘ Ì ÙÔÓ ‹¯Ô ÙˆÓ Ó¢ÛÙÒÓ. ∆Ô˯fi¯ÚˆÌ· ÙˆÓ Ó¢ÛÙÒÓ, Ì ÙËÓ «˘·›ıÚÈ·»ÔÈfiÙËÙ¿ ÙÔ˘, Ê·›ÓÂÙ·È Ó· ·ÓÙÈÊ¿ÛÎÂÈ ÚÔ˜ ÙËÓÂÛˆÙÂÚÈÎfiÙËÙ· ÙÔ˘ ¤ÚÁÔ˘. ŸÌˆ˜, ȉȷ›ÙÂÚ· ÛÙÔÛÙÔ¯·ÛÙÈÎfi ÌÂÛ·›Ô ̤ÚÔ˜ Andante sostenuto, ԙηÏÎÒÙ·˜ ÂÙ˘¯·›ÓÂÈ ¤Ó· ۯ‰fiÓ ·ÈÓÈÁÌ·ÙÈÎfiÛ˘Ó‰˘·ÛÌfi Ù˘ ÂÛˆÙÂÚÈ΋˜ ¤ÎÊÚ·Û˘ Î·È ÙÔ˘Ë¯ËÙÈÎÔ‡ ÊÔÚ¤·, ‰ËÌÈÔ˘ÚÁÒÓÙ·˜ ¤Ó· ÔÏfiÙÂÏ· ‰ÈÎfiÙÔ˘ ˯ËÙÈÎfi ÎfiÛÌÔ.

∏ ¯Ú‹ÛË ÙˆÓ Ó¢ÛÙÒÓ Â›Ó·È ·ÚÈÛÙÔÙ¯ÓÈ΋,Û˘¯Ó¿ Ì‹ Û˘Ì‚·ÙÈ΋, Î·È Û˘ÓÙÂÏ› Û ÌÂÁ¿ÏÔÂÎÊÚ·ÛÙÈÎfi ‡ÚÔ˜. ∫¿ÔȘ ÊÔÚ¤˜ ˘¿Ú¯Ô˘ÓÔÚȷΤ˜ ··ÈÙ‹ÛÂȘ ·fi Ù· fiÚÁ·Ó·. ∏ ·ÓÙÈÛÙÈÎÙÈÎ‹Î·È ·ÚÌÔÓÈ΋ ÔÏ˘ÏÔÎfiÙËÙ· ÙÔ˘ ¤ÚÁÔ˘·Ô‰›‰ÂÙ·È Ì ˙ˆËÚ¤˜, οÔȘ ÊÔÚ¤˜ ›Û˘ÛÎÔÙÂÈÓfi¯ÚˆÌ˜, ˯ËÙÈΤ˜ ÂÈÎfiÓ˜. ∆Ô ‡ÊÔ˜ ÙÔ˘™Î·ÏÎÒÙ· Â›Ó·È ÂÎÊÚ·ÛÙÈÎfi, οÔÙ Ì ¿ıÔ˜,fï˜ ¯ˆÚ›˜ ·ÈÛıËÌ·ÙÈÛÌÔ‡˜, ·‰Úfi ηÈÛ˘ÁÎÂÓÙڈ̤ÓÔ. ™˘Ó‰˘¿˙ÂÈ Â›Û˘ ÛÎÔÙÂÈÓÔ‡˜ÙfiÓÔ˘˜ Î·È Î¿ˆ˜ ÈÎÚ¿ ÓÂ˘Ì·ÙÒ‰Ë ‰È¿ıÂÛË.∞˘Ù¿ ·Ô‰›‰ÔÓÙ·È Ì ȉÂÒ‰Ë ÙÚfiÔ Â‰Ò ·fi Ù·Ó¢ÛÙ¿. √ ™Î·ÏÎÒÙ·˜ ·Á·Ô‡Û ٷ Ó¢ÛÙ¿ ηȤÁÚ·ÊÂ Û˘¯Ó¿ ÁÈã·˘Ù¿, Ï.¯. ÛÙ¿ ¤ÚÁ· ∫ÔÓÙÛ¤ÚÙÔÁÈ· µÈÔÏ›, µÈfiÏ· Î·È ÔÚ¯‹ÛÙÚ· Ó¢ÛÙÒÓ, ∫Ï·ÛÈ΋™˘Ìʈӛ· Û Ͽ, ÌÂÙ·ÁÚ·Ê‹ ÂÓÓÈ¿ ∂ÏÏËÓÈÎÒÓÃÔÚÒÓ Î.¿. ŸÌˆ˜ Ù· ¤ÚÁ· ·˘Ù¿ Â›Ó·È ÁÚ·Ì̤ӷ ÁÈ·ÌÂÁ¿ÏË ÔÚ¯‹ÛÙÚ· Ó¢ÛÙÒÓ, ·ÓÙ›ıÂÙ· Ì ÙÔ∫ÔÓÙÛ¤ÚÙÔ ÁÈ· È¿ÓÔ ·Ú.3.

∆Ô Û‡ÓÔÏÔ Ó¢ÛÙÒÓ ·ÔÙÂÏÂ›Ù·È ·fiÊÏ¿Ô˘ÙÔ, fiÌÔÂ, ·ÁÁÏÈÎfi ÎfiÚÓÔ, ÎÏ·ÚÈÓ¤ÙÔ,Ê·ÁÎfiÙÔ, ÎÔÓÙÚ·Ê·ÁÎfiÙÔ, ÎfiÚÓÔ, ÙÚÔ̤ٷ,ÙÚÔÌfiÓÈ Î·È Ùԇ̷. ∆· ÎÚÔ˘ÛÙ¿ – ه̷ӷ,Ù·ÌÔ‡ÚÔ, ÁÎÚ·Ó Î¿Û·, È¿Ù·, ÓÙ¤ÊÈ, Ì·ÛÙ›ÁÈÔ,͢ÏfiʈÓÔ – ¯ÚËÛÈÌÔÔÈÔ‡ÓÙ·È Ì ·ÚÔÛ‰fiÎËÙÔ,ÂÍ·ÈÚÂÙÈο ÏÈÙfi ÙÚfiÔ: ·ÏÒ˜ Ï›Á˜ ÊÔÚ¤˜

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ÙÌ‹Ì·Ù·. ∆Ô ÚÒÙÔ ÙÌ‹Ì· Ù˘ ÙÂÏÂÈÒÓÂÈ Ì ÌÈ¿Û‡ÓÙÔÌË ÎÔڇʈÛË, ˘ÔÁÚ·ÌÌÈṲ̂ÓË ·fi ÙÚ¤ÌÔÏÔÛ˘Á¯ÔÚ‰›Â˜ ÛÙ· Ó¢ÛÙ¿ Î·È ‰‡Ô ¯Ù˘‹Ì·Ù· Ù˘ÁÎÚ·Ó Î¿Û·˜. ∆Ô ‰Â‡ÙÂÚÔ ÙÌ‹Ì· ·ÎÔÏÔ˘ı› ¿ÌÂÛ·Î·È Ë ÙÚÔ̤ٷ ·›˙ÂÈ Â‡ı˘Ì· ÌÈ¿ Ó¤· ȉ¤·,«ÓÂÔÎÏ·ÛÈ΋» ÛÙÔ ÛÙ‡Ï Î·È Ì ̷ÎÚÈÓ¤˜ ıÂÌ·ÙÈΤ˜·Ó·ÊÔÚ¤˜. ∆ËÓ È‰¤· ·˘Ù‹ Û˘Ó¯›˙ÂÈ, Û·Ó ·¿ÓÙËÛË,Û ·Ú·ÏÏ·Á‹, ÙÔ È¿ÓÔ. ™Â fiÏ· Ù· ̤ÚË Ë·ӤÎıÂÛË ¤¯ÂÈ ÙÔ Ì¿ÏÏÔÓ ÌÔÓ·‰ÈÎfi ÁÓÒÚÈÛÌ· fiÙÈ·ÓÙÈηıÚÂÊÙ›˙ÂÈ ÔÏfiÎÏËÚÔ ÙÔ Û¯‹Ì· Ù˘ ‰ÈÏ‹˜¤ÎıÂÛ˘ Î·È Û˘Ó‰˘¿˙ÂÈ ÙfiÛÔ ÔÚ¯ËÛÙÚÈ΋, fiÛÔ Î·È·ÎfiÏÔ˘ıË ÛÔÏÈÛÙÈ΋ ·ӤÎıÂÛË (οÙÈ Ù¤ÙÔÈÔ ‰ÂÓÛ˘Ì‚·›ÓÂÈ ÛÙÔ ÎÏ·ÛÈÎfi ÎÔÓÙÛ¤ÚÙÔ). ∞˘Ù‹ ·ÔÙÂÏ›ÏÔÁÈ΋ ‰ÔÌÈ΋ ·ÓÙ·fiÎÚÈÛË, ·ÏÏ¿ ›Û˘˘ÔÁÚ·ÌÌ›˙ÂÈ ÙË ÛËÌ·Û›· ÙÔ˘ ÚfiÏÔ˘ Ù˘ ÔÚ¯‹ÛÙÚ·˜·¤Ó·ÓÙÈ ÛÙÔ ‰ÂÍÈÔÙ¯ÓÈÎfi Î·È ‰ÔÌÈÎfi ÏÔ‡ÙÔ ÙÔ˘ÛÔÏÈÛÙÈÎÔ‡ ̤ÚÔ˘˜. ∆· ÎÚÔ˘ÛÙ¿ ÙÔÓ›˙Ô˘Ó ÙËÓ¿ÊÈÍË ÙÔ˘ «ÂÈÏÔÁÈÎÔ‡» ÙÌ‹Ì·ÙÔ˜ (coda). ∏ηٷÏËÎÙÈ΋ ÊÚ¿ÛË Ù˘ coda ·Ó·Î·Ï› Ì ΤÊÈ ÙËÓηٿÏËÍË Ù˘ ¤ÎıÂÛ˘ Î·È Ù˘ ·ӤÎıÂÛ˘, ·ÏÏ¿ÌÈ¿ Í·ÊÓÈ΋ ÂÌÊ¿ÓÈÛË ÙÔ˘ ÌfiÙÔ ÛÙ· ‰‡Ô ÙÂÏÂ˘Ù·›·Ì¤ÙÚ· ÛÙ·Ì·Ù¿ ÙË ÚÔ‹ Î·È Ë ÙÂÏÂ˘Ù·›· Û˘Á¯ÔÚ‰›·Û‚‹ÓÂÈ. ªÈ¿ ÙÂÏÈ΋, ÌÂÏ·Á¯ÔÏÈ΋ ÛÎÈ¿, Ô˘Û˘ÓÔ„›˙ÂÈ ÙËÓ ÂÎÊÚ·ÛÙÈ΋ ·ÌÊÈÛËÌ›· ÙÔ˘ ̤ÚÔ˘˜.

∞˘Ù‹ Ë ·ÌÊÈÛËÌ›· χÓÂÙ·È Ì·ÎÚÔÛÎÔÈο ηٿÙËÓ ÂͤÏÈÍË ÙÔ˘ ¤ÚÁÔ˘: Ô ÂÛÒÙÂÚÔ˜ ÂÎÊÚ·ÛÙÈÎfi˜¯·Ú·ÎÙ‹Ú·˜ Â›Ó·È ÂÁÁÂÓ‹˜ ÛÙÔ ‰Â‡ÙÂÚÔ Ì¤ÚÔ˜, ÂÓÒÛÙÔ ÊÈÓ¿ÏÂ Ë ¯ÔÚ¢ÙÈ΋ ¢ı˘Ì›· ÚÔ‚¿ÏÏÂÈ·ÓÂÌfi‰ÈÛÙ·. ∆Ô ‰Â‡ÙÂÚÔ Ì¤ÚÔ˜, Andante sostenuto(sostenuto: ÎÚ·ÙË̤ÓÔ, Û˘ÁÎÚ·ÙË̤ÓÔ) ¤¯ÂÈÚ¿ÁÌ·ÙÈ ÌÈ¿ «ÎÚ·ÙË̤ÓË» (Û ‰È¿ÚÎÂÈ·), Ì·ÎÚÈ¿ÂÎÊÚ·ÛÙÈ΋ ‰È¿ÛÙ·ÛË Î·È Û˘ÁÎÚ·ÙË̤ÓÔ(Û˘ÁÎÂÓÙڈ̤ÓÔ) ¿ıÔ˜. ∏ ÌÔÚÊ‹ ÙÔ˘ ‰ÂÓ ÂÌ›ÙÂÈ·fiÏ˘Ù· Û ÔÚÈṲ̂ÓË Î·ÙËÁÔÚ›·: ÌÔÚ› Ó·ıˆÚËı› Û·Ó ÌÔÚÊÔÏÔÁÈÎfi Û¯‹Ì· ·ÚfiÌÔÈÔ ÌÂÛÔÓ¿Ù·, Ì ٷ ÙÚ›· ÙÌ‹Ì·Ù· Ù˘ ÛÔÓ¿Ù·˜ – ¤ÎıÂÛË,·Ó¿Ù˘ÍË, ·ӤÎıÂÛË -, ˆÛÙfiÛÔ ¯ˆÚ›˜ Û·Ê‹

ıÂÌ·ÙÈ΋ ÔÚÁ¿ÓˆÛË ÛÔÓ¿Ù·˜. ∞˘Ùfi ÙÔ ÁÂÁÔÓfi˜˘Ô‚¿ÏÏÂÈ ¤Ó· ÙÚÈÌÂÚ¤˜ Û¯‹Ì· (∞ – µ [·Ó¿Ù˘ÍË] –∞ã). ŸÌˆ˜ Ë ¤ÎıÂÛË ¤¯ÂÈ ¤ÎÙ·ÛË fiÛÔ Ë ·Ó¿Ù˘ÍËÎ·È Ë Â·Ó¤ÎıÂÛË Ì·˙›. ∂ÙÛÈ, ηıÒ˜ ›Û˘ ÙfiÛÔ Ë¤ÎıÂÛË, ÔÛÔ Î·È Ë Â·Ó¤ÎıÂÛË ¤¯Ô˘Ó ·Ú¿ÏÏËϷηٷÏËÎÙÈο ÎÔÚ˘ÊÒÌ·Ù·, ˘Ê›ÛÙ·Ù·È Î·È ‰ÈÌÂÚ‹˜Û˘ÌÌÂÙÚ›· ÛÙË ÌÔÚÊ‹. ∏ ÌÔÚÊ‹ ÂÓۈ̷ÙÒÓÂÈÂÈϤÔÓ ·Ú·ÏÏ·Á‹. ∆Ô Ì¤ÚÔ˜ ¤¯ÂÈ Ì›· ÌfiÓÔ Î‡ÚÈ·ıÂÌ·ÙÈ΋ ÔÌ¿‰·. ∞ÓÙ› ÁÈ· ‰Â‡ÙÂÚË ıÂÌ·ÙÈ΋ ÔÌ¿‰·ÂÌÊ·Ó›˙ÂÙ·È ÛÙËÓ ¤ÎıÂÛË ÌÈ¿ ÔÌ¿‰· Ó¤ˆÓ ÌÔÙ›‚ˆÓ(Ù· ÔÔ›· ‰ÂÓ Û˘ÁÎÚÔÙÔ‡Ó ı¤Ì·), Ô˘ ÏÂÈÙÔ˘ÚÁÔ‡ÓÂÚÈÛÛfiÙÂÚÔ ˆ˜ ÚÔ¤ÎÙ·ÛË Ù˘ ·ÚÈ·˜ ıÂÌ·ÙÈ΋˜ÔÌ¿‰·˜ ÚÔ˜ ÌÈ¿ Ó¤· ηÙ‡ı˘ÓÛË Î·È ÛÙË Û˘Ó¤¯ÂÈ·Ô‰ËÁÔ‡Ó Û ÌÈ¿ ·Ï›Ó‰ÚÔÌË (retrograde),·Ú·ÏÏ·Á̤ÓË ÂÌÊ¿ÓÈÛË ÙÔ˘ ·ÚÈÔ˘ ı¤Ì·ÙÔ˜.À¿Ú¯ÂÈ Û fiÏÔ ÙÔ Ì¤ÚÔ˜ ÌÈ¿ ۯ‰fiÓ·˘ÙÔۯ‰ȷÛÙÈ΋ ÂÏ¢ıÂÚ›·, ÙfiÛÔ ÛÙÔ Ì¤ÚÔ˜ ÙÔ˘È¿ÓÔ˘, fiÛÔ Î·È ÛÙ· fiÚÁ·Ó· ÙÔ˘ Û˘ÓfiÏÔ˘, Ô˘Û˘Ó‰˘¿˙ÂÙ·È Ì ÛÙ·ıÂÚ‹ ÌÔÚÊÔÏÔÁÈ΋ ÈÛÔÚÚÔ›·.

∆Ô ÌÂÁ¿ÏÔ Î‡ÚÈÔ ı¤Ì· , Û ÙÚÈÌÂÚ‹ ‰ÔÌ‹,·ÚÔ˘ÛÈ¿˙ÂÙ·È ·Ú¯Èο ·fi ÙËÓ ÔÚ¯‹ÛÙÚ·. ∏ÂÓ·ÚÎÙ‹ÚÈ· ÌÂψ‰›· ÙÔ˘ ÛÙÔ ÎÏ·ÚÈÓ¤ÙÔ, Ë ÔÔ›·ÍÂÎÈÓ¿ Ì ÙËÓ ÚÒÙË Î‡ÚÈ· ÛÂÈÚ¿, ÔÚ›˙ÂÈ ÙËÛÙÔ¯·ÛÙÈ΋ ÌÂÏ·Á¯ÔÏ›· ÙÔ˘ ̤ÚÔ˘˜. ∆Ô ˘fiÏÔÈÔı¤Ì· ·Ó·Ù‡ÛÛÂÙ·È Ì¤Û· ·fi ¤Ó· ÂχıÂÚÔÛ‡ÌÏÂÁÌ· ·ÚÎÂÙÒÓ ÛÂÈÚÒÓ, Ì ¤ÍÔ¯Ë ÔÏ˘ÊˆÓ›·Î·È ·ÏÏËÏÔÎ¿Ï˘„Ë ÛÙË ÊÚ·ÛÙÈ΋ ˘Ê‹. ∆Ô È¿ÓÔ, ÛÂÎϛ̷ ÛÙÔ¯·ÛÌÔ‡, ·ÓÔ›ÁÂÈ ÙËÓ ÛËÌ·ÓÙÈοÌÂÁ·Ï‡ÙÂÚË ÛÔÏÈÛÙÈ΋ ¤ÎıÂÛË. ¶·ÚÔ˘ÛÈ¿˙ÂÈ ÙÔ·ÚÈÔ ıÂÌ·ÙÈÎfi ˘ÏÈÎfi Û Ôχ ·Ú·ÏÏ·Á̤ÓËÌÔÚÊ‹ Î·È ÂÌÏÔ˘ÙÈṲ̂ÓÔ Ì ÌÔÙÈ‚È΋ ηÈÔÏ˘ÊˆÓÈ΋ ·Ó¿Ù˘ÍË. ™Â οÔÈÔ ÛËÌÂ›Ô Ô ÛÔÏ›ÛÙ,ÂÓÒ ·Ó·Ù‡ÛÛÂÈ ıÂÌ·ÙÈο ÌÔÙ›‚·, ÂÈÛ¿ÁÂÈ·Ó·›ÛıËÙ· ηÈÓÔ‡ÚÁÈÔ ·ÚÌÔÓÈÎfi – ÌÔÙÈ‚ÈÎfiÛÙÔȯ›Ô. ¢Â˘ÙÂÚ‡ԢÛ˜, ·ÓÙÈÛÙÈÎÙÈΤ˜ ÌÂψ‰ÈΤ˜ÊÚ¿ÛÂȘ ÛÙ· Ó¢ÛÙ¿ ÁÂÓÓÈÔ‡ÓÙ·È ·fiÌÂÙ·Û¯ËÌ·ÙÈÛÌÔ‡˜ ÙÔ˘ ÛÂÈÚ·˚ÎÔ‡ Î·È ÂχıÂÚÔ˘

15

‰ˆ‰ÂηÊıÔÁÁÈÎÔ‡ ˘ÏÈÎÔ‡. ªÂ ·‰È¿Û·ÛÙËÛ˘Ó¤¯ÂÈ·, Û·Ó ÓÂ˘Ì·ÙÈ΋ ÌÔ˘ÛÈ΋ «Ê·ÓÙ·Û›·», ÙÔ·ÚÈÔ ı¤Ì· ÙfiÙ ·ÓÂÌÊ·Ó›˙ÂÙ·È ÌÂÙ·ÌÔÚʈ̤ÓÔ,Ì ٷ Ó¢ÛÙ¿ Ó· ·›˙Ô˘Ó ÙȘ ıÂÌ·ÙÈΤ˜ ÌÂψ‰›Â˜Û ·Ï›Ó‰ÚÔÌË ÌÔÚÊ‹ Î·È Ú˘ıÌÈ΋ ·Ú·ÏÏ·Á‹.ªÈ¿ Ôχ Û‡ÓÙÔÌË, ‰Â˘ÙÂÚÂ‡Ô˘Û· ηٷÏËÎÙÈ΋ȉ¤· ·ÎÔ‡ÁÂÙ·È ‰È·‰Ô¯Èο ÛÙÔ fiÌÔÂ, ÙÔ Ê·ÁÎfiÙÔ,ÙÔ È¿ÓÔ Î·È Ô‰ËÁ› ÛÙË ‰Ú·Ì·ÙÈ΋, ÙÂÏÈ΋ÎÔڇʈÛË fiÏÔ˘ ÙÔ˘ ÂÎıÂÙÈÎÔ‡ ̤ÚÔ˘˜ (ÌfiÓÔÓ Û’·˘Ùfi ÙÔ ÛËÌÂ›Ô Ë Â› Ôχ ·Ó·ÌÂÓfiÌÂÓË ¿ÊÈÍË ÛÂÌÈ¿ Ó¤· ÂÚÈÔ¯‹, ‡ÛÙÂÚ· ·fi ÙÔ Ù·Í›‰È Ù˘ ¤ÎıÂÛ˘,ÂȂ‚·ÈÒÓÂÙ·È Ï‹Úˆ˜). ∆Ô Ôχ ÌÈÎÚfiÙÂÚÔ,ÎÂÓÙÚÈÎfi ̤ÚÔ˜ Ù˘ ·Ó¿Ù˘Í˘ ¤¯ÂÈ ‰‡ÔÛ˘ÌÏËڈ̷ÙÈο ÙÌ‹Ì·Ù·. ªÈ¿ ıÂÌ·ÙÈ΋·Ú·ÏÏ·Á‹ ·ÎÔ‡ÁÂÙ·È ÛÙÔ ÊÏ¿Ô˘ÙÔ, Ì·ÓÙÈÛÙÈÎÙÈ΋ ˘ÔÛÙ‹ÚÈÍË ·fi Ù· ͇ÏÈÓ· Ó¢ÛÙ¿Î·È ÙÔ ÎfiÚÓÔ, ÂÓÒ ÙÔ È¿ÓÔ Û˘Óԉ‡ÂÈ Ì ¤Ó··˘ÙfiÓÔÌÔ Ì¤ÚÔ˜ Ô˘ ·Ó·Ù‡ÛÛÂÈ ıÂÌ·ÙÈο ÌÔÙ›‚·.ŒÓ· Û‡ÓÙÔÌÔ ÎÔڇʈ̷ Ô‰ËÁ› ÛÙÔ ‰Â‡ÙÂÚÔ ÙÌ‹Ì·,fiÔ˘ ÙÔ È¿ÓÔ, Ì ÔÓÂÈÚÈ΋ ˯ËÙÈ΋ ·ÙÌfiÛÊ·ÈÚ·,··ÓÙ¿ Û˘Ó¯›˙ÔÓÙ·˜ ÙË ÌÂψ‰›· ÙÔ˘ ÊÏ¿Ô˘ÙÔ˘, Ì·ڿÏÏËÏ· ·ÓÙÈÛÙÈÎÙÈο Û¯fiÏÈ· ÙˆÓ Ó¢ÛÙÒÓ.ŒÓ· ÔÚ¯ËÛÙÚÈÎfi ¤Ú·ÛÌ· ÎÏ›ÓÂÈ ·˘Ùfi ÙÔ ÎÂÓÙÚÈÎfi̤ÚÔ˜, ÂÓÒ Ù·˘Ùfi¯ÚÔÓ· ÏÂÈÙÔ˘ÚÁ› Î·È Û·Ó·Ó·›ÛıËÙË ÌÂÙ¿‚·ÛË ÚÔ˜ ÙËÓ Â·Ó¤ÎıÂÛË. ∆ËÓÔÚ¯ËÛÙÚÈ΋ ·ӤÎıÂÛË ·ÎÔÏÔ˘ı› (fiˆ˜ Û fiÏ· ٷ̤ÚË) Ë ÛÔÏÈÛÙÈ΋ ·ӤÎıÂÛË, Ë ÔÔ›· ÙÒÚ· ›ӷÈÔχ Û˘Ì˘Îӈ̤ÓË Î·È ¯ˆÚ›˜ ηıfiÏÔ˘ ÙËÓÂÛˆÙÂÚÈ΋ ·Ó¿Ù˘ÍË Ù˘ ¤ÎıÂÛ˘. ∏ Û‡ÓÙÔÌËηٷÏËÎÙÈ΋ ȉ¤· ¤Ú¯ÂÙ·È ÛÙÔ È¿ÓÔ ÌfiÓÔ ÙÔ˘ ηÈÂÈÛ¿ÁÂÈ ¤Ó· ÌÔÓfiÏÔÁÔ, Û·Ó Î·ÓÙ¤ÓÙÛ·, ÙÔ˘ ÛÔÏ›ÛÙ,Ô˘ Û˘ÓÔ„›˙ÂÈ ÙË ‰Ú·Ì·ÙÈ΋ ¤ÓÙ·ÛË ÙÔ˘ fiÏÔ˘‰Â‡ÙÂÚÔ˘ ̤ÚÔ˘˜. ∆Ô Î·Ù·ÏËÎÙÈÎfi ÌÔÙ›‚Ô·ӷϷ̂¿ÓÂÙ·È ÛÙËÓ ÔÚ¯‹ÛÙÚ· Î·È Ê¤ÚÓÂÈ Û ÌÈ¿ÙÂÏÈ΋ ÎÔڇʈÛË. ∞̤ۈ˜ ·ÎÔÏÔ˘ı› Ô Â›ÏÔÁÔ˜,Ì ÙÔ ÎÏ·ÚÈÓ¤ÙÔ Ó· ·Ó·Î·Ï›, ۯ‰fiÓ ıÏÈÌ̤ӷ, ÙÔÌfiÙÔ ÙÔ˘ ¤ÚÁÔ˘ Î·È ÙÔ È¿ÓÔ Û·Ó ÌÂψ‰È΋ ˯Ò.

ªÂÏ·Á¯ÔÏÈΤ˜, ÌÈÎÚ¤˜ ÊÚ¿ÛÂȘ ÛÙÔ ·ÁÁÏÈÎfi ÎfiÚÓÔ·ÎÔ‡ÁÔÓÙ·È Î¿Ùˆ ·fi ·fiÌ·ÎÚ˜ Û˘Á¯ÔÚ‰›Â˜ ÛÙËÓ„ËÏ‹ ÂÚÈÔ¯‹ ÙÔ˘ È¿ÓÔ˘. ∆fiÙ οÔȘ·Ú¿‰Ô͘, ÛÈÁ·Ó¤˜, ÛٷοÙÔ Û˘Á¯ÔÚ‰›Â˜ ÙˆÓÓ¢ÛÙÒÓ, ¯ˆÚÈṲ̂Ó˜ ·fi ·ÚÔÛ‰fiÎËÙ˜ ·‡ÛÂȘ,ÌÔÈ¿˙Ô˘Ó Ó· ‰È·Ï‡Ô˘Ó ÙË ÌÔ˘ÛÈ΋, ‚ËÌ·Ù›˙ÔÓÙ·˜·ÚÁ¿ ÚÔ˜ ¤Ó· ÎÂÓfi. ∆Ô È¿ÓÔ Â·Ó·Ï·Ì‚¿ÓÂÈ (Ì·ÚÈÛÌÔ‡˜) ÙȘ ÏÈÙ¤˜ ÙÔ˘ Û˘Á¯ÔÚ‰›Â˜ Î·È Ë ÙÂÏÈÎ‹Û˘Á¯ÔÚ‰›· ‰ÈÏ·ÛÈ¿˙ÂÙ·È ·fi Ù· Ó¢ÛÙ¿, Û ¤Ó·ÛÙˆÈÎfi, ̤Ù˙Ô-È¿ÓÔ, Ù¤ÏÔ˜. √ ›ÏÔÁÔ˜, Ì ÙËÓȉȷ›ÙÂÚË ·›ÛıËÛË ıÏ›„˘, ÔÏÔÎÏËÚÒÓÂÈ ÌÂÂÎÊÚ·ÛÙÈ΋ ‰‡Ó·ÌË ÙÔ Ì¤ÚÔ˜ ·˘Ùfi, Û˘ÁÎÈÓËÛÈ·ÎfiΤÓÙÚÔ ÙÔ˘ ÎÔÓÙÛ¤ÚÙÔ˘.

∆Ô ÙÚ›ÙÔ Ì¤ÚÔ˜, Allegro giocoso, ¤¯ÂÈ ÌÔÚÊ‹ÛÔÓ¿Ù·˜. ∆Ô ÎÏ·ÚÈÓ¤ÙÔ ·ÓÔ›ÁÂÈ ÙËÓ ÔÚ¯ËÛÙÚÈ΋¤ÎıÂÛË Ì ÙÔ Î‡ÚÈÔ ı¤Ì·, ¤Ó· «ÂÙ·¯Ùfi» ÛÎÔfi Ô˘·Ó‚ÔηÙ‚·›ÓÂÈ ¯·ÚÔ‡ÌÂÓ· Ì Ôχ ÌÂÁ¿Ï·ÌÂψ‰Èο ‰È·ÛÙ‹Ì·Ù·. ∆Ô ‰Â‡ÙÂÚÔ ı¤Ì· ÂÈÛ¿ÁÂÙ·È·fi ÙÔ fiÌÔÂ Î·È ¤¯ÂÈ ÂÚÈÛÛfiÙÂÚÔ ÌÂψ‰ÈÎfi ηÈÏ˘ÚÈÎfi ¯·Ú·ÎÙ‹Ú·. ∏ ÔÚ¯ËÛÙÚÈ΋ ¤ÎıÂÛË ÙÂÏÂÈÒÓÂÈÌ ıÔÚ˘‚Ò‰Ë ¤Í·ÚÛË Î·È ÙÔ È¿ÓÔ, fiˆ˜ Î·È ÛÙÔÚÒÙÔ Ì¤ÚÔ˜, ÍÂÎÈÓ¿ Ì ÌÈ¿ Ó¤· ȉ¤·, ‰ÂÍÈÔÙ¯ÓÈÎ‹Î·È ÁÂÌ¿ÙË ÂÓ¤ÚÁÂÈ·. ∏ ·ÎfiÏÔ˘ıË ÛÔÏÈÛÙÈ΋¤ÎıÂÛË ÙˆÓ ‰‡Ô ıÂÌ·ÙÈÎÒÓ ÔÌ¿‰ˆÓ Â›Ó·È Î·È ¿ÏÈÛËÌ·ÓÙÈο ·Ú·ÏÏ·Á̤ÓË Î·È ‰ÈÂ˘Ú˘Ì¤ÓË. ∏·Ó¿Ù˘ÍË ÍÂÎÈÓ¿, ÁÈ· Ï›ÁÔ, Û·Ó „¢‰Ô-·ӤÎıÂÛË:ÙÔ È¿ÓÔ Â·Ó·Ê¤ÚÂÈ ¤Í˘Ó· ÙËÓ ·Ú¯‹ ÙÔ˘ ÚÒÙÔ˘ı¤Ì·ÙÔ˜ Î·È ·Ì¤Ûˆ˜ Û˘Ó¯›˙ÂÈ Ì ÙË ‰È΋ ÙÔ˘‰Â˘ÙÂÚÂ‡Ô˘Û· ‰ÂÍÈÔÙ¯ÓÈ΋ ȉ¤·. ∆fiÙÂ, Ì¿ÏÏÔÓ·ÚÔÛ‰fiÎËÙ·, ÛÔÏ›ÛÙ Î·È ÔÚ¯‹ÛÙÚ· ¯ˆÚ›˙Ô˘Óۯ‰fiÓ ÔÏfiÙÂÏ· ÁÈ· Ôχ ÌÂÁ¿ÏÔ ‰È¿ÛÙËÌ· Î·È Ë·Ó¿Ù˘ÍË Û˘Ó¯›˙ÂÙ·È (‹ ÍÂÎÈÓ¿ Ú·ÁÌ·ÙÈο) ̤ӷ ÔÚ¯ËÛÙÚÈÎfi ÚÈÙÔÚÓ¤ÏÔ, fiÔ˘ ·Ó·Ù‡ÛÛÔÓÙ·ÈÎ·È Û˘Ó‰˘¿˙ÔÓÙ·È ÌÔÙ›‚· ÙÔ˘ ÚÒÙÔ˘ ı¤Ì·ÙÔ˜ ηÈÙ˘ ȉ¤·˜ ÙÔ˘ È¿ÓÔ˘. ∏ ÔÚ¯‹ÛÙÚ· ¯·ÌËÏÒÓÂÈÛÙ·‰È·Î¿. ∆Ô È¿ÓÔ Ì·›ÓÂÈ ‰È·ÎÚÈÙÈο,·Ó·ÔÏÒÓÙ·˜ ÛÙÔ¯·ÛÙÈο Ù· ÌÔÙ›‚· ÙÔ˘ ‰Â‡ÙÂÚÔ˘

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ı¤Ì·ÙÔ˜, Î·È Û‡ÓÙÔÌ· Û˘Ó¯›˙ÂÈ ÌfiÓÔ. ∏ ÔÚ¯‹ÛÙÚ·Í·Ó·Ì·›ÓÂÈ Ì ·ÔÛ·ÛÌ·ÙÈΤ˜ ÊÚ¿ÛÂȘ Ô˘·ÓÙÈ·Ú·Ù›ıÂÓÙ·È ÛÙÔ Ì¤ÚÔ˜ ÙÔ˘ È¿ÓÔ˘. ∏Ú·ÁÌ·ÙÈ΋ ·ӤÎıÂÛË ¤¯ÂÈ ·ÓÙ›ÛÙÚÔÊË Î·È·Ó¿ÌÈÎÙË ıÂÌ·ÙÈ΋ ‰È¿Ù·ÍË, ÂÓÒ ¿ÏÈ ÍÂÎÈÓ¿ Ì ÙËÓÔÚ¯‹ÛÙÚ· ÌfiÓË. ∫¿Ùˆ ·fi ¤Ó· Ú˘ıÌÈÎfi ÔÛÙÈÓ¿ÙÔÙÔ ÎÔÓÙÚ·Ê·ÁÎfiÙÔ ·›˙ÂÈ ÙÔ ‰Â‡ÙÂÚÔ ı¤Ì·, Ï›ÁԉȷÛΉ·ÛÙÈο Î·È Î¿ˆ˜ ÂÎÊÚ·ÛÙÈο. ∆Ô ›ÎÔÏÔÛÙËÓ Èfi „ËÏ‹ ÙÔ˘ ÂÚÈÔ¯‹ ÚÔÛÙ›ıÂÙ·È Û ÌÈ¿ÂÚÈ·ÈÎÙÈ΋ ·ÓÙÈ·Ú¿ıÂÛË ÚÔ˜ Ù· ‚¿ıË ÙÔ˘ÎÔÓÙÚ·Ê·ÁÎfiÙÔ˘. ∆Ô ÎÏ·ÚÈÓ¤ÙÔ ·›˙ÂÈ ÙÔ ÚÒÙÔı¤Ì· Î·È ÙfiÙ ÙÔ È¿ÓÔ, Ì ÙËÓ ˘ÔÛÙ‹ÚÈÍË ÁÈ· Ï›ÁÔÙˆÓ ÎÚÔ˘ÛÙÒÓ, ·Ó·Ï·Ì‚¿ÓÂÈ Ì ¯ÈÔ‡ÌÔÚ ÙËÛ˘Ó¤¯ÈÛË Ù˘ ÚÒÙ˘ ıÂÌ·ÙÈ΋˜ ÔÌ¿‰·˜. ⁄ÛÙÂÚ··fi Ï›ÁÔ ÙÔ È¿ÓÔ Ì¤ÓÂÈ ÌfiÓÔ Î·È, ÏÔÁÈο,·ӷʤÚÂÈ ÙÔ ‰ÈÎfi ÙÔ˘ ÌÂÚ›‰ÈÔ ·fi ÙË ‰Â‡ÙÂÚËıÂÌ·ÙÈ΋ ÔÌ¿‰·. ∆Ô ÌfiÙÔ ÙÔ˘ ¤ÚÁÔ˘ ÛÙËÓ ÔÚ¯‹ÛÙÚ·(·Ó·Î·ÏÒÓÙ·˜ ¿ÌÂÛ· ÙËÓ ·Ú¯‹ ÙÔ˘ ÒÙÔ˘ ̤ÚÔ˘˜)ÂÈÛ¿ÁÂÈ ÌÈ¿ ÌÈÎÚ‹ ÎfiÓÙ·, fiÔ˘ Ô ÛÔÏ›ÛÙ Î˘Úȷگ›Ì ¤Ó· ÙÂÏÈÎfi ‰ÂÍÈÔÙ¯ÓÈÎfi ̤ÚÔ˜. ™Ù· ÙÂÏÂ˘Ù·›·¤ÓÙ ̤ÙÚ· ÔÎÙÒ Ó¢ÛÙ¿ (¯ˆÚ›˜ ÊÏ¿Ô˘ÙÔ Î·ÈfiÌÔÂ), ÛÙË ÌÂÛ·›· Î·È ¯·ÌËÏ‹ ÙÔ˘˜ ÂÚÈÔ¯‹,ÙÔÓ›˙Ô˘Ó Ì ‰‡Ó·ÌË ÌÈ¿ ηٷÏËÎÙÈ΋ ÊÚ¿ÛË Ô˘ÂÓÒÓÂÈ Ù· ·Ú¯Èο ÌÔÙ›‚· ÙˆÓ ‰‡Ô ÛÂÈÚ·˚ÎÒÓıÂÌ¿ÙˆÓ, ÂÓÒ ÙÔ È¿ÓÔ ·ÓÙÈ·Ú·ı¤ÙÂÈ Ú˘ıÌÈ΋ÛÙ›ÍË Ì ‚·ıÂȤ˜, ‰˘Ó·Ù¤˜ Û˘Á¯ÔÚ‰›Â˜. √ϷΈÓÈÎfi˜, ‰Ú·Ì·ÙÈÎfi˜ ›ÏÔÁÔ˜ ÂÈÛÊÚ·Á›˙ÂÈ΢ÎÏÈο ÙÔ ¤ÚÁÔ.

∆· ¶·Á·Ó¿

∆Ô Ì·Ï¤ÙÔ ∆· ¶·Á·Ó¿ ÁÚ¿ÊÙËΠÙÔ 1939, ÙËÓ ›‰È·¯ÚÔÓÈ¿ Ì ÙÔ ∫ÔÓÙÛ¤ÚÙÔ ÁÈ¿ È¿ÓÔ ·Ú.3. ∂›Ó·È ÌÈ¿ÛÔ˘›Ù·, ÁÈ· Û‡ÓÔÏÔ ÔÚÁ¿ÓˆÓ, Ô˘ ÂÚÈÏ·Ì‚¿ÓÂÈ΢ڛˆ˜ ÂÓÔÚ¯ËÛÙÚÒÛÂȘ ÌÈÎÚÒÓ ÎÔÌÌ·ÙÈÒÓ ÁÈ·È¿ÓÔ ÙÔ˘ ª¿ÚÙÔÎ Î·È ÙÔ˘ ™ÙÚ·‚›ÓÛÎÈ Î·ıÒ˜ ηÈÙÚ›· ÌÈÎÚ¿ ÎÔÌÌ¿ÙÈ· ÙÔ˘ ›‰ÈÔ˘ ÙÔ˘ ™Î·ÏÎÒÙ·.∂›Ó·È ¤Ó· ÁÔËÙ¢ÙÈÎfi ¤ÚÁÔ, Ô˘ Ê·ÓÂÚÒÓÂÈ ÙË

‰ÂÍÈÔÙ¯ӛ· ÁÚ·Ê‹˜ Î·È ÙËÓ ÚˆÙÔÙ˘›· ÙÔ˘™Î·ÏÎÒÙ·.

™Â fiÏË ÙË ‰ËÌÈÔ˘ÚÁÈ΋ ÙÔ˘ ˙ˆ‹ Ô ™Î·ÏÎÒÙ·˜Û˘Ó¤ıÂÙ ÙfiÛÔ Û ·ÙÔÓÈο, fiÛÔ Î·È ÙÔÓÈο ȉÈÒÌ·Ù·.∆· ̷Ϥٷ ÙÔ˘, fiÏ· Û ÙÔÓÈÎfi ȉ›ˆÌ·, ·ÔÙÂÏÔ‡ÓÛËÌ·ÓÙÈÎfi ÙÌ‹Ì· Ù˘ ‰ËÌÈÔ˘ÚÁ›·˜ ÙÔ˘. √ ¯ÔÚfi˜,ηıÒ˜ Î·È ÙÔ ¯ÔÚ¢ÙÈÎfi ÛÙÔȯ›Ô, ¤¯ÂÈ ÁÂÓÈο˙ˆÙÈ΋ ·ÚÔ˘Û›· ÛÙÔÓ ™Î·ÏÎÒÙ·, fiˆ˜, ÁÈ··Ú¿‰ÂÈÁÌ·, ÛÙÔ˘˜ ÊËÌÈṲ̂ÓÔ˘˜ 36 ∂ÏÏËÓÈÎÔ‡˜ÃÔÚÔ‡˜, ‹ Û ‰È¿ÊÔÚ· ·ÙÔÓÈο ¤ÚÁ· Ì ·Ó·ÊÔÚ¤˜Û ¯ÔÚÔ‡˜ Ù˘ ÂÔ¯‹˜ ÙÔ˘ (Ù·ÁÎfi, ÊÔÍ-ÙÚÔÙ ÎÙÏ).∆Ô 1938 Ô ™Î·ÏÎÒÙ·˜ Û˘Ó¤ıÂÛ ÙÔ ÚÒÙÔ ÙÔ˘Ì·Ï¤ÙÔ, ∏ §˘ÁÂÚ‹ Î·È Ô Ã¿ÚÔ˜, ¤Ó· ·fi Ù·ÛÔ˘‰·ÈfiÙÂÚ· ¤ÚÁ· ÙÔ˘. ŒÎÙÔÙÂ Û˘Ó¤¯ÈÛÂ Ó·Û˘Óı¤ÙÂÈ Ù·ÎÙÈο ÁÈ· ÙÔ Ì·Ï¤ÙÔ Ò˜ ÙÔ Ù¤ÏÔ˜ Ù˘˙ˆ‹˜ ÙÔ˘.

√ ™Î·ÏÎÒÙ·˜ ›¯Â ¤ÓÙÔÓË, ˙ˆÙÈ΋ Û¯¤ÛË Ì ÙÔ¯ÒÚÔ ÙÔ˘ ¯ÔÚÔ‡ Î·È fiÏÔ˘˜ ÙÔ˘˜ Ï›ÁÔ˘˜ ÙfiÙÂÚˆÙÔfiÚÔ˘˜ ÙÔ˘ ¯ÔÚÔ‡ ÛÙËÓ ∞ı‹Ó· (¶Ú¿ÙÛÈη,ª·Ù¤˘, ™·ÎÂÏÏ·Ú›Ô˘, ¡›ÎÔϘ Î.¿.). ∏ ∫ԇϷ¶Ú¿ÙÛÈη, ‰È¢ı‡ÓÙÚÈ· Ù˘ ™¯ÔÏ‹˜ ¶Ú¿ÙÛÈη,ÛËÌ·ÓÙÈ΋ ıÂÌÂÏȈً˜ ÙÔ˘ ¯ÔÚÔ‡ ÛÙËÓ ∂ÏÏ¿‰·,˙‹ÙËÛ ÙË Û˘ÓÂÚÁ·Û›· ÙÔ˘ ™Î·ÏÎÒÙ· ÁÈ· ÙËÌÔ˘ÛÈ΋ ÙÔ˘ ̷ϤÙÔ˘ ∆· ¶·Á·Ó¿, Ô˘·ÚÔ˘ÛÈ¿ÛÙËΠ̷˙› Ì ¤Ó· ·ÎfiÌË Ì·Ï¤ÙÔ ÛÙȘ 22¢ÂÎÂÌ‚Ú›Ô˘ 1939. √È ¯ÔÚÔÁÚ¿ÊÔÈ ª·Ú›· ÃfiÚ˜ ηÈ∑Ô˘˙Ô‡ ¡ÈÎÔÏÔ‡‰Ë, Ô˘ Û˘ÌÌÂÙ›¯·Ó ˆ˜¯ÔÚ‡ÙÚȘ ÛÙËÓ ÔÌ¿‰· Ù˘ ¶Ú¿ÙÛÈη, ÌÂٷʤÚÔ˘ÓÙËÓ ÂÈÎfiÓ· ÙÔ˘ ÙfiÙ ÙÚÈ·ÓÙ·ÂÓÙ¿¯ÚÔÓÔ˘™Î·ÏÎÒÙ·: ÚfiÛˆÔ È‰È·›ÙÂÚ· Û‚·ÛÙfi, ·ÏÏ¿ÎÏÂÈṲ̂ÓÔ ÛÙÔÓ Â·˘Ùfi ÙÔ˘, ÛÂÌÓfi Î·È ÛȈËÏfi.

°‡Úˆ ·fi ÙË ™¯ÔÏ‹ Ù˘ Ë ¶Ú¿ÙÛÈη ›¯ÂÛ˘ÁÎÂÓÙÚÒÛÂÈ ¤Ó· ·ÎÏÔ ÛËÌ·ÓÙÈÎÒÓ ÂÏÏ‹ÓˆÓηÏÏÈÙ¯ÓÒÓ Î·È Û˘ÁÁڷʤˆÓ, fiˆ˜ ÔÈ ™Î·ÏÎÒÙ·˜,£Ú.°ÂˆÚÁÈ¿‰Ë˜, ª.¢Ô‡ÓÈ·˜, ª.¶·ÏÏ¿ÓÙÈÔ˜,™ÙÚ.ª˘ÚÈ‚‹Ï˘, ∏.µÂÓ¤˙˘ Î.¿. °È· Ù· ¶·Á·Ó¿˙‹ÙËÛ ›Û˘ ·fi ÙÔÓ ™ÙÚ¿ÙË ª˘ÚÈ‚‹ÏË Ó· ÁÚ¿„ÂÈ

17

ÌÈ¿ ÂχıÂÚË ÔÈËÙÈ΋ ·Ê‹ÁËÛË ¿Óˆ ÛÙÔ ı¤Ì· ηÈÙÔ Û˘Ì‚ÔÏÈÛÌfi ÙÔ˘ ̷ϤÙÔ˘.

ŸÛÔÓ ·ÊÔÚ¿ ÛÙË ÌÔ˘ÛÈ΋, Ë ¶Ú¿ÙÛÈη ·Ú¯ÈοۯËÌ¿ÙÈÛ ÌÈ¿ ‰È΋ Ù˘ ÛÔ˘›Ù· ‰È·Ï¤ÁÔÓÙ·˜ÎÔÌÌ¿ÙÈ· ·fi ÙË Û˘ÏÏÔÁ‹ °È· Ù· ¶·È‰È¿, ÁÈ·È¿ÓÔ, ÙÔ˘ ª¿ÚÙÔÎ Î·È ˙‹ÙËÛ ·fi ÙÔÓ ™Î·ÏÎÒÙ·Ó· ÂÓÔÚ¯ËÛÙÚÒÛÂÈ ÙË ÌÔ˘ÛÈ΋ ÙÔ˘ ̷ϤÙÔ˘. ∆·ÎÔÌÌ¿ÙÈ· ÙÔ˘ ª¿ÚÙÔÎ, fiˆ˜ fiÏË Ë Û˘ÏÏÔÁ‹ °È·Ù· ¶·È‰È¿, ‚·Û›˙ÔÓÙ·È Û ÁÓ‹ÛÈ· ‰ËÌÔÙÈοÙÚ·ÁÔ‡‰È· Ù˘ √˘ÁÁ·Ú›·˜ Î·È Ù˘ ™ÏÔ‚·Î›·˜,Û˘ÓÂÒ˜ Ù·ÈÚÈ¿˙Ô˘Ó ÁÈ· ÙÔ ı¤Ì· ÙÔ˘ ̷ϤÙÔ˘,Ô˘ Â›Ó·È ÂÌÓ¢Ṳ̂ÓÔ ·fi ÙË ‰ËÌÔÙÈ΋ ·Ú¿‰ÔÛË.™ÙÔ ÚˆÙfiÙ˘Ô ¤ÓÙ˘Ô ÚfiÁÚ·ÌÌ· Ù˘·Ú¿ÛÙ·Û˘ ·Ó·Ê¤ÚÂÙ·È ·ÔÎÏÂÈÛÙÈο Ô ª¿ÚÙÔΈ˜ Û˘Óı¤Ù˘ Ù˘ ÌÔ˘ÛÈ΋˜ Î·È Ô ™Î·ÏÎÒÙ·˜ ÌfiÓÔÓˆ˜ ÂÓÔÚ¯ËÛÙÚˆÙ‹˜ (Ôχ Èı·ÓfiÓ ‰Èˇı˘Ó ›Û˘ÙËÓ ÌÈÎÚ‹ ÔÚ¯‹ÛÙÚ·). ∂›Ó·È Ì¿ÏÏÔÓ ÂÚ›ÂÚÁÔ fiÙÈÛÙË ¯ÂÈÚfiÁÚ·ÊË Ï‹ÚË ·ÚÙÈÙÔ‡Ú· ÙÔ˘ ¤ÚÁÔ˘, ·ÏÏ¿Î·È ÛÙË ¯ÂÈÚfiÁÚ·ÊË ·Ó·ÁˆÁ‹ ÁÈ· È¿ÓÔ, ‰ÂÓ·Ó·ÁÚ¿ÊÂÙ·È fiÓÔÌ· Û˘Óı¤ÙË, Ô‡Ù ÙÔ˘ ™Î·ÏÎÒÙ·.¶¿ÓÙˆ˜ ÛÙËÓ Ú·ÁÌ·ÙÈÎfiÙËÙ· ÔÚÈṲ̂ӷ ·fi Ù·ÎÔÌÌ¿ÙÈ· Ù˘ ÙÂÏÈ΋˜ ÛÔ˘›Ù·˜ Â›Ó·È ¿ÏψÓÛ˘ÓıÂÙÒÓ. ∂ÊÙ¿ ÎÔÌÌ¿ÙÈ·, ÙÔ Î‡ÚÈÔ ÛÒÌ· Ù˘ÛÔ˘›Ù·˜, Â›Ó·È ÙÔ˘ ª¿ÚÙÔÎ. ∂›Ó·È ‡ÏÔÁË Ë˘fiıÂÛË fiÙÈ, ηıÒ˜ Ù· ¶·Á·Ó¿ ¤·ÈÚÓ·Ó ÙÔÔÚÈÛÙÈÎfi ÙÔ˘˜ Û¯‹Ì·, ¯ÚÂÈ¿ÛÙËΠÂÚÈÛÛfiÙÂÚËÌÔ˘ÛÈ΋ ·’ fiÛË Â›¯Â ‰È·Ï¤ÍÂÈ Ë ¶Ú¿ÙÛÈη. ∏ÔÈËÙÈ΋ ·Ê‹ÁËÛË, Ì ٛÙÏÔ §˘ÚÈÎfi˜ ÏfiÁÔ˜, ÙÔ˘ª˘ÚÈ‚‹ÏË, ¯ˆÚÈṲ̂ÓË Û ‰‡Ô ̤ÚË, ÙÔÔıÂÙ‹ıËΈ˜ Ï·›ÛÈÔ ÛÙËÓ Î‡ÚÈ· ‰Ú¿ÛË ÙÔ˘ ̷ϤÙÔ˘. ∂›Ó·ÈÛ˘ÓÂÒ˜ Èı·ÓfiÓ fiÙÈ ¯ÚÂÈ¿ÛÙËΠÌÈ· Ó¤· ÂÈÛ·ÁˆÁ‹,ÚÈÓ ·fi ÙËÓ ·Ê‹ÁËÛË, ηıÒ˜ Î·È ÌÔ˘ÛÈ΋ ÁÈ· Ó·Û˘Óԉ‡ÛÂÈ ÙÌ‹Ì· Ù˘ ·Ê‹ÁËÛ˘.

ø˜ ÂÈÛ·ÁˆÁ‹ (·Ú.1) ¯ÚËÛÈÌÔÔÈ‹ıËΠ‡ÛÙÔ¯·¤Ó· ÎÔÌÌ¿ÙÈ ÁÈ· È¿ÓÔ ÙÔ˘ ™ÙÚ·‚›ÓÛÎÈ, Î·È ¿ÏÈ·fi ·È‰È΋ Û˘ÏÏÔÁ‹, ÙË Û˘ÏÏÔÁ‹ ∆· ¶¤ÓÙ¢¿¯Ù˘Ï·. √ ™Î·ÏÎÒÙ·˜ ·Á·Ô‡Û ȉȷ›ÙÂÚ· ÙÔÓ

™ÙÚ·‚›ÓÛÎÈ Î·È Ê·›ÓÂÙ·È Èı·Ófi fiÙÈ ÂΛÓÔ˜ÚfiÙÂÈÓ ·˘Ùfi ÙÔ ÎÔÌÌ¿ÙÈ. ∆ÂÏÈο Ô ›‰ÈÔ˜ ԙηÏÎÒÙ·˜ Û˘Ó¤ıÂÛ ÙÚ›· ÌÈÎÚ¿ ÎÔÌÌ¿ÙÈ·: ÙÔ ·Ú.1,ÁÈ· ÙËÓ ·Ê‹ÁËÛË, Ì ÌÈ¿ ˆÚ·›· ÌÂψ‰›· ÁÈ·‚ÈÔÏÔÓÙÛ¤ÏÔ, ηıÒ˜ Î·È Ù· ·Ú.11 Î·È 12. ∆Ô ·Ú.5Â›Ó·È ¤Ó· ÌË Î·ÙoÓÔÌ·˙fiÌÂÓÔ ÎÔÌÌ¿ÙÈ ·ÏÈ¿˜ÌÔ˘ÛÈ΋˜, ηٿ Ù· Ê·ÈÓfiÌÂÓ· ‰È·ÏÂÁ̤ÓÔ ·fi ÙËÓ¶Ú¿ÙÛÈη, Ô˘ ¯ÚËÛÈÌÔÔÈÔ‡ÛÂ Û˘¯Ó¿ ÌÔ˘ÛÈ΋̷ÚfiÎ ÛÙȘ ·Ú·ÁˆÁ¤˜ Ù˘. ¢›ÓÔÓÙ·˜ ηْ ·Ú¯‹ÓÙËÓ ÂÓÙ‡ˆÛË fiÙÈ Â›Ó·È ÛÙ˘ÏÈÛÙÈο ·Û‡Ì‚·ÙÔ Ì ٷÎÔÌÌ¿ÙÈ· ÙˆÓ ª¿ÚÙÔÎ, ™ÙÚ·‚›ÓÛÎÈ, ™Î·ÏÎÒÙ·,Â›Ó·È Ê·ÓÂÚfi fiÙÈ ‰È·Ï¤¯ÙËΠÁÈ· Ó· ‰ËÌÈÔ˘ÚÁ‹ÛÂȤÓÙÔÓË ·ÓÙ›ıÂÛË, ηıÒ˜ Â›Ó·È Ô ÚÒÙÔ˜ Î·È Î‡ÚÈÔ˜¯ÔÚfi˜ ÙˆÓ ·ÁÓÒÓ ∂ÛÙÈ¿‰ˆÓ, ·¤Ó·ÓÙÈ ÛÙËÓ·Á·ÓÈÛÙÈ΋, ˘·›ıÚÈ· ʇÛË ÙˆÓ ¶·Á·ÓÒÓ. ∞ÏÏ¿Ì ÙÔ Â˘Ê˘¤˜ Ó‡̷ Ù˘ ÂÂÍÂÚÁ·Û›·˜ ÙÔ˘™Î·ÏÎÒÙ· Ù· ÛÙ‡Ï ‰È·‰¤¯ÔÓÙ·È ÙÔ ¤Ó· ÙÔ ¿ÏÏÔÂÈÛÙÈο Î·È Ì ·ÔÏ·˘ÛÙÈ΋ ‰È¿ıÂÛË. ¶ÚÈÓ Î·ÈÌÂÙ¿ ÙÔ ¯ÔÚfi ÙˆÓ ∂ÛÙÈ¿‰ˆÓ, Û ÌÈ¿Ó ¿ÏÏËÛÙ˘ÏÈÛÙÈ΋ ÂÎÙÚÔ‹, ·ÎÔ‡ÁÔÓÙ·È Ù· ·Ú·‰ÔÛȷοοϷÓÙ· (∫·Ï‹Ó Ë̤ڷ ¿Ú¯ÔÓÙ˜). ∆Ë ÌÂψ‰›··›˙ÂÈ ÌÔÓfiʈӷ, ¯ˆÚ›˜ ·ÚÌÔÓ›·, ÙÔ fiÌÔÂ,·Ú·¤ÌÔÓÙ·˜ Ì¿ÏÏÔÓ ÛÙÔÓ ‹¯Ô ÙÔ˘ ‰ËÌÔÙÈÎÔ‡˙Ô˘ÚÓ¿, ÌÂ Û˘Óԉ›· ·fi ÙÚ›ÁˆÓÔ, η̿Ó˜,ÎÚÔ˘ÛÙ¿. ™˘ÓÔÙÈο Ë ÚԤϢÛË ÙˆÓ ÎÔÌÌ·ÙȈÓÙÔ˘ ̷ϤÙÔ˘ ›ӷÈ:

1. ∂ÈÛ·ÁˆÁ‹ . . . . . . . . . ™ÙÚ·‚›ÓÛÎÈ, . . . . . . . . . . . . . . . . . ∆· ¶¤ÓÙ ¢¿¯Ù˘Ï·, ·Ú. 2

2. Espressivo molto . . . ™Î·ÏÎÒÙ·˜ 3. ∆· ¶·Á·Ó¿ ÛÙ· . . . . ª¿ÚÙÔÎ, °È· Ù· ¶·È‰È¿,

ηٷ¯ıfiÓÈ· . . . . . . . ‚È‚Ï›Ô π / ·Ú. 294. ∫¿Ï·ÓÙ·5. ∂ÛÙ›· . . . . . . . . . . . . ÎÔÌÌ¿ÙÈ ·ÏÈ¿˜ ÌÔ˘ÛÈ΋˜6. ∫¿Ï·ÓÙ· 7. ∆· ¶·Á·Ó¿ (I) . . . . . ª¿ÚÙÔÎ, °È· Ù· ¶·È‰È¿,

. . . . . . . . . . . . . . . . . ‚È‚Ï›Ô ππ / ·Ú. 3

18

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ª¿ÚÙÔÎ Î·È ÙÔ˘ ™ÙÚ·‚›ÓÛÎÈ Â›Ó·È ‰ÂÍÈÔÙ¯ÓÈÎ‹Î·È ÁÂÌ¿ÙË Ê·ÓÙ·Û›·. ∏ ÂÂÍÂÚÁ·Û›· ÙÔ˘Û˘ÏÏ·Ì‚¿ÓÂÈ ÙË ¯ˆÚÈ¿ÙÈÎË ·ÙÌfiÛÊ·ÈÚ· Î·È ÙÔÓÔ›ÛÙÚÔ ÙˆÓ ÎÔÌÌ·ÙÈÒÓ ÙÔ˘ ª¿ÚÙÔÎ, Ì Îϛ̷ٷÈÚÈ·¯Ùfi ÛÙÔ Ï·˚Îfi ¯·Ú·ÎÙ‹Ú· Ù˘ ˘fiıÂÛ˘.À¿Ú¯ÂÈ Û fiÏÔ ÙÔ ¤ÚÁÔ Â›Û˘ Û˘ÓıÂÙÈ΋ÂÂÍÂÚÁ·Û›·, fï˜ Ì ϋÚË Û‚·ÛÌfi ÛÙ·ÚˆÙfiÙ˘· ÎÔÌÌ¿ÙÈ·. ∆· ÎÔÌÌ¿ÙÈ· ·˘Ù¿,ÚÔÔÚÈṲ̂ӷ ÁÈ· Ù· ·È‰È¿, Â›Ó·È Ôχ ·Ï¿ÁÚ·Ì̤ӷ Î·È Û˘Ó‹ıˆ˜ Û ÂÚÈÔÚÈṲ̂ÓÔ ÌÂψ‰ÈÎfi‡ÚÔ˜. °È’ ·˘Ùfi Ô ™Î·ÏÎÒÙ·˜, ÁÚ¿ÊÔÓÙ·˜ ÁÈ·Û‡ÓÔÏÔ Ó¢ÛÙÒÓ, ÎÚÔ˘ÛÙÒÓ Î·È ÂÁ¯fiÚ‰ˆÓ,ÔÚÈṲ̂Ó˜ ÊÔÚ¤˜ ‰È¢ڇÓÂÈ ÙËÓ ˘Ê‹ ̉ÈÏ·ÛÈ·ÛÌÔ‡˜ (Û „ËÏfiÙÂÚË ‹ ¯·ÌËÏfiÙÂÚËÔÎÙ¿‚·) Î·È Â›Û˘ ÌÔÚ› Ó· ·Ó·Ù‡ÍÂÈ ÌÈ¿Ó ˘Ê‹Ì Ӥ˜, ÂÛˆÙÂÚÈΤ˜ ÁÚ·Ì̤˜ Î·È ‰Â˘ÙÂÚ‡ÔÓÙ·ÌÔÙ›‚·, Ô˘ ·Ú¿ÁÔÓÙ·È ·fi ÙË ÌÔÙÈ‚È΋ ηȷÚÌÔÓÈ΋ ˘fiÛÙ·ÛË ÙÔ˘ ÚˆÙÔÙ‡Ô˘. ∞˘Ùfi, ÁÈ··Ú¿‰ÂÈÁÌ·, Ê·›ÓÂÙ·È Î·ı·Ú¿ ÛÙÔ ·Ú. 13 (∆ÔÙÚ·ÁÔ‡‰È Ù˘ ¯·Ú¿˜): ‰ÈÏ·ÛÈ·ÛÌÔ› Ô˘ ¤¯Ô˘ÓÚÔÛÙÂı› Ì ÁÏ˘Î‡ÙËÙ· (Ë ÚˆÙfiÙ˘Ë ÌÂψ‰›·‚Ú›ÛÎÂÙ·È ÛÙËÓ ¿Óˆ ÔÎÙ¿‚·) - ÈÛÔÎÚ·Ù‹Ì·Ù· ηÈÔÛÙÈÓ¿Ù· (Ô˘ Û¯ÂÙ›˙ÔÓÙ·È Ì ٷ ÌÔÙ›‚·, ·ÏÏ¿ ηÈÙÔ Û˘Ó¯Ҙ ÎÚ·ÙË̤ÓÔ ÂÓÙ¿Ï ÙÔ˘ È·ÓÈÛÙÈÎÔ‡ÚˆÙÔÙ‡Ô˘) - ÛÙ›ÍÂȘ ·fi Ù· ÎÚÔ˘ÛÙ¿ - Ӥ˜ÂÛˆÙÂÚÈΤ˜ ÁÚ·Ì̤˜ (Û˘¯Ó¿ ·Ú·ÁfiÌÂÓ˜ ·fi ÙÔÚˆÙfiÙ˘Ô ÔÛÙÈÓ¿ÙÔ Ì ڢıÌÈΤ˜ Û˘ÁÎÔ¤˜ ÛÙÔÌ¿ÛÔ) - ÌÈ¿ ¯·ÚÔ‡ÌÂÓË ·ÓÙÈÛÙÈÎÙÈ΋ ÌÂψ‰›· ÛÙËÓÙÚÔ̤ٷ, Ô˘ ·ÎÔ‡ÁÂÙ·È ÛÙÔ Î¤ÓÙÚÔ - ¤Ó· Ӥԉ¢ÙÂÚ‡ÔÓ ÌÔÙ›‚Ô ÛÙ· ه̷ӷ, Ô˘ Û˘Óԉ‡ÂÈ ¤Ó·Ó¢Ú҉˜ ÌÔÙ›‚Ô ÛÙÔ Ì¿ÛÔ Î·È ·Ú¿ÁÂÙ·È ·fi·˘Ùfi ˆ˜ Ú˘ıÌÈ΋ ·‡ÍËÛË (augmentation), ÁÈ· Ó·ÌÂÙ·ÊÂÚı› ÛÙË Û˘Ó¤¯ÂÈ· ÛÙ· ‚ÈÔÏÈ¿ Û col legno,ÎÔÎ. ™ÙËÓ ÂÓÔÚ¯ËÛÙÚˆÙÈ΋ ÂÂÍÂÚÁ·Û›· ¿ÏψÓÎÔÌÌ·ÙÈÒÓ ÙÔ˘ ª¿ÚÙÔÎ Ù¤ÙÔȘ ‰È·‰Èηۛ˜ ›ӷÈÈfi ‰È·ÎÚÈÙÈΤ˜. √ÚÈṲ̂ӷ ÎÔÌÌ¿ÙÈ· ¤¯Ô˘ÓÌÂÙ·ÊÂÚı› ·fi ÌÈ¿ Ì·Ï·ÎfiÙÂÚË Û ÌÈ¿ Ô͇ÙÂÚË

ÙÔÓÈÎfiÙËÙ· (.¯. ·fi ÙË Ê· ÛÙË Ú Ì›˙ÔÓ·), Ô˘Ù·ÈÚÈ¿˙ÂÈ Î·Ï‡ÙÂÚ· ÛÙÔ Ë¯ËÙÈÎfi Îϛ̷ ·˘ÙÔ‡ ÙÔ˘Ì·Ï¤ÙÔ˘ Î·È ÛÙËÓ ÙÔÓÈ΋ Û˘Ó¤¯ÂÈ· Ù˘ ÛÔ˘›Ù·˜.°ÂÓÈο Ô ™Î·ÏÎÒÙ·˜ Â›Ó·È ÈÛÙfi˜ ÛÙÔ ÚˆÙfiÙ˘ÔÎ·È ‰ÂÓ ·ÏÏ¿˙ÂÈ Ù›ÔÙ· ·fi ÙËÓ ·Ú¯È΋ Û‡ÓıÂÛËηıÒ˜ ·Ó·Ù‡ÛÛÂÈ ·fi ·˘Ù‹ Ó¤· ˘Ê‹.

∂›Ó·È ÂӉȷʤÚÔÓ fiÙÈ Ô ™ÙÚ·‚›ÓÛÎÈ, Ôχ·ÚÁfiÙÂÚ·, ÙÔ 1962, ÂÓÔÚ¯‹ÛÙÚˆÛ ÙÔ ÎÔÌÌ¿ÙÈ Ô˘‚Ú›ÛÎÂÙ·È ÛÙ· ¶·Á·Ó¿ ÛÙȘ √ÎÙÒ √ÚÁ·ÓÈΤ˜ªÈÓÈ·ÙÔ‡Ú˜ ÙÔ˘, ‰È·Û΢‹ fiÏ˘ Ù˘ Û˘ÏÏÔÁ‹˜ ∆·¶¤ÓÙ ¢¿¯Ù˘Ï·. øÛÙfiÛÔ ÛÙËÓ ÂÓÔÚ¯‹ÛÙÚˆÛ‹ ÙÔ˘ Ô™ÙÚ·‚›ÓÛÎÈ ¤¯ÂÈ «Â·Ó·Û˘Óı¤ÛÂÈ» ÙÔ ÚˆÙfiÙ˘ÔÎÔÌÌ¿ÙÈ Ì «Ó¤· ÁÚ·Ê‹ Ú˘ıÌÔ‡, ·Ó·‰È¿Ù·ÍËÊÚ¿ÛˆÓ, ÂÂÍÂÚÁ·Û›· Ì ÌÈÌ‹ÛÂȘ ηÓfiÓˆÓ [ηÈÔÏ˘ÊˆÓ›·], Ӥ˜ ÌÂÙ·ÙÚԛ˜» (fiˆ˜ ¤¯ÂÈ Â›),ÙÚÔÔÔÈÒÓÙ·˜ ›Û˘ Û ÔÚÈṲ̂ÓÔ ‚·ıÌfi ÙÔÓÂÎÊÚ·ÛÙÈÎfi ¯·Ú·ÎÙ‹Ú· ÙÔ˘. ∏ ÔÚÁ·ÓÈ΋ ÁÚ·Ê‹ ÙÔ˘™Î·ÏÎÒÙ· Â›Ó·È ÂÌÓ¢Ṳ̂ÓË, ·ÏÏ¿ ÈÛÙ‹ ÛÙÔÚˆÙfiÙ˘Ô (˙ËÙ¿ ÌfiÓÔÓ ¤Ó· ÂÓÙÔÓfiÙÂÚÔ moltoallegro ·ÓÙ› ÁÈ· ÙÔ ÚˆÙfiÙ˘Ô allegro). ∏ÂÓÔÚ¯‹ÛÙÚˆÛ‹ ÙÔ˘ ÂÚÈÏ·Ì‚¿ÓÂÈ ÌÈ¿ ¤ÍÔ¯·ÂÊ¢ÚÂÙÈ΋ Ó¤· ˘Ê‹ ÛÙÔ Î¤ÓÙÚÔ ÙÔ˘ ÎÔÌÌ·ÙÈÔ‡, ÂÓÒ›Û˘ ¤¯ÂÈ ¤ÓÙÔÓË, ·fiÏ˘Ù· Ù·ÈÚÈ·ÛÙ‹,˙ˆÙÈÎfiÙËÙ·. ™ÙÔ ÎÔÌÌ¿ÙÈ ·ÏÈ¿˜ ÌÔ˘ÛÈ΋˜ (·Ú.5)˘¿Ú¯ÂÈ ÛÙÔ ÌÂÛ·›Ô ÙÌ‹Ì· ÌÈ¿ ÎÂÊ¿ÙË Ì›ÌËÛË ‹¯Ô˘·fi ·ÏȤ˜ ‚ÈfiϘ (ÓÙ· Áο̷) Î·È Ï·Ô‡ÙÔ (ËÌÂψ‰›· ÛÙËÓ „ËÏ‹ ÂÚÈÔ¯‹ ÙÔ˘ ‚ÈÔÏÔÓÙÛ¤ÏÔ˘, ÂÓ̤ÚÂÈ Ì ٷ˘ÙfiʈÓË Û˘Óԉ›· ÈÙÛÈοÙÔ ÙÔ˘‚ÈÔÏÈÔ‡).

∆· ÌÈÎÚ¿ ÎÔÌÌ¿ÙÈ· ÙÔ˘ ™Î·ÏÎÒÙ· ›ӷÈÂÓۈ̷و̤ӷ Ì fiÌÔÚÊÔ ÙÚfiÔ ÛÙÔ Ì·Ï¤ÙÔ. ∏ÂÎÊÚ·ÛÙÈ΋ ÌÂψ‰›· ÙÔ˘ ‚ÈÔÏÔÓÙÛ¤ÏÔ˘ ÛÙÔ ·Ú.2, ÛÂÊÚ‡ÁÈÔ ÙÚfiÔ Î·È Î¿Ùˆ ·fi ÌÈ¿ ÛÙ·ÙÈ΋,‰È·ÂÚ·ÛÙÈ΋ ÙÚÔÈ΋ Û˘Á¯ÔÚ‰›·, Û˘Ó‰˘¿˙ÂÙ·È˘Ô‚ÏËÙÈο Ì ÙËÓ ·Ê‹ÁËÛË. ∆Ô ·Ú.11 Â›Ó·È ÌÈ¿‰›ÊˆÓË, ·ӷϷ̂·ÓfiÌÂÓË ÊÚ¿ÛË, ̉ÈÙÔÓÈÎfiÙËÙ· ۯ‰fiÓ ª·ÚÙÔÎÈ΋, Ô˘ ‰ËÌÈÔ˘ÚÁ›

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·ÌÊ›ı˘ÌË ·›ÛıËÛË Î·ıÒ˜ Ù· ÓÈÎË̤ӷ ¶·Á·Ó¿ ¤Ó·-¤Ó· ·Ô¯ˆÚÔ‡Ó. ™˘ÓÔ‰Â‡Ô˘Ó Î·Ì¿Ó˜ Ì·ӷϷ̂·ÓfiÌÂÓÔ, ÎÚ·ÙË̤ÓÔ ÛfiÏ. √È Î·Ì¿ÓÂ˜Û˘Ó¯›˙Ô˘Ó ÛÙÔ Â·ÎfiÏÔ˘ıÔ, ÌÈÎÚÔÛÎÔÈÎfiÃÔÚÈÎfi: ∆Ô Â›ÌÔÓÔ ÛfiÏ ÛÙȘ Ì·ÎÚÈÓ¤˜ η̿ÓÂ˜Û˘ÁÎÚÔ‡ÂÙ·È Ì ÙËÓ ÙˆÙÈ΋ ‰ÂÛfi˙Ô˘Û·Û˘Á¯ÔÚ‰›· (Ú Ì›˙ÔÓ·) Î·È ÛÎÔÙÂÈÓÈ¿˙ÂÈ ÌÂÙÚ˘ÊÂÚfiÙËÙ· ÙËÓ ·ÚÌÔÓ›·, ˘Ô‚¿ÏÏÔÓÙ·˜ ÙԷηıfiÚÈÛÙÔ Ù˘ ·˘Á‹˜, ÚÈÓ ÙËÓ ÛÙ·‰È·Î‹ ¿ÓÔ‰ÔÙÔ˘ ÂfiÌÂÓÔ˘ ∆Ú·ÁÔ˘‰ÈÔ‡ Ù˘ ¯·Ú¿˜.

© ¡›ÎÔ˜ ÃÚÈÛÙÔ‰Ô‡ÏÔ˘ 2004

√ ∆˙¤ÊÚÈ ¡Ù¿ÁÎÏ·˜ ª·Ù˙ (Geoffrey Douglas

Madge) ÁÂÓÓ‹ıËΠÛÙËÓ ∞‰ÂÏ·˚‰· Ù˘ ∞˘ÛÙÚ·Ï›·˜.™Ô‡‰·Û ÛÙÔ ø‰Â›Ô ŒÏÓÙÂÚ Ì ÙÔÓ ∫ϤÌÂÓ˜§¤ÛÎÂ. ∞ÊÔ‡ ΤډÈÛ ÙÔ ÚÒÙÔ ‚Ú·‚Â›Ô ÙÔ˘‰È·ÁˆÓÈÛÌÔ‡ È¿ÓÔ˘ ÙÔ˘ ABC ÛÙÔ ™›‰ÓÂ˚ ÙÔ 1963,‹Ïı ÛÙËÓ ∂˘ÚÒË Ó· ÌÂÏÂÙ‹ÛÂÈ Ì ÙÔÓ °Î¤˙· ∞ÓÙ·ÛÙË §Ô˘Î¤ÚÓË Î·È ÙÔÓ ∂ÓÙÔ˘¿ÚÓÙÔ ÓÙÂÏ ¶Ô˘¤ÁÈÔÛÙȘ µÚ˘Í¤ÏϘ. ∂ÁηٷÛÙ¿ıËΠÛÙËÓ √ÏÏ·Ó‰›·,fiÔ˘ Â›Ó·È Î·ıËÁËÙ‹˜ È¿ÓÔ˘ ÛÙÔ µ·ÛÈÏÈÎfi ø‰Â›ÔÙ˘ ÿÁ˘. ∞¤ÎÙËÛ ÙËÓ ·ÁÎfiÛÌÈ· Ê‹ÌË ÙÔ˘Ì¤Û· ·fi ÔÏϤ˜ Û˘Ó·˘Ï›Â˜, ÙËÏÂÔÙÈΤ˜ ηÈÚ·‰ÈÔʈÓÈΤ˜ ÂÎÔ̤˜, ÚÂÛÈÙ¿Ï Î·È ÂÌÊ·Ó›ÛÂȘÛÙ· ÌÂÁ¿Ï· ÊÂÛÙÈ‚¿Ï. Œ¯ÂÈ Â›Û˘ ·Û¯ÔÏËı› Ì ÙËÛ‡ÓıÂÛË Î·È ¤ÁÚ·„ ÎÔ˘·Ú٤ٷ ÂÁ¯fiÚ‰ˆÓ,ÙÚ·ÁÔ‡‰È· Î·È ¤ÚÁ· ÁÈ· È¿ÓÔ, ÙÔ Ì·Ï¤ÙÔª·˚ÌÔ‡‰Â˜ Û ÎÏÔ˘‚› (ÚÒÙË ·ÚÔ˘Û›·ÛË ÛÙËÓŸÂÚ· ÙÔ˘ ™›‰ÓÂ˚ ÙÔ 1977) Î·È ¤Ó· KÔÓÙÛ¤ÚÙÔ ÁÈ·È¿ÓÔ (ÚÒÙË ÂÎÙ¤ÏÂÛË ÛÙÔ ÕÌÛÙÂÚÓÙ·Ì ÙÔ 1985).

ª¤Ûˆ Ù˘ ·ʋ˜ Ì ÙÔÓ π¿ÓË •ÂÓ¿ÎË Ô ∆˙¤ÊÚÈ¡Ù¿ÁÎÏ·˜ ª·Ù˙ ÁÓÒÚÈÛ ÙËÓ ÂÏÏËÓÈ΋ ÌÔ˘ÛÈ΋ÛÎËÓ‹ Î·È ÙËÓ ∂Ù·ÈÚ›· ™Î·ÏÎÒÙ· ÛÙËÓ ∞ı‹Ó·. ªÂÚfiÙ·ÛË ÙÔ˘ ÚÔ¤‰ÚÔ˘ Ù˘ ∂Ù·ÈÚ›·˜ ™Î·ÏÎÒÙ·¤‰ˆÛ ÙËÓ ÚÒÙË ÂÎÙ¤ÏÂÛË ÙˆÓ 32 ∫ÔÌÌ·ÙÈÒÓ ÁÈ·¶È¿ÓÔ ÙÔ˘ ™Î·ÏÎÒÙ· ÛÙËÓ ∞ı‹Ó· ÙÔ 1979, ÛÙ·

Ï·›ÛÈ· ÙÔ˘ ºÂÛÙÈ‚¿Ï Ù˘ ¢ÈÂıÓÔ‡˜ ∂Ù·ÈÚ›·˜™‡Á¯ÚÔÓ˘ ªÔ˘ÛÈ΋˜. ™ÙËÓ ∞ı‹Ó·, ÙÔÓ πÔ‡ÓÈÔ ÙÔ˘1985, ¤‰ˆÛ ÙËÓ ÚÒÙË Î·È Ï‹ÚË ÂÎÙ¤ÏÂÛË ·fi ¤Ó·È·Ó›ÛÙ· ÙÔ˘ ÌÓËÌÂÈÒ‰Ô˘˜ ∫ÔÓÙÛ¤ÚÙÔ˘ ÁÈ· ¶È¿ÓÔ·Ú.3 ÙÔ˘ ™Î·ÏÎÒÙ·. √È ÂÎÙÂϤÛÂȘ ·˘Ù¤˜ ÙԢ·ÎÏÔ˘ ÙˆÓ 32 ∫ÔÌÌ·ÙÈÒÓ Î·È ÙÔ˘ ÙÚ›ÙÔ˘∫ÔÓÙÛ¤ÚÙÔ˘ ‹Ù·Ó ÔÈ ÚÒÙ˜ ·fi ÔÏϤ˜ Ô˘·ÎÔÏÔ‡ıËÛ·Ó Ì¤Û· ÛÙË Ì·ÎÚfi¯ÚÔÓË Û¯¤ÛË ÙÔ˘ ÌÂÙË ÌÔ˘ÛÈ΋ ÙÔ˘ ™Î·ÏÎÒÙ·. °È· ÙËÓ ÂÙ·ÈÚ›· BIS¤¯ÂÈ ‰ÈÛÎÔÁÚ·Ê‹ÛÂÈ ÙÔ ∫ÔÓÙÛ¤ÚÙÔ ÁÈ· ¶È¿ÓÔ ·Ú.1ÙÔ˘ ™Î·ÏÎÒÙ· (BIS-CD-1014) ÂÓÒ ¿ÏϘ ÂΉfiÛÂȘÙ˘ BIS ÂÚÈÏ·Ì‚¿ÓÔ˘Ó ÙÔ Opus ClavicembalisticumÙÔ˘ ™ÔÚ¿ÌÙ˙È (BIS-CD-1062/1064) Î·È Ù· ÙÚ›·∫ÔÓÙÛ¤ÚÙ· ÁÈ· È¿ÓÔ ÙÔ˘ ª¤ÓÙÙÓÂÚ (BIS-CD-1258).

√ ∆˙¤ÊÚÈ ¡Ù¿ÁÎÏ·˜ ª·Ù˙ ÛÙÔ ÚÂÂÚÙfiÚÈÔ ÙˆÓÚÂÛÈÙ¿Ï ·ÚÔ˘ÛÈ¿˙ÂÈ Â˘Ú‡ Û˘Ó‰˘·ÛÌfi Ì·ÚfiÎ,ÎÏ·ÛÈÎÒÓ, ÚÔÌ·ÓÙÈÎÒÓ Î·È Û‡Á¯ÚÔÓˆÓ ¤ÚÁˆÓ,ÚÔÙÈÌÒÓÙ·˜ ÙÔ Û˘Ó‰˘·ÛÌfi ÙˆÓ ÌÂÁ¿ÏˆÓ‰ËÌÔÊÈÏÒÓ ¤ÚÁˆÓ Ì ¿ÁÓˆÛÙ˜ Û˘Óı¤ÛÂȘ – ÁÈ··Ú¿‰ÂÈÁÌ· ·ÚÔ˘Û›·ÛË Ù˘ º·ÓÙ·ÛÙÈ΋˜™˘Ìʈӛ·˜ ÙˆÓ ªÂÚÏÈfi˙ / §ÈÛÙ Ì ÙÔ ∫ÔÓÙÛ¤ÚÙÔ¯ˆÚ›˜ √Ú¯‹ÛÙÚ· ÙÔ˘ ™Ô‡Ì·Ó, ‹ fiÏÔ ÙÔ ∫·Ï¿™˘ÁÎÂÚ·Ṳ̂ÓÔ ∫ÏÂȉÔ·̂·ÏÔ ÙÔ˘ ª·¯. ∫‡ÚÈ·¤ÚÁ· ÛÙ· Û˘Ó·˘Ïȷο ÙÔ˘ ÚÔÁÚ¿ÌÌ·Ù· ›ӷȿÓÙÔÙ ÔÈ ¶·Ú·ÏÏ·Á¤˜ °ÎfiÏÓÙÌÂÚÁÎ ÙÔ˘ ª·¯,ÔÈ ¶·Ú·ÏÏ·Á¤˜ ¡Ùȷ̤ÏÈ Î·È Ë ™ÔÓ¿Ù·Hammerklavier ÙÔ˘ ªÂÙfi‚ÂÓ, ÔÈ ¶·Ú·ÏÏ·Á¤˜ª·¯ ÙÔ˘ ƒ¤ÁÎÂÚ Î·È ÔÈ ™Ô˘‰¤˜ ÙÔ˘ ¡ÙÂÌÈÛ›.

∆Ô ™‡ÓÔÏÔ ∫¿Ô˘Ù (Caput Ensemble)

‰ËÌÈÔ˘ÚÁ‹ıËΠÙÔ 1987 ·fi ÔÌ¿‰· ÂÓıÔ˘ÛȈ‰ÒÓÓ¤ˆÓ πÛÏ·Ó‰ÒÓ ÌÔ˘ÛÈÎÒÓ, Ì ÛÙfi¯Ô ÙËÓ ÂÎÙ¤ÏÂÛËÎ·È ÙËÓ ·Ú·ÁÁÂÏ›· Ó¤·˜ ÌÔ˘ÛÈ΋˜. ∆Ô ∫¿Ô˘Ù·ÔÙÂÏÂ›Ù·È ·fi 25 ÂÎÙÂÏÂÛÙ¤˜, ÔÈ ÂÚÈÛÛfiÙÂÚÔÈ·Ô ÙÔ˘˜ ÔÔ›Ô˘˜ ˙Ô‡Ó ÛÙËÓ πÛÏ·Ó‰›·. ªÂÙ¿ ÙËÓ›‰Ú˘Û‹ ÙÔ˘ ÙÔ ∫¿Ô˘Ù ηıÈÂÚÒıËΠˆ˜ ÈÛ¯˘Ú‹‰‡Ó·ÌË Ù˘ πÛÏ·Ó‰È΋˜ ÔÏÈÙÈÛÙÈ΋˜ ˙ˆ‹˜ ηÈ

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·Ó¿ÌÂÛ· ÛÙ· ËÁÂÙÈο Û‡ÓÔÏ· Ó¤·˜ ÌÔ˘ÛÈ΋˜ Ù˘∂˘ÚÒ˘, ÌÂ Û˘Ó·˘Ï›Â˜ ÛÙË µfiÚÂÈÔ ∞ÌÂÚÈ΋ ηȉÂη¤ÓÙ ¯ÒÚ˜ ÛÙËÓ ∂˘ÚÒË. ∆Ô Û‡ÓÔÏÔ ¤¯ÂÈ¢ڤˆ˜ ‰È·ÎÚÈı› ÁÈ· ÙȘ ‰˘Ó·ÌÈΤ˜ ÂÚÌËÓ›˜ ηÈÙËÓ Ù¯ÓÈ΋ ·ÚÙÈfiÙËÙ¿ ÙÔ˘. ∂ÌÊ·Ó›˙ÂÙ·È Ù·ÎÙÈοÛÙ· ÌÂÁ¿Ï· ‰ÈÂıÓ‹ ÊÂÛÙÈ‚¿Ï, fiˆ˜ ÙÔ ÂÙ‹ÛÈÔ¢ÈÂıÓ¤˜ µ‹Ì· ™˘ÓıÂÙÒÓ ÙÔ˘ ¶·ÚÈÛÈÔ‡, ÙÔºıÈÓfiˆÚÔ µ·ÚÛÔ‚›·˜, ÙÔ ºÂÛÙÈ‚¿Ï°ÎÔ˘ÏÌÂÎÈ¿Ó, ÙÔ √ÏÏ·Ó‰ÈÎfi ºÂÛÙÈ‚¿Ï Î·È ÙÔºÂÛÙÈ‚¿Ï ∆¤¯Ó˘ ƒ¤ÎÈ·‚ÈÎ. ∆Ô ∫¿Ô˘Ù ¤¯ÂÈ ÎÚ·ÙÈ΋˘ÔÛÙ‹ÚÈÍË ÛÙËÓ πÛÏ·Ó‰›·, ηıÒ˜ Î·È ‰ËÌÔÙÈ΋·fi ÙÔ ƒ¤ÎÈ·‚ÈÎ, ·ÏÏ¿ Â›Ó·È ¤Ó· Ï‹Úˆ˜·ÓÂÍ¿ÚÙËÙÔ Û‡ÓÔÏÔ. ™ËÌ·ÓÙÈÎfi ̤ÚÔ˜ Ù˘‰ÈÛÎÔÁÚ·Ê›·˜ ÙÔ˘ ∫¿Ô˘Ù ¯ÂÈ Á›ÓÂÈ ÁÈ· ÙËÓÂÙ·ÈÚ›· BIS.

√ ¡›ÎÔ˜ ÃÚÈÛÙÔ‰Ô‡ÏÔ˘ (1959) Â›Ó·È ‰È¢ı˘ÓÙ‹˜ Ù˘™˘ÌʈÓÈ΋˜ √Ú¯‹ÛÙÚ·˜ Î·È ÙˆÓ ªÔ˘ÛÈÎÒÓ™˘ÓfiÏˆÓ ÙÔ˘ ¢‹ÌÔ˘ Ù˘ ∞ı‹Ó·˜. ™Ô‡‰·ÛÂÛ‡ÓıÂÛË Ì ÙÔÓ °.∞. ¶··˚ˆ¿ÓÓÔ˘, ‹Ú ‰›ÏˆÌ·È¿ÓÔ˘ ÛÙËÓ ∞ı‹Ó· Î·È ¤Î·Ó ÌÂÙ·Ù˘¯È·Î¤˜ÛÔ˘‰¤˜ ÛÙË Û‡ÓıÂÛË ÛÙËÓ ∞ÓÒÙ·ÙË ™¯ÔÏ‹ªÔ˘ÛÈ΋˜ ÙÔ˘ ªÔÓ¿¯Ô˘ Î·È ÛÙË ‰È‡ı˘ÓÛËÔÚ¯‹ÛÙÚ· ÛÙÔ µ·ÛÈÏÈÎfi ∫ÔÏϤÁÈÔ ªÔ˘ÛÈ΋˜ ÙÔ˘§ÔÓ‰›ÓÔ˘. ™Ô‡‰·Û ÂÏÏËÓÈ΋ ÊÈÏÔÏÔÁ›· ÛÙÔ¶·ÓÂÈÛÙ‹ÌÈÔ ∞ıËÓÒÓ. ∞fi ÙÔ 1977 Û˘ÓÂÚÁ¿ÛÙËΈ˜ Û˘Óı¤Ù˘ Î·È Û‡Ì‚Ô˘ÏÔ˜ ÛÙÔ ∆Ú›ÙÔ ¶ÚfiÁÚ·ÌÌ·Ù˘ ∂ÏÏËÓÈ΋˜ ƒ·‰ÈÔʈӛ·˜ (fiÔ˘ ¤ÁÚ·„ ÌÔ˘ÛÈ΋ÁÈ· ÙËÓ ÛÂÈÚ¿ ∂‰Ò §ÈÏÈÔ‡ÔÏË). Œ¯ÂÈ Û˘Óı¤ÛÂȤÚÁ· ÁÈ· ÔÚ¯‹ÛÙÚ·, ¯ÔÚˆ‰›·, ÌÔ˘ÛÈ΋ ‰ˆÌ·Ù›Ô˘,ÙÚ·ÁÔ‡‰È· Î·È ÛÎËÓÈ΋ ÌÔ˘ÛÈ΋, Ì ·Ú·ÁÁÂϛ˜·fi ‰È¿ÊÔÚÔ˘˜ ÊÔÚ›˜, ÌÔ˘ÛÈÎÔ‡˜ ÔÚÁ·ÓÈÛÌÔ‡˜Î·È ÊÂÛÙÈ‚¿Ï. ¢›‰·Í ۇÓıÂÛË ÛÙÔ ∂ÏÏËÓÈÎfi ø‰Â›Ô.

ªÔ˘ÛÈÎfi˜ ‰È¢ı˘ÓÙ‹˜ Ù˘ ¡¤·˜ ™˘ÌʈÓÈ΋˜√Ú¯‹ÛÙÚ·˜ ∞ıËÓÒÓ Î·È Ù˘ ÚÒÙ˘·ÓÂ˘Úˆ·˚΋˜ ÔÚ¯‹ÛÙÚ·˜ Euro YouthPhilharmonic. ™˘ÓÂÚÁ¿˙ÂÙ·È Ì fiϘ ÙȘ ÂÏÏËÓÈΤ˜

ÔÚ¯‹ÛÙÚ˜ Î·È ÙËÓ ∂ıÓÈ΋ §˘ÚÈ΋ ™ÎËÓ‹. ∂›¯Â ÙËÓÂÈ̤ÏÂÈ· ÔÏÏÒÓ ıÂÌ·ÙÈÎÒÓ ÛÂÈÚÒÓ, fiˆ˜ ÙÔ∞ÊȤڈ̷ ÛÙÔÓ ¢ËÌ‹ÙÚË ªËÙÚfiÔ˘ÏÔ, ÙÔ ÚÒÙÔºÂÛÙÈ‚¿Ï ◊ÏÈÔ˜: ·ÊȤڈ̷ ÛÙÔÓ Carl Nielsen ÛÙËÓ∞ı‹Ó·, Î·È ÙËÓ Î·ÏÏÈÙ¯ÓÈ΋ ‰È‡ı˘ÓÛË ÙÔ˘ºÂÛÙÈ‚¿Ï Nikos Skalkottas Tage ÛÙÔ KonzerthausÙÔ˘ µÂÚÔÏ›ÓÔ˘ (2000). Œ¯ÂÈ ‰ÒÛÂÈ ÙËÓ ·ÁÎfiÛÌÈ·ÚÒÙË ÂÎÙ¤ÏÂÛË ÔÏÏÒÓ Ó¤ˆÓ ¤ÚÁˆÓ, fiˆ˜ Ù˘™˘Ìʈӛ·˜ ·Ú.1 ÙÔ˘ Lars Graugaard ÛÙÔ ºÂÛÙÈ‚¿ÏÙÔ˘ ŸÓÙÂÓ˙Â Î·È Ù˘ fiÂÚ·˜ √È ¢·ÈÌÔÓÈṲ̂ÓÔÈ ÙÔ˘Ã¿ÚË µÚfiÓÙÔ˘ ÛÙËÓ §˘ÚÈ΋ ™ÎËÓ‹.

Œ¯ÂÈ Û˘ÓÂÚÁ·ÛÙ› Ì ÔÚ¯‹ÛÙÚ˜ fiˆ˜ ÔÈ∞η‰ËÌ›· ÙÔ˘ ∞Á›Ô˘ ª·ÚÙ›ÓÔ˘ ÙˆÓ ∞ÁÚÒÓ,™˘ÌʈÓÈ΋ √Ú¯‹ÛÙÚ· ÙÔ˘ BBC, ™˘ÌʈÓÈ΋√Ú¯‹ÛÙÚ· ÙÔ˘ µÂÚÔÏ›ÓÔ˘, ™˘ÌʈÓÈ΋ √Ú¯‹ÛÙÚ·ÙÔ˘ ª¿ÏÌÂ, ™˘ÌʈÓÈ΋ √Ú¯‹ÛÙÚ· ÙÔ˘ Õ·ÏÌÔÚÁÎ,™˘ÌʈÓÈ΋ √Ú¯‹ÛÙÚ· ÙÔ˘ ŸÓÙÂÓ˙Â, ™˘ÌʈÓÈ΋√Ú¯‹ÛÙÚ· Ù˘ πÛÏ·Ó‰›·˜, ™‡ÓÔÏÔ ∫¿Ô˘Ù,ºÈÏ·ÚÌÔÓÈ΋ Ù˘ ∞ÚÌÂÓ›·˜, √Ú¯‹ÛÙÚ· ¢ˆÌ·Ù›Ô˘Serenade, ™˘ÌʈÓÈ΋ √Ú¯‹ÛÙÚ· ÙÔ˘ ∂Ú‚¿Ó,√Ú¯‹ÛÙÚ· Î·È ÃÔÚˆ‰›· ÙÔ˘ ∫¤ÓÙÚÔ˘ ª·¯ Ù˘ªfiÛ¯·˜ Î·È ÙËÓ ŸÂÚ· ÙÔ˘ ªÔÏÛfiÈ.

¢ÈÛÎÔÁÚ·Ê› ÁÈ· ÙËÓ ÛԢˉÈ΋ ÂÙ·ÈÚ›· BIS Ù·Û˘ÌʈÓÈο ¤ÚÁ· ÙÔ˘ ¡›ÎÔ˘ ™Î·ÏÎÒÙ· (ÚÒÙ˜·ÁÎfiÛÌȘ ‰ÈÛÎÔÁÚ·Ê‹ÛÂȘ). ∏ ‰ÈÛÎÔÁÚ·ÊÈ΋ÛÂÈÚ¿ ¤¯ÂÈ ‰ÈÂıÓ›˜ ‰È·ÎÚ›ÛÂȘ.

22

Konzert Nn3 fiir Klavier undzehn BlsinstrumenteDas Konzert Nr 3 fiir Klavier und zehn Blasinstru-mente entstnd 1939. Im Unterschied zu den beidenvormgegmgenen Konzerten, die ein Orchester nor-maler GrijBe vorsehen (wie es auch das vierte, dasspile Concertino C-Der), ist das Klavierkonzert Nr 3eines der individuellsten und trchitektonisch beein-druckendsten Werke Skalkottas'. Es heiBt. Skalkottashabe diese Komposition besonders geschatzt; gleich-wohl hat er es - wie die meisten seiner Werke - niegehitrt. Die Urauffiibnng des Konzerts fand 1969 inhndon statt; wegen der auBerordentlichen Schwierig-keit des Soloparts mrden die drei Siitze auf verschie-dene Pianisten aufgeteilt. Geoffrey Douglas Madgewtr 1985 der erste, der das gesamte Konzert spielte.Skalkottas' elf Konzerte. von denen neun erhaltensind (flir Klavier, 2 Klaviere, Violine, 2 Violinen, Vio-line und Viola ud liir KontlabzlB) stellen den grijBtenTeil seines symphonischen Schaffens du.

Seine Vorliebe fUr die Konzertform spiegeltgleichsam seine eigene Persiinlichleit wider: Er wuintrovertiert und philosophisch vermlagt, seine krea-tive Modemit?it entftemdete ihn von seiner musikali-schen Umgebung, deren aktiver Teilnehmer er gleich-wohl war - als Orchestergeiger, Quartettmitglied,bisweilen gar als Anangeur fremder Musik. Skal-kottas komponiene mehr Konzerte fiir Klavier (fiinf,wenn man das fiir zwei Klaviere hinzuziihlt) als fiirjedes andere Inshument, sein eigenes - die Violine -

eingeschlossen (Das Klavierkonzen Nr 1, 1931 kom-poniert, ist das friiheste Zwttlfton-Klavierkonzert.)

Im Klavierkonzen Nr 3 gibt es Mehdeutigkeitenim Verhiiltnis von Fom und Klmg, von Motivstruk-tur und Polyphonie sowie hinsichtlich des emotio-nalen Chilakters. Umfmg und fomale Ausdehnungsind ungewiihnlich, der Tonsatz ist vielfach kontra-

punttisch verdichtet, aber dennoch ist es fiir ein En-semble von zehn Bliisern und Schlagzeug dkono-misch komponiert. Das ganze Konzert ist gepragtvon einer fast unabliissigen, vielschichtigen Phrasen-Uberlappung - sowohl zwischen Solist und Ensembleals auch innerhalb des Orchestersatzes selber. Skal-kottas' Stil ist expressiv, ja leidenschaftlich, dabeiaber unsentimental und konzentriert; zugleich ver-bindet es dunkle Untertiine mit einem etwas bitterenHumor All dies wird von dem Blaserensemble ausFliite, Oboe, Englischhom, Klarinette, Fagott, Kon-trafagott, Hom, Trompete, Posaune und Tuba idealvemittelt. Das Schlagzeug - Pauke, groBe und kleineTrommel, Becken, Tambourin, Peitsche und Xylo-phon - wird in unemarteteq sparsamer Weise yer-

wandt. Bezeichnender- und ungewijhnlicherweisefehlt das Schlagzeug an den Satzenden giinzlich,selbst am dynmischen SchluB des letzten Satzes;dies paBt gut zu Skalkottas' umhetorischem Stil.

Das Konzer t i s t anhand e ines sehr f re ienzwailftainigen oder atonalen Verfahrens komponiert,das nicht eigentlich seriell ist. Es gibt zwei zentraleZwdlftonreihen, daneben einige sekundiire Reihensowie (sehr oft) andere freie Zwiilftongruppen, dienicht als Reihen fungieren; es sind Zwijlftontexturen,die Melodieteile und Akkorde umfassen. Wie so oftbei Skalkottas. werden die Reihen thematisch konzi-piert und veruendet. Samdiche Hauptthemen in dendrei SAtzen des Werks weisen Verbindungen zu denbeiden Hauptreihen aufl durch die thematischen

Querbeziige hat das Werk zyklischen Charakter.Auch die zwei Hauptreihen scheinen den beiden zen-tralen Ausdruckschilakteren zugeordnet zu sein: dieerste, die das Werk erdffnet, ist mit dramatisch-expressiven Momenten und intimen Gefthlsre-gungen veryoben, wiihrend die zweite Reihe einertiinzerisch-leichtfiiBigen, extrovertierteren Stimmung

korrespondiert. Die ersten drei Noten der erstenReihe bilden ein motivisches Motto, das in allen dreiSatzen erklingt. Das Konzert Nr 3 weist eine Vielzahlvon thematischen Gedanken auf. von denen viele

durchfiihrungsartig aus dem Ausgangsmaterial ge-

wonnen werden. Der erste Satz, Moderato, rst e|n

Sonatensatz, der mit einem klassischen Orchester-ritornell beginnt, in dem die beiden thematischenHauptgruppen vorges te l l t werden. Das K lav ie r

beginnt solistisch mit der zweiten Exposition undfiihfi mit dramatischer Bravour einen neuen Gedan-ken ein. der allmlihlich zum ersten Thema Uberleitet.Die Exposition wird von einem kurzen Orchester-ritornell abgeschlossen. Nach einer derart ausge-dehnten Exposition ist die Durchfi ihrung, die imKlavier beginnt, entsprechend kiirzer In allen Sauengibt die Reprise das gesamte Modell der Doppel-exposition wieder und verbindet die Orchester- miteiner nachfolgenden Solo-Reprise (was im klas-sischen Konzert nicht geschieht).

Der zweite Satz, Andante sosterrlo, ist in der Tatvon schwelender Expressivit l l t und verhaltenemPathos. Seine Form widersetzt sich der Kategori-sierungl am ehesten noch kijnnte man ihn als eine ArtSonatensatz mit Exposition, Durchfi ihrung undReprise bezeichnen - die thematischen Strukturenaber sind kaum sonatenartig zu fassen.

Der dritte Satz, Allegro giocoso, folgt der Sona-tenfom. Die Orchesterexposition beginnt mit demHauptthema in der Klrinette, einer lebhaften Melo-die mit friihlichen, groBen Spriingen. Das zweiteThema wird von der Oboe vorgestellt und hat einenmelodischeren, lyrischeren Charakter. Der Durch-fiihrungsabscbnitt hebt als Scheimeprise m: D6 Kla-vier greift den Anfmg des ersten Themas auf (das mmin der Originalgestalt bislmg nmh nicht vom Klaviergehda hal ) und lt ihn duauf mit einem eigenen. vir-

tuosen Nebenthema fort. Recht iibenaschend gehen

Solist und Orchester dmn nahezu g:inzlich ihre eigene

Wege. Die Reprise bring die Themen in umgekehterund gemischter Reilenfolge. Das vom Orchester ge-

spielte Motto des Werks (das auf den Anfang desenten Satzes verueist) erdffnet eine kurze Coda; einlakonischer, drmatischer Epilog schlieBt das Werk ab.

Die GnomeDas Ballett Dte Gnome wurde 1939, im selben Jahrwie das Klavierkonzert Nr J komponiert. Es ist eineSuite fiir Instrumentalensemble, die zu groBen Teilenaus Skalkottas' Instrumentationen von kleinen Kla-v ie rs t i i cken Bar tdks und St rawinskys bes teh t :daneben gibt es drei kurze Stiicke von Skalkottasselber. Es ist eine henliche Musik. die Skalkottas'Kunstfertigkeit und Originalitat zeigt.

Zeitlebens komponierte Skalkottas sowohl ato-nale als auch tonale Werke. Seine durchweg tonalenBallette bilden einen wichtigen Teil seines Schaffens.Uberhaupt spielt der Tanz eine wesentliche Rolle inSkalkottas' Musik - wie etwas in den bertihmten J6Griechischen Ttinzen oder in verschiedenen atonalenWerken, die auf Tdnze seiner Zeit veryeisen (Tmgo,

Foxtrott etc.). 1938 schrieb Skalkottas sein erstesBallett, Dds Maidchen und der Tod, eines seiner be-deutendsten Werke. Fortan komponierte er bis zuseinem Tod regelmiiBig fiir Ballettproduktionen. Erarbeitete dabei mit den samtlichen der zwr nichtzahlreichen, aber wegweisenden Balletkompagnienim damaligen Athen zusammen. Koula Pratsika, dieDirektorin der Pratsika Tanzschule und eine zentralePersijnlichkeit des griechischen Balletts, bat Skal-kottas, bei der Produktion der Gnome nitzuwirken,die bei einer weihnachtlichen Doppelveranstaltungam 22. Dezember 1939 Premidre hatten. AuBerdemverpflichtete sie Stratis Myrivilis, einen der fiihren-

den griechischen Schriftsteller des 20. Jahrhundens,der eine freie, dichterische Erziihlung iiber das Sujetund seine Symbolik schreiben sollte. Urspriinglichhatte Pratsika selber eine Suite aus Bart6ks Sillm-lung Fiir Kinder zusammengestellt, die sie Skalkottaszu instrumentieren bat. Wie die iibrigen StUcke ausFiir Kinder basieren diese Stticke auf authentischenunguischen und slowakischen Volksliedem, so daBsie gut zu einem folkloristisch inspirierten Ballettpassen. Im gedruckten Programmheft wird aus-schlieBlich Bart6k als Komponist genmnt, wahrendSkalkottas nur als Beabeiter eNiihnt wird. Tatslich-lich aber stmen einige der Stiicke der endgiiltigenSuite von anderen Komponisten als Bart6k, wenn-gleich ihm ein GroBteil der Suite - acht Stiicke -

entlehnt wurde. Wahrscheinlich ergab sich im Zugeder Fertigstellung der Gnome, daB mehr Musik be-ntitigt wurde als Pratsika ausgewfilt hatte. Myrivilisdichterische Erz?ihlung in zwei Teilen bildete denRaimen der Haupthandlung. Daher ist es mOglich.daB eine neue, der Erzfilung vorangehende Einlei-tung ebenso bentitigt wurde wie Musik, die einenTeil der Erzfilung begleitete.

Als Einleitung wurde ein Klavierstiick von Stra-winsky veruendet, das ebenfalls aus einer Samlungfi.ir Kinder - Die fiinf Finger - stmte. Skalkottaskomponiene drei kurze Stiicke: Nr 2 (Ilir die Erziih-lung), mit einer wunderschiinen, modalen Cello-Melodie. sowie Nr 11 und 12. Bei Nr.5 handelt essich um ein unidentifiziertes Sttick Brockmusik, daswahrscheinlich von Pratsika. die in mderen Ballettenhiiufig Alte Musik verwendete, ausgewahlt wordenwr. Auch ein traditionelles griechisches Weihnachts-lied (Nr 4, in Nr 6 wiederholt) sorgt fiir stilistischeVielfalt; es wird von der Oboe gespielt - eine An-spielung auf den Klmg des Zoumas, eines Bl6itrstru-ments aus der griechischen Volksmusik, das hier von

Triangel, Glocken und Schlagwerk begleitet wird.Die Hmdlung des Balletts bezieht sich auf die weitverbreiteten griechischen Weihnachtsm:irchen iiberdie Gnome. Die Gnome - hliBliche, gemeine undgroteske Wesen der Unterwelt - begeben sich injedem Jahr m Heiligabend auf die Erde; in den zwdlfTagen zwischen Weihnachten und Epiphmias attackie-ren und quiilen sie die Menschen, die dagegen Vor-kehrungen treffen sollten. Die Wassemeihe an Epi-phanias bereitet der Erdenzeit der Gnome ein Endeund treibt sie zuriick in die Unteryelt. Anhand deressentiellen Symbolik der mythischen Erziihlung hatPratsika eine Choreographie geschaffen, die dieKonfrontation von fiinf weiB gekleideten Vestalinnen(unge Miidchen, die den hiiuslichen Herd umgeben)und fiinf schwuz gekleideten Gnomen ins Zentrumstellt, was den ewigen Kampf zwischen Hell undDunkel. zwischen Gut und Biise thematisiert. DasBallett hat drei Teile: Prolog, Zwiilf Tage und Epilog.Das Instrumentalensemble besteht aus Flijte (Pik-koloflijte), Oboe (Englischhom), Trompete, Schlag-zeug und Streichquintett. Skalkottas' Instrumentationder Stiicke von Bart6k und Strawinsky ist meisterlichund voller Phantasie. Seine Bearbeitung tragt derllindlichen Schlichtheit und der Verve der Bart6k-Stiicke in einer Weise Rechnung, die dem folklo-ristischen Chilakter der Hmdlung entspricht. AuchSkalkottas' eigene Miniaturen sind aufs Schiinste indas Ballett veruoben.

@ Nikos Christotloulou 2004 ( gekiirzte Fassung)

Geoffrey Douglm Madge wurde 1941 in Adelaide/Australien geboren und studierte bei Clemens Leskeam Elder Conseryatorium. Nach dem Gewinn desErsten Preises beim ABC-Klavieruettbewerb in Syd-ney 1963 ging er nach Europa, um bei G6za Anda inLuzern und bei Eduardo del Puevo in Briissel zu

studieren. Er lieB sich in den Niederlanden nieder,wo er Professor fi.ir Klavier am Koninklijk Conser-vatorium in Den Haag ist. Zahheiche Konzerte, Fem-

seh- und Rundfunkaufzeichnungen sowie Auftritte

bei groBen Festivals in der ganzen Welt haben ihm

das Renommee eines herausragenden Musikers

seiner Generation verschafft. AuBerdem hat Madgeeine betrachtliche Anzahl von werken komponiert,u.a. Sfieichquartene, Lieder, Werke ftir Klavier solo,

das Ballett Monkeys in a cage (1977 am SydneyOpera House uraufgefiihrt) nad ein Klqvierkonzert(1985 in Amsterdam uraufgefiihrt).

Durch seine Bekanntschaft mit Iannis Xenakiskam Geoffrey Douglas Madge nit der griechischenMusik und der Skalkottas-Gesellschaft in Athen inKontakt. Der PrAsident der Skalkottas-Gesellschafttrug ihm die Urauffiihrung von Skalkottas' 32 Klc-vierstiickcn beim ISCM Festival 1979. das dmals inAthen stattfmd, an. Dies wr der Beginn einer sub-stantiellen Auseinande$etzung mit Skalkottas' Mu-sik. Fiir BIS hat er Skalkottas' Klavierkonzert Nr l(BIS-CD-1014) aufgenommen; zu weiteren BIS-Ein-spielungen zlihlen das Opus Clavicembalisticum voaSorabji (BIS-CD-106211064) sowie die drei Klavier-konzerte von Medtner eingespielt (BIS-CD-1258).

Geoffrey Douglas Madges Recital-Programmesind eine weitgespmnte Mischung aus bilocker, klas-sischer, romantischer und zeitgentissischer Musik,die geme bekannte mit unbekannten Werken kom-binieren - beispielsweise Betboz' Symphonie fan-tastique ia der Fassung von Liszt mrt dem Konzertohne Orchester von Schumann oder Bachs gesmtesWohltemp erie rt e s Klavi e r. B achs Go ldb e rg-Varia-tionen, Ltdwig vm Beethovens,, Hqmmerklqvie rso-na te" , Regers Bqch-Var ia t ionen und DebussysEtudes geh'rcn seit eh und je zu den Highlightsseiner Konzertprograme.

Das Caput Ensemble wurde 1987 von einer Gruppeenthusiastischer junger Musiker aus Island mit demZiel gegrtindet, zeitgen<issische Musik aufzufuhrenund in Auftrag zu geben. Caput besteht aus rund 25

Spielem, von denen die meisten in Island wohnen.

Seit seiner Griindung bildet Caput einen wichtigenBestandteil des isliindischen Kulturlebens und einesder fiihrenden Ensembles ftr Neue Musik in Europa,das Konzerte in Nordamerika und fiinfzehn euro-paischen L:indem gegeben hat. Das Ensemble wirdallgemein ftir seine packenden Interpretationen undseine technische Meisterschaft gelobt; regelmiiBigspielt es bei bedeutenden Festivals wie dem jiihr-

lichen Rostrum of Composers in Pris, dem HollandFestival und dem Reykjavft Art Festival. Caput wirduntersttitzt von der islAndischen Regierung und vonder Stadt Reykjavft, ist aber gleichwohl ein voll-komen unabhangiges Ensemble.

Nikos Christodoulou (geb. 1959) studierte Kompo-sition (bei J.A. Papaioannou) und Klavier in Athen.Er setzte seine Kompositionstudien m der Hochschulefrir Musik in Miinchen fort und studierte auBerdemDirigieren m Royal College of Music in London. Inden Jahren 1977-81 wu er Associate Composer undBerater beim Griechischen Nationalrundfunk. Er hatOrchester- und Chorwerke komponiert, Kammer-musik, Lieder und Buhnenmusik; zahlreiche Institu-tionen und Festivals haben bei ihm Werke in Auftraggegeben. Er unterichtet Komposition am Helleni-schen Konsenatorium.

Nikos Christodoulou leitet das Athens NewSymphony Orchestra, das gesamteuropAische EuroYouth Philhmonic Orchestra und das Athens Sym-phony Orchestra. RegelmiiBig dirigiert er an derGriechischen Nationaloper und leitet Chor undOrchester des Griechischen Nationalrundfunks. Er

Ieitete das erste Helios Festival, ein Carl Nielsen-Festival in Athen, und die Nikos Skalkottas-Tage amBerliner Konzerthaus. Er hat zahlreiche Urauffiih-rungen dirigiert, va. die Erste Symphonie von LrsGraugamd beim Music Harvest Festival in Odenseund die Oper Die Besessenen von Hris Vrontos ander Griechischen Nationaloper.

Nikos Christodoulou hat mit folgenden Orches-tem geilbeitet: BBC Symphony Orchestra, Berliner

Sinfonie-Orchester. Amenim Philhmonic Orches-tra, Aalborg Symphony Orchestra, Iceland Sym-phony Orchestra, Malmti Symphony Orchesta, Mos-cow Bach Centre Orchestra, Odense SymphonyOrchestra, Serenade Chamber Orchestra, YerevanSymphony Orchestra und Bolschoi Oper. SeineReihe mit Ersteinspielungen der Symphonik vonSkalkottas fiir BIS erhielt den Beifall der intematio-nalen Kritik.

Geoffrey Douglm Madge

Concerto no 3 pour piano etdix instruments i YentLe Concerto no 3 pour piano et dtx instruments it

v?trr fut 6crit en 1939. Tres diff€rent des deux pre-

miers qui demandent un orchestre de grmdeur nor-

male (de m0me que le quatrieme, le tudif Concenino

en do majeur),le Conceno pour piano no 3 estl'ttedes cuvres les plus individuelles de Skalkottas et

dont I'rchitecture impressionne le plus. On a dit que

Skalkottas aimait particulierement cette cuvre ; or,comme ce fut le cas de la plupart de ses composi-tions, i l n'en entendit jamais d'exdcution. Le con-certo fut cr66 i Londres en 1969 mais, i cause desdemandes extraordinaires dans la ptrtie solo, troispianistes diffdrents joudrent chacun leu mouvement.Geoffrey Douglas Madge fut le premier d interpreterle concerto en entier en 1985.

Les onze concertos de Skalkottas. dont neuf sur-vivent (pour piano, deux pianos, violon, deux vio-lons, violon et alto, contrebasse), foment la majeurepartie de sa production symphonique. Sa pr6dilectionpour la forme de concerto peut etre yue commerefldtilt sa personnalit6 : il 6tait philosophe et intro-verti, dont le modemisme cr6atif le brouillait avecson environnement musical et pourtant, il 6tait unmembre actif de cet environnement, passant sa vieprofessionnelle quotidienne comme violoniste d'or-chestre, membre de quatuor et meme ar I'occasioncomme anangeur de la musique d'autres compo-siteurs. Skalkottas composa plus de concertos pourpimo (cinq, y compris celui pour deux pianos) quepour tout autre instrument, m€me le sien, le violon(le Concerto pour piano no l, €cit en 1931, est lepremier concerto pour piano en technique doddca-phonique).

Dans le Concerlo pour piano no J, des ambi-guit6s se prdsentent entre la fome et le son, dans la

structure des phrases et la polyphonie ainsi que dms

le caractdre 6motionnel. L'cuvre montre une glan-

deur et une expansion formelle extraordinaires et

aussi un tissu polyphonique souvent dense mais elle

est poufimt ecrite pour un ensemble hds 6conomique

de dix instruments e vent et petcussion. Tout au long

du concerto, les phrases s'enchainent et se recouvrentpresque continuellement en plusieurs couches entrele soliste et I'ensemble orchestral ainsi que dans le

tissu orchestral m€me.Le style de Skalkottas est expressif, m€me pas-

sionne tout en restant concentrd et depouryu de senti-mentalitd; il allie aussi des mumues sombres et unesprit quelque peu mer. Ces traits sont idealementtransmis ici pil l'ensemble A vent fome comme suit :fltte, hautbois, cor anglais, cltrinette, basson, contre-basson, cor, trompette, trombone et tuba. La percus-sion, comprenant timbales, caisse claire, grossecaisse, cymbales, tambourin, fouet et xylophone, estutilis6e de manidre inattendue et tros dconomique.Chose importmte et rtre, il n'y a pas de percussion dla fin des mouvements, pas m€me iL la conclusiondynamique du dernier mouvement; ceci concordebien avec le style sobre de Skalkottas.

Le concerto est compos6 avec une m6tlode ato-nale trds librement dod6caphonique, pas exactements6rielle. On y voit deux s6ries dod6caphoniquesprincipales. l l s'y troure aursi quelques sdries secon-daires ainsi que (trds souyent) d'autre groupes denotes dod6caphoniques libres qui ne fonctionnent pasen s6ries ; ce sont des textures dod6caphoniques ren-fermant des segments m6lodiques et des accords.Comme si souvent chez Skalkottas, les series sontcongues et utilisees thematiquement. Tous les thdmesfondmentaux des trois mouvements de I'cuwe sontreli6s aux deux s6ries principales; gr6ce aux liensth€matiques, l'cuvre pr6sente un cilactdre cyclique.

Les deux s6ries principales apparaissent aussi etrereli6es i deux cractdres expressifs fondamentaux : lepremier, ouvrant l'euwe, est U6 e une qualit6 expres-sive dramatique et a une 6motion intime, tmdis quela seconde s6rie est associ6e d une veine plus l6gdre,dansante, plus extravertie. Les trois premidres notesde la premidre sdrie constituent w leitmotif eilend!dans tous les mouvements. Le Troisiime Concertoest riche d'id6es dont plusieurs croissent i partird'une transfomation d6veloppementale du matdrielprimaire. Le premier mouvement, Moderato, est deforme sonate et commence avec une ritournelleorchestrale classique o[ les deux groupes thdma-tiques principaux sont pr6sent6s. Le pimo ouvre sapropre seconde exposition solo, menmt une nouvelleid6e avec bravure dramatique menmt graduellementau premier thdme. L'exposition se telmine par unebrdve ritoumelle orchestale. Suivant une expositionauss i cons iderab le . le deve loppemenr - qu i com-mence ptr une nouvelle entr6e du soliste - est encons€quence plus court. Dans tous les mouvements,la r6exposition est un miroir du patron en entier de ladouble exposition et allie une r6capitulation orches-hale et solo (ce qui ne se produit pas dans un con-certo classique).

Le second mouvement, Atrdante sostenuto, d€ve-loppe waiment une qualitd expressive soutenue et unpathos retenu. Sa forme ne convient pas entidrementi une catdgorie spdcifique : elle peut Ctxe vue commeun geme de fome sonate avec les trois sections de lasonate - exposition, d6veloppement, reexpositionmais sans son organisation th€matique d6finie.

Le troisidme mouvement, Allegro giocoso, 6pousela fome sonate. L'exposition orchestrale s'ouvre surIe thdme principat i la cltrinette, un air courant avecde grands sauts joyeux. Le hautbois introduit le

second thdme au ctractCre plus mdlodique et lyrique.

Le d6veloppement commence, bdAvement, commeune fausse r6exposition : le pimo r6pdte avec esprit leddbut du premier thdme (qu'on n'a pas encore enten-du dans sa forme originale au piano) et continueimm€diatement seul avec sa propre id6e virtuosesecondaire. Puis, assez soudainement, le soliste etl'orchestre vont presque compldtement chacun deson cdt6. La r6exposition suit un ordre th6matiquerenversd et m616. La devise de l'cuvre dans l'orches-tre (rappelant directement le d6but du premiermouvement) introduit une brdve coda; un 6piloguelaconique et drmatique termine I'cuvre.

Les GnomesLe ballet Les Gnomes fut 6crit en 1939. la m€meann6e que Ie Concerto pour piano no J. C'est unesuite pour ensemble instrumental dont une bonnepartie du matdriel consiste en instrumentations parSkalkottas de petites pidces pou piano de Bilt6k etde Stravinsky ; il s'y trouve aussi trois brdves pidcesde Skalkottas lui-mdme. La ravissante partit ionmontre I'art et I'originalit6 de Skalkottas.

Skalkottas a compos6 dans les idiomes atonal ettonal toute sa vie. Ses ballets, tous tonals, formentune partie importante de son travail. La dmse et les6l6ments de danse ont g6n6ralement une pr6sencevitale dans la musique de Skalkottas - comme dmsles cdldbres 36 Danses grecques par exemple, oudans diverses cuvres atonales se rapportant auxdanses de son 6poque (tmgo, fox{rot, etc.) En 1938,Skalkottas composa son premier ballet, La JeuneFille et la Mort, I'une de ses cuvres les plus impor-tantes. Il continua aprds d composer rdgulidrementpour des productions de ballet jusqu'd la fin de savie. Skalkottas a collabord avec toutes les compagmesde ballet d'AthCnes du temps - elles n'dtaient pasnombreuses mais faisaient du travail de pionniers.

Koula Pratsika, diretrice de I'dcole de dmse Pratsikaet une figure de proue en ballet grec, demanda drSkalkottas de collaborer i la production des Gnomes,donn6e d un concert de Nodl le 22 d6cembre 1939.Pour la production des Gnomes, elle demanda aussi iStratis Myrivil is, I 'un des plus eminents auteursgrecs du 20e sidcle, d'6crire une nanation podtiquelibre sur le sujet et le symbolisme du ballet. Quant Ala musique, Pratsika forma d'abord une suite de soncr0, choisissant des pidces de la collection pour pianoPour Enfants de B6la Bart6k, et demanda ensuite dSkalkottas d'orchestrer la musique. Les pidces deBart6k. comme toutes celles de la collection PorrEnfants, reposent sur des chansons folkloriques hon-groises et slovaques authentiques et conviennentdonc bien au sujet d'inspiration populaire du ballet.Dans le programme imprim6 original, Bart6k estnomm€ exclusivement comme compositeur de la mu-sique et Skalkottas ne figure que comme son mm-geur. En fait cependmt, quelques pidces dms la suitefinale sont de la main d'autres compositeurs queBart6k. La majorit6 de la suite - huit pidces est deBart6k. Il semble probable que, i l'6tape finale desGnomes, on eut besoin de plus de musique que ceque Pratsika avait d'abord choisi. La nmation poe-tique de Myrivilis, divis6e en deux prties, senit decadre i l 'action principale du ballet. I l est ainsipossible qu'une nouvelle introduction, prdcedant lananation, fut n6cessaire, ainsi que de la musiquepour accompagner une panie de Ia nanation.

Une pidce pour piano de Stravinsky fut utilis6eayec effet cotme intoduction, tirde, elle aussi, d'unecollection pour enfants, Les Cinq Doigts. Skalkottascomposa trois petites pieces : le no 2, pou la nma-tion, avec une ravissante mdlodie i ctractCre modalpour violoncelle, ainsi que les nos ll et 12. Le no 5est une piEce non identif iee de musique ancienne.

probablement choisie par Pratsika qui se servaitsouvent de musique baroque dans ses productions.On entend aussi une autre diversion stylistique, unnoel grec traditionnel (no 4, r6pet6 dms le no 6) ; ilest jou6 sans harmonisation par le hautbois, uneallusion au son de la zouma. ut instrument a ventpopulaire grec, accompagn6 par les traditionnelstriangle, cloches et percussion.

Uintrigue du ballet rappelle les contes de No€lpopulaires gecs ffes r6pandus sur les gnomes. Cr6a-tures laides, vicieuses, grotesquement monstrueusesvivant aux enfers, les gnomes surgissent dans lemonde la veille de Nodl ; dans la pdriode de douzejours entre No€l et I'Epiphanie, ils attaquent et tor-turent les humains qui devraient prendre leurs pr6-cautions ; la c6r6monie de l'eau bdnite d I'Epiphaniemet fin au temps des gnomes sur la tene et les ren-voie aux enfers. En partant du symbolisme essentieldu mythe, Pratsika a cr66 une intrigue chor6gra-phique bas6e sur la confrontation entre deux groupesde cinq gnomes, v€tus de noir, et cinq vestales,v6tues de blanc, des jeunes filles autour de l'etrc dela maison, suggdrant ainsi la lutte dtemelle entre lestenebres et la lumidre. le mal et le bien. Le balletrenferme trois sections: Prologue, Douze jours etEpilogue. L'ensemble instrumental complet consisteen fl0te (doubl6e du piccolo), hautbois (doubl6 du cormglais), trompette, percussion et quintefte i cordes.I-linstrumentation de Skalkottas des pidces de Baft6ket Stravinsky est magistrale et remplie d'imagination.Son haitement capte la rusticite et la verue des pidcesde Bart6k dans une humeur s'appreillmt au ctracGrepopulaire de l ' intrigue. De plus, les propres minia-tures de Skalkottas sont magnifiquement int6gr6esdms le ballet.

Des textes @ Nikos Christodoulou 2004

Geoffrey Douglas Madge est n6 i Adelaide enAustralie et a 6tudi6 avec Clemens Leske au conser-vatoire Elder Aprds avoir gagn6 le premier prix auconcours de piano ABC d Sydney en 1963, i l serendit en Europe dtudier ayec G6za Anda a Lucemeet Eduado del Pueyo h Bruxelles. Il s'installa auxPays-Bas oir il enseigne le pimo au ConservatoireRoyal de La Haye. Ses nombreux rdcitals, diffusionsi la radio et la t6l6vision et appaitions i d'impor-tants festivals ont 6tabli sa r€putation. Madge a aussicomposd une quantit€ consid6rable de musique dontdes quatuors i cordes, chmsons, cuwes pour pimosolo, le ballet Monkeys in a cage (Des singes encage; cr66 d la maison d'opdra de Sydney en 1977)et un concefto pour piano (cr6€ d Amsterdam en1985) .

Comme il connaissait Iannis Xenalis, GeoffreyDouglas Madge vint en contact avec le monde de lamusique grecque et la Soci6t6 Skalkottas i Athdnes.Le prdsident de celle-ci lui demanda de donner lacr6ation des 32 Pibces pour piano de Skalkottas aucours du Festival de la SIMC 1979 qui avait lieu iAthCnes cette anndeld. Ce fut le d€but d'une longuerelation avec la musique de Skalkottas. Il avait d6jdemegistrd le Concerto pour piano no I de Skalkottassur Ctiquette BIS (BIS-CD-1014); d'autres sortiesBIS renferment I'Opus Clavicembalisticum de So-rabji (BIS-CD-1062/1064) et les trois concertos pourpiano de Medtner (BIS-CD-1258).

Les programmes de r6citals de Geoffrey DouglasMadge pr6sentent un 6ventail d'cuvres baroques,classiques, romantiques et contemporaines, de pr6f6-rence en combinaison avec des compositions bienconnues et inconnues - par exemple la Symphonie

fantastique de Berlioz / Liszt alli6e au Konzert ohneOrchester de Schummn ou at Clavecin bien tempdricomplet de Bach. Les Variations Goldberg de Bach,

Ies Variations Diabelli et la Sonate o Hqmmerklq-uier> de Ludwig van Beethoven, les Uariations Bachde Reger et les t/eder de Debussy ont toujours fomedes somets dans ses progn|mes de concerts.

L'Ensenble Caput fut mis sur pieds en 1987 pu ungroupe de jeunes musiciens islandais enthousiastesdms le but de jouer et de commder de la musiquenouvelle. Caput consiste en 25 membres environ, laplupart residant en Islande. Depuis sa fondation,Caput s'est dtabli come une force assurde dans lavie culturelle islandaise et I'un des plus importantsensembles de musique nouvelle en Europe, se pro-duisant en Am6rique du Nord et dans quinze payseuropdens. Lensemble fut applaudi partout pour sesinterprdtations imposmtes et la maitrise de sa tech-nique ; il se produit rdguliCrement i des festivals ma-jeurs dont le Rostrum Intemational de Compositeusd Puis, I'Autome d Vilsovie, le festival du Gulbenkian. le festival de Hollande et le festival d'ilt deReykjavft. Caput regoit un support r€gulier du gou-vemement islmdais et de la ville de Reykjavik maisc'est un ensemble entidrement inddpendmt.

Nikos Christodoulou (n6 en 1959) a 6tudi6 la com-position avec J.A. Papaioannou et le pimo d Athenes.Il poursuivit ses 6tudes de composition d la Hoch-schule fiir Musik i Munich et dtudia la direction auRoyal College of Music i Londres. Il fut compositeurassoci6 et conseiller d la Radio Nationale Grecque de1977 i\ 1981. Il a composd des euvres orchestrales,de chambre et chorales, des chansons ainsi que de lamusique de scdne et il a regu des commandes de plu-

sieurs institutions et festivals. Il a enseigne la compo-rit ion au Conservatoire Hellenique.

Nikos Christodoulou a 6t6 directeur musical duNouvel Orchestre Symphonique d'Athdnes, de I'or-

chestre philharmonique des jeunes <Euro YouthPhilhmonic Orchestra > et de I'Orchestre Sympho-nique d'Athdnes (ville d'Athdnes). Il apprait r6gu-liCrement avec l'Op6ra National Grec ainsi qu'avecl'Orchestre et le Cheur Symphoniques de la RadioNationale Grecque. Il a dirigd le premier festivalHelios - une Cdl6bration Cul Nielsen a AthCnes etles Nikos Skalkottas Tage au Konzerthaus de Berlin.I1 a donn6 la cr6ation mondiale de plusieus nouvellescuvres dont la Symphonie no I de Lrs Graugaud auMusic Harvest Festival )L Odense et I 'op6ra trerPossy'dds de Hris Vrontos d I'Op6ra National Grec.

Il a travaill6 avec l'Orchestre Symphonique de laBBC, I'Orchestre Symphonique de Berlin, I'Orches-tre Philhmonique Am6nien, I'Orchestre Sympho-nique d'Aalborg, l'Orchestre Symphonique d'Islmde,l'Orchestre Symphonique de Malmd, I'Orchestre duCentre Bach de Moscou, I'Orchestre Symphoniqued'Odense, I'Orchestre de Chambre S€r6nade, l'Or-chestre Symphonique d'Erevm et l'Op6n du Bolshoi.Sa s6rie d'euegistrements en premidre mondiale denusique symphonique de Skalkottas sur 6tiquetteBIS a 6td accueillie avec enthousiasme pil la critiqueintemationale.

Piano Concerto No.3

Kolbeinn Bjmason, fluteEydfs Franzd6ttir, oboePeter Tompkins, cor anglaisGudni Franzson, cltrinetDmi Mikaelsson, bassoonBdiinn Ingason, contrabassoonEirikur Om Pelsson, trumpetAnna Sigurbjiimsd6ttir, homSigur6u Thorbergsson, tromboneSigur6ur Mrir Valsson, tubaSteef van Oosterhout, percussionPdtur Grdtilsson, percussionFrank Amink, percussion

Caput Ensemble

The Gnomes

Kolbeinn Bjmason, fluteEydis Frmzd6ttir, oboelrnkur Um Palsson. trumlxtZbigniew Dubik, violinGreta Gudnadoft ir, violinGudmundu Kristmundsson, violaBryndis Halla Gylfad6ttir, celloH6vddur Tryggvason, double bassSteef vm Oosterhout, percussronP€tur Gr6ttrsson, percussionFranl Amink. percussion

Skalkottas: Piano Concerto No,3; The Gnomes -

Skalkottas Academy Critical Text

For the present recording, the Skalkottas Academyhas prepaed new, critically edited musical texts oftbe Piano Concerto No.3 and The Gnomes. Theexisting edition of the Piano Concerto No. 3 has sev-eral enors; in the second movement, in particular,there ae also several editing interferences and evenalterations of the original instrumentation. Otheroccasional enors, doubtful places, missing mrkings,etc., have risen because Skalkottas always prepareda fairly cleu full score in ink, orchestrating with con-siderable speed from a draft short score (in oneexceptional instance, at the beginning of the lirstmoyement, a solo trumpet btr is cledy missing; thishas been reconstructed from the short score). For thecritical revision. two souces were used: the manu-script full score and thc surviving draft short score, inint, of the first md second movements (in doubtfulplaces the draft's readings were always to be pre-

fened). The revision of some note inconsistenciesalso required twelve-tone analysis. Some of theenors in the second movement were revised accord-ing to obseryations in Judit Alsmeier's book on Skal-kotlas, Komponieren mit Ttinen.

The instrumental score of The Gnomes, longconsidered lost, was found by Nikos Christodoulouin the Koula Pratsika Archive. It is, as usual, cletrlywriften in ink, yet several inconsistencies and a fewmissing mrkings reveal that it was written in somehaste, probably because of the pressue of the balletproduction. For the present edition, Skalkottas's fulland piano scores (in mmuscript) were used as well asthe set of parts used in the original production. Themovements based on Bart6k and Stravinsky pianopieces have been also compred with the originals.The crit ical revision of both works was made byNikos Christodoulou.

Music by Nikos Skalkottas on BIS:

Orchestral Music

BIS-CD-904 . . . . . . . Violin Concerto; Seven Greek Dances for strings; Largo Sinfonico for orchestra

BIS-CD-954 . . . . . . . Double Bass Concerto; Three Greek Dances for strings; Mayday Spell, symphonic suite

BIS-CD-1014 . . . . . . Piano Concerto No.1; The Maiden and Death, ballet suite; Ouvertüre Concertante

BIS-CD-1333/1334. . 36 Greek Dances; The Return of Ulysses

Chamber and Instrumental Music

BIS-CD-1024 . . . . . . Music for violin and piano: Sonatinas Nos.1-4; Gavotte; Little Chorale and Fugue. . . . . . . . . . . . . . . . . March of the Little Soldiers; Menuetto Cantato; Nocturne; Rondo; Scherzo; . . . . . . . . . . . . . . . . . Sonata for solo violin

BIS-CD-1074 . . . . . . String Quartet No. 3; String Quartet No. 4

BIS-CD-1124 . . . . . . String Quartet No. 1; Ten Pieces (Sketches) for string quartet; Gero Dimos for string quartet; . . . . . . . . . . . . . . . . . Octet for strings & winds; String Trio (No. 2)

BIS-CD-1133/1134. . Musik für Klavier: 32 Klavierstücke for piano; Four Études for piano; Suite No. 1 for piano

BIS-CD-1204 . . . . . . Duo for violin & cello; Duo for violin & viola; Three Greek Folk-Song Arrangements for . . . . . . . . . . . . . . . . . violin & piano; Petite Suites Nos. 1 & 2 for violin & piano; Scherzo for 4 instruments; . . . . . . . . . . . . . . . . . Sonata for violin & piano

BIS-CD-1224 . . . . . . Trio for piano, violin and cello; Largo for cello and piano; Bolero for cello and piano; . . . . . . . . . . . . . . . . . Serenata for cello and piano; Sonatina for cello and piano; Tender Melody for cello and piano;. . . . . . . . . . . . . . . . . Eight Variations (on a Greek Folk Tune) for piano trio

BIS-CD-1244 . . . . . . Concerto for Two Violins (with ‘Rembetiko’ theme); Quartet for Oboe, Trumpet, Bassoon . . . . . . . . . . . . . . . . . and Piano; Concertino for Oboe and Piano; Concertino for Trumpet and Piano; Tango and . . . . . . . . . . . . . . . . . Fox-trot for Oboe, Trumpet, Bassoon and Piano; Sonata Concertante for Bassoon and Piano

34

Piano Concerto No. 3 is published by G. Schimer On the present disc, however,

both the concerto md The Gnomes ue recorded according to new critical texts

prepued from the composer's manuscripts by the Skalkottas Academy.

INSTRUMENTARIUM

Piano: Steinway and Sons Concert Grand model D

Piano technicim: Leifur Magnwn

Recording data: 2002-1 1-06/12 at Saluinn, T6nlistarhis K6pavogs, lcelnd lPiano Conceno No. 3lmd at Reykjavik City T}reabe,lceInd [The Gnorcs]

Sound engin@r: Manin NagomiNeumm micrcphones; Tascm MA-AD 8 pre-mplifier; Ymaha O2R mixer; T6cm DA 88 r@order;

Sennheiser HD 600 headphones.Recording producer: Martln NagomiDigital editing: Martin NagomiCover bxt: O Nikos Christodoulou 2004Truslationsi Horst A. Scholz (Gemm); Arlette bmieux-Chene (French)

Front cover: Traditional goat's dilce duing cmival on the islmd of Skyros, Gree (kindly prcvided by wwwinsklros.gr)Photogaph of Nikos Christodoulou: Nikos A. KapsokefalosPhotograph of Geoffrey Douglas Madge: Amold Fellendas'Iypesetting, lay-out: Andrew Bmett, Compact Design Ltd., Saltdeu, Brighton, Englmd

BIS CDs @ be ordered frcm ou distributoF worldwide.If w€ have no repHentstion in your coutry,-plese conLct:BIS Reords AB, Statiorevigen 2I), S-1&4 50 AkeBberga, SwedenTel.: lB (Int.+46 8) 54 41 02 30. Fu: 08 (InL+.16 8) 54 41 02 40

e-mil: info@bis.se . Website: www.bis.se

@ & @ 20M, BIS Records AB. Akersberga.Under perioden 2002-2fi)5 erhSller BIS Records AB stiil till sin verksamhet frAn Statem kultunAd.

The Skalkoftas Academy is grateful to Professor Rena Iluntzaki, curator of the hatsika ArchiYe,to the Benaki Museum in Athens for its kind c@peration reguding the Pratsika Archive,and to Michel Bichsel, resetrcher at the Skalkonas Archive.