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CHAN 10094 Front.qxd 23/4/07 10:40 am Page 1 CHAN 10094 CHANDOS CHAN 10094 BOOK.qxd 23/4/07 10:41 am Page 2 Dances from the Heart of Europe Nikos Skalkottas (1904–1949) Five Greek Dances 11:23 From 36 Greek Dances, Op. 11 1 1 Epirotikos (set I, No. 4). Moderato 1:42 2 2 Kretikos (set I, No. 2). Allegro moderato 1:57 3 3 Tsamikos (set I, No. 1). Allegro moderato 1:54 4 4 Arkadikos (set III, No.10). Moderato 3:40 Skalkottas Archives Athens Archives Skalkottas 5 5 Kleftikos (set III, No. 3). Allegro vivo 2:08 Joseph Haydn (1732–1809) Twelve German Dances, H.IX:12 8:32 6 I In G major • in G-Dur • en sol majeur 0:42 7 II In B flat major • in B-Dur • en si bémol majeur 0:34 8 III In G major • in G-Dur • en sol majeur 0:42 9 IV In C major • in C-Dur • en ut majeur – Trio 1:21 10 V In A major • in A-Dur • en la majeur 0:40 11 VI In D major • in D-Dur • en ré majeur 0:34 12 VII In G major • in G-Dur • en sol majeur 0:43 13 VIII In D major • in D-Dur • en ré majeur 0:31 14 IX In B flat major • in B-Dur • en si bémol majeur 0:42 Nikos Skalkottas 15 X In C major • in C-Dur • en ut majeur 0:38 16 XI In F major • in F-Dur • en fa majeur 0:32 17 XII In D major • in D-Dur • en ré majeur – Coda 0:47 3 CHAN 10094 BOOK.qxd 23/4/07 10:41 am Page 4 Béla Bartók (1881–1945) 36 12 [ ] 0:44 Romanian Folk Dances, bb 68 6:58 37 13 Tempo I 1:04 Arranged for string orchestra by Arthur Willner 38 14 [ ] 1:37 39 18 1 Jocul cu bâta˘ (Stick dance). Allegro moderato – 1:35 15 [ ] 1:05 40 19 2 Bra˘ul (Sash dance). Allegro – 0:38 16 Animato 1:30 41 20 3 Pe loc (In one spot). Moderato – 1:28 17 Più lento 1:57 42 21 4 Buciumeana (Horn dance). Moderato – 1:52 18 Animato 1:39 22 5 Poarga româneasca˘ (Romanian polka). Allegro – 0:30 23 6Maˇrunt¸el (Fast dance). L’istesso tempo – 0:14 Vardapet Komitas (1869–1935) 24 7Maˇrunt¸el (Fast dance). Allegro vivace 0:39 Ten Armenian Folk Songs and Dances 26:51 43 1Krºunk (The crane). Andante 2:53 Johannes Brahms (1833–1897) 44 2 Al aylukhs (My scarlet kerchief). Allegretto 2:19 Liebeslieder-Walzer, Op. 52 25:18 45 3 Shushiki (To Shushik). Moderato 3:11 Arranged for strings by Friedrich Hermann 46 4 Kak‘avi erg (Song of the partridge). Allegro 1:37 47 25 1 Im Ländler Tempo 1:16 5 Chinar es (You are like a plane tree). Andante 3:27 48 26 2 Più agitato 0:49 6 Vagharshapati Par (Dance from Vagharshapat). 27 3 Tempo I 1:31 Allegro con fuoco 2:24 49 28 4[ ] 0:58 7 Khumar (Wedding dance-play). Sostenuto 1:50 50 29 5[ ] 1:37 8 Shogher djan (Dear Shogher). Allegro scherzando 4:22 51 30 6 Grazioso – Poco più lento – Tempo I 2:48 9 Erkinkn ampel a (The sky clouded over). Andante 2:56 52 31 7 Più lento 1:16 10 Habrban. Allegro 1:27 32 8 Tempo I 1:21 TT 79:27 33 9[ ] 2:04 34 10 [ ] 0:59 I Musici de Montréal 35 11 Più animato 0:56 Yuli Turovsky cello/director 4 5 CHAN 10094 BOOK.qxd 23/4/07 10:41 am Page 6 Dances from the Heart of Europe I Musici de Montréal From prehistoric times to the contemporary Op. 11, freely based on printed transcriptions club scene, dance has been an essential and recordings of folk melodies from different Yuli Turovsky artistic director and conductor element in society, as ritual, recreation or parts of the country. Completed in 1936, violin Eleonora Turovsky (concert master) viola Anne Beaudry* entertainment. Many composers have written these amount to three sets each containing a Denis Béliveau Suzanne Careau† music especially for social dancing, in courtly dozen dances; Skalkottas subsequently made Sofia Gentile Jacques Proulx or aristocratic circles or in public ballrooms; arrangements of some of the numbers for Madeleine Messier cello Alain Aubut and many have contributed to the separate different combinations of instruments, ranging Françoise Morin-Lyons Timothy Bruce Halliday but related genre of ballet music for public from solo piano to wind band. The Five Greek Christian Prévost double-bass Costantino Greco performance. But there is also a long tradition Dances recorded here were arranged by him Catherine Sansfaçon-Bolduc percussion Jacques Proulx of stylised dances in music composed purely for string quartet, but were published after his Julie Triquet to be listened to, or played: for example the death in a version by the conductor and editor Natalya Turovsky librarian* movements of baroque suites, the minuets of Walter Goehr (1903–1960), with an optional orchestra manager † symphonies, and many of the shorter piano double-bass part so that they could also be pieces of Chopin. And from the nineteenth performed by full string orchestra. They century onwards, many concert pieces have illustrate both the diversity of metre, mode used the dance forms of a particular country – and mood of the dances and dance-songs of and often the traditional melodies associated different regions of Greece, and Skalkottas’s with them – as an assertion of national imaginative treatment of his material, with identity. varying harmonisations and scorings, and with Nikos (or Nikolaos) Skalkottas is not different melodies welded into continuous remembered primarily as a composer of sequences. dances or as a nationalist. A pupil of, among Joseph Haydn’s Twelve German Dances, others, Schoenberg and Kurt Weill, he H.IX:12 were written specifically for dancing – composed mostly in an uncompromisingly probably an early form of the waltz. Together avant-garde idiom which won him little with a companion set of Twelve Minuets, they recognition in his native Greece during his were composed for an important Viennese short lifetime. However, he did achieve some social occasion: a masked ball in aid of the success with his Greek Dances for orchestra, Fine Arts Pension Society, held in the elegant 6 7 CHAN 10094 BOOK.qxd 23/4/07 10:41 am Page 8 large Redoutensaal of the Imperial Palace on of his native Hungary, and indeed of the played and sung. Composed in 1868 and on the bank of the Danube – which prompts 25 November 1792. They were performed on whole of central Europe. One of his favourite 1869 – just before Brahms moved to the a fleeting reference to the most famous of that occasion by an unusually large orchestra hunting-grounds was the region of capital city of the waltz, Vienna – Op. 52 is a all the waltzes of the younger Johann of nearly fifty players. Since the event was a Transylvania, ethnically Romanian and now setting for vocal quartet and piano duet of Strauss. charitable one, Haydn asked for no fee. But he part of that country, but until 1918 part of eighteen love poems from around the world, The least familiar composer in this may have made some money from the the Austro-Hungarian Empire. In 1915, he in German translations from Georg Daumer’s anthology is Komitas, the father-figure of immediate publication of his own arrangement made a piano arrangement of seven dances collection Polydora. Such was the work’s Armenian music. Born Soghomon Soghomian of both sets of dances for solo piano which he had taken down in 1910 and 1912 success that it was followed five years later by in what is now Turkey, he was orphaned at (undertaken, apparently, at the request of the in four different Transylvanian villages, under a similar cycle of Neue Liebeslieder-Walzer, eleven and sent to study at a theological Empress). A further arrangement followed from the title Romanian Folk Dances from Hungary. Op. 65 (New Love Song Waltzes), and Brahms seminary in Armenia; on graduation he the same Viennese publishing house, Artaria, Two years later he transcribed them for small also made a little-known arrangement of nine adopted the name of an important seventh- in 1794, this time for a small dance band of orchestra, and this version was published in of the songs for voices and small orchestra. In century Armenian hymn writer. Initially self- two violins and cello, and probably not made 1922 with the title Romanian Folk Dances; addition, he published versions of both sets taught as a composer, Komitas studied music by Haydn himself. The arrangement – equally the publishers later also issued two practical for piano duet alone, so that they could be for three years in Berlin before returning to playable by multiple strings – preserves the and popular arrangements of the pieces, one enjoyed by amateur players simply as a Armenia, and later lived in Constantinople musical essence of the originals, helped by the for violin and piano by the violinist Zoltán sequence of short waltzes in varying tempos (Istanbul), organising and conducting choirs in fact that, like most dance music of the time, Székely, the other for string orchestra by the and moods. It was in the same spirit that the several of the major centres of the scattered these had no separate viola part, and very few German-Czech violinist and teacher Arthur Leipzig violinist, composer and teacher Armenian people.