Vasily KALAFATI (1869 –1942) Symphony in A minor Légende Polonaise in F major Choir of the Music Department of the University of Athens Nikos Maliaras Athens Philharmonia Orchestra Byron Fidetzis Vasily Kalafati (1869–1942) The slow movement of the Symphony returns to the Légende, Op. 20 (1928) Symphony, Op. 12 • Légende, Op. 20 • Polonaise, Op. 14 initial key of A minor in order to develop an elegiac melody, In memoriam Franz Schubert played by the English horn, building up to a first orchestral The composer and music teacher Vasily Kalafati was born Symphony in A minor, Op. 12 (1899–1912) culmination in E minor. However, the dynamic climax of In the later stages of his life (1929–42), Kalafati devoted in Yevpatoria, Crimea, in 1869. His father Paul was a the Adagio takes place subsequently, in the middle part, himself exclusively to composition. He retired from the Greek merchant and teacher, and his mother, whose Kalafati’s sole contribution to the prestigious symphonic based on a new, contrasting idea which is spun out in C Conservatory in 1929, essentially being dismissed due to maiden name was Chryssikopoulou, was also Greek. form was completed in 1912, being published that same major, before the initial thematic elements are recalled, teaching ‘in the old-fashioned style’. However, he Vasily received his first piano lessons at the age of eight. year in Leipzig by the M.P. Belaieff publishing house. The embellished with new accompanying and orchestral continued to offer lessons privately, at his home. At the age of 18 he composed his first original pieces. In initial form of this work comprised his dissertation on means, all while remaining rooted in the home key. A piece for which Kalafati gained well-deserved 1892 he settled permanently in St Petersburg, and composition at the St Petersburg Conservatory, in 1899. It The Finale: Allegro moderato completes the work in distinction is his symphonic poem Légende in C major, continued his studies at the Conservatory, being taught is a standard four-movement symphony, with two fast A major, presenting the primary theme in the form of a Op. 20 , for symphony orchestra and choir, in honour of composition by Nikolay Rimsky-Korsakov (1892–99) and movements framing a Scherzo and a slow movement. The four-part fugato, after an energetic introductory Schubert, which was composed in 1928 for participation orchestral conducting by Nikolay Galkin, while opening Allegro moderato is composed in the key of A passage. These are followed, in turn, by a transitional, in the International Columbia Graphophone Competition simultaneously pursuing a career as a music teacher. He minor, according to the specifications of a sonata form, the folk-flavoured theme in C sharp minor, and a rather more on the occasion of the 100-year anniversary of Schubert’s earned his diploma in composition in 1900, subsequently primary theme of which displays an initial harshness that is, lyrical secondary theme in E major. In the second part of death. Alexander Glazunov presided over the Russian establishing himself in the Russian capital as a composer however, quickly resolved into a limber rhythmic and the form, the composer introduces and develops a new panel which judged the competition, and the other known for his spirit, mastery in orchestration, and melodic figure, which is developed with an ever-increasing theme, in the core of which lies the primary idea of the first members were Reinhold Gli ѐre, Nikolay Myaskovsky and sensitivity. He was a member of the social circle of impetuosity and dynamism. The primary theme undergoes movement of the Symphony . This (indirect) cyclical Maximilian Steinberg. Kalafati’s work attained distinction Mitrofan Petrovich Belyayev, his publisher. In 1901 he a lyrical transformation to the tonal basis of C major, when reference to the very beginning of the work prepares the among the 42 participants, achieving second place. was hired as a teacher of theory (harmony, counterpoint, it is subsequently introduced by the clarinet in the listener for the recapitulation of the final movement, where For the composition of his symphonic poem Légende , fugue) at St Petersburg Conservatory, and was elected secondary zone of the exposition. The second part opens the new theme is combined with the primary one in Kalafati selected three themes from the works of professor of composition in 1912. Over the course of his with an energetic expansion of the previous closing counterpoint, making a reference to the practice of a Schubert, from which he utilised only reminiscences. As lengthy teaching career at the Conservatory (1901–29) thematic material and continues with the systematic double fugue. This is followed by the return of the for the work itself, it is composed in the late-Romantic dozens of well-known composers, theoreticians and development of the primary thematic material, which secondary theme and the closing zone in A major, while style, with symmetrical structure, and bears none of the conductors studied under him, the most prominent of impressively culminates towards the recapitulation. An the coda opens with the transitional theme before Russian influences evident elsewhere in the music of which being Igor Stravinsky and Boris Vladimirovich element which draws the attention of the listener is the concluding with an imposing ultimate recall to the primary Kalafati. The music is based on the frequent repetition of Asafiev (1884 –1949). Kalafati, who always considered combination of the primary theme with a closing motif that theme of this final movement. the melodic motifs, embellished with numerous variations himself Greek, is recognised in Russian musicology for continues until the first bars of the recapitulation, which is The Greek premiere of Kalafati’s Symphony was in tone colour. The primary melody is characterised by an his significant educational contribution. By contrast, his otherwise conventionally elaborated. Finally, the coda given on 8 January 2017 by the Athens Philharmonia ascending chromatic motion, through which the whole compositional work, which exhibits the style of the evolves proportionally to the beginning of the development, Orchestra at the Artemis Concert Hall, under the direction work obtains its expressional development. The Russian National Music School (though in his later years leading inexorably up to an emphatic, tragic conclusion. of Byron Fidetzis. Maestro Fidetzis was also vital in secondary theme ( meno mosso ) has a lyrical character he did begin exploring newer compositional trends), In stark contrast, the following movement opens with bringing Kalafati’s oeuvre in general to the attention of and appears in the strings. The composer’s ingenuity, languished in obscurity, achieving few distinctions before a light-hearted Scherzo in F major, which is developed in Greek audiences, first presenting the latter’s Legénde on evidenced already from the first bars through the his death, in 1942, during the siege of Leningrad. a ternary form, as a type of moto perpetuo , and expresses 13 May 2006 with the Athens State Orchestra and the sumptuous tone colours (including a wordless choir) and all the melodic and orchestral virtues of the Russian Animato Choir of Sophia, and his Polonaise on 3 June rhythmic changes, reveals his mastery of orchestration Stanimira Dermendzhieva, Ioannis Fulias symphonic tradition. The middle trio in B flat major 2018 with the Athens City Symphony Orchestra. and harmony, as well as his attention to details of tone expounds its own melodic material with greater colour and timbre. gentleness and ardour, also including few passing Ioannis Fulias references to the distinctive melodic swirls of the preceding Scherzo , before its final return. In the coda of this movement, the composer combines the basic ideas of the trio and the Scherzo , until their ultimate merging. Polonaise in F major, Op. 14 (1905) Συμφωνία σε λα-ελάσσονα , opus 12 (1899–1912) μελωδικών στροβιλισμών του scherzo πριν από την οριστική επαναφορά του τελευταίου. Στην coda του The first decade of the 20th century, known as the ‘Silver written in the recognisable rhythm of the polonaise, is Η μοναδική συμβολή του Καλαφάτη στο περίβλεπτο μέρους αυτού, εξάλλου, ο συνθέτης συνδυάζει τις Age’ of Russian art, was a productive period in Kalafati’s dynamic and imposing, while the second is joyful, flowing, είδος της συμφωνίας αποπερατώθηκε έως το 1912, βασικές ιδέες του trio και του scherzo, μέχρι την career. His achievements in chamber and symphonic and full of flair. The composer subsequently adds a new οπότε και εκδόθηκε η παρτιτούρα της, στη Λειψία από τελική τους ρευστοποίηση. music allow this period to be described as his mature lyrical episode in order to conclude his composition with a τον Οίκο Μπελιάεβ. Η αρχική μορφή του έργου Το αργό μέρος της συμφωνίας επιστρέφει στην compositional phase. A piece which belongs to this phase dynamic culmination. αποτέλεσε την διπλωματική του εργασία στη σύνθεση, αρχική τονικότητα της λα-ελάσσονος για το is Polonaise, Op. 14 . It is unknown whether this piece was ever performed στο Ωδείο της Αγίας Πετρούπολης, το 1899. Πρόκειται ξεδίπλωμα μιας ελεγειακής μελωδίας από το αγγλικό Kalafati completed the composition of his Polonaise , in Russia. It was published by the Belyayev publishing για μία τυπική τετραμερή συμφωνία, με δύο γρήγορα κόρνο, που οδεύει με σταθερά βήματα προς μία dedicated to Alexander Glazunov, on 1 January 1905. house in Leipzig in 1913, and was played during the μέρη που πλαισιώνουν ένα scherzo και ένα αργό μέρος. πρώτη ορχηστρική κορύφωση στο περιβάλλον της μι- The Polonaise has a solemn, celebratory character, with 1913–14 concert season in Minnesota by the Minneapolis Το εναρκτήριο Allegro moderato είναι γραμμένο στην ελάσσονος. Εντούτοις, το δυναμικό απόγειο του a lively mood and exceptionally bright orchestration. The Symphony Orchestra, under the direction of Emil λα-ελάσσονα κατά τις προδιαγραφές μιας μορφής Adagio λαμβάνει χώραν παρακάτω, στην μεσαία του composer organises and treats the inclusion of both Oberhoffer (1867–1933).