Composer: Nikos Skalkottas
Works: String Quartet No.1 (1928), Zehn Stücke für Streichquartett (1940), Octet (1934), String Trio No.2 (1935), Geros Dimos (1949)
Performers: The New Hellenic Quartet, Jan Bengtson (flute), Per Huderson (oboe), Per Billman (clarinet), Christian Davidson (bassoon)
Recording: Nybrokajen, Stockholm, April 2000
Label: BIS
The works of Nikos Skalkottas serve as a fascinating lens through which to view the evolution of 20th-century Greek music. His String Quartet No.1, composed in 1928 during his studies under Schoenberg, exemplifies his early foray into atonal-serial music, yet is imbued with a distinctively personal voice that diverges from his teacher’s strictures. This recording by the New Hellenic Quartet provides a compelling interpretation of Skalkottas’s gestural language, marked by its complex contrapuntal textures and varied emotional landscapes.
The performance of the String Quartet No.1 offers a rich tapestry of sound, showcasing the ensemble’s technical prowess and interpretative depth. The first movement, characterized by a taut, energetic dialogue among the instruments, is given an incisive edge, with each voice clearly delineated. The players excel in their ability to navigate the intricate passages, particularly in the climactic moments where Skalkottas’s characteristic contrasts between dissonance and the fleeting harmonic consonance emerge. The second movement’s lyrical quality is beautifully rendered, allowing the poignant melodies to resonate fully while maintaining the tension that underpins the work’s structure. The finale, with its frenetic rhythmic drive, benefits from the ensemble’s tight cohesion, culminating in a thrilling conclusion that captures the essence of Skalkottas’s innovative spirit.
Comparatively, the Octet of 1934, while still complex, adopts a more buoyant and playful character. The performers capture this lighter vein effectively, as the ensemble’s interplay is marked by a spirited dialogue that underscores the work’s entertaining qualities. The deft handling of dynamic contrasts and rhythmic intricacies allows the humor embedded in the score to shine, revealing Skalkottas’s mastery in balancing formal rigor with accessibility. The fluid transitions between sections are particularly noteworthy, reflecting a deep understanding of the composer’s intentions.
The Zehn Stücke für Streichquartett stands out as a brief yet profound exploration of diverse musical moods. The performers’ agility in executing the rapid-fire movements is commendable; each piece, often lasting less than a minute, is imbued with distinct character. The contrast between the more reflective slow movements and the brisk, witty sections showcases the ensemble’s versatility. The recording captures the clarity of texture and the nuanced dynamics, which are pivotal in conveying the emotional breadth of these sketches. Notably, the third slow piece emerges as an oasis of calm, where the musicians’ sensitivity allows the haunting melodic line to linger in the listener’s consciousness.
The final work, Geros Dimos, while simpler in its folk-like essence, is arranged with a deft hand that belies its straightforward material. The performers imbue the arrangement with a sense of nostalgia and warmth, effectively bridging the gap between Skalkottas’s nationalistic roots and his modernist tendencies. This melding of styles serves as a fitting encore, offering listeners a glimpse into the composer’s deep connection to Greek folk traditions.
The engineering quality of this BIS release is exceptional, with a balanced sound that allows each instrument to shine without overshadowing others. The warmth of the recording environment enhances the string timbres, while the woodwinds add a lovely color palette to the ensemble’s sound. The clarity of the recording ensures that the intricate textures of Skalkottas’s writing are not only heard but felt.
This release is a significant contribution to the recorded legacy of Skalkottas, presenting an array of works that highlight his evolution as a composer and his ability to traverse a broad emotional spectrum. The New Hellenic Quartet’s insightful interpretations, combined with BIS’s high production values, make this collection not merely a historical document but a vital listening experience that reaffirms Skalkottas’s place among the greats of 20th-century music.
