Both teachers thought highly of him. He composed prodigiously, in a personal atonal idiom, using the 12-tone system rather seldom and somewhat reluctantly at that time. When the mounting wave of Nazism made life for exponents of new music difficult, Skalkottas returned to Athens in May 1933, the same month Schoenberg left Germany. In Greece, unfortunately, Skalkottas met with a lot of incomprehension and enmity, and was obliged to accept a position as one of the last violins in the State Orchestra of Athens. He isolated himself, refusing to talk about music to all but a few people who, he thought, appreciated contemporary music, all the while composing feverishly until his death on September 19, 1949 in Athens, as a result of a neglected constricted hernia.
Practically his entire output remained unknown, unpublished and unperformed during his lifetime, and was actually discovered only after his death. In 1935 he turned to a new, quite complex but highly concise version of the twelve-tone system of his own invention, which he used extensively until his death, parallel with, beginning around 1938, a non- serial method that sounds only slightly different from the other technique. His main innovations consist of creating entirely new sound worlds by developing formal structures operating at multiple concurrent levels, and by the intensity and directness with which he used harmony, counterpoint, rhythm, articulation, etc. to serve maximum expressive purposes. In his 25-year long creative career, Skalkottas composed more than 170 works, often short, but sometimes of “gigantic” dimensions and of remarkable sophistication and complexity. Manuscripts for over 110 works are gathered at the Skalkottas Archives in Athens, representing more than 80% of his work (since the missing ones are generally quite short).
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