Through the Lens of Socialist Realism
Nikos Skalkottas's Turn to Tonality in the 1940s
Bibliographic Data
| ID | 21728467 |
|---|---|
| Authors | EIRINI DIAMANTOULI (0000-0001-8480-2139, University of Cambridge, corresponding author) |
| Year | 2025 |
| Volume | 22 |
| Issue | 2 |
| Pages | 193-233 |
| Publication date | 2025-06-01 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | twentieth-century music (JOURNAL) |
| Journal identifiers | ISSN: 1478-5722 • E-ISSN: 1478-5730 |
| Publisher | Cambridge University Press (CUP) (PUBLISHER) |
| DOI | 10.1017/s1478572224000215 |
| OpenAlex | W4406829641 |
| Language | EN |
| References cited | 17 |
This article explores Nikos Skalkottas's engagement with stylistic accessibility after his return to Greece from Germany in 1933. It considers the composer's self-proclaimed efforts to establish a more accessible, tonal musical style in the context of Greek sociopolitical upheaval and the political culture of anti-fascist resistance. Centring on the period between 1947 and 1949, this shift is viewed in terms of the impact of Socialist Realism in Greece for the first time. This article excavates the promulgation of Socialist Realism in Greece amid the anti-fascist resistance and re-evaluates Skalkottas's works and his published and unpublished writings as testifying to these unique political and cultural circumstances. It focuses in particular on Skalkottas's Classical Symphony in A for wind orchestra, two harps, and lower strings composed in 1947; a major work that continues to occupy a peripheral position in existing Greek and Anglophone scholarship on the composer
Aesthetics · Art · Epistemology · Literature · Optics · Physics · Realism · Tonality · Eastern European Communism and Reforms · Italian Fascism and Post-war Society · Musicology and Musical Analysis · Philosophy
| Highly cited | No |
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