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YANNIS KONSTANTINIDIS
44 Pieces enfantines
SUR DES AIRS POPULAIRES GRECS
Cahier II (17-30)
Arrangement pour violon et piano
Augustin Moustakas
EPN 1396
ISMN 979-0-69151-824-3
Pages: 48
Size: 235 x 320 mm
CONTENTS
XVII. Τίνος είν’ το περιβόλι
XVIII. Και τα Κεφαλλονίτικα
XIX. Και πού θα λημεριάσουμε
XX. Η Καλαματιανή
XXI. Κάλαντα Πρωτοχρονιάς
XXII. Η Παναγιώτα εκίνησε
XXIII. Σήκω Διαμάντω
XXIV. Το λεν’ μάννα μ’ το λεν’
XXV. Τούτ’ η γη που την πατούμε
XXVI. Του παπά μας το γαϊδούρι
XXVII. Του Κίτσου η μάννα
XXVIII. Μ’ αγαπάς Γαρυφαλλιά μου
XXIX. Ώρα καλή στην πρύμνη σας
XXX. Κάτω στο γιαλό
FOREWORD BY THE ARRANGER
This arrangement for violin and piano of Vol.2 (Pieces No17-30) of the “44 Pieces for Children on Greek melodies for piano” by the Greek composer Yannis Constandinidis (1903-1984) was created during the collaboration between the piano and violin classes, of teachers Efi Terzaki and Augustin Moustakas respectively, at the Erateio Conservatory of Athens, from 2019 to 2020.
The goal of the arrangement is to provide colleague performers, teachers – and potentially their students – alike with a masterly, essential addition to the Greek chamber music repertory for violin and piano. Especially in Constandinides’s case, the arrangement embraces the goals of the original composition: “…to bequeath part of the Greek, folk music tradition to younger generations through a collection of short pieces for young piano students”.
Key features of the arrangement
Owing to the fact that Constandinidis based his work on traditional Greek melodies, his original composition is a prime and rare example of the Greek music idiom, rich in folk elements in terms of rhythm, harmony and modality – as always seen under the prism of Constandinides’s particular, musical language.
In relation to its potential, educational aspect, the arrangement presents both beginner and advanced students with collection of works with a wide range of difficulty, enabling teachers to assign their students a piece of the appropriate technical level, according to their needs. As for the organization of the material itself, the orchestrational approach is varied from piece to piece and characterized by certain key features, aiming to develop aptitude in elements inherent in most chamber music works, and at the same time, make the collection accessible by teachers and students:
1. Non-static orchestration, with an emphasis in role-exchange between instruments, that broadens musical perception and requires active communication between players
2. Ostinato lines, where permitted by the original, that automate repetition and facilitate multitasking
3. Variations as a method for scaling technical difficulty
4. Idiomatic, intuitive writing for both violin and piano
5. Integration of humoristic elements (whenever it is permitted by the character of the original piece) as educational motive
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