HO MMMM TE SES UNG, MANOE XATZIAAKIZ Tre pac pakpy evky, wx Beebo NIPEAOYAIA KAI XOPOl ETO NIANO ey. MANOS HAD/IDAKIS For a little white seashell PRELUDES AND DANCES FoR THE PIANO op.t SY TMINL Ml tN 4 Sel re : S . S 2EXETIKA ME TO Y®OE KAI THN EPMHNEIA TOY EPPOY Me pra euovm axéyBcia xpos to aiofmpatixd xaikio, rov ovvnbitay Gtov Karpd pov ot maviotes Kat ta NBcia (Kat Rov Svorwydc ovvezitovv néypt ofjucpa), n AXIBAAA ypaomnxe we ja 61G0eon, Oa” Aeya, avdpa~ crus, AvtiSpdcsag otHY Taham@pnpevy «Hover cvatcysia», O10 HE YPOLATIOTA POROPt «aioONLa» nov KaBopiter o SéoKaros, ot coBapoga- vei StSaoKdhov Kar povsoupydv Kar TeRos, OTH KADE OKOVLOBEVN avti- Anyn, evpanaixrs enapziaxiis KotaBodrs, yop@ and tT Movorxt Ker THY epynveia t™s. Tu avté 1 AXIBAAA npénet va naitetar pe avomnpy propixy aiodnon Kat [te tO poodtoptopévo and Tm ypagr tov aisOnpa. Ta népa and vo mpoBhenopeva Opie, eivar Kor aypyota xi entBraBr. H AXIBAAA civar Eva avtipopaveexd Epyo, tovAdytotoy He THY Evvold Tov bivay orn XEN o Korhave Kat o Tpoxdgieg pio” an rm pov tous. Kade eppnvertrxt vmepBokn Kar puOurer avdatpecia, yehororotei tov epunvert Kar eagavilet ty HovstKr ovsia tov épyov. MX. CONCERNING THE STYLE AND INTERPRETATION OF HE WORK Thanks to my innate loathing for sentimental interpretation in my time, the usual case with pianists and Conservatories (which ‘unfortunately, still exist nowadays). “FOR A LITTLE WHITE SEASHELL” was composed with a so-to-speak, reactionary intent. Reaction against maltreated “musical sensitivity”; against “feeling” as defined by the teacher with a coloured pencil; against the pomposity of professors and composers; and finally, against every dusty concept (provincially European in origin) concerning Music and its interpretation ‘This is why “FOR A LITTLE WHITE SEASHELL” must be performed with fa strict awareness of rhythm and with the feeling defined by its actual written form. Everything beyond the prescribed limits is both useless and harmful. “FOR A LITTLE WHITE SEASHELL” is an anti-romantie work at least according to the meaning given the word by Copland and Prokofiev in their music. Every exaggeration in interpretation and every arbitrary choice of rhythm ridicules the interpreter and ruins the musical essence of the work. MLLTIA MIA MIKPH AEYKH AXIBAAA TIPEAOYAIA KAI XOPOI ZTO TIIANO FOR A LITLE WHITE SEASHELL PRELUDES AND DANCES FOR THE PIANO Op. 1 (1945-1947) tov Nixo Kobvéovpo MANOE XATZIAAKIZ: EMBATHPIO (MARCH)hoot a : =t = == =ZYPTOE (SYRTOS) Sa Ss as. EE Ef te FFF Fieri FeFt ##?en —— t Psubito | ———— [np ——rail poco @ poco a tempo EPN. 6sZYNOMIAIA ME TON LEPTIO TPOKOOIE® (CONVERSATION WITH SERGEI PROKOFIEV) A TL. Pin tempo rigoroso, sonra rubatoafte LE (tf ee eaTEZAMIKOL (TSAMIKOS)£ = * Sge: B SSMANTINAAA (MANDINADA) ANDANTINO dive TL. ce ¢ tranquillo Se poco sostenuto en a eeRitmico e leggiero E.P.N, 55MITAAAOE (BALLOS) Fie ffs SF. Dw, < a ids aid be J fl. ld 7 2 2 ie 2PPN «ce