For A Little White Seashell, Manos Hadjidakis, 1948
dedicated to Nikos Koundouros
Preludes and dances for the piano op. 1
I. March / II. Syrtos / III. Conversation with Prokofiev / IV. Tsamikos / V. Mantinada
/ VI. Ballos / VII. Nocturne / VIII. Kalamatianos / IX. Pastorale / X. Grand Sousta
Danae Kara - piano
Concerning the Style and Interpretation of the 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 a 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-romantic 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.