ABSTRACT
In a set-group consisting of several superimposed sets, Skalkottas only infrequently combines set-forms of a set at different transpositional levels; this technique is primarily observed in the chamber works, which are built on a limited number of predominantly linear, ordered twelve-note sets. Skalkottas uses both the retrograde forms of individual sets, and palindromes that embrace the entire texture. Single sets in retrograde form are usually presented with their prime form. Apart from the occasional use of the retrograde form of S6 employed in the Andante cantabile of the First Piano Concerto, retrograde forms of single sets are frequently employed in the chamber music works. In the Fourth String Quartet Skalkottas simultaneously uses prime and retrograde forms of both single sets and twelve-note melodic gestures. In the Andante cantabile he uses sets that derive from inversions and retrograde forms of the referential sets. Skalkottas uses both the retrograde forms of individual sets, and palindromes that embrace the entire texture.
