Although he continued to write chamber music, Kodály’s focus shifted over the ensuing decades. It was therefore to Bartók that attention turned in matters of the string quartet, and the Hungarian chapter of the genre’s history is dominated by his six contributions. But in 1952, long after the premieres of revered works such as Psalmus hungaricus
, Háry János
and The Dances of Galánta
, and the establishment of his educational philosophies, adopted internationally as the ‘Kodály Method’, the composer penned a Gavotte for three violins and cello. Although the form and language of the work are modishly neoclassical, there is a heartfelt simplicity that is unmistakably folkloric.
from notes by Gavin Plumley © 2014