# Music by Genre > Orchestral, Classical, Italian, Medieval, Renaissance >  Basque Variations

## vkioulaphides

Well, dear friends, here is my latest offspring:

Variations on a Basque Melody, based on a folk chant from the Basque region of France.

I was thoroughly enamored of this melody when I first heard it who knows where, who knows how?#early this year, and resolved to write a set of variations on it, for solo mandolin. The intention was that these variations would unfold in the "Mediterranean" manner, i.e. various figurations adorning an underlying melody; that compositional procedure seemed to highlight this haunting melody best.

[The aesthetic contrast I am making is between the above procedure and the more "sophisticated", "German-type" variations, which involve a more thorough disintegration and reconstruction of the melody, down to the motivic level. I am hardly the one to put down Beethoven, of course...]

While the actual melody was in my head for a while, the actual variations were written this summer, while I was basking in the Mediterranean sun myself no Basque, I, but... Please forgive any "Greek accent" in my endeavor.   

Enjoy, friends! _Gaudeamus!_

Victor

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## John Craton

Victor,

What a haunting melody! And what excellent treatments in the variations! Thanks for sharing this.

Now I guess I'll have to go inside and practice #

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## vkioulaphides

[QUOTE]"What a haunting melody!"

Yes, isn't it? I was mesmerized by it upon first hearing... I can, of course, take no credit for it but thank you for your kind words regarding the actual treatment of it. I also thank, as usual, Jim G. for going through the trouble of posting the pdf and the mp3.

Speaking of the latter, well... technology is as good as technology is. For example, you cannot reasonably expect ANY machine to perform a human, metrically UNstable, soulful _senza misura_ section of a piece. How could it? So, obviously, let each (wo)man suit his/her taste with the introduction.

The statement of the melody itself is also meant to be rather leisurely, with "lazy" arpeggiation of the chords beneath the tune. Again, let humans be so. It really should sound as if the performer is making the tune up on the spot... 

In the first variation in fact the very _raison d'etre_ of the first variation the melody in the bass ought to be perfectly _legato_, perfectly sustained, beneath the "sprinkling" _obbligato_ above it. Hence the technical challenge inherent in this variation (hey, I haven't been studying Tartini for nothing!)

Finally, the _moresca_ and the final variation ought to have a certain, ehm... *rambunctious* effervescence that no self-respecting computer would ever allow itself. Let us humans rejoice in our "imperfections"!   

Pick on, mando-brethren!

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## glauber

What do you mean, that wasn't you playing in the MP3?

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## vkioulaphides

*with jerky, monotone voice, and wobbling, robotic arms* 

"Warning! Warning, Will Robinson!" "Alien *mordent* coming up!"

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## margora

A lovely piece, as usual. Technically straightforward, mm 124-127 do require some extra care at tempo. Victor, one question: the variation starting at mm 61, first time through I played as written, second time it occurred to me that, as the intention seems to be duo style, one can obtain a somewhat more brilliant and legato effect by playing a faster tremolo (eg. 64th notes) in the melody (worked for me). This might require playing some of the bass notes using l.h. pizz, not sure, have to experiment a bit.

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## vkioulaphides

Thank you, Robert. 

Yes, mm. 124-125 is where the player "pulls all the stops"#you are, of course, right: rushing could be, ehm... _lethal_.  

Regarding the variation starting at m. 61, obviously (and unlike the sound of the mp3, which misreads the "shorthand" notation as doo-dah-type double-stroke, as opposed to measured tremolo): Well, Robert, if you CAN do 64th-notes at *quarter* = M.M. 66, well, you are a better man than most!

With all due respect, though, I suspect that you are playing 64th-notes at a subconscious tempo of *eighth*-note = M.M. 66. If you are truly doing what you claim you are, your pick should be close to vaporizing in the process!  

But, of course, I am honored and delighted that you enjoy the piece. Thank you.

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## vkioulaphides

Oh, Robert... I THINK I understand the problem.

Please look at m. 61, where the measured tremolo is all spelled out as 32nd-notes. The "shorthand" notation in the following measures, be it in double-slashes or in single-slashes, *ought to sound at the same speed* as the spelled-out 32-notes. THAT is precisely what the mp3 does not understand, and so misreads the measures from m. 62 on as alternating between a dull, doo-dah double-stroke, and a frantically motoric, dentist's-drill-type _tremolando_.

This is, I think the point that remains vague... I have in the meanwhile made another "ghost" score, one where every little micro-note of the tremolo is spelled out, and sent it to good James G. Let's see if he can post that one, instead.

Also, in m. 30, the mp3 does the mordent as A - B-*natural* - A; obviously, the "neighboring-tone" inside the mordent is a B-FLAT. That, too, has been spelled out as a double grace-note in the above "ghost"-score.

Oh, humans are SO much better than machines! #

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## margora

Victor: I'm at work, sans mandolin. I understand what you are getting at. What I am saying is I can play the variation with a faster tremolo. This does, no doubt, require a somewhat slower underlying tempo but not much (I didn't play with a metronome, but I am sure you are correct). The way in which the score is currently written invites such experimentation on the performer's part since the shorthand notation "looks like" many a duo style passage. It's a (slightly) different effect (i.e. if the intention is duo style there are different ways of achieving the outcome, the tremolo is measured but the number of beats is left to the performer's discretion). But I do understand what you want via the original notation, and there is no problem whatsoever playing the variation as written, at the requested tempo.

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## vkioulaphides

Well, as always, Robert, I would always err on the side of the _performer's_ discretion and not get all caught up in the composer's pre-staged notation: if you wish to play it, in duo style (as you correctly understand the intention), but in tremolo faster than the printed 32nd-notes, why... certainly!

Once again, this is a reflection of my own, lazy, slow-ish conception of tremolo altogether. Anything faster is, of course, perfectly OK. My own tremolo begins to sound as such (i.e. and NOT like double-stroke) at around M.M. 60-ish; by 66-72, it is prime-time; by 80, it "shifts gears" down to "triplet-tremolo", so that triplet-tremolo around 80 IS effectively the same rate as "four-by-four" tremolo at 60 (the arithmetic works out naturally, by simple "metric modulation")

Whatever you do... enjoy, my friend!

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## glauber

> Also, in m. 30, the mp3 does the mordent as A - B-*natural* - A; obviously, the "neighboring-tone" inside the mordent is a B-FLAT.


I heard that. Very jazzy!

That thing had me fooled for a couple of measures - i thought: "hmmm, interesting mandolin sound, must be the recording, but this guy really plays super straight!" But after a while it was obvious it was a machine. It does really weird things with the duo style passage. You probably have to spelll that out as 2 voices or 2 instruments, for it to work.

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## vkioulaphides

Yes, in fact I _have_ spelled it out, each and every little 32nd-note of it, put it in MIDI, and emailed it to Jim G. As soon as he has an opportunity to post the "ghost"-score made especially for the benefit of a quasi-realistic MIDI, you will have a better idea than the current mp3.

And, thankfully, no: while my mandolin-playing may be wretched, SQUARE it is not!

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## vkioulaphides

[QUOTE]"This does, no doubt, require a somewhat slower underlying tempo but not much..."

This brings me, Robert, to a rather crucial point: while the _absolute_ metronome-marking of M.M. 66 is, of course, flexible and up to the performer's prerogative, observing the _relative_ marking of _più mosso_ is absolutely essential.

In other words, if you (i.e. qua hypothetical performer) play the variation that begins on m. 61 any _slower_ than the PREVIOUS tempo (i.e. M.M. 60), presumably with a faster PER BEAT tremolo than I had in mind, then the "real rate of progression" of the piece sags. # #A sad, sad effect... 

Quite au contraire, the necessary impetus that drives this piece from beginning to end is specifically an ACCELERATING real rate of progression, from the tempo-less introduction to the blistering finale.

So, while I am as liberal a composer as you will ever find, I am not by the same token a thoughtless one: anything and everything will work just fine, as long it doesn't undo the "core principle" of the piece. And, as you certainly understand, a piece in theme and variations form inherently a repetitious one DOES need some such progression to drive the point home. 

Beyond that, _juvat sonator!_

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## margora

[QUOTE] "This brings me, Robert, to a rather crucial point: while the absolute metronome-marking of M.M. 66 is, of course, flexible and up to the performer's prerogative, observing the relative marking of più mosso is absolutely essential.

In other words, if you (i.e. qua hypothetical performer) play the variation that begins on m. 61 any slower than the PREVIOUS tempo (i.e. M.M. 60), presumably with a faster PER BEAT tremolo than I had in mind, then the "real rate of progression" of the piece sags.  A sad, sad effect... "

Oh, yes, Victor, I recognize(d) this, and should have emphasized as such in my previous remarks. If one does what I describe, it is absolutely crucial to maintain the relative metronome markings, i.e. execute the piu mosso correctly. This means one selects the tempo appropriately in the preceding music. The same caveat applies, of course, to the last variation. One does not want reach said variation and find that, because the previous variations have gone by too quickly, it is impossible to play the last variation at the indicated tempo.

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## vkioulaphides

OK, we are on the same page, Robert. 

From your other posts, I understand that you are an admirer/adherent of the ergonomically superb, "New German School", and so I suppose that your tremolo is a good deal faster than mine; well, perhaps not 64th-notes in M.M. 66 as that would conjure the image of e.g. Mr. Tewes, after 147 espressos. # 

Curiously, both my tremolo on the mandolin and vibrato on the biiiiig fiddle settle somewhere around the high 60's, low 70's much like my rather placid, imperturbable heart-beat... how odd! The result, of course (and, perhaps, even the implicit _goal_) is a more "throbbing" effect, rather than a brilliant one.

Everything you write above makes perfect sense. Enjoy the picking, caffeine and all! # 

Cheers,

Victor

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## margora

Victor, for me to duplicate Mr. Tewes' right hand, would require at least 294 expressos + much practice.

Incidentally, Mr. Tewes' website has some new videos, a superb performance of one of the Vivaldi concertos.

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## vkioulaphides

Yes, I just watched that video yesterday. Amazing!

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## vkioulaphides

Incidentally, ever-generous Jim G. informs me that the MIDI from the "ghost" score (in which I spelled out every little micro-note) is now posted and available for audition.

MIDI is, at the very best, a very imperfect medium. The crux of the first variation, for example, is that the pitches of the melody (in the bass) absolutely MUST be held, full value. It baffles me why the MIDI distorts the intention into short notes in "Layer 2"... (No fault of Jim's, of course; I get the same aural result at my own terminal, absent all complications brought on by uploading, etc.)

I do not worry, though; all MC-friends without exception are musicians enough to read the intended effect straight off the score. Then, the _really_ tricky part#beats me every time: _playing_ the variation the right way!

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## NYClassical

nice! printing shortly!

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## Embergher

I just found this thread a few days ago ... I was wondering why I missed this before, but I notice now that this thread was started when I was in Spain for the Plectro Rioja festival.
Anyway, it's a really nice piece, I liked it so much that I made a recording of it.  # Many thanks Victor!!

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## John Craton

> I liked it so much that I made a recording of it.


Lovely interpretation, Embergher! Thanks for posting this.

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## vkioulaphides

A luminescent and wonderfully polished performance! I am honored and delighted that such fine performers as Ralf have enjoyed my compositions.

Perhaps, Ralf, your _next_ visit to Rioja, you can perform this in public. 

Uh-oh... now, I would not want to cause a *diplomatic crisis* with that Basque tune in Spain... # 

Great job, Ralf!

Cheers,

Victor

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## mandoisland

Hello Victor - thanks for this nice piece, I will try to learn to play it as well as Ralph has already recorded it.

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## vkioulaphides

You are very welcome, Michael. 

Since this piece has a certain "improvisatory flavor" built into it, I expect each and every interpretation to vary in this or that detail. And that is wonderful! Let each one be his/her own, imaginary Basque lutenist.

My first composition teacher, the venerable and universally dreaded!    Ludmila Ulehla, used to say, "While we all may look at the same cloud-formations, one person sees this, another one sees that in them... And *that's* what makes the world go round!"

Words to live by...

Cheers,

Victor

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## billkilpatrick

lovely piece, victor. the original melody sounds troubador-esque and medieval, methinks with your clever, absolutely genuine HIP sounding variations from a later, early period - just perfect! way, way, way beyond my playing capabilities, alas, but lovely. 

well played, ralf.

i think i could manage something with the original melody however. may i ask the name? ... lyrics, perhaps? i'd like to have a go with it on my oud, coupled with some heart-beat-like thumping of drum and tasteful lamenting from one of the lower register recorders.

you really should do this sort of thing for a living, victor ...

ciao - bill

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## vkioulaphides

Many, many thanks, Bill. 

I don't really know the name of the original tune; I just heard it somewhere, somehow, and it stuck to my memory#the origin was mentioned, perhaps by a radio announcer, or on a record-sleeve. Who knows? It is definitely a Basque folk tune (and therefore obviously public domain), so I never had to research it as per the legal ramifications of using it in my own music. So, please extrapolate the tune (the "theme" of the variations) and play it on your oud at will. I don't "own" the theme any more/less than you or anyone else around the world.

Musical memory is a funny thing... I am currently, in feverish inspiration, composing a _Concerto da camera_ for Ralf and his group, La Napolitaine of Antwerp, Belgium. Now, somehow I *know* that the theme of the second movement is a madrigal from the Spanish Renaissance, called "Los ruiseñores" ("The Nightingales") but, for the life of me, I cannot *prove* that it is...  You know, having been a musician since early, early childhood, tends to blur the lines between impression and imagination. I hope that Ralf and his colleagues enjoy the final product; I am no historian/musicologist, and have nothing invested in the strict accuracy of provenance, origin, etc.




> "you really should do this sort of thing for a living, victor ..."


Ehm... I do, Bill. Some things, however, are marketable, others not. In the case of my solo mandolin vignettes, selling them as sheet music would be uneconomical. It is therefore better business and great pleasure of sharing with friends across the world to simply make them available as free downloads, and perhaps some day there will be royalties from live performances in lincensed venues. Or, at the very least, they create a "buzz" that can engender other works. There's method to my madness...  

Thank you for the kind words. Enjoy the tune#on whatever instrument!

Cheers,

Victor

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## billkilpatrick

in playing your basque melody just now on my oud, along with ralf's mp3, i was struck by how suggestive it is of a - sort of - la folia pattern. #

a google search for "los ruiseñores lyrics" produced several interesting mentions - one of which is a birthday song ... might be the reference you're looking for.

my tongue was firmly in my cheek when i suggested that you to do what you are already doing so well.

again, many thanks for a lovely ... hypnotic ... composition - bill

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## vkioulaphides

Good night, Bill... # 

Actually, even while asleep, you are probably more _awake_ than I; I took your comment at face value, especially as, roughly at the same time as I was replying to you, I was discussing this very matter in all earnesty, of course with two colleagues, one a composer, the other one a performer. So, I was "on the mental track", as it were, of professional musicianship and its complex ramifications.

I will do at least _some_ research on Spanish nightingales... # Yet, as Stravinsky wrote on the subject of evoking antiquity, "in such matters, a *living imagination* far outweighs a *dead fact*". If my recollection of said madrigal is 99% imagination, 1% textual accuracy, well... I _still_ rest my hopes on the actual and hopefully positive reaction of Ralf and his colleagues to my piece, whenever it's ready.

Cheers,

Victor

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