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Thread: Diferencias

  1. #26

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    Mark, I have replied to you via direct e-mail. The folk mandolin editions you write of are on the Café's classifieds, although by now they must have receded chronologically to the 4th or 5th page; you can look them up there, if you wish. They are scored for mandolin and guitar, i.e. in the format in which they were usually performed in their own era.

    I have not mingled my Mandolinatas with my public offer of the Diferencias, as they are, ehm... different: The former are compilations, collections, anthologies of traditional Greek music for mandolin, and are for sale; the latter, for all its simplicity, is technically a "concert"-piece, of folk derivation but still in a sense original, and offered to any and all of my mando-friends gratis. I certainly do not intend to make this offer seem as a marketing ploy for my other editions.

    Yes, it would have been great to have you at Carlo's workshops this coming weekend, although this would enlarge the circle of people to realize that I am more talk than pick Oh, well... between friends...
    It is not man that lives but his work. (Ioannis Kapodistrias)

  2. #27
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    Hi Victor,

    Thank you very much for your "Differencia" mandolin solo. #I have been working my way through the piece and enjoy it throughly. #It is truely a soulful composition, and I hope to learn to play it well and with all the soul and spirit it deserves. Thanks again.

    Jonathan
    Jonathan R.

    "Music is my mistress and she plays second fiddle to no one." Duke Ellington

  3. #28
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    Many thanks for the piece, Victor! It looked somewhat intimidating but I was happy to notice I could play it sight reading, anyway. To "play it well and with all the soul and spirit it deserves" - that will definitely take some time!

    It nice to play some modern, a bit different music. The classical stuff I have played has been mainly Baroque and 18th century music - the Romantic turn-of-the-century virtuosos are far beyond my technical abilities.

    As my notation reading skills come from piano playing, there are some markings I would like to clarify. The small ´o´ below the note means open string? But what is ´+´? A short trill? Pulled-off grace note? Pardon for my ignorance...

    with thanks for your kindness and generosity,
    Arto

  4. #29
    Registered User Plamen Ivanov's Avatar
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    Hello Victor!

    Thank you for the piece! I like it! It`s not a Calace prelude, but it`s OK!

    OK now I`m serious... I see some very positive things in the whole thing. First of all it`s obvious, that the piece has been written from a composer, that knows the specifics of the instrument "mandolin" and the specifics of the mandolin playing. I find this to be very important! In the last years there are some Italian composers, that come to Bulgaria, in order to record their own music (usualy soundtracks), because it`s cheaper and the quality of the musicians is excellent. The pieces are of course for simphony orchestra, but sometimes, there are also one or two mandolins included. I had the chance to take part in some of this recordings and it`s always clear, when the composer knows the specifics of the mandolin and when he has written a part for the mandolin just because of any other reasons.

    The second positive thing is that the piece is not complicated and could be played by more non-professional mandolin players like me, for example. I`m not a follower of the maxima "Art for the Art" or "Art for itself".

    Third - Yes, it`s a modern piece, but it has kept in itself some specifics of the music, that it`s based on. That`s what I also like - It`s personal perhaps, because it`s a Balkan piece and it`s close to me.

    Victor, I hope you will go on with your noble undertaking - to compose for our beloved instrument. I`m sure the next compositions will become better and better. It`s also very good, if the Classical Area on the Board has something to do with your inspiration. I personally will be very happy to see here other people with any interest to the mandolin - composing, playing or just learning about it.

    Thank you once again and good luck!




  5. #30

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    Thank you for your kind words, both.

    Arto, yes, the little circle means open string; the little cross (as you guessed), a pulled-off grace-note or in general a note sounded by plucking with the left hand, i.e. not picked separately. Both effects are native to the style of folk playing, which this piece aims to evoke.

    Again, what a supportive community this is!



    It is not man that lives but his work. (Ioannis Kapodistrias)

  6. #31
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    Victor,

    I had a look at the piece. It is interesting but am I to assume that the entire piece is played 'sans tremolo'? The tempo is slow enough to allow it but the way it is written makes me think that it is simply played with simple strokes.

  7. #32

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    Yes, Richard, you are right: No tremolo is intended. Now, if a performer feels it is imperative to his/her interpretation, well, I certainly would not object. Still, my personal conception of the piece involves no tremolo.

    As Richard Strauss once told Lotte Lehmann in a rehearsal of Der Rosenkavalier: "No, no, I had NO such intention! Keep doing what you are, though..." #



    It is not man that lives but his work. (Ioannis Kapodistrias)

  8. #33
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    I finally had time to sit down and try the piece. Very nice Victor; thank you! A bit challenging for me but good practice. I especially like the cross-picked parts (is there a classical term for cross-picking?). I'd appreciate ensemble parts of the piece, if you create them. Thanks again.
    Fiddles
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  9. #34
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    Two weeks or more down with the flu, plus a confluence of events, has kept me from a serious attempt at resolving my differences with this piece. I'm mightily impressed with it, and mightily impressed with the thought that, given time, I might be able to play it. I'm certainly enjoying the process.

  10. #35
    Registered User CharlieKnuth's Avatar
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    Victor, I have a chance to read through this piece a couple of times and am really enjoying it. Thank you for making this available to us as a community. This really is a treat to play through. It is really good to see mandolin pieces being written today.

  11. #36

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    Thank you, Jim, Bob, and Charlie.

    Jim, I don't know what the "classical" term for cross-picking would be; whatever the actual technique is, well, I have always known it to be part and parcel of mandolin playing— MY ignorance, as always.

    Bob, I am glad to hear (and surmise) that you are feeling better. Yes, the piece was intended to be playable by anyone with some basic skills, after, of course, some practice. Heck, if I can play it...

    Charlie, it's all a chain-reaction: Had it not been for Mandolin Café, it would have never crossed my mind to write a piece for solo mandolin— but, fortunately for all of us, there IS Mandolin Café, a wonderful community, some sporadic education for the uninformed like me (see thread on the Aonzo Workshop et al), a handful of real mandolinists around (see RSW, Neil Gladd, Aonzo, Mair, etc.) and so the mandolin culture lives on and prospers.

    I am both happy and honored to have planted another little seed in the garden. And, who knows, perhaps someone will perform the Diferencias some place where another composer will hear it and be inspired to write something of his/her own, and some members of HIS/HER audience will think of starting the Local Mandolin Society, and the culture lives on...



    It is not man that lives but his work. (Ioannis Kapodistrias)

  12. #37
    Jehanne
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    Got it Viktor!
    Much thanks! Will try to make time to work through it this weekend and will let you know what my uneducated ears think.
    Life is too important to be taken seriously - Oscar Wilde

  13. #38

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    A dear friend (and world-class performing artist) just asked me a question so obvious that I am embarrassed to not have answered it preemptively, earlier on. To wit: What does the song, on which these variations are based, actually say? Obviously, that has a HUGE significance to the character of the mandolin-piece.

    To make amends, then: The text is naturally in Ladino, that colorful blend of 14th/15th-century Spanish, Portuguese, Hebrew, and (post-exile) Greek, Arabic, Turkish (i.e. any language spoken where the Sephardim crash-landed). This is the original, to the best of my non-expert knowledge:

    Morenika a mi me llaman;
    Yo blanka nasí.

    El sol del enverano
    Me hizo a mi ansi.

    Morenika, graciosika sos.
    Yo moreno, tu morena,
    Mavra matia.

    (In the last line, most strikingly, the text abandons Spanish altogether and switches straight into Greek for the "mavra matia" bit.)

    The gist of it, as I understand it, is this: A young woman is making a flirtatious mock-apology for her olive/tan complexion, saying that she doesn't quite understand why people call her "morenika" ("little Moorish one", i.e. dark-compexioned), when in fact she was born fair.

    She offers as a logical (but probably untrue?) explanation that the summer sun made her so tan.

    Her suitor/lover replies most diplomatically that she is both dark-complexioned AND graceful. And, after all, if she is, so is he, dark-skinned and dark-eyed.

    My interpretation of the text is love-play, amorous repartée. The musical variations are ornamentation, embroidery, filigree; different veils, earrings, bracelets, same mysterious, charming young woman.
    It is not man that lives but his work. (Ioannis Kapodistrias)

  14. #39

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    Hello Victor,
    I received "Diferencias" in yesterday's mail. It's beautiful! Thank you so much,both for writing it and sharing it. I'm looking forward to spending more time playing it.
    Regards, Linda

  15. #40

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    Well, folks, one thing leads to another and then...

    I am happy to report that my major compositional project for 2004 (other than seeing the latest opera to the stage) will be a 15-minute Sinfonia for Het Consort.

    Alex and I have agreed to it and are in the process of ironing out the specifics; a "merry bond", really, not a "contract". Have no fear, though: No pound of flesh expected to be forfeited from either side of the bargain

    My gravest concern remains that, as Alex informs me that his house is not provided with a fireplace but only with central heating, he may have a terribly difficult time disposing of the voluminous pack of score & parts he is doomed to receive from yours truly by next Fall. Well, I will let him worry about that.

    Thanking you all for your warm encouragement,

    The Wizened Man of the Theater, Ever Struggling to Climb out of the PIT!!!
    It is not man that lives but his work. (Ioannis Kapodistrias)

  16. #41
    Mando-Accumulator Jim Garber's Avatar
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    Great news that among two of my favorite correspondents on this board have joined forces!! I can't wait to hear the results.

    Jim
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  17. #42

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    Very cool! I am very eager to hear the result.

  18. #43
    Registered User Plamen Ivanov's Avatar
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    Great!!!

    I think, that there are not just two of the members of the Board that have joined forces. I feel, that everyone here gets an impulse to do something more regarding the mandolin - learning new things, improving playing, writing music, searching for any mandolin related things, etc. I personally have received support from a lot of people here (and I hope, that I also have contributed for the friendly and beneficial atmosphere here) . So, I think we all have joined forces for something better. I`m waiting eager for the day, when we all will see each other somewhere, I mean, till we are still on Earth.

    Go on!!!

  19. #44
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    Well Victor, I think I found a solution for your high-quality music paper. You see, the Dutch have this strange habbit of burning all their Christmas trees in the open, right after New Year´s Day...

    But I don´t think that will be necessary, for I´m sure your composition will be something special. I already informed the ´crew´ and we can´t wait to see and play it!


    Best and warm greetings,


    Alex



    Greetings from ´Het CONSORT´.
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  20. #45
    Registered User Alex Timmerman's Avatar
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    Hello Victor,

    Ferdinand has studied your Diferencias and we thought it could be nice to have a sound-sample of it here.

    Is that OK with you?

    Greetings,

    Alex

  21. #46

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    Certainly, Alex. It would be nice to hear the piece as played by a more, ehm... adept mandolinist than yours truly.
    It is not man that lives but his work. (Ioannis Kapodistrias)

  22. #47

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    Dear friends,

    in a few hours we are embarking on the obligatory pilgrimage to DisneyWorld; we do, after all, have a 6-year-old daughter growing up in America and we would not wish her to be culturally deficient, would we? #

    In light of our projected absence for a week, and should Alex post Ferdinand's performance of my Diferencias in the meanwhile, please do not misconstrue my non-response as indifference or (worse yet) tacit disapproval.

    And no, I am NOT taking a laptop with me to DW. Doing so would be a sign of dreadful, serious dysfunction! #

    Talk to you Sunday after. Happy New Year to you all in advance!

    Victor



    It is not man that lives but his work. (Ioannis Kapodistrias)

  23. #48

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    Victor, I am really interesting about your work - can you please contact me? I would be very pleased to have a copy!! Thank you and happy new year!!

  24. #49

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    vic, the girl of samos, samiotissa, whatever its called..... I have heard this song all of my life, and I have often played it, except with different changes, or a different chorus I should say. Is that the "one true" version, or are their variations of this tune? also I am used to hearing it in G major, of course, that makes no difference.... aside from mandolins, earlier I had told you of my mothers family being athenians. (contredemus) pardon, it has been many many years since I have ever seen that name written. I think I have seen it spelled differently of different documents. I guess greek to english is messy business. makes you wonder how people believe the bible "word for word" when they dont even know what it really says. anyway, my father also, his mother, is also greek,(shuniak is carpathian) Constantitives is his mother's family name. that may be spelled wrong, I'll have to edit this later. well anyway, I just found all of this out when my dad gave me his accordeon. my greatgrandfather, was the admiral in the greek navy during the wars with the turks around the turn of the last century. I guess in greece they call an admiral a "cheif engineer". anyway, my dad is emailing me a page from a greek history book that credits my great grandfather for liberating the isle of chois from the turks. ( I am not trying to brag, he was great, I am just regular old meatball jeff) I remember when I first joined the cafe, someone was asking if its ok to mix greek with turkish music, well personally I could care less, but I would guess someone more "greek" could be really offended. It would be like playing Nazi war music to jewish people.

  25. #50

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    Happy New Year to all!

    Aleko, sure, I would be glad to send you a copy of my Diferencias. Just e-mail me your full name (I just realize I never knew your last name) and your postal address and I will put a score in the mail to you immediately.

    Jeff, as regards "Samiotissa": I presume (?) you are speaking of the particular edition of this song/dance in my Aegean Mandolinata, measures 19-29. Well, what I have published is actually the only way I have ever heard it or played it. Hmm... This, of course, is not to say that MY edition of it is THE one and only true one. After all, this is a Aegean folk-song that goes back a couple of centuries perhaps.

    As regards different "changes", i.e. chord progressions, I believe there is a tendency to try to make folk songs "fancier" by interjecting more, ehm... recherché harmonies; I, on the contrary, opted for the simplest, plainest, folkiest. If your taste takes you elsewhere, well, enjoy!

    Also, as regards a different "chorus": So very many folk songs/dances are similar in meter, character and (naturally), type of dance. So, it is entirely possible that you have heard the "A section" of song X coupled with the refrain of song Y, then leading without break straight into the "A section" of song Z. Perfectly OK.

    As long as you enjoy the picking...
    It is not man that lives but his work. (Ioannis Kapodistrias)

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