Diferencias

[vkioulaphides]

Dear mando-friends and mandokin:

Last year I composed my first (and only, so far) work for solo mandolin, titled Diferencias, on commission from a group that performs Sephardic music and dance, i.e. of the Judeo-Hispanic cultural heritage from the 15th century on. Diferencias, accordingly, is a set of variations on a traditional Sephardic tune from Thessaloniki, Greece, were a large such community lived up until the unfortunate events of WWII.

Up until today, I was restricted from circulating this piece in the U.S. by contractual obligations with the group that commissioned it; these restrictions have just expired and I am hereby making a public offer of a free copy to any and all of my MC-friends.

If interested, please just e-mail me your snail-mail address and I will drop a copy in the mail for you ASAP. All I ask for in return is, should you ever perform it in public, that you send me a copy of the program.

[RSW]

Dear mando-friends and mandokin:

Last year I composed my first (and only, so far) work for solo mandolin, titled Diferencias, on commission from a group that performs Sephardic music and dance, i.e. of the Judeo-Hispanic cultural heritage from the 15th century on. Diferencias, accordingly, is a set of variations on a traditional Sephardic tune from Thessaloniki, Greece, were a large such community lived up until the unfortunate events of WWII.

Up until today, I was restricted from circulating this piece in the U.S. by contractual obligations with the group that commissioned it; these restrictions have just expired and I am hereby making a public offer of a free copy to any and all of my MC-friends.

If interested, please just e-mail me your snail-mail address and I will drop a copy in the mail for you ASAP. All I ask for in return is, should you ever perform it in public, that you send me a copy of the program.

I, for one would be very interested in your piece. I believe you have my postal address. An uploaded digital version would be fine too (save on the postage).

Richard

[vkioulaphides]

Sure thing, Richard. I will have your postal address once I receive the CD with Munier; if you wish to expedite this further, you can always drop me a note with your address through MC's messenger.

Stupidly enough, I was remiss in sending this to you anyhow, as the restrictions only applied to U.S. performances prior to 10/1/03. So far (and other than myself and the director of the group that commissioned Diferencias, of course), only our friend Alex has seen this piece.

A digital version did cross my mind, but I am hopelessly old-fashioned. In my own, rusty mind, a musical score is and will always be a kind of a fetish: a snapshot of my life's experiences, handed to a performer who might share them. Digital technology is a wonder; still, it is not my path of choice in such matters. Call me a hopeless case, perhaps...

[Eugene]

I am mightily interested as well. #However, I suspect the title of the tune might be misinterpreted. #Diferencias was the word used in Spain to describe any set of variations on any tune from the renaissance into the baroque era. #Books for vihuela de mano and early guitars are packed with reams of diferencias sobre "las Folias," "Conde Claros," "Guárdame las vacas," etc. #I'm not familiar with any one tune to get the "diferencias" moniker on its own. #Can you hum a few bars? #Can I compensate (faster than I did the last time)? #No need to mail; I'll see you in a couple weeks!

[vkioulaphides]

Eh, well, Eugene, the full title (true to the semantic exigencies that you correctly point out) ought to be "Diferencias sobre Morenika", morenika being the seductive, dark-complexioned young woman mentioned in the lyrics of this classic Sephardic song from Thessaloniki, where I spent some of my childhood. I just opted for the generic title— you know what I mean.

No, no monetary compensation needed; I only hope you and others enjoy it. I will remember to bring a copy for you when we meet.

[Eugene]

I'm certain it's tres chic under long or short title!

[Neil Gladd]

Victor, I had spied that on your website recently and meant to ask you about. I want one too!

Neil

[Bob A]

Victor, I too would be very pleased to have a copy. Is it at all within reach of those of us with more enthusiasm than talent?

[Jim Garber]

Victor:
I am also interested. We will finally meet in person at the Aonzo workshop so you can bring it there. At the moment I would have tim eto just glance at it since I am boning up on the Carlo pieces.

BTW are there any other composers on this list besides Victor and Neil?

Best
Jim

[vkioulaphides]

Neil, do I have your postal address? All I find in my records under your name is your e-mail. Would you be kind enough to e-mail the snail-mail address to me, so I can drop a copy of the score in the mail today?

Bob, certainly; this piece does require some practice to bring up to performance level but is still readily playable at first sight.

OK, Jim, I will bring you a copy. Your comment regarding "boning up" for Carlo's classes is a painful reminder of my own inability to practice much mandolin at all these days; the Bach Festival I play (bass) in begins today, a gazillion rehearsals and other such stuff running concurrently... Aaaaaaargh! At least I will be among friends, who are presumed (and hoped) to be kind to my deficiencies

[JimD]

I'm looking forward to recieveing Victor's piece as well.

To answer Jim's query about composers. I am a composer, though I haven't yet written a solo mandolin piece--mostly chamber music (small and large ensembles), solo instrumental, choral and vocal.

I have recently begun work on a piece for mandolin and tape. More about that when it's done...

[margora]

Today's mail brought a copy of Victor's piece. I immediately took out the mandolin and played through it. What can I say -- it's a lovely piece! It has a strong theme, with a dark, arresting quality to it, and the variations are developed throughout with great skill. It is not a piece by any means for a beginning student, but everything is very playable and lies extremely well on the fingerboard (on the Vogt&Fritz scale of things, I would rate this between a 3 and a 4, sort of advanced intermediate). It should be published.
As is my custom, after playing through "Differencias" on mandolin, I then played it on classical guitar (Victor, I hope you don't mind&#33. It sounds great on guitar too! So it is not surprising that the other piece Victor sent me, the "Preludio" from the "Preludio, Fantasia e Toccata" for guitar is also an excellent piece, with some unusual harmonies in the bass. Victor, can't wait for the rest of the movements!

[margora]

Addendum: I think we should collectively encourage Victor to write MORE solo pieces for mandolin (and guitar)!

[Alex Timmerman]

I completely join the party here!

What is most interesting is that Victor´s "Differencias" for mandolin solo is composed in a very much ´own´ style and that it is so well written for the instrument. And that it is a four! page composition!

If you don´t mind I will give my first impression here:

The theme is very much present throughout the piece, starting quite evocative with two long fermata chords. Then it develops in a more singing (cantabile) way, ornamented with nice thrills (prallers) and grace notes. Interestingly in bar 18 the pulse changes to a 3/4 rhythm through which the melody, now accompanied with sixteenth chord notes, an even more flowing character is given.

Unlike bar 5 to 17 - where chords were placed in a vertical manner - now a much more polyphonic sphere is created.
A well-found transition bar leads the sixteenth notes into a 6/8-measure section in bar 46 and will really challenge the player. Here one just feels the growing excitement! Followed in bar 75, where sixteenth accelerando notes on the open d string (acting like a kind of pedal organ point) have to be played before being shout down by sixteenth interruptive notes which have to be executed on the a string.
This fine section -clever writing- is repeated after a rapid eight bar scale passage.
A great a suggestive find appears just before the end in bar 92 where one has to work from subito piano - alternating the melody with the open d string - up to forte arpeggio chords.
This runs into the last scale passage: a strong descending scale in thirds of which the last three sixteenths are accentuated before the work ends with a long open sforzato tremolo note. # #

Of course there is much more to tell like (the up- and down strokes that are required) about this piece. But that is perhaps something for later, when we all play the work. His "Differencias" is surely worth it!

Like many of us here, lets hope that Victor finds the time to compose more works for or with mandolin.

Many greetings and thanks to you Victor,

Alex.

[vkioulaphides]

Many heartfelt thanks for all your kind words, friends. What a supportive community we have! I am honored to be among you all.

Robert, as it seems you have, ehm... survived my Preludio I will take the liberty of sending you also the Fantasia e Toccata that go with it. Now, let me see where I put the e-mail with your postal address (the "absentminded professor" strikes again...)

Composition-wise, this year looks like many others: I have turned in the piano/vocal score of my eighth and most recent chamber opera to its producers; I am meeting with the conductor this Fall, making some minor musical alterations/corrections; the fair-copied score goes to the singers for their practice/preparation soon thereafter; I spend the end of 2003, beginning of 2004 orchestrating; we go into rehearsal by Spring 2004, on to the stage by May/June.

But all this is technical, nuts & bolts stuff, i.e. not creative work, as in creating something new, from step #1. If you think that some sort of mandolin composition would be particularly welcome to our wonderful community, please let me know. Neil, for example, suggested a set of songs with mandolin, considering that vocal music is my everyday milieu. Any other suggestions?

[Alex Timmerman]

Hello Victor,

Oh yes, if we may ask you something to write, I would love to make a request to you to write a composition for mandolin quartet (two mandolins, mandola and mandoloncello).

I hope I can do something in return...

(Where can we find time and inspiration for all the nice things one would like to happen?)


Best,

Alex.

[Bob A]

A public Thank You to you, Victor. My copy came in yesterday's post, which I saw at midnite. I look forward to playing it tomorrow, when I can escape the coils of toil.

Anything from your pen is a delight. We are well favored by your presence among us.

[Plamen Ivanov]

Am I too late? I would like to have a copy too!

[vkioulaphides]

Plamen, despite the maddening pace of events in our lives, I am happy to say that at least some things are NEVER too late

Just e-mail me your postal address; I will get a copy in the mail for you as soon as I know where to send it.

Speaking of postal addresses: Bob M. (margora), in the spirit of corporate responsibility, data confidentiality, etc., etc., I stupidly enough did not retain your postal address. Now —and if I am not imposing, as I understand your post above— I have made copies for you of the Fantasia e Toccata that go with the Preludio you seem to have liked, but... If you still want them, would you be kind enough to remind me?

And, Bob A, you are most welcome. A composer's dealings with the world are nowhere more, ehm... bona fide than among our mando-community.

[margora]

Victor, yes I want the Fantasia e Toccata, I sent you a private message with my address.

Re: Alex's request for a piece for mandolin quartet, how about mandolin orchestra?

[bratsche]

Hi Victor - May I have a copy of your "Diferencias" as well? I've had a lot of catching up to do around the Cafe lately, being so caught up in the Cubs playoffs mania! ;-)

Thanks for your generous offer!

bratsche

<span style='color:blue'>Eamus Catuli!</span>

[vkioulaphides]

Why, sure, bratsche; just please remind me your address... ehm... when you get up

On the subject of mandolin ensemble works, what is the notation of choice for the mandola part? (Uh-oh... the idea is beginning to simmer.) Alto clef, "octava bassa" treble clef, "universal" notation?

Alto clef I can read fluently, if under tempo— after all, I am a composer, not a violist; what I have is score-study skills, not up to tempo, viola-in-hands reading speed. Is that a general standard?

The octava bassa notation would also be convenient, as I write for choirs and vocal ensembles routinely. This solution would be no more difficult to imagine than a regular choral score, with the (sung) tenor part in its customary notation; all else, just like a choral score, i.e. soprano, (vocal) alto, and bass would be as usual.

Or would people prefer "universal" notation, which, to my non-mando-expert understanding, is simply F-transposition? I can also read that (again, with composer-ish limitations of speed) but is that what actual players prefer?

Hmm... perhaps, when the day comes for me to actually write this still imaginary piece, I should have a whole stack of alternate notations of this, third-from-the-top part. Still, your advice would be welcome at this point.

[margora]

Re: mandola part, I think it varies with the preferences of the player. This summer I played in a mandolin orchestra in which some of the mandola players were reading in alto clef, and others in treble clef (transposing down an octave, I believe).

[Alex Timmerman]

Hello all,

If the Mandolin Orchestra/Ensemble work is to published for the European market as well, perhaps it is a good idea to publish the part for mandola in both the Alto- and Treble (octava bassa) clef.

Today, with our PC that is done within seconds.

Cheers, Alex.

[Mark Levesque]

Hi Victor,

Please count me in, I would love to read through "Diferencias".
Do you also have a few books of Greek Folksongs that you have published? (if I remember correctly)
Are they for solo mandolin?
Is there a place on the web where I might find information?

(Sigh), I wish I could make the Aonzo workshop and hang with you and my amigos Jim G. and Eugene but hopefully we will all hook up in the future.

Cheers,
Mark
guitarduo@comcast.net