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vkioulaphides
Jun-15-2004, 8:55am
Greetings, friends.

Composition and performance are, of course, not entirely separate activities, taking place in airtight/watertight compartments of the brain. So, while practicing my own (sadly deficient) tremolo, noodling about the fingerboard, a little tune, a study of sorts took shape.

Well, thanks to the kind assistance of our own Jim Garber, I am now able to share said tidbit with you all. Obviously, this is not "modern music" by any stretch of the imagination but simply a "stylistic study" on the 19th-century sentimentalia that we all love, combined with a technical study for upper-line tremolo with chordal accompaniment sustained by the left hand alone.

It is to be found here: http://www.paperclipdesign.com/vk/

Enjoy!

Hopefully, more to come...

Alex Timmerman
Jun-15-2004, 11:58am
Hello Victor,


Great fun and thanks for yet another wonderful piece!

And what fantastic opportunities we have with the Internet possibilities. Thanks also to Jim.


Many greetings,

Alex

Jim Garber
Jun-15-2004, 12:32pm
I am hoping that Victor will post a few more of his mandolin-oriented pieces. If anyone else is interested in sharing their compositions, I will be glad to post them as well.

Jim

Martin Jonas
Jun-16-2004, 10:35am
Very nice, Victor. I don't think my technique is up to playing the harmony notes in time with the tremoloed melody line, but I've had a quick run-through playing only the upper-line tremolo. This way of playing of course doesn't do justice to the composition, but it's still rather nice that way and I found it remarkably suitable to the tone and dynamics of the Ceccherini (well, perhaps not so remarkably, if you wrote it on yours). Great fun with the crescendoes even with my haphazard control of tremolo volume.

Martin

Eugene
Jun-16-2004, 11:09am
I've printed a copy, but haven't tried to play it yet. Maybe a little premature, but thank you, as always. I am continually reminded of how priveleged I am--we are--to name the members of this little clan of classical mandolinists as friends.

margora
Jun-16-2004, 7:18pm
Victor, a lovely piece -- a simple, but effective introduction to duo style. Congrats!

vkioulaphides
Jun-17-2004, 6:23am
Thank you, all.

Martin, while I wouldn't worry about not "doing the composition justice" (as there is nothing terribly grandiose to the composition itself #http://www.mandolincafe.net/iB_html/non-cgi/emoticons/wink.gif ), I would start playing the harmony notes as soon as possible. On one hand, these notes "color" the legato/tremolo melody, as its notes stand in various harmonic relationships to the accompaniment; on the other hand, of course, this is the raison d'etre of the etude, namely the "duo effect". But you know all that...

Eugene, you are as always extraordinarily gracious. I, being perhaps less gracious and more conditioned by such biases as "beneficial reciprocity" must simply say: I am delighted to be amongst you all. Tomorrow (Friday, 6/18), the opening night my 8th chamber opera; I, as can be expected, a nervous wreck; the stakes, as always, dreadfully high— as one is only "as good as his/her last show"; still, on the day before, a myriad issues pending between cast, director(s), orchestra, etc. By any standard, a darn good biological reason behind by rapidly graying hair. #http://www.mandolincafe.net/iB_html/non-cgi/emoticons/rock.gif

Au contraire —and in a truly, tangibly beneficial manner— what a pure, unadulterated pleasure to be here, sharing a little, one-page tidbit of mandolin music with a group of friends! Life does offer its own compensations for all the agita, after all.

Martin Jonas
Jun-17-2004, 7:07am
Martin, while I wouldn't worry about not "doing the composition justice" (as there is nothing terribly grandiose to the composition itself #http://www.mandolincafe.net/iB_html/non-cgi/emoticons/wink.gif ), I would start playing the harmony notes as soon as possible. On one hand, these notes "color" the legato/tremolo melody, as its notes stand in various harmonic relationships to the accompaniment; on the other hand, of course, this is the raison d'etre of the etude, namely the "duo effect". But you know all that...
Yes, Victor, I'd love to play the piece in the duo style as it's intended (and which of course is what you wrote it as an etude for), I'm just painfully aware of my technical limitations, being just a recent autodidactic beginner.

Living, as I do, with somebody with a Cambridge musicology PhD always makes me painfully aware just how much musical theory there is waiting in front of me on the long road to serviceable musicianship...

Of course none of that will stop me from having a go at the harmony in the next few days -- after all I'm the only one who will hear me.

Martin
PS: Best wishes for the opening night!

vkioulaphides
Jun-17-2004, 7:16am
Ha, ha... yes! And terminology —usually convoluted— does not help, either. I recall telling a Ph.D. chemist from Stanford U. about "suspensions". You should have seen the look on his face! http://www.mandolincafe.net/iB_html/non-cgi/emoticons/biggrin.gif He stared at me, then stared at me some more, finally blurting something like: "You mean, ehm... like... milk?"

http://www.mandolincafe.net/iB_html/non-cgi/emoticons/biggrin.gif

margora
Jun-17-2004, 7:35am
Victor, I wonder if you might be tempted to write more etudes. I have a specific idea in mind -- the idea is to create a set of duo-style etudes for mandolin in a "modern" idiom (by which I do not mean atonal, although that is also conceivable). For a very long time classical guitarists learned their trade by studying 19th century etudes by Sor, Carcassi, etc. but now there are many contemporary alternatives (Brouwer being the most obvious, but many others, eg. Dogdson and Quine). Perhaps there is something like this in Germany somewhere, but I am not aware of it. The closest analogue of what I have in mind is the second (slow) movement of the Neil Gladd sonata, but this is really concert material, not an etude.

vkioulaphides
Jun-17-2004, 7:44am
Well, Robert... maybe.

I have, of course, some other "irons on the fire" right now. After (if?) I survive the run of this latest opera, I go on a sorely needed vacation; once I return, I get back to work on the Rhapsody (for mandolin and piano), i.e. the piece I promised to write for Sebastiaan de Grebber, Alex T.'s protege and Het Consort's concert-master. I want to have that piece finished by Christmas 2004, as the young virtuoso returns home to the Netherlands from his stint in Italy, where his talents will have been honed and refined under the tutelage of Ugo Orlandi.

In the meanwhile, I have a truly enormous opera score, still in manuscript! — a terrible, terrible risk for a composer to know that the fruits of 2+ YEARS' labors are easily perishable, without any trace. So, I simply have to spend a good part of the latter half of 2004 typesetting, and therefore preserving that, my, ehm... chunkiest baby. http://www.mandolincafe.net/iB_html/non-cgi/emoticons/wink.gif

But, possibilities abound... some day.

Jim Garber
Jun-17-2004, 8:24am
I have a specific idea in mind -- the idea is to create a set of duo-style etudes for mandolin in a "modern" idiom (by which I do not mean atonal, although that is also conceivable). #

Perhaps there is something like this in Germany somewhere, but I am not aware of it.
Robert:
Get yourself a copy of the Pettine duo style book and the duo style primer. That would be a start.

Also Stauffer's 30 Progressive Studies works on building duo-style chops. I have a few others, notabley by Moyers. Perhaps I could post some choice ones for the group.

Jim

margora
Jun-17-2004, 8:54am
Jim, I have the Pettine book and the Stauffer (which I got from you). While these are excellent for building duo-style chops, they are NOT what I have in mind, musically speaking. The musical language of Pettine and Stauffer are squarely in the 19th century (note: not even the early 20th century). (Functionally speaking, one can learn the relevant techniques, for that matter, from the exercises in one of the German method books, eg. Gertrud Troester's volume 2). What I am suggesting is a musical "modern" equivalent of the turn of the century material, i.e. duo-style etudes for the 21st century. An addenum to my previous posting: I should have added that, in addition to Germany, perhaps there is something relevant in Australia. Mr. Hooper?

Jim Garber
Jun-17-2004, 9:49am
Robert, Sorry if I misinterpretted your query. I would be interested in what comes up as an appropriate answer. #http://www.mandolincafe.net/iB_html/non-cgi/emoticons/smile.gif

When you said "turn of the century" I thought the last one.

Jim

Jack Roberts
Jun-17-2004, 10:13am
Thank you, Victor.

Jack

Eugene
Jun-17-2004, 11:11am
Hey, break that proverbial leg. I would still love to indulge in one of your chamber operas, Victor...one day.

Indeed, a set of Brouwer-esque modern etudes for mandolin would be very intriguing.

Bob A
Jun-17-2004, 12:36pm
Well, Victor, I've printed out and even attempted your latest. I will no longer believe you when you denigrate your playing skills.

Looks like an elegant little piece. Someday I may hear that it sounds so, as well; I have to assume it will be someone else playing it. Nontheless, I shall persevere. Thanks for what you contribute to the instrument, and to all of us.

vkioulaphides
Jun-22-2004, 10:19am
My friend Ms. Volskaya (see related thread) reports that she tried the Idillio on some hapless victims at the workshops in Providence (hmm... see same related thread #http://www.mandolincafe.net/iB_html/non-cgi/emoticons/wink.gif ) The impression, I think, was positive. A curious, full circle: In attendance at the actual, local event, was current-thread-contributor R. Margo. How delightful a coincidence!

Oh, if only music could spread as far and wide as internet viruses! Or if we could start the East-Meets-West, Oud & Mandolin Ensemble... (Paul Hindemith writes on this topic more eloquently than I could, in his insightful, freshly post-WWII #"The Composer's World")

Eugene
Jun-22-2004, 1:06pm
I have played through this now and really enjoyed it. #It is truly evocative of century-old parlour music in the very best sense. Thanks again! #One question: should the sharp in 34 be on the g rather than the d?

Jim Garber
Jun-22-2004, 1:12pm
Well... until we hear back from the composer...

I thought that that augmented chord was one of the highlights of the piece. Sounds completely right to my humble ears.

I have been playing this piece practically daily. Melodic and accessible, I say. I am enjoying it. After this I move on to Differencias...

Jim

Eugene
Jun-22-2004, 1:31pm
It is spicy, eh?

Plamen Ivanov
Jun-23-2004, 4:36am
Hello!

I printed it too! Now when Bulgaria leaves the European Soccer Championship after "idyllic" playing, it`s the right time for me to play this piece. http://www.mandolincafe.net/iB_html/non-cgi/emoticons/laugh.gif
Hey, guys, say something about my last recording! It deserves at least one response, I think! http://www.mandolincafe.net/iB_html/non-cgi/emoticons/laugh.gif

Good luck!

vkioulaphides
Jun-23-2004, 6:00am
Thank you all for all your kind words.

Plamen, which recording is that? Where can one hear it?

Eugene: D#, as printed.

Please observe the voice-leading of the "alto voice": m. 31: B; m. 32: C#; m. 33: D; m. 34: D#; resolving finally in m. 35 to E.

I am sure you see the linear, melodic justification for the augmented triad in m. 34.

Enjoy!

Plamen Ivanov
Jun-23-2004, 10:10am
Hello, Victor!

Just came home and took the mandolin. It`s your piece turn now. Still not very good in the duo style playing, but improving slowly, thanks to Eugene, who sent me Siegel and Stauffer methods.
Here (http://www.plami.com/temp/Ivanat%20-%20Cveke%20shareno.htm) is the piece, that I was talking about.

Good luck!

vkioulaphides
Jun-23-2004, 10:22am
As on other occasions, Plamen, your fine playing truly dignifies the song, adding that special touch.

Of course, if I had my way, ALL decent songs would have a little mandolin cue! http://www.mandolincafe.net/iB_html/non-cgi/emoticons/wink.gif So, when I become Tsar, you know what to expect. http://www.mandolincafe.net/iB_html/non-cgi/emoticons/biggrin.gif

Are you playing the Puglisi on this? It sounds a bit different from your other recordings. Or is it the actual engineering of the sound that makes the difference?

Bravo!

Jim Garber
Jun-23-2004, 10:44am
Victor has graciously offered another mandolin piece which I have uploaded to the same link above. This is Diferencias (http://paperclipdesign.com/vk/).

You can hear an mp3 of this here (http://www.nemsis.nl/Diferencias.mp3), courtesy of Mr. Timmerman.

Jim

Eugene
Jun-23-2004, 10:47am
...D#, as printed.

Please observe the voice-leading of the "alto voice": m. 31: B; m. 32: C#; m. 33: D; m. 34: D#; resolving finally in m. 35 to E.

I am sure you see the linear, melodic justification for the augmented triad in m. 34.
Voila...and a much more elucidating explanation than "spicy."

I haven't listened to your newest recording yet, Plamen, but will be certain to do so soon.

Jim Garber
Jun-23-2004, 12:03pm
I would like to record (with my newly-found technical capability) my version of Idillio when I am ready to not embarrass myself, but if anyone beats me to it, that would be fine.

Jim

Plamen Ivanov
Jun-24-2004, 12:40am
Hello all!

I played the "Idillio" - a very nice piece indeed. It`s also a good reason for me to practice the duo style playing harder.

Yes, Victor, you are right as usual. It`s the "the actual engineering of the sound that makes the difference". The mandolin and the playing are the same. They tried to make the sound similar to the sound of the tambura and amplified the plectrum touch and reduced the depth of the tone.
I`m waiting impatiently for you to become Tsar! Mandolins and mandolin music everywhere...
http://www.mandolincafe.net/iB_html/non-cgi/emoticons/laugh.gif

Good luck!

vkioulaphides
Jun-24-2004, 6:32am
"...a much more elucidating explanation than "spicy."

Well, Eugene, "spicy" is good enough for me, when I am savoring that yummy antipasto; the detailed chemistry of it all matters but little. Besides, your question was perfectly logical and intelligent (as usual). Not to second-guess you but, if I were to paraphrase it, you just may have been wondering why m. 34 is different from m. 41; could the inconsistency be a misprint? Hence my tediously academic, analytical answer. Still, "spicy" is one terrific, musical term!

[QUOTE]"I would like to record ... my version of Idillio..."

Please do, Jim! And, once again, a million thanks to you for posting both this and Diferencias; I am starting to get several e-mail requests for the latter through the board of the Bund Deutscher Zupfmusiker and, of course, directing inquiries to your generously provided URL beats copying and mailing hard copies across the pond.

"They... amplified the plectrum touch and reduced the depth of the tone."

Yes, that is exactly what I heard. I generally like a less modulated tone of acoustic instruments but, again, that will have to wait until tsardom. http://www.mandolincafe.net/iB_html/non-cgi/emoticons/biggrin.gif Your playing is very beautiful, all the same.

Jim Garber
Jun-24-2004, 7:45am
I am very happy to make Victor's pieces available online. I would like to reiterate my offer to do the same for others, to make it a composers's page.

BTW this is all in preparation for the Web site I hope to set up soon for our use, information etc. -- a sort of "classical" adjunct to this Mandolin Cafe site.

Jim

jeffshuniak
Jun-24-2004, 9:06am
hi jim, can you post some things for me? I can mail you a cd next week and you can keep it of course if you want to.