2016 Convention Update by Lyndon Laminack & Mark Linkins

August 2016 • Volume XXXIII #3

2016 Convention Update by Lyndon Laminack & Mark Linkins

Preparation continues for the 2016 convention at Valley members. Relatively few CMSA members perform as solo Forge. The members of the host committee, along with artists, but many do perform as members of orchestras the members of both host ensembles – the Munier and smaller ensembles. Ensemble performance offers Orchestra and the Philadelphia Mandolin Ensemble – its own challenges and rewards. Whether performing look forward to greeting attendees at the Welcome Party in a conducted or conductor-less ensemble, players on the evening of November 2. The party will include light must constantly be aware of issues related to blending, tapas-style fare and a cash bar. It is an opportunity to balance, and working together – both within and across connect with old friends and make new acquaintances. the sections of the ensemble – to interpret and give shape The host committee is very pleased to announce that to the music.” the Harrisburg Mandolin Ensemble (HMO) will provide musical entertainment for the Welcome Party. A Conference workshops will provide a rich opportunity “classico” configuration, HMO performs on only mandolin for attendees to hear and learn from the members of the family instruments (including mandobass). Drawing MMQ, composer-in-residence Neil Gladd, and various upon diverse musical backgrounds, the members of HMO CMSA presenters. Additionally, several workshops will perform a very eclectic repertoire. Within a single set, you offer opportunities to learn from Philadelphia-based are likely to hear pieces from artists as diverse as Django performing artists with unique musical backgrounds. Reinhardt, Bill Monroe, Sidney Bechet, Andy Statman, Here we highlight just two of these workshop presenters: Dave Apollon, the Beatles, and Miles Davis. Pat Mercuri and Joe Todaro.

What’s New This Year? Patrick Mercuri, one of the Philadelphia area’s most versatile free-lance musicians, will present a workshop This year’s theme – the art of ensemble performance – entitled “The Mandolin in Symphony, Opera, and Ballet,” represents a bit of a departure from previous convention drawing on his long experience performing mandolin and themes. This theme guided the selection of ensembles, other fretted instrument parts both locally and on tour for rather than individual musicians, as featured guest The Philadelphia Orchestra, The New York Philharmonic, artists. Additionally, many of the workshop topics were Orchestra 2001, The Pennsylvania Ballet, The New also selected to shine a light on the issues specific to York City Ballet, and Opera Philadelphia. Pat has also ensemble performance. For example, the members of appeared as a mandolin soloist with the Concerto Soloists the Modern Mandolin Quartet (MMQ), the featured of Philadelphia and the Amerita Chamber Players. He will guest artists, will offer their own insights on ensemble discuss repertoire and equipment, as well as the logistics performance within the intimacy of a quartet setting. At of playing mandolin in both large and small professional the other end of the spectrum, Pat Mercuri (see below) ensembles. He will also share visuals of mandolin parts will discuss his experiences playing mandolin within the and orchestra scores, recorded excerpts, and anecdotes largest of ensemble settings, the symphony orchestra. from his lengthy career.

According to Mark Linkins, conductor of the Munier Another unique workshop offering this year, led by Mandolin Orchestra and head of the convention host guitarist Joe Todaro, will focus on the traditional committee, “Our goal was to select a conference theme rhythms of the Andes, including the countries of Bolivia, that was most relevant to the majority of CMSA Chile, Peru, Argentina and Ecuador. Joe will explain and

(continued on page 4) Classical Mandolin Society of America Editor’s Note Officers: Sue Lesser & Susan McLaughlin, Co-Presidents ‘17 Lou Chouinard, Treasurer ‘17 Greetings, David Betts, Secretary ‘17 Thanks to everyone who Board of Directors: contributed to this issue of Lucille Bjorneby ‘16 Robert Margo ‘17 the Mandolin Journal! Kevin Metzger ‘16 Jim Bates ‘18 Dave Cohen ‘16 Victoria Gleicher ‘18 We are introducing a Antonina Nigrelli ‘17 Fred Pike ‘18 new column in this issue Michael Tognetti ‘17 called “Orchestra News” please see pages 12-13. If you have any news about Jackie Zito, Mandolin Journal Editor Robert Margo, Review Editor your orchestra that you would like to share with David Betts, Membership Director the membership please send it to me. Keep in mind that the Mandolin Journal is published four times a Honorary Board of Directors: year - February, May, August, and November. Time Hisao Itoh Keith Harris sensitive items may not be published before your Gertrud Weyhofen Ken Tanioka events. Michael Troster In honor of our convention host city, the featured Past Presidents: sheet music in this issue’s is Sousa’s “Liberty Bell Norman Levine (1987 - 1989), founder CMSA Antonina Nigrelli (1990 - 1996) March”, enjoy! Michael Schroeder (1997 - 2002) Bruce Graybill (2003 - 2007) Since the convention is in early November, the Lou Chouinard (2008 - 2014) deadline for the next issue of the Mandolin Journal will be November 15th for convention related articles The Mandolin Journal is published quarterly (February, May, and October 15th and for non-convention related August, November) and sent as part of membership in the CMSA. articles. This will move the release date back to Individual and household memberships are available. Individual: $35; Household membership: $35 plus $10 for each additional membership December. Please email submissions to me at in a household. Orchestra subscriptions are accepted only for foreign [email protected]. orchestras. Dues should be sent to CMSA, 3925 30th Avenue South, Minneapolis, MN 55406-3108. Sincerely, Advertisement Rates: $60 per full page, $30 per half page, $17.50 per Jackie Zito quarter page. Ads should be grayscale/black & white and in pdf or jpeg format. Please email ads to the editor at [email protected]. Send payment to CMSA, 3925 30th Avenue South, Minneapolis, MN 55406-3108.

Back Issues of the CMSA Newsletter of last year are available for $3.00 each. As long as copies last, our introductory issue of 1986 is $1.00 each. We invite suggestions and written contributions to the Newsletter please email them to [email protected].

All material (items, notes, editorials and advertising) must be submitted by the deadline stated within the Newsletter. Items not received by the deadline will appear in subsequent issues.

CONTENTS Convention News...... 1,4-5 Basics Under the Microscope pt.2...... 14-15 Presidents’ Message...... 3 Aonzo Manhattan Workshop...... 16-18 Scholarship for 2nd Mandolin Players...... 3 Aonzo Workshop Moves to Milwaukee...... 19 Workshops at CMSA Philadelphia...... 5 Concert Links Italian Mandolin and Russian Domra...... 21 Sheet Music: Liberty Bell March...... 6 Feature Review: The Mandolin, A History...... 22-23 New Webmaster for CMSA...... 7 Desert Island Discs Volume 1...... 24-25 Composer’s Corner: Connor Richard...... 8-9 Which Finger...... 26-29 Call for Scores...... 10 Teachers...... 31 Orchestra News...... 12-13

2 Presidents’ Message We’ve just read the Convention article submission from Throughout the convention, we’ll observe ensembles Lyndon Laminack and Mark Linkins . . . . and we’re so at every turn: at our Welcome Party, throughout the excited for the Philadelphia convention! The unique daytime event and at all our evening concerts. Several theme of this year’s CMSA’s convention is a platform ensembles are also coming forward to sign up for Open Mic. that allows us to nurture and grow the fine tradition of Each performance will present us with new possibilities mandolin ensembles and orchestras. and inspire us to expand the horizons of our home orchestras. And of course, let’s not forget the En Masse The majority of CMSA members belong to an ensemble experience! The repertoire has been selected and under or orchestra of some kind. And as we know, playing as Jim Bates’ baton we will deliver an exceptional ensemble part of a group, and making it the best it can be, requires performance. Yes, Philadelphia promises to expose CMSA different skills and knowledge than playing as a soloist. members to so many unique and interesting things! This Convention in Philadelphia will be a rare opportunity to immerse ourselves in many aspects of sustaining a We know from experience that both of us will return home successful ensemble. infused with an enthusiasm that will be felt across our entire orchestra. We hope that you and your orchestra Reading Lyndon & Mark’s descriptions, it’s easy to will also make the most of this opportunity! Talk to your understand the many reasons why this convention will be fellow musicians and give serious consideration to bringing well-attended: a large contingent from your group to Philadelphia!

In addition to renewing old acquaintances, we’ll have Before we close, you should also know that our block an opportunity to meet many new faces. Building our of rooms at the Convention hotel is close to selling out! mandolin network plays a key role in keeping our musical Every year we have folks who are disappointed because activities fresh and interesting. they leave their hotel booking till last . . . . make that call now so that you don’t miss a minute of this phenomenal A large part of our days will be spent listening to the convention! unique perspectives of workshop leaders who are breaking ground in new and interesting ways. Naturally, See you in Philadelphia! we’ll want to go home and try to implement some of those ideas, which in turn will strengthen our home groups. Susan & Sue

The Lou Chouinard Scholarship for 2nd Mandolin Players This year we are proud to announce the beginning of to defray the cost of travel or accommodations. a new scholarship created to honor our past president, current treasurer, and avid second mandolin player, Lou The Application is available on the CMSA Website and Chouinard. requires:

Lou has dedicated many years to making the CMSA what 1. A brief description explaining why you would like to it is today and continues to be an inspiration for budding receive this scholarship. mandolinists. 2. A commitment to attend the full CMSA Convention in Valley Forge, PA, November 1-6, 2016. The scholarship is for adults who play mandolin, and feel 3. The ability to play second mandolin parts in an that the second mandolin section is the right place for orchestra- reading music. them. We also want to encourage people who have not 4. If you are selected, you will also write an article for the attended a convention. Mandolin Journal, about your experience, following the convention. The scholarship is a grant of $500.00, which is used to pay for your convention registration, the Gala Banquet, Deadline for the application is October 1, 2016. There are a pre-convention workshop in mandolin technique, and a limited number of scholarships, so please apply soon. one-year membership in CMSA. The balance can be used

3 2016 Convention Update (continued from page 1) demonstrate classical guitar techniques for performing rhythms such as Bailecito, Carnaval, Cueca, Huayno, Few cities can claim the density of key historical sites Milonga, and Morenada. Additionally, elements of found in Center City Philadelphia. One can easily do a Andean melody, hemiola, accompaniment, harmony, walking tour that includes Constitution Hall and Liberty and instrumentation will be addressed. Examples will Bell Plaza, visit Ben Franklin’s House (and mail a letter be played on guitar, charango, mandolin & percussion. from his post office), see Christ Church and Franklin’s Participants will be encouraged to bring their own grave, stop by the Betsy Ross House, and so much more. instruments and form an ensemble to demonstrate One can then follow in the footsteps of the Founders to various elements of Andean music. Joe is the founder City Tavern, to enjoy authentic 18th Century fare and of the Philadelphia Mandolin Ensemble, one of the host libations. Fans of the Food Network may be familiar with organizations for the convention, and the owner of Todaro City Tavern’s Chef Walter Staib, the foremost expert on Music in Lansdowne, PA, renowned for its selection of 18th Century Colonial and Early American cuisine. If fretted world instruments. As part of his long experience you’re a fan of craft brews, you can enjoy one of several as a performer and teacher, Joe studied with indigenous beers crafted by Yards Brewing using original recipes: musicians of South America. Thomas Jefferson’s Tavern Ale, General Washington’s Tavern Porter, and Poor Richard’s (i.e. Franklin’s) Tavern Finally, a rare, if not unique, event this year will be a Spruce (flavored with spruce tips and twigs). performance featuring the Munier Orchestra’s collection of Calace instruments. The orchestra owns several Art lovers have a plethora of world class museums to Calace mandolins and mandolas, a luito cantabile, and choose from, including the Barnes Foundation, the a mandolone (bass version of the Neapolitan mandolin). Philadelphia Art Museum (of Rocky Balboa fame), and The collection of instruments will be on display at the the Rodin Museum, which houses the most extensive convention. One of the Friday evening concerts will include collection of the sculptor’s work outside Paris. a performance of the Munier Quartet in G, featuring four members of the Munier Orchestra – Dave Betts, Charlie For more details on these and other popular attractions in Dugan, Joe Kasinskas, and Mark Linkins – performing Philadelphia, visit this link. http://www.visitphilly.com/ on the vintage Calace instruments. articles/philadelphia/top-10-most-visited-attractions-in- philadelphia/#sm.00011w3daxmcjdtuw5m2h8dtodx57

Field Trip, Anyone? Outside Philadelphia you might consider an excursion to the various Dupont country estates, including the Speaking of vintage instruments, Philadelphia is home world class arboretum, formal gardens, and fountains to Vintage Instruments, America’s “largest and most of Longwood Gardens near Kennett Square Pa. http:// eclectic shop specializing in vintage and antique acoustic longwoodgardens.org musical instruments.” If there is sufficient interest, the convention’s host committee may arrange a “field trip” to Kennett Square, incidentally, is the “Mushroom Capital Vintage Instruments for convention attendees. If you are of the World” and is worth a visit as an excellent example interested in possibly participating in an organized visit of a picturesque and charming Pennsylvania small town. to Vintage Instruments, please send an e-mail to Lyndon http://historickennettsquare.com Laminack at [email protected]. Include the words “vintage instruments” in the subject heading. Just across the border in Delaware is the Dupont country estate of Winterthur, a real American counterpart to While You Are in the Region fictional Downton Abbey. The 175-room house contains an unparalleled collection of furniture and other objects If you and/or your non-playing spouses/partners from Colonial and early American times set in superb have time and interest, Valley Forge and the Greater naturalistic gardens. Philadelphia area have much to offer. The Valley Forge National Historic Park is located a half-mile from the Close by, off Rt 1 at Chadd’s Ford, is the Brandywine convention site. The park has so much to offer in terms River Museum of Art, which features the work of the of both history and natural beauty. 60-minute self-guided famed Wyeth family of painters and their contemporaries. audio tours are available for purchase on-site or on-line. http://www.brandywine.org/museum. 90-minute guided trolley tours will be offered on Saturday November 5 and Sunday November 6 at noon and 2:00 The heart of the Pennsylvania Dutch Country, in PM. The park – which includes miles of trails – offers a Lancaster County, is located within an hour’s drive of the fine example of the pristine beauty of the countryside of convention site. Southeastern Pennsylvania.

4 (continued on page 5) 2016 Convention Update (continued from page 4) And if shopping is your thing, the largest shopping mall – from airport to Radisson, and from Radisson to airport on the East Coast, The King of Prussia Mall, is within – are $53/cash and $58/credit (plus gratuity). One-way walking distance of the Valley Forge Convention Center. fares are $29 cash/$34 credit (plus gratuity). To reserve a shuttle, call Tropiano at 215-616-5370. You will need All this is just the tip of the iceberg. If you want to to provide your airline, flight number, and landing time delve deeper into the less well-known attractions in when making the reservation. the area, we suggest you ask any of the members of the host Mandolin Society of Philadelphia for their favorite Following are driving directions from the airport, should recommendations for out-of-towners. The Welcome Party you choose to rent a car. on November 2 is the perfect opportunity to do that. Hope to see you then! From airport, follow I-95 north to Rt. 76 west. Take 76 west/Schuylkhill Expressway to Exit 327 for Mall Blvd. Getting to the Radisson Valley Forge from the At 1st light bear right onto Mall. Blvd. At the next light Philadelphia International Airport turn right onto North Gulph Rd. Proceed through 4 traffic lights. At the 4th traffic light, you will cross 1st Ave. The Radisson does not provide its own shuttle service, but Immediately after crossing 1st Ave., turn right into the recommends that guests use Tropiano Shuttle Services Radisson’s parking lot. for transportation to and from the airport. Roundtrip fees

Workshops at CMSA Philadelphia: A Preview by Robert A. Margo

Workshops are an integral part of every CMSA Host committees are always a great source of suggestions convention, and plans are already well underway for this on workshops, which we do our best to accommodate. Such year’s meeting in Philadelphia. I write as your faithful workshops are often given by local area professionals. We workshop “coordinator” – a.k.a. organizer, scheduler, are very pleased to be offering a workshop by Pat Mercuri problem-solver, and whatever else needs doing. At on “The Mandolin in Symphony, Opera, and Ballet”. Pat present we expect to have 19 workshops, give or take. In is the mandolinist on call for the Philadelphia Orchestra keeping with the convention theme, more than half will and other similar august musical organizations – this one be devoted to ensemble topics. Here’s a quick overview of is not to be missed! Other “local area” workshops will be what’s in store. given by Bryce Milano, a recent Berklee School of Music graduate and a superb jazz mandolinist; Joe Todaro Our headliners, the Modern Mandolin Quartet, will give a will talk about and demonstrate useful techniques from joint workshop on “How to Sound as a Group”. We expect Andean (South American) music; and Mark Linkins and this to be very popular – so popular, in fact, that we may Joe Kasinkas, crackerjack musicians alike, will offer tips need to schedule it twice. Individual members of the on arranging for the group you have (not the one you MMQ will also give several workshops. Take note, CMSA wished you had!). members who play a larger size member of the mandolin family -- one of MMQ individual workshops will be devoted Last but not least, there will be workshops by familiar to the alto (CGDA) mandola (Dana Rath) and another to faces, like Jim Bates (two workshops on ensemble topics) performing Bach on the mandocello (Adam Roszkiewicz). and Toni Nigrelli (sight-reading). Mark and Beverly Other individual MMQ workshops will focus on bluegrass Davis will give a reprise/extension of their very popular mandolin, improvisation, and classical guitar. workshop last year on managing your mandolin ensemble, focusing on topics they didn’t quite get to in Austin. August Neil Gladd is returning to CMSA after too long an absence, Watters has been doing a lot of work lately exploring this year as the resident composer. Neil will present a mandolin trios and quartets from the romantic period, workshop on his solo mandolin music, a very important which he will be sharing in Philadelphia. Yours truly part of the modern repertoire; and a second on the role will offer a workshop giving an overview of the repertoire of the “Golden Age” mandolin in the development of the for mandolin duet, from baroque to modern. And there’s modern recording industry, a topic on which Neil is the more, I promise -- all in all, something for everyone, at all leading expert. levels. Hope to see you in the City of Brotherly Love come November!

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6 A New Website and a New Webmaster by Susan McLaughlin & Sue Lesser A new Website & a new • To volunteer in some capacity at the annual Webmaster convention, or to sign up for Open Mic playing opportunities, you will find that there are now separate We’d like to introduce links for each of these activities in the left-hand menu CMSA members to options. their new webmaster, Alathea Letaw. • Joining and renewing your membership is accessed Alathea, who steps through the “Join us” button. When you renew, you into the role originally will notice that the membership year now runs from created by David Betts January 1st to December 31st. This change, which was of Philadelphia, took necessitated by our choice of web platform, created a over as Webmaster small ‘perk’ for current members, in that their current in the late winter, membership was essentially extended by a couple of once the testing & months. Membership fees remain the same for the development stages coming year. of the new site were complete. Alathea • As we get closer to the annual convention, the new plays Octave Mandolin website will also be used to distribute the parts for the with the Seattle En Masse music. Alathea Letaw Mandolin Orchestra, and plans to attend the • Every issue of the Mandolin Journal is available online convention in Philadelphia. to members and can be downloaded, or read online.

The new website, www.classicalmandolinsociety.org, has • The Directory of Mandolin Orchestras, with contact been up and running for several months now. Feedback information available, is a great way to see at a glance tells us that members are appreciating both the new look who is active in your area. Please check that your entry and the accessibility of information. is up-to-date so that others may find you.

Here are some of the features of the Website: • The “Events” link, takes you to concerts and performances by our members. You can add your Event • At this time of year, most of our members are focused by contacting our webmaster, Alathea Letaw. Just click on registering for the annual convention. A quick on the “contact us” link. We’d like to see this page reflect look at the home page shows that there are multiple the various activities of our members, and we encourage entry points to access this information. Convention you to post your events here. registration is quick and straight-forward. If you’ve opted to register via post in the past, we encourage you In the coming months, we will be working on the Phase to make the switch to the electronic process. II of website development and continuing to add value for our members.

AGM at the Annual Convention in Philadelphia Your Board of Directors has been very active this year. prior to the convention, a copy of the proposed By-Law We’ve been examining privacy issues, as well as how to revisions will be sent to all CMSA members for their manage media collection and distribution on the website. perusal. You’ll notice a new step when completing the convention registration process, as all attendees are now asked to Any changes and revisions to the By-Laws must be sign a Media Disclaimer. approved at our Annual Membership Meeting, which is held at the convention on Sunday morning from 9 a.m. We are also heavily engaged in a comprehensive review - 11 a.m. The location will be given in the Convention of the By-Laws, with an eye towards ensuring they program and schedule. Please plan to attend the AGM! remain current with today’s technology. Several weeks We’re looking forward to a good discussion!

7 Composer’s Corner: Austin Mandolin Orchestra Premieres Piece by 12-year-old Composer, Connor Richard by James J. Kellaris

The Austin Mandolin Orchestra, under the direction of Joel Hobbs, is known for promoting new music for plucked string ensembles. Their participation in the Vox Novus Fifteen Minutes of Fame program generated fifteen new pieces for mandolin orchestra, many by composers who had not previously written for plucked strings. As CMSA’s 2015 Composer in Residence, Joel Hobbs introduced his own work, Memories from the Future, into the mandolin orchestra repertoire.

Last April, however, the AMO took the promotion of new music to a new level – and to a new generation. Their concert in the Texas Community Music Festival featured the world premiere of A Long Winter’s Night, a new work by 12-year-old composer, Connor Richard. Connor is the son of an old friend with whom I recently Joel Hobbs (l) and Connor Richard (r) with the Austin Mandolin Orchestra reconnected after 40 years. When I met Connor for the first time, I was impressed with his maturity and I understand that you attended the AMO concert at intellect, but had no idea he was an emerging composer. the CMSA conference in Austin and met Joel Hobbs there. Were you surprised that he commissioned Connor is in the sixth grade at The Khabele School in you to write a piece when he learned you are an Austin, Texas, where he plays trumpet in the Middle emerging composer? School band. He also studies piano privately with Anna Connor: I was very surprised and honored! I started on Larson and sings in the church choir at University UMC. the piece that night! Although A Long Winter’s Night is not his first musical composition, its premiere was the first public performance How would you describe your piece A Long Winter’s of Connor’s work. Night? Connor: I was trying to make it sound wintery. I just In addition to composing, Connor stays busy with school, thought of a long night in winter and then wrote down sports, martial arts, and his favorite hobbies, math and what I thought it would sound like. One of the things I computer programing. I caught up with him for a brief did was try to make a lot of things going on at once. So, interview after the AMO concert. it would not just be the wind blowing, but there may be a squirrel that fell out of a tree, an owl catching a mouse, An interview with 12-year-old composer Connor Richard etc.

Composing seems an atypical pastime for a young Let’s get personal for a moment. How would man of your age. How did you get interested in you describe yourself? Are you a genius, a child musical composition? prodigy, or just a kid with a good ear, who likes to Connor: When I first got my piano, I was about four or compose? five. I would just sit down and start improvising. My mom wanted me to write down what I played. Finally, Connor: According to others, I am a musical genius that when I was about eight, I began work on several pieces, judges myself too harshly. From my perspective, I am an which are buried in the depths of my music stuff. The ok composer who loves math and composing. first one I actually wrote down and stuck with was called The River’s Song, for flute, viola, and piano. It was never Where do you suppose your musical talent comes played outside of rehearsals with Anna Larson and a from? school friend, but we all liked it. Anna took that as an Connor: On my dad’s side of the family, music is opportunity to teach me some more music theory. Now I everywhere, and it seems to be getting stronger through want to pursue music as a career! the generations. On my mom’s side, I don’t know. One of (continued on page 9) 8 Composer’s Corner: Austin Mandolin Orchestra Premieres Piece by 12-year-old Composer, Connor Richard

(continued from page 8) them played guitar, but that is really it. or for people who are considering composing for a plucked string ensemble for the first time? Was it difficult to write A Long Winter’s Night, or Connor: Trills sound good on almost every plucked string did the piece just “reveal itself,” flowing easily out instrument. Even harp if used properly. And just take of your head? your time -- do not rush it. A rushed piece is a bad piece. Connor: Most of it just flowed out, but there were quite a few moments of writer’s blocks as well. Do you have anything you’d like to say to Joel Hobbs and/or the members of the AMO? How many hours would you estimate you worked Connor: I am just so thankful to Joel for giving me this on this piece? opportunity and to the orchestra members for performing Connor: A lot. More than 40 hours. Perhaps as many as my piece so amazingly. Also Anna Larson for helping me 100. with some of the details, and to you, James, for introducing me to Joel and for your mentorship throughout this What kind(s) of music do you like to listen to for process. I would also like to thank my mom and dad for fun? reminding me about 24 times a day, 8 days a week, to Connor: I like classical, baroque, and classic rock. complete this project.

Who are some of your favorite composers? Importantly, if other orchestras are interested in Connor: Beethoven, Mozart, Bach, Burgmüller. performing your piece, how can they get it? Connor: Interested parties can contact me by email at: Dude, did you just pronounce the umlaut in [email protected]. This is my new professional Burgmüller? email address. I’m not sure how this will work financially. [Connor smiles and calls for the next question.] I’m getting advice on this, but would love to hear from people interested in my music! What was your impression of the AMO’s premiere performance? Thank you for taking time to do this interview, Connor: It was amazing! A lot of my friends were there. Connor. Any parting thoughts? I also like that it was not too formal. Formal is not my Connor: I want my pieces performed! thing. Is there any composer in the world who cannot affirm How did hearing your music come to life make you Connor’s sentiment? In gratitude for his contribution to feel? the repertoire for plucked string ensemble, Joel Hobbs Connor: I felt amazed. Slightly scared though, because I presented Connor with a certificate of appreciation on am now out in the music world, so the pressure is on. behalf of the AMO, wishing him many years of continued success. Making music can be viewed as a collaborative effort between composer, conductor, and orchestra The AMO program that introduced Connor’s first piece members. Some composers insist that their music for mandolin orchestra also included Galante-Suite for be played exactly as they wrote it; others are Zupforchester, by Siegfried Behrend, Kithara, by Eileen delighted when a conductor “interprets” the piece, Pakenham, Choukoun 1883 (Yellow Bird), by Michel creating some things the composer did not imagine. Mauleart Monton, arr. Andrew Forrest, Corde d’Oro, by In which camp do you fall? G. Branzoli, Valzer Cantabile by C. Munier, Bai Mudan Connor: I am in between. Sometimes the composer wants (White Peony) - trad, arr. Andrew Forrest, Family to convey something that the conductor may change, but Squabble by Owen Hartford, and American Patrol, by F. the conductor may have some really good ideas! W. Meecham, arr. Joel R Hobbs. ______So what’s next? Are you working on other James J. Kellaris is a composer and the Womack/Gemini compositions for other types of ensembles? Professor at the University of Cincinnati. Known primarily Connor: I am thinking about writing a piano sonata. Also for his works for plucked string instruments and research I want to try setting lyrics to music. on the influences of music on listeners, James was CMSA 2013 Composer in Residence. www.JamesKellaris.com Do you have any advice for your fellow composers

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11 Orchestra News Duo Aonzo Izquierdo Performs with the Baltimore highly regarded locally for its presentations of top class Mandolin Orchestra classical ensembles; as in previous years, the PMO was one of their best-attended events. In May the PMO played a well-received concert at “Music at Lily Pads” – an-established series held in a Unitarian church hall in Peacedale, RI. In June the PMO gave its annual Spring Benefit concert for the Park Place United Congregational Church in Pawtucket RI where we hold our weekly Tuesday rehearsals.

The orchestra worked very hard to develop five new pieces that we presented on this season’s programs. The most dramatic, and a great crowd pleaser, was “Alamanda” by Annette Kruisbrink featuring PMO guitarist Will Herern as soloist. Striking in its originality, Kruisbrink’s mini- Aonzo & Izquierdo with the BMO guitar concerto is based on the partimen of the 12th and 13th century, a genre of Occitan and old French poetry in which On April 24, 2016, about 350 fortunate Baltimoreans one poet presents a dilemma in the form of a question to got treated to an exhibition of sublime world-class another and the two debate the answer, each taking up musical mastery by the Baltimore Mandolin Orchestra’s a different side. This piece was written for a mandolin guest artists Carlo Aonzo and guitarist Rene Izquierdo. orchestra in the Netherlands and only performed once Accompanied by the BMO (which included seven of in Europe before the PMO gave the US premiere at Goff our MandoKids!), Carlo and Rene performed Vivaldi’s Hall in April. A video of the PMO’s performance in the Concerto in G for Two Mandolins (on mandolin and “Music at Lily Pad” series may be viewed on YouTube: guitar). This performance culminated about three months https://www.youtube.com/watch?v=LCP-DBK9ex0 of diligent practice by the members of the BMO. During rehearsals, several BMO members took turns playing A second new piece for us is the five-movement “Piccolo (or attempting to play) the first and second solo parts to Mondo Antico” by the Italian composer Stefano Squarzina. make it easier for the rest of the orchestra members to This piece pays homage to western music traditions from follow along. Carlo and Rene happened to pass through Italian renaissance lute music to “style galante”. It is Baltimore a few days before the concert, so, gratefully; moderate in difficulty, highly accessible and popular with we had a chance to rehearse the piece with them. That audiences, and well worth the attention of American helped immensely. ensembles.

Later in the concert program, Carlo and Rene soloed Owen Hartford has been the PMO’s resident composer for with a selection from their CD of Paganini duets – the many years. This season we premiered Owen’s newest Sonata Concertata. And for the day’s encore, Carlo work, “Grooves, No. 3”, having previously played his and Rene accompanied the BMO’s resident soprano, “Grooves No. 1” and “Grooves No. 2”. Like numbers #1 Beatrice Gilbert, on a heart-warming rendition of Over and #2, ”Grooves #3”uses a rolling ostinato in the bass the Rainbow. This was a genuinely momentous and with dramatic melodies crossing back and forth from the memorable day for the BMO’s players and audience alike. different sections of the orchestra.

A fourth new piece was Victor Kioulaphides’ three- movement “Concerto de Camera,” originally composed for Report on the 2015-2016 Season: Providence the Belgian mandolinist Ralf Laneen. Prior to the PMO, Mandolin Orchestra the only US performances were by the New American Mandolin Ensemble. The NAME performances featured By Mark M. Davis, Music Director David Miller as soloist, and the PMO was fortunate that Miller was available to perform the solo part on three 2015-2016 saw the Providence Mandolin Orchestra occasions with our group. Lastly, we added an excellent making advances in repertoire and performance skills. arrangement by Keith Harris of Astor Piazzolla’s sublime We presented four public concerts. In October 2015 the “Ave Maria” to our regular repertoire that featured in two PMO performed at the Sandywoods Center for the Arts of our programs. in Tiverton, RI - a venue that often features pop, folk and rock performers. In April the PMO returned for its From our previous repertoire we chose James Kellaris’ biennial performance in the “Arts in the Village” series “Kalamazoo Suite” which pays homage to the site of the at Goff Hall in Rehoboth Massachusetts. This series is old Gibson factory in Michigan; and Stephen Lalor’s three movement “Australis Suite”, both of which are audience 12 (continued on page 13) (continued from page 12) Orchestra News favorites and also challenge the orchestra; and two The Providence Mandolin Orchestra (PMO) is: dramatic pieces by Philip Dewalt, “Music for a Deserted City” and “Small Shoes” from his larger work “Twelve Director: Mark Davis Short Pieces for Mandolin Orchestra”. At our Spring Assistant conductor: Will Herern Concert we reprised Frank Wallace’s very beautiful First Mandolin: Lynne Bell, Mark Chuoke, Christine “New England Quintets,” which we had not played for Chito, Owen Hartford, Mark Davis several years. Our programs often include a pop/rock Second Mandolin: Antonio Carlyon, Jacob Paul, John arrangement by PMO member Robert A. Margo – this Rufo, Amanda Schrader, Paul Wilde year we played Margo’s arrangements of Simon and Mandola: Mack Johnston, Gayle Raposa Garfunkel’s “Scarborough Fair/Canticle” and the Beatles’ Liuto Cantabile: Robert A. Margo “I am the Walrus”. Mandocello: Dan Moore Guitar: Mark Armstrong, Beverly Davis, Will Herern Our membership currently stands at 19 -- 18 stalwart Bass: Hiatt Knapp orchestra regulars (five 1st mandolins, five 2nd mandolins, one CGDA mandola, one GDAE mandola, one liuto cantabile, one mandocello, three classical guitars, and The Kalamazoo Mandolin and Guitar Orchestra string bass) plus Music Director Mark Davis. Guitarist is pleased to host Chris Acquavella on the weekend of Will Herern debuted this year as Assistant Conductor, a November 12 - 13 for workshops and concert. If you are role that will continue in the future. interested in participating please contact Jackie Zito at [email protected]. For more information about We will resume our regular rehearsals in September Chris Acquavella visit http://chrisacquavella.com/. 2016. Among the works on the rehearsal agenda for next season is Joel Hobbs’ superb “Memories from the Future,” originally written for the CMSA En Masse Orchestra;

We welcome guests to come and listen or sit in with the group at our Tuesday evening rehearsals (7:30 – 9:30 PM) at the Park Place United Church of Christ, 71 Park Place, Pawtucket, RI, 02860. We also invite CMSA members to ‘Like’ us on Facebook [https://www.facebook.com/pages/ Providence-Mandolin-Orchestra/104914166242604?fref= ts] and to visit our YouTube [https://www.youtube.com/ user/ProvidenceMandolin] and ReverbNation (https:// www.reverbnation.com/providencemandolinorchestra) channels. Our website is http://www.providencemandolin. org/

Chris Acquavella

DEADLINE FOR SUBMISSIONS TO THE NEXT JOURNAL IS OCTOBER 15th PLEASE SEND SUBMISSIONS TO: [email protected]

13 The Basics Under the Microscope: Revisiting Keith Harris, The Mandolin Game, Part Two: Games C-F by Robert A. Margo This is Part Two of a multi-part article on Keith David in efficient technique – meaning, in using the least physical Harris, The Mandolin Game: Practical Reflexions on Some effort to achieve a musical goal. Using gravity means Basic Technical Matters, published by Joachim Trekel- using a physical force “for free”, thereby saving a conscious Musikverlag in Hamburg, Germany.1 Part One provided force – namely, your muscles – for other musical activities. an introduction to the book, and also discussed the first two The idea is familiar with many other musical instruments chapters, or “Games”. In this Part, I describe and comment too – including the guitar and lute, among others. on Games C-F. My discussion is intended to acquaint the reader with the contents and in no way should be seen as a Game D substitute for an in-depth, hands-on study of the book itself, Game D consists of a series of activities that are designed along with Harris’ related articles in the CMSA Journal.2 to make a person aware of how gravity interacts with As in Part One, I refer to the book by the acronym “TMG”. conscious use of muscle power in human activity. The player becomes aware of how the brain is sending a signal The activity covered in Games C-F is the performance of (“current”) to support the muscles; the goal is to learn how consecutive down strokes – for example, a quarter note, open to “turn off the power” at just the right moment, allowing d’ (i.e. on the 3rd string) followed by another quarter note gravity to come into play. Aside from using gravity itself, open d’. These are intended to be “rest” strokes, meaning the goal is to promote a relaxed state in the activity, as that when the stroke is completed, the tip of the plectrum opposed to tension. The specific movements in the exercises “rests” on the uppermost next string – so, to continue the in Game D are also not precisely those in executing a down example of an open d’, the stroke ends with the plectrum stroke on the mandolin. The player, therefore, needs to resting on the upper a’ string. “Rest” in this context is an keep in mind that what is being learned in Game D is more active state in which the player is conscious of the a’ string general – how to begin to use gravity in a controlled manner counteracting the force of gravity on the plectrum. Because in musical performance. there are two down strokes to be played consecutively, the player must “prepare” the second stroke. The specifics of Game E this preparation are dissected and described sequentially In Game E, Harris divides the down stroke into four steps, in the book. beginning with the plectrum resting on the upper A string, as discussed above (step #1). The goal is to play a lovely Game C open d’ on the third string. In Game C, Harris outlines a series of steps to be mastered that underpin an effective down stroke. These steps In step #2 the player “prepares” the plectrum by consciously cannot be mastered unless one already has studied (and lifting it off the A string to a position above the D string. implemented) Games A and B, so these should be reviewed The path an almost straight line, just missing the D string first. so that the plectrum hovers just slightly below the G string. This is illustrated in a useful diagram on p. 28. In Step Sit and hold the plectrum as described in Games A and B, #3, the plectrum is in position, and the player is waiting to but with your right arm at your side (use your left hand to execute the stroke. Step #4 is the stroke itself, hold the instrument if necessary). Bring your forearm up so that it rests about two inches or so above the tailpiece Steps #1-3 take some time, but step #4 occurs “in no time” end pin, keeping the hand and arm in a straight line. Next, – that is, it occurs more or less instantaneously from the slightly tilt the hand away from the body so that you can standpoint of the player (and the audience). It is in step see the upper part of the inside of your forearm. Move your #4 that gravity is used – the player relaxes the muscles hand up and down from the wrist, keep the arm itself as that have been holding the plectrum in place, allowing the straight as possible.3 hand to fall and the plectrum to “[brush] the outer surface of both d’ strings”, landing with the tip resting on the a’ Next, position the tip of the plectrum so that it rests lightly string. Note that, because step #4 occurs in no time, steps on the upper a’ string. The tip should be higher (in the #1-3 cannot occur at the very moment the d’ is supposed to horizontal plane) than the other end, meaning that the sound – the hand cannot be in two places at once, and thus plectrum is slanted downward. It should also be angled the note would necessarily arrive too late. The player must slightly to the left (from the player’s perspective) so that the be ready to play the d’ before it is to sound – that is why the contact between the string and the plectrum is at the lower stroke is “prepared”. left-hand edge of the tip. Harris provides an illustration on p. 16 as a guide. Game F Game E suffices if all we had to do was play consecutive Games D and E down strokes on the same string, but of course, we will often Games D and E are the first of several in the book that need to change strings. Game F considers the differences emphasize the role of gravity in playing a plucked involved if one has to play an open a’ following an open d’, or instrument. Recall from Part One that Harris is interested the reverse (an open d’ following an open a’). These involve

14 (continued on page 15) The Basics Under the Microscope: Revisiting Keith Harris, The Mandolin Game, Part Two: Games C-F (continued from page 14) differences in how the stroke feels to the player, and also preparing part of the subject is not really covered as such in the preparation. The goal is to make the quality and in the standard method books or by most teachers. Here, quantity (volume) of sound the same, regardless of whether Harris is emphasizing another basic principle to effective strings need to be crossed or the direction of the crossing. To mandolin playing that many players forget or never learn achieve the desired result, Harris takes the player through in the first place – one must always plan ahead.6 the specific steps, analogous to those covered in Game E, with one telling difference – he asks the player to interrupt In Part Three of this article, I discuss Games G-K, which the process consciously the middle; specifically, after focus on “stopping” notes with the left hand. getting the plectrum prepared correctly the player stops and returns the plectrum to its original resting position, (Endnotes) instead of executing the down stroke. This interruption 1 I thank Keith Harris for helpful comments. helps the player understand the subtle differences involved when consecutive down strokes cross strings. 2 In other words, as with any book review, if you are intrigued by the discussion and don’t already own a copy of TMG, you can order the English-language version from Trekel’s website; the Discussion direct link is http://trekel.de/de/22880-themandolingame.html A properly executed down stroke is absolutely fundamental to producing a rich, musical sound of sufficient volume on 3 The description of the down stroke in TMG involves moving the mandolin. Knowing what to do next – preparing the the hand alone, not the arm. In other writings, Harris points next stroke – is essential if the player is to have any chance out that this area is still controversial, and that he personally of connecting two notes together in a musically coherent favors at a later stage a more holistic movement including an manner as well as play the next note at the proper time. arm component. But before this can happen, the player has to This is true regardless of whether the next stroke is also a become comfortable with moving the hand alone. down stroke, or an upstroke, or a glide stroke or a tremolo, or whatever. If a player cannot master the down stroke and 4 The opposite end of this problem is attempting to use the down properly prepare what follows, odds are very low that (1) stroke as much as possible, on the theory that the sound will the sound will be consistently good (2) what comes next will then be “stronger” and more “even”. However, a properly trained be played correctly. and functioning right hand should be able to make all notes sound equally good, whether played with a down stroke or an upstroke – unless, for musical reasons, the player deliberately Tension is the mother of all evil in musical performance. In wishes the sound to be uneven, which the properly trained right the case of mandolin, if the right hand is tense, the sound hand should also be able to do. will be forced, its quality and volume uneven from note to note and, in the extreme, will break down entirely. Using 5 A “free” stroke that strikes one of the two strings of a course gravity properly is critical to alleviating tension overall in can serve valid musical purposes and thus be legitimate as a the right hand and using it properly in executing the down special effect but this is very different from what I am describing stoke is the first step in the process; if you cannot do this, in the text. matters will only worsen as the stroking gets more complex. 6 When I first began playing the mandolin, my instinct was to Given these points, it is surprising and unfortunate that mimic what I saw around me. Being that I lived in Nashville, many American classical mandolinists rarely (or never) Tennessee at the time, the right hand part of this included use the down stroke, at least judging from my personal universal free stroke (as just described in the text), and lots observation in playing in various mandolin ensembles.4 of deliberately energetic movement of the right hand (and Instead, the canonical American stroke is “free” and arm). If my right hand/arm moved forcefully and quickly, it “outward” – after contacting the string often just one, seemed I could generate sufficient volume and speed but the sound itself was harsh and unattractive, certainly relative to instead of both-- the plectrum is directed forcefully by the what I regarded as good sound on the classical guitar or the lute. right hand away from the instrument into the open air I was also very conscious that my right hand would tense up 5 space in front of the performer. Instead of the strings when the music became complicated (a fast scale, for example) being pushed towards the soundboard by the action of the but I did not know how to loosen up, as it were. Eventually, plectrum, they are pushed away from the soundboard and, I discovered the down stroke via Gertrud Tröster’s (Weyhofen) consequently, to do not excite it properly. The resulting two-volume Plucked String instructional video (out of print) and sound is weak and tinny, lacking projection, volume, and I learned it by mimicking Gertrud. However, I was a long way musical substance. Often the player has little or no idea from understanding the specific steps in a proper down stroke how to fix the problem --or even that there is a problem, or how to prepare the next stroke correctly – because I was thinking that the mandolin is supposed to sound this way. mimicking, not analyzing – and, perhaps even more important, how to eliminate tension in my right hand. It was only after Even if the down stroke is executed properly as described carefully studying and implementing TMG that I began to comprehend the proper mechanics, and how to use gravity to in TMG, many players do not prepare the next stroke improve the quality/quantity of sound and to eliminate tension. correctly, again in my experience – perhaps because the

15 Carlo Aonzo Manhattan Workshop 2016 by Randi Weiner Gormley

Bach, perfect weather, easy access to Central Park and Latino early so that rehearsal could start on time at 9:45 good company — what more could a spring gathering of a.m. A group of attendees staying in Chelsea often met for classical mandolinists in New York City need? breakfast before taking the subway to midtown; others grabbed what they could from the restaurants, delis and The 16th annual Carlo Aonzo Mandolin Workshop was fast-food places in the neighborhood of the rehearsal held this year from April 14 through 17 in studio space in space. downtown Manhattan with nearly two dozen participants. Practice was steady, with one short break, to about 11:15 Carlo shared director’s duties with Rene Izquierdo for the a.m., when everybody broke for lunch. third time the pair has led the Manhattan workshop, Carlo taking his place among the Morning rehearsal generally involved taking apart one or mandolinists when Rene had the baton, and Rene leading two of the pieces, working on the guitar section when Carlo was on the podium. dynamics and “playing the rests,” and advice from attendees on how to attack tricky fingerings. Among this year’s notables were composer (and mandolist) James Kellaris, who made the trip despite a broken foot, Lunch break was always a surprise because the time had and Will Smith-Haddon, who traveled to the workshop passed so quickly. If it wasn’t for the exceptionally hard from Wales, both first-timers. folding chairs (thank heavens for cushions!), some of us would have just played for hours without regard to the The two were among a half-dozen new faces who joined time! about 18 veterans for a gathering of intermediate and higher-level musicians tackling challenging works both Lunch was about 90 minutes, enough time to seek out past and contemporary. some of the neighborhood’s interesting hole-in-the-wall restaurants featuring a world’s worth of cuisine, but a The lineup included Bach’s Art of the Fugue (Fugues good chunk of the attendees grabbed a sandwich from the 1 and 11), CPE Bach’s Concerto for Flute (Wq167), the deli or fast-food places and walked the block to Central romantic Italian “I Mandolini a congresso!” by Bracco, Park. Orchesterquartett in F-Dur, op 4, Nr. 4 by Stamitz and a relatively new piece, “Kalamazoo Swag,” by attendee Having perfect weather for all four days meant that James Kellaris. the walk to the park past the tourists and food vendors,

As a bonus, the crew was sent a set of Holborne pieces (17. Paradizo; 18. The Sighes; 19. Sedet Sola; 20. Galliard; 59. The Choise; and 61. Wanton) that was practiced in rehearsal but not played in the recital.

As always, we had brave (and talented) members who opted for solos: Katy Vandenberg and Barbara Blumenthal played the solo parts in the CPE Bach Flute Concerto.

Attendees playing mandolin at the CAMW traditionally have mixed parts, with each of the two mandolin groups taking the Mandolin 1 parts for half of the pieces and Mandolin 2 parts for the others. The Holborne was something new, pieces divided into three parts. It made arranging chairs in the orchestra a little more complex than usual to make sure the players were next to (or at least near) people playing the same part.

Mixing up the parts is one of the signatory features of CAMW. Each of the two mandolin groups – designated Munier and Calace -- is divided as evenly as possible with intermediate and higher-level players in each group. Carlo and Rene Musicians were encouraged to get to the studio at Flamenco

(continued on page 17) 16 Carlo Aonzo Manhattan Workshop 2016

(continued from page 16) finding a spot to sit and soaking up the sun and nearby two brilliant musicians who are also brilliant teachers. music, added to the relaxation of the break. Spring Workshop director Chaim Caron’s love of Bach ensures flowers were in bloom and the skyline of Manhattan was that the workshop’s music will always include pieces by all around. Only the lure of Bach and more music called J.S. Bach and his family members. the wanderers back to the studio. Several attendees used their evenings to visit New A few people who returned to Flamenco Latino early — or York City’s tourist spots, meet with friends or take in a who took lunch a little late — spent the extra time in the Broadway show or the opera. For those who wished, there studio playing ex tempore music. Several attendees had were some CAMW events available specifically with a brought books or sheet music from their home turf. Only mandolin flavor — in particular, the traditional concert a few mandolinists at the workshop were strictly classical that Carlo and Rene give when they’re in Manhattan. players, so the notes from Irish traditional, Old Time, Bluegrass and jazz pieces could be heard along with the This year’s concert was held at Bargemusic, a stage (and occasional baroque duet in the minutes before and after seating space) on a barge that sways in the waters of lunch. one of New York City’s rivers. This year, Carlo and Rene were joined by an up-and-coming stellar Italian guitarist, James Kellaris, who traveled by wheelchair to keep his Lorenzo Piccone. foot rested, spent his lunchtime at the Hispanic restaurant next door to the venue and was happy to talk music with Another highlight is a group trip to Katz’s Deli where the anyone who joined him. sandwiches are bigger than most people can eat in one sitting, although many valiantly tried. Not to mention all His “Kalamazoo Swag,” a favorite with the group and the other offerings in a traditional New York Jewish deli, a growing favorite with amateur mandolin orchestras pickles and desserts included. in and outside the U.S., was written as a stop-gap for a more serious piece he had been commissioned to write Sunday was a study in contrasts: last-minute music- the Kalamazoo Mandolin & Guitar Orchestra. The piece, sorting as the order of the music was established; which — he said with a grin — contained some of the concentration on each piece as it was played through; more popular phrases and earworms of old-time rags and breaks from the tension to stretch and then back to the swing compositions, was enjoyed as a musical dessert music; a release for several hours that included setting after the more intense Bach, Bracco and Stamitz. up the studio to accommodate guests; gathering for a last time to perform for an audience of about 50; one last time The afternoon session began promptly at 1 p.m. with to enjoy the full orchestra with its Bach themes moving a repeat of the morning’s schedule. It took only a few from part to part; a final bow and the workshop was over. minutes for everyone to find their places and the serious business of music caught everyone back up until it was Many of the participants lingered over putting the suddenly 5 p.m. and the day’s rehearsal was over. chairs away. Since some would be leaving immediately afterward and others would be traveling to El Quixote Different days had slightly different schedules and for a last dinner together, hugs, handshakes, emails and Sunday, being recital day, was set up to accommodate promises to get together again were exchanged. rehearsal in the morning and the recital in the afternoon. The purpose of the workshop, Carlo tells the audience at Two visitors dropped by during the workshop: composer, the recital, is not just to get together and play the classics arranger and musician Victor as a group. It is a chance for musicians to learn something Kioulaphides, who has been both participant and new and be able to take that knowledge back to their contributor to the musical lineup; and Steve Bernstein, home orchestras, ensembles and private practice. It is a a longtime participant who had been absent for a year privilege that participants have embraced for the years or two and stopped by to greet friends and hand out that CAMW has existed and one of the things that keeps copies of “best case scenario,” a CD he and his brother, attendees coming back. Bob Bernstein, had just completed. The work included contemporary pieces composed by Bob Bernstein (and one In their evaluations, participants gave overwhelmingly by Steve), played as a mandolin/guitar duo. positive feedback.

The Manhattan workshop is as much a gathering of “It exceeded my expectations on several dimensions. I like minds, a way to meet musicians from all over and found the group extremely warm, a chance to socialize as much as a study of Bach under welcoming, and helpful. The caliber of musicianship

17 (continued on page 18) Carlo Aonzo Manhattan Workshop 2016

(continued from page 17) was impressive. The musical instruction (in the context been tackled,” someone commented. of rehearsals) was excellent. Despite being a seasoned musician, I learned plenty of new things!” one participant The best part of the workshop varied from commenter wrote. to commenter, but just about everybody said meeting other musicians and sharing laughs, techniques and “Being a first-timer, I didn’t know what to expect, but I experiences was way up on the list, along with spending found Carlo & René inspirational, and I was surprised time with Carlo and Rene. at how friendly everyone was to a newcomer,” another wrote. “Always the people. I like being with so many people who share my passion for mando,” said one participant. “The amount of music seemed spot on for an extended long weekend workshop. Challenging, but doable,” was “Watching and learning from 2 fascinating directors,” one comment. said another.

The music, one attendee wrote, was “challenging enough “Learning under Carlo and Rene is an exceptional yet still accessible. Each piece contained its own special experience in its own right—one to which I hope many challenges, and the overall selection provided a good of my fellow mandolin enthusiasts will treat themselves variety, both for the performers (to work on various skills) whenever they have the opportunity! I feel like I always and for the audience (to listen to).” emerge as a better musician after working with these masters of their craft!” “It felt good to be pushed. It would be in no one’s best interest to end the week feeling that no new fences had

2015 - 2016 Financial Report

CMSA’s most recent fiscal year began on July 1, 2015 Expenses for the year were $42,317 – almost identical to and ended on June 30, 2016. last year. 12% was Mandolin Journal expense, 79% was spent on the annual convention, and 10% is for various Our Board of Directors’ fiscal goal for the year was to administrative expenses (insurance, legal, website, break even (as it is most years). We ended the year with banking fees, etc.) The costs of printing and mailing the $84,816 in our treasury; an increase of $10,994 from the Mandolin Journal have decreased significantly – in part year’s starting balance. However, due to opening the due to members receiving the MJ electronically. (If you 2016 convention registration in June, we had $5,330 of would like to receive your MJ electronically, please log in 2016 convention income in this fiscal year that normally to your membership profile and “unclick” the red button would be accounted for in next fiscal year. (We normally for “Mandolin Journal by Mail”. Then click “Save”.) open registration in July or later.) Thus, our true increase for this fiscal year is more realistically stated as CMSA did not award any grants this year. approximately $5,600. This adjusted increase is almost 100% due to the $5,800 “profit” generated by the 2015 Our administrative costs include the costs of developing Austin convention. (See my article in the February 2016 the new website and membership database. These Mandolin Journal for more information about the Austin development costs were significantly less than “market convention.) rates” due to some very dedicated people volunteering their efforts. A huge “Thank You” goes out to Joane After adjusting for the 2016 convention income, our Rylander, Fred Pike, and Alathea Letaw for their income for the year was $47,981 – slightly higher than efforts. (And also to Dave Betts for all his efforts over last year. 19% of our income came from membership the years to create and support the CMSA website and dues; 76% was from convention revenue, and the membership database.) remaining 5% was from Mandolin Journal advertising, donations, and interest. These numbers are very Respectfully submitted by Lou Chouinard, CMSA similar to last year except donations, which increased a Treasurer bit this year.

18 Aonzo Workshop Moves from Manhattan to Milwaukee in 2017 by Barbara Conrad

Following the sixteenth successful edition of the Carlo As always, music is sent out as soon as a student’s Aonzo Mandolin Workshop (CAMW) in Manhattan, it registration and payment are received, well ahead of the was announced that CAMW will be moving to Milwaukee workshop, to allow for thorough study and preparation. next year. The workshop will be held Thursday through The players’ high level of readiness is always evident at Sunday, June 1 to 4, 2017. CAMW, which means that instructors’ valuable time can be spent on musical subtleties, rather than more basic The workshop will take place on the campus of Wisconsin matters that can be figured out individually. State University, where CAMW co-director Rene Izquierdo is a professor of classical guitar. Attendees will Enrollment will continue to be limited to about forty, be housed in guest apartments (as opposed to student which Carlo feels is the largest group he can work with housing) conveniently located on campus. The rehearsal effectively. studio, also on campus, will be a short walk away. It is easy to get from Milwaukee’s major airport to the Says Chaim, “The workshop is a significant workshop site. accomplishment. When we started, we had a dozen or so people gathered in my living room. We made many The format will be similar to past New York workshops: changes over the years to get to our current successful four days of working intensively on orchestra repertoire format.” under the direction of two master performer/teachers, and a final recital. The campus location and communal These days the majority of attendees come from out of living set-up will provide more opportunities for informal town, from all over North America and as far as Great playing – sight-reading, jamming, open mic – which the Britain and Europe. Manhattan workshop could not. Chaim continues: “The workshop has continuity, a body Organizer Chaim Caron is very positive about the move. of institutional knowledge gained over 16 years, and a In our conversation, he said that Manhattan has been special community of musicians. We are not starting wonderful; its many attractions made it a big draw, but something new, just moving the workshop to a new the City is expensive and costs have risen over the years. location.”

Chaim and Carlo feel the time is right to move the He adds, “I hope you will join us as we make new workshop to a new, central location. Milwaukee’s location traditions in our new home.” and lower accommodation costs will make CAMW more accessible to some attendees. The cost of the workshop Registration is now open. For more information, email itself, which has stayed fairly constant over the years, Chaim at [email protected]. Please include the text will be about the same. “CAMW” in the subject line of your email.

CMSA Welcomes New Members:

David Levine - Durango, CO Bruce L. Robinson - Nottingham, MD Pat Schaller - Waukesha, WI Melanie Dodson - Towson, MD Jeremy Kridel - Indianapolis, IN Christine Beckstrom - Modesto, CA Dr. Jed W. Fahey - Baltimore, MD Adam Orr - Damascus, MD Stephanie Judy - New Denver, BC Donald Orenbuch - Bala Cynwyd, PA Dennis Hribar - Virginia Beach, VA Sonja Konlande - Virginia Beach, VA Harry Scheyer - Berlin Sam Bloch - Farmington Hills, MI Gabe Locati - Maple Glen, PA Joe Fenno - Norfolk, VA Justine Salomone - Fort Myers, FL Bradley Stanish - West Vancouver, BC Marietta Loehrlein - Macomb, IL

19 Registration is now open for the

17th Annual Carlo Aonzo Mandolin Workshop Milwaukee, Wisconsin Thursday, June 1 to Sunday, June 4, 2017

Would you like to develop your playing technique and musicianship? Come to the Carlo Aonzo Mandolin Workshop (CAMW) – the only workshop completely dedicated to working on mandolin orchestra repertoire and performance. It is a wonderful opportunity for great musical growth for players of all mandolin-family instruments as well as guitars, from intermediate players through professionals.

Enjoy the camaraderie of learning and playing with fellow enthusiasts in a warm and supportive environment and be part of the first CAMW in its new location on the campus of Wisconsin State University.

Carlo Aonzo, one of the greatest classical mandolinists alive today, has a deserved reputation for warmth, patience and extraordinary teaching skills. Attendees are unanimous in their praise of Carlo, and for the quality of experience offered at this highly regarded workshop.

Carlo will again share conducting duties with Cuban virtuoso guitarist René Izquierdo. René’s musical passion and sensitivity are completely in sync with Carlo’s, making for a seamless blend of teaching and direction.

This workshop will be four full, six-hour days. We expect that this new communal living arrangement will offer plenty of opportunities for informal playing as well, so bring along your favorite chamber music and other sheet music for after-hours group sight-reading.

Each year participants learn music from a variety of eras and styles. The music encompasses a range of opportunities for musical growth for all levels. It is sent out to participants months in advance of the workshop, on receipt of registration and payment. This year’s music includes works by Bach and Vivaldi, a romantic Italian piece and a contemporary piece. At the Philadelphia A limited number of places are available, so don’t miss out on this opportunity. convention, Carlo and Rene will hold a session For additional information or to register, email workshop director Chaim Caron to play some of the at [email protected]. Please add “CAMW” to the subject line of your email. music chosen for next year’s workshop. Come and preview the CAMW experience! Whether or not you are registered, you can come and play through some of the great classical music we will be working on next June. Sheet music will be provided.

20 Concerts Link Italian Mandolin and Russian Domra by Anne Rivera

contemporary American composer Victor Kioulaphides. Included were Kioulaphides’ “Differencias” (based on a Sephardic song) for solo mandolin, “Follia Piazzollesca” for ensemble, and “Toccata Scarlattiana” for duo mandolins. Also featured was the “Boston Ideal March” for duo mandolins and guitar, by the American composer Samuel Siegel, (1875-1948).

Before the mandolin half of the program was finished, the ensemble had performed the Brazilian Choro piece “Tico- Tico”, a medley of Neapolitan folk songs arranged by Trofimov, “Flight of the Fly” by Jacob do Bandolim (also arranged by Trofimov) and a country-style piece “Dancing Fiddler” by D. Cramer.

Domra is Older Volskaya pointed out that the Russian domra, featured “Russian Carnival” Photo by Ivan Petrov in the second half of the program, is even older than Noted Russian domra player Tamara Volskaya, also a the mandolin. It dates from the time of the first Slavic virtuoso on the mandolin, recently organized a series state, Kievan Rus (9th century), while the modern of five concerts designed to highlight the relationship mandolin was only developed in the mid-1700s. Despite between the two instruments and also to show their their difference in age, the mandolin and the domra differences. Entitled, “The World of Italian Mandolin and have common roots, she continued. “They both descend Russian Domra,” the first concert took place at the Roerich from the ancient Eastern instrument, the ud. They have Museum in New York City on March 6, and was followed survived difficult periods in history and today both are by house concerts at various locations in Manhattan and appreciated throughout the world.” New Jersey. All concerts featured the same program. The final concert was held on June 25, in Brewster, NY,as Mandolin and Domra --3 part of the municipal concert series there. Originally a folk instrument, the domra is now also a concert instrument, Volskaya said. To illustrate her Both the domra and the mandolin are stringed point, she performed two movements of Antonio Vivaldi’s instruments played with a plectrum. Because they are “Concerto in d Minor” on the domra. The ensemble also tuned to the same pitch – G,D,A,E – they can share the played excerpts from the “Faust Fantasy” by Gounod- same repertoire. Despite the fact that the mandolin has Sarasate and Shostakovich’s “Waltz” and “Galop”. four pairs of strings and the domra is limited to four single strings, the domra produces a louder, more resonant tone The domra continues to be the main instrument in than the mandolin. It cannot, however, produce the same Russian folk instrument orchestras, Volskaya observed. kind of high-pitched tremolo that is a trademark of the She devoted the remainder of the program to Russian folk Neapolitan mandolin. songs and original compositions for the domra, including “Ukrainian Fantasy” by A. Holminov. Joining Volskaya in concert were members of her ensemble the “Russian Carnival.” They included Anatoliy “ It was a pretty challenging project to present original Trofimov who plays the Russian bayan (an accordion-like repertoire for two instruments in a single program,” instrument) and arranges much of the group’s music; Volskaya commented, “as well as to move smoothly from Nataliya Vsevolodskaya (guitar, balalaika-alto); and baroque music to classical music, then on to modern and Leonid Bruk (contrabass – balalaika). Mandolinist Carol folk music!” Bloom, a student of Volskaya’s, also participated in the first part of the program, which featured music written “I am happy that audiences -- excited by the diversity for the mandolin. of the program-- responded enthusiastically to all the concerts,” she added. Mandolin and Domra --2 “We wanted to showcase the mandolin’s wide range of The “Russian Carnival” ensemble has been together abilities in a variety of genres,” Volskaya explained. The for more than 15 years. “The members are wonderful music ranged from Antonio Vivaldi’s “Trio Sonata in C musicians and friends with whom we plan to present “arranged for mandolin and guitar to selections by the many more challenging programs,” Volskaya promised.

21 Feature Review: The Mandolin: A History by Robert A. Margo

(Chapter 5), and progressing to the historical Neapolitan, and ending with the modern Italians – Vinaccia, Calace, Embergher, and others. There is a brief, charming vignette describing a visit that McDonald made in 2009 to the current Calace workshop.

Up next is a lengthy (Chapters 8-13) treatment of the American mandolin, the subject that perhaps CMSA members will find most interesting. The story begins just before Gibson, with a discussion of the Spanish Students and the state of play in the American musical instruments industry in the late nineteenth century. Gibson’s origins are the subject of Chapter 9, from which follows the extremely diverse growth of the American mandolin industry in its heyday, organized mostly in terms of where the instruments were made (e.g. Lyon & Healy makes an appearance in Chapter 10, on Chicago; Vega, in Chapter 12, on Boston). There is a brief detour into harp and banjo-mandolins in Chapter 14 (electric mandolins are also covered in this chapter) and the triumphant revival of the modern F5 is celebrated in Chapter 15. The bewildering variety of “modernist” approaches to mandolin construction are covered somewhat breathlessly in Chapter 16; herein, I am happy to report that one of Graham McDonald, The Mandolin: A History. Published my personal favorites, CMSA member Dave Cohen, gets by Graham McDonald Stringed Instruments, PO Box 365, his due on p. 264. Contemporary European makers Jamison ACT 2614 Australia. are the subject of Chapter 18. The remaining chapters focus on Japan and East Asia (Chapter 19); Spanish and A “coffee table book” is usually large or heavy or both, Portuguese variants (Chapter 19); tanbur, domra, and with copious illustrations or photographs, meant to be related instruments in Chapter 20; the modern cittern perused from time to time while sitting in a comfortable and its offshoots, a topic of special interest to the author; chair, coffee (or aperitif) in hand. Other Western plucked and finally, tuning machines in Chapter 22. strings – guitar, classic and electric; banjo; the lute – have long had their coffee table books. Now the mandolin world The Mandolin has many virtues. Obviously a labor of has its own – and it is a very good one, indeed. What love, the book is well (and thoughtfully) written. The perhaps most differentiates The Mandolin: A History many beautiful photographs of instruments both familiar from its lute or guitar counterparts is that the author, (e.g. Loar F5’s), exceedingly rare (e.g. the Cetra Madami- Graham McDonald, is a distinguished and innovative Embergher, p. 77) or strange (e.g. the Turturro Turnover luthier in his own right, with an especially deep interest mandolin/uke, p. 176) will delight even the most jaded of in the history and evolution of the instrument. eyes. The breadth of coverage is exceptional; of particular value, if only because the topics are relatively neglected The Mandolin is divided in 22 chapters, plus footnotes and elsewhere, is the lengthy treatment of non-Gibson bibliography. The organization is largely if not exclusively American mandolins in the middle of the book, and the chronological. Chapters 1-4 describe the origins of the closing chapters on the instrument’s cousins throughout lute, reaching as far back as ancient Mesopotamia and the world. Egypt in Chapter 1, and as (geographically) wide as the Middle East (the ‘ud) and the Far East (the pipa) Given the complexity of the subject, it is hardly surprising in Chapter 2. Chapter 3 focuses on the Middle Ages that reviewers will find points of disagreement. Although and the Renaissance, with discussions of the citole and the research is generally very thorough, especially in gittern, while Chapter 4 covers wire-strung European light of the range of instruments considered, it appears instruments of the cittern family, including the bandora that McDonald is not fluent in the relevant European and the orpharion, and the English “guittar”. or non-Western languages that one would expect of an academic musicologist; consequently, there is too In Chapter 5 McDonald turns to the evolution of the much reliance on secondary sources in English along modern European mandolin, starting with the baroque

22 (continued on page 23) Feature Review: The Mandolin: A History

(continued from page 22) with what can be readily found on the Internet. On p. (Endnotes) 67 McDonald repeats the conventional but evidently 1 See the liner notes to Raffaele La Ragione’s CD recording “Je incorrect urban legend that Raffaele Calace’s brother, Reviendrai: Nicola M. Calace: Opera scelte per mandolino, liuto, Nicola, emigrated to the US in 1901 after a tiff with his chittara e pianoforte” which I reviewed in the CMSA Journal. La more famous brother, whereupon arrival he supposedly Regione points out that Nicola Calace migrated to the US in 1906, built mandolins with another Italian immigrant, Nicola not 1901, where he formed a highly successful, family-based Turturro.1 For my tastes McDonald lavishes too much society band in which he played violin and other instruments. praise and space on Embergher mandolins (pp. 72-77) There is no hard evidence that Nicola Calace ever built mandolins relative to the modern German mandolin a la Reinhold in America, either on his own with Nicola Turturro. Seiffert which receives but a single page and a dismissive 2 The Embergher can be seen as logical end of a quizzical search to comment (“only rarely found outside of Germany”).2 It turn the mandolin into a plucked violin. Except that the mandolin perhaps goes with saying that The Mandolin is a book is not a plucked violin, which calls the entire search into question. about the history of the instrument per se, not its music What Embergher enthusiasts often regard as virtues – the extremely or performance traditions; readers wishing to know about narrow, highly radiused fingerboard; the deliberate placement of Vivaldi’s mandolin works, for example, need to look frets up the neck to sharpen notes; the piercing tone of a 5bis, elsewhere (e.g. Tyler and Sparks). especially one with a maple bowl – others see as irredeemable defects. The per capita density of classical mandolinists is far These comments aside, The Mandolin: A History is a book higher in Germany than anywhere else in the world, save perhaps that card-carrying members of the worldwide mandolin Japan, and the vast majority of German classical mandolinists play fraternity, CMSA included, should own. The book is Seiffert-style instruments. The Seiffert mandolin was invented ca. self-published, financed by a Kickstarter project. The 1980 and its near complete diffusion in a little more than a single total number of copies produced is limited but, as of this human generation is a remarkable feat, worthy of a more detailed writing, some 50-odd copies (a mixture of new and used) analysis than it receives in McDonald’s book. are available for purchase from www.amazon.com.

23 Desert Island Discs: Classical Mandolin’s Classic Recordings, volume 1 by Robert A. Margo

Back in the day of Stereo Review and similar music performances were few and far between, and recordings magazines, record critics frequently published lists of fewer still; aside from the fact that the audience for solo “desert island discs” – recordings of such merit that one classical mandolin was (and is) very small, the pieces could take them to the proverbial desert island. This is are very difficult even by virtuosi standards. The the first in a series of articles about “desert island discs” most commonly performed was #2 in D Minor (Op. 49) of classical mandolin music. Because there is no objective – musically speaking, perhaps the most immediately definition of what constitutes a desert island disc, the list accessible; and, relative to some of the others, not as is obviously personal.1 Nevertheless, a list maker should difficult technically. have compelling reasons as to why a particular recording is desert-island worthy, and I shall offer them – the music In the 1980s and 1990s the German classical mandolin is inherently important in the history of the instrument; was in the beginning of a massive and highly successful the performance is transcendental; the recording is a revival. One of the key performers to emerge at the time significant departure from past practice, pointing a path was Gertrud Weyhofen. A student of the influential forward. Most importantly, a desert island disc is one to German teacher, Marga Wilden-Hüsgen, Weyhofen which you can listen repeatedly and never tire. These are formed a mandolin-guitar duo with the classical the recordings that should be in every classical mandolin guitarist Michael Tröster, whom she married (and later collection, in my (humble) opinion. divorced). “Duo Capriccioso”, as they were known, issued six landmark recordings on the Thorofon label, Gertrud Tröster (Weyhofen), The Romantic toured the world including the United States, and figured Mandolin of Raffaele Calace, 10 Preludes. Thorofon prominently in the pre-2000 history of the CMSA – but CTH 2211. that is getting ahead of my story.

Raffaele Calace While studying for her performance music degree is surely the most Weyhofen began the herculean project of learning all famous name ten of the Preludes. According to Weyhofen, each piece in the history of required hundreds of hours of study and practice; while classical mandolin. the language and technical toolkit are fairly similar from Calace was a one Prelude to the next the differences are such that triple threat – an learning one does not really make learning the next that innovative and much easier. For her final graduation concert Weyhofen important luthier, played five of the Preludes in the first half.2 The financial whose family firm success of her duo recordings with Michael Tröster gave continues to this the couple sufficient bargaining power with the Thorofon day; a player of label to eventually make the all-Calace solo recording.3 great renown, whose favorite By classical mandolin standards the release of the CD instrument was recording in the mid-1990s was a seismic event. At the the liuto, the five-course Italian riff on the mandocello; time there were few players who could credibly perform a and a leading composer, whose many works form the single Calace prelude, let alone ten. Yet Weyhofen essayed core of the romantic repertory for classical mandolin. the full set without any apparent effort, every note in its proper place, every dynamic and other performance Of Calace’s compositions none are more central than the marking realized, with radiantly beautiful sound and eighteen unaccompanied preludes -- 8 for the liuto, and 10 soulful musicality. From a pure technical point of view for the mandolin. These are, far and away, the best of the her tremolo was especially impressive, impossibly fast early twentieth century repertoire for classical mandolin. and even, whether on one string or four. Details that Musically, they embody all of the “tricks of the trade” – other players routinely fudged were impeccably realized, idiomatic techniques like duo style, harp arpeggio, glide crystal clear. An excellent example is the extremely stroke, and (very) rapid scalar passages -- all in the service rapid chromatic glissandi scale in m. 17 of Prelude #1, of a highly ornate melodic and harmonic language that is all 36 notes of it starting at a low B on the fourth string the mandolin equivalent of bel canto. and ending, in beat one of m. 18, three octaves higher. Most players, even very good ones, mumble through this Like the instrument itself, the liuto preludes have been passage, the notes muddy and rhythmically uneven – seriously neglected, but the mandolin preludes have long but with Weyhofen, you hear every note speak clearly, been part of the repertoire of classical virtuosi. Even so in time. When asked by Neil Gladd how she could play

24 (continued on page 25) Desert Island Discs: Classical Mandolin’s Classic Recordings, volume 1

(continued from page 24) such difficult music so perfectly and so beautifully, she replied: “You have to think about the basics, very slowly, 2 In the plucked string world half or full concerts devoted to get faster with a metronome, and one day it will be good”.4 a single composer are rare. Lutenists sometimes program all-Francesca da Milano, Dowland, or Weiss concerts. The In the two decades since The Romantic Mandolin was guitarist John Williams gave all-Barrios concerts in the originally released there have been two other integral 1970s and 1980s – the composer in this instance being recordings (Julien Martineau and Detlef Tewes), both the Paraguayan guitarist Augustin Barrios-Mangore, an outstanding, and many recordings of individual Preludes. early twentieth century virtuoso whose music was revived Highly quality concert performances, while not exactly by Williams and which now occupies a central place in the routine, are much more common (and can be readily guitar repertoire. Like Calace, Barrios’s exquisite guitar found, for example, on www.youtube.com). But no one, in music, Romantic to its core, was written “out of period” my estimation, has improved on Weyhofen. As a reference – decades out of date when it was composed relative to recording for this music her recording is absolutely compositional trends in the broader classical music world, fundamental. To this day I learn something new every but beloved nonetheless for it great beauty. time I listen to it, and always with great pleasure. It is my all-time favorite disc of classical mandolin. 3 Neil Gladd, “The Duo Capriccioso: Interviewed by Neil The Romantic Mandolin is out of print (permanently, Gladd,” Mandolin Quarterly, p. 9. as far as I know) but copies, used and new, are almost 5 always available on demand from Amazon or Ebay. 4 Gladd, “The Duo Capriccioso,” p. 7. (Endnotes) 1 If, however, I seem to be ignoring your favorite player/ 5 At the time of this writing, for example, there were 10 recording as the series unfolds, email me -- I will consider new copies available on Amazon in the US; the lowest suggestions (but no promises!). My email address is price was about $8.00, including shipping. [email protected].

Mando Kids Are On Their Way! by Laura Norris

In January several young students from the Baltimore get enough! Mando for Kids class started playing with the Baltimore Mandolin Orchestra. Their progress has been remarkable; Now they are starting even more advanced pieces they practiced hard, learned the parts well and have including even some of the Bach sonatas. added a big boost of energy to the Orchestra. These young people all started with Mando for Kids at Their progress has been so rapid that on April 24th the beginning, and have gone through the stages of the when the Orchestra played the Vivaldi Concerto for Two method. They are now our “Pioneers” going where no one Mandolins with mandolinist Carlo Aonzo and guitarist has gone before. Rene Izquierdo (guitarists sneak in now and then) the Mando Kids were part of the orchestra accompanying the We hope you can meet some of them at the convention in soloists Philadelphia.

By June 5th they were able to play the solo parts of the Thanks for your support, first movement -with the Orchestra accompanying them! Now they are ready to play the whole piece! Laura Norris Director of Mando for Kids Vivaldi has had a magical affect on the kids. They can’t www.mandoforkids.org

25 Which Finger? A Series AboutWhich Mandolin Finger? Technique A Series About Mandolin Technique InstallmentInstallment 2121 byBy Keith Keith DavidDavid HarrisHarris

Pickin’ Blackberries: Mind the Thorns!

During the 2016 Easter vacation here in Germany, we had the annual seminar of the Hessian state branch of the BDZ - the German plucked string organization, from which Norman Levine got the idea for the CMSA, by the way. I first worked there in 1979 (!), when it was directed by my friend Fred Witt, and where some of my other associates were Takashi and Silvia Ochi, at the time probably the best-known classical mandolin players in the world. If you don’t know these names off-hand, please Google them – they were part of a formative period in the development of the mandolin scene we have today. A few years later, I had myself been promoted to boss of this weeklong seminar, and I’ve been doing the job ever since.

You might know that most of the thirteen state branches of the German organization hold seminars, more or less like this one, with a mixture of teaching and playing. The numbers fluctuate somewhat, but this time there were 34 participants, mainly but not only from the state of Hesse (capital city: Wiesbaden, biggest town: Frankfurt, my town: Marburg -on-the- Lahn – very pretty!), and 5 teachers, counting myself. The teachers, whom I handpick, are all outstanding experts in their particular instrumental field, but also with very special musical and personal qualities. As for the last 35-odd years, the six days were magical. Ages ranged from 10 to mid 70s. Everybody enjoys and benefits from the blend of generations.

One evening after the orchestra rehearsal, when everybody was sitting around chatting, three people spontaneously started playing some typical “jam session” tunes in the background. It would have been a familiar scene to any CMSA Convention- goers.

Martina is a wonderful octave mandola player, and she was joined by Jenny (from the USA, by the way, but like me a German resident) with a mandolin and Herbert strumming away on the guitar. The two ladies played the melody - an octave apar t, of c ourse. One piece they played was pr obably the best known of all fiddle tunes, the br eak down, “Blackberry Blossom”, which is as beloved in Irish Celtic circles as in the American bluegrass scene.

Of course it was a very relaxed and informal situation, which is different from a formal concert. The experience nonetheless fitted in very well with discussions I have had over several years, particularly with Jenny, the mandolin player. At my request, she subsequently sent me the music they were playing from – one of about 2,000 published versions of the tune, I understand. The first few bars looked like this:

Fig. 1

I didn’t think it strange that fingering was included. After all, I myself often indicate in detail what I think might produce good results and so make the player’s life happier, if my ideas are nonstandard. In this case though, the fingering was completely in keeping with violin position theory anyway, which is exactly what nearly every mandolin player I’ve ever met would have used anyway, making the numbers a trifle superfluous. One is usually careful about stating the obvious, unless of course one thinks there might be some doubt. But then, would it occur to you to use other fingers than indicated in Figure 1? I’d be a bit surprised...

It was certainly what the two ladies were doing, at least at first. They conceivably didn’t even notice the written numbers, because this standard violin fingering is what everybody learns anyway. The result (Figure 2) was exactly as I would have predicted:

Fig. 2

26 (cont. on page 27) Which Finger? (continued from pg. 26)

In words:

 The first G was fine, in tune, and clean, but  the next really good note wasn’t until a few notes later, F#.  The notes in between really were less than perfect - even though the players were using exactly the fingering which has been prescribed in every mandolin book written between the Big Bang, and now. It seems to be a carefully guarded secret, but in fact, it was BECAUSE they were using the prescribed fingering that it didn’t work.

Word hasn’t got around much, but there are several other fingering solutions that would work just great in this sort of note combination, and I was curious as to whether the players would tak e rem edial action and use one of these sensible fingerings. Martina with the mandola didn’t, even though she is an excellent musician with a good understanding of technique. I suppose it just didn’t bother her enough, or perhaps she felt it didn’t matter for jamming purposes. Playing utterly perfect, squeaky-clean notes just wasn’t a priority on this occasion. Besides that though, the fingering was what she had been taught (before she and I met, though!) to regard as right and proper; so even if she noticed the less-than-perfect results, I suppose she blamed herself, instead of questioning the intellectual tool (the fingering) she had always been told was the right one for the job.

I was delighted though with what Jenny did. After looking unhappy for about twenty seconds and realizing that the standard approach just didn’t work, thinking on her feet (a pragmatic American after Mark Twain’s own heart!), she started doing this (compare the numbers): Fig. 3

which of course fixed the problem with the first four notes instantly. They now all sounded clean, because this fingering combination permits an even and appropriate distribution of pressure for each of these notes. Please humor me for a moment:

Please read the second to last sentence last sentence again, slowly and out loud. Please emphasize the word permits. Because: although the fingering permits this clarity, it unfortunately doesn’t guarantee it, unless the player uses the fingers in the right way – which Jenny has learnt to do. And then again, even the traditional fingering does indeed work for some people, although, if you listen closely, far fewer than is commonly noticed. Because Jenny’s non-standard fingering requires much less energy than the traditional (violin) fingering shown in Figure 2, Jenny was able to relax and have more fun, which meant she also played more musically.

As my friend and respected colleague Mark Davis put it a few years ago:  “I have been enjoying your ideas of left hand fingering. I am using much more 'closed position' fingerings. You know what? You're right! It is better by far and causes much less stress on the hand. And makes things more musical AND more fun!“

Probably you recognize at a glance that the printed fingering in Figure 1 indicates what might equally well be expressed by the direction “1st position”. Would you however recognize that it also indicates what some people call the “2nd finger pattern”? If the term is not familiar to you, there’s a lot on the Internet.

Anyway, the results confirmed my expectation. I quickly noticed that with the standard fingering, some notes always sounded good, and some never did. The results were consistent, and I’ve indicated what they were in Figure 2.

The reasons are really quite simple, too. I’ve already mentioned that the two ladies are really above average players. They certainly both know how to fret a note so that it sounds good, and also know how to choose sensible fingerings – fingerings, which make good notes possible. They generally think independently and objectively, and are not slaves to an antiquated and inefficient fingering system that uses concepts like “hand position” and “finger pattern” as a way of ordering the mandolin world.

But it was a very relaxed situation, the sort where old habits are inclined to assert themselves. The old habit in this case was the old tried and disproven fingering, the one indicated in the published version (Figure 1). With that distribution of fingers to notes, G with the 2nd finger worked just fine, because at that point in time, only one note was required, so the player’s hand was able to adjust appropriately and press the string optimally onto the desired fret. Physically speaking, any other finger would have done the trick too. The second note though, A, with the 3rd finger, was a different matter. (cont. on page 28) 27 Which Finger? (continued from pg. 27)

As a well-trained and musically conscientious mandolinist, you’ll of course bear in mind the principle illustrated in

Fig. 4

Now, does your particular hand really like fretting G with the 2nd finger and simultaneously A with the 3rd finger? If it does, and if you can also honestly say that both notes sound utterly great, I wonder if you have ever felt that your pinkie is too short, or at any rate weak? (Well, have you?)

There’s a connection. The reason is simply, that for most hands, it’s very hard to fret G with 2 and A with 3 and hold them both down, as is required by the principle illustrated in Figure 4. This is a matter of anatomy – it’s just the way muscles and tendons work. In my experience, most people either don’t seem to notice the bad-to-nonexistent legato connection between the two notes in question, or perhaps they just hope that nobody else does! (It’s what all the books say, after all, so it must be right.) There are however some people with average sized hands who do notice, and who go to lots of trouble, even with traditional fingering ideas, to connect the notes.

There are two common approaches:

i. Heroic souls make the 2nd finger stay put on the G, whether it wants to or not, and force the 3rd finger to stretch the whole step up to A. They get full points for bravery, but it’s really not a good idea to subject one’s body to that sort of strain too often. A particularly insidious fact is that people soon lose their fine sensibility under repeated duress, and therefore don’t notice the signals their brain sends them. Eventually, the poor brain just gives up. “Let ’m suffer!”, it thinks – and so they do. ii. They rotate the hand to the left, so that it looks like a violinist’s hand on a bad day. This does in fact permit a big stretch between 2 and 3, but has awful consequences otherwise. In particular, it moves the pinkie so far away from the fingerboard that it does indeed seem too short or too weak. Isn’t that a fine illustration of shooting oneself in the foot, though?

Why don’t you try the two fingerings illustrated in Figures 2 (Martina’s) and 3 (Jenny’s) respectively? They are shown here alongside each other for easy comparison: Fig. 5

To be fair, please repeat each example slowly and often. The principle illustrated above, in Figure 4, of course implies that by the time you reach B with the pinkie, you will be pressing three fingers down – 2, 3 and 4 in A, or 1, 2 and 4 in B. If Jenny’s fingering is new for you, it will probably feel peculiar at first, so please take the trouble to get used to it. (If something is unfamiliar, that doesn’t mean it’s bad, but it can feel very strange.) Do you notice differences, either in your subjective feeling or in the musical result?

Let’s first look more closely at A – and remember that it’s currently the standard/default fingering. As you think about my statements, please keep referring back to Figure 2.

Some remarks about fingering A:

The note G - with the 2nd finger: We’ve already established above that it’s probably good. (cont. on page 29) 28 Which Finger? (continued from pg. 28)

A - with the 3rd finger:  In my experience, it probably won’t work, simply because a whole step (2 frets) between fingers 2 and 3 is a very uncomfortable stretch for most people. (Things that work very well are: 1–2; 1-3; 2-4 – and a few others too.)  It might perhaps work, if the hand is rotated to the left, which enables a wider stretch – but at a horribly high price!

B with the pinkie:  There are several possible explanations of why it probably won’t work. The most likely one though is that, with the hand rotated to the left to try to make the previous note (A) clean, the pinkie is impossibly far away from where it needs to be to fret B. Even if, by dint of enormous willpower, the sound is clear, the intonation will probably be awful, because the contortions necessary to press the string down firmly enough inevitably distort the string.

G – still with the 2nd finger:  Even if it worked when first played (three notes earlier), the hand has been contorted so much in the meantime, that the finger has probably simply moved, and can no longer fret the note properly.

Fingering B – the anatomically sensible finger combination Jenny used:

The note G, but this time with the 1st finger:  It sounded fine when it was Jenny’s well-trained finger.

A – this time with the 2nd finger:  Stretching two frets from the 1st to the 2nd finger is (or should be) easy, without any rotation of the hand. The muscles may well need to be trained properly, but this is easily possible with every healthy hand I’ve ever seen, and well worth the week or so it might take.  Please be careful, conscientious and honest. If fingers 1 and 2 are not clearly separated but in fact touching each other, you’ve missed the point.

If you care to investigate this very important subject more closely, try first stopping the note A, securely and with ONLY the 2nd finger. Carefully keeping the 2nd finger parallel with the frets, stretch the 1st finger slowly and gently back, until it is hovering over the strings just behind the G fret. Being careful not to move the 2nd finger, see if you can effectively fret G with the 1st finger. Unless the hand muscles are properly trained, it may well be a different situation if you commence with the 1st finger on G and try to stretch up to A with the 2nd finger. The size and nature of the space between fingers 1 and 2 should of course be the same, regardless of whether you stretch from the note A back to G or the reverse. If it really is the same for you though, I’ll gladly buy you coffee next time we meet. (The offer doesn’t apply to my own students, because they can all do it. But I’ll buy them coffee anyway...)

B with the pinkie:  Jenny and my own students are careful about the space between fingers 1 and 2 (really a question of the independence of the fingers), so with them, the pinkie is already hovering over the B fret. Because they also know how to fret effortlessly and effectively with the pinkie, the note itself is perfect. At this point in time, three fingers (1, 2 and 4) are fretting their allotted notes.

The 4th note, G again:  The change from B to G requires that fingers 4 and 2 be raised exactly in tandem, leaving only the 1st finger - on G, where it was anyway. Because of the space between fingers 2 and 1, the static forces in the hand remain unchanged throughout, so the 1st finger is still fretting the note G optimally.

Please now try both fingerings again, and see if you agree with my remarks.

As you know, Blackberry Blossom isn’t the sort of tune one plays once only before going on to the next number. In fact, it’s a defining characteristic of a “breakdown” that the tune gets repeated a lot, usually with various players taking turns at taking the lead. So Jenny had plenty of time to test and perfect her ideas.

It’s a lovely tune, and I think it’s worth taking care with the details.

And thanks to Martina, Jenny and Herbert for letting me use their real names!

Keith Harris, Marburg – in the gentle-if-sometim es-wet European spring of 2016.

29 Mandolin Orchestras - North America The following orchestras have registered with the CMSA Atlanta Mandolin Orchestra Mandophonics Aurora Mandolin Orchestra Melodious Mandolins Austin Mandolin Orchestra Milwaukee Mandolin Orchestra Baltimore Mandolin Orchestra Minnesota Mandolin Orchestra Bloomfield Mandolin Orchestra Munier Mandolin & Guitar Orchestra Boston Mandolins New Expressions Mandolin Orchestra Dayton Mandolin Orchestra New York Mandolin Orchestra Denver Mandolin Orchestra Oregon Mandolin Orchestra Enigmatica - Providence, RI Orpheus Mandolin Orchestra Florida Mandolin Orchestra Philadelphia Mandolin & Guitar Ensemble Gravenstein Mandolin Ensemble - Sebastopol, CA Pittsburgh Mandolin Orchestra Kalamazoo Mandolin & Guitar Orchestra Preville Mandolin & Guitar Orchestra Las Vegas Mandoliers Providence Mandolin Orchestra Long Island Mandolin & Guitar Orchestra Regina Mandolin Orchestra Louisville Mandolin Orchestra San Diego Mandolin Orchestra Mandoleers - Arlington, VA San Francisco Mandolin Orchestra Mandolin Orchestra of Niagara Sarasota Mandolin Orchestra Mandolin Orchestra of Northwest Arkansas Seattle Mandolin Orchestra Mandolinata Toronto Mandolin Orchestra To be added to this list contact Mandolin Journal editor Jackie Zito at [email protected]

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*New and renewal memberships may also be done online at www.classicalmandolinsociety.org* 30 Mandolin Teachers - Schools ARIZONA Rob Curtis Joseph Brent VIRGINIA Aleksandra Alexander Elgin Community College Washington Heights, NY Mark Freemantle 5116 E. Adams St. 1700 Spartan Drive Phone:406-322-2720 Northern Virginia, VA Tucson AZ 85712 Elgin, IL 60123-7193 (or Skype: joebrent) Email: [email protected] Email: [email protected] (847)214-7188 Website: www.josephbrent.com Website: www.mandoleers.org

ARKANSAS MARYLAND Tamara Volskaya WASHINGTON Clarke Buehling Joyce Adams 435 Neptune Ave. Apt. 20B Geoff Wilke Fayetteville, AK 6944 Gunder Ave Brooklyn, NY 11224 Seattle, WA [email protected] Baltimore, MD 21220 Phone: 718-743-8264 Email: [email protected] Phone: 410-335-6053 Phone: 206-779-8000 CALIFORNIA Email: [email protected] Alan Epstein WISCONSIN Dr. Len Bergantino 173 Mahaffy Road Cheryl Kuhaupt 1215 Brockton Ave #104 Joanathan Rudie Greenwich, NY Hartford Music Center Los Angeles, CA 90025 4 Maryland Ave. [email protected] 1350 East Sumner St. Phone: 310-207-9397 Towson, MD 21286 Phone: 1-518-817-8050 Hartford, WI 53024 Phone: 410-419-0440 Phone: 262-673-4740 Evan Marshall [email protected] Wayne Fugate Email: [email protected] PO Box 5010 Chester, NY 10918 San Gabriel, CA 91778-5010 MASSACHUSETTS [email protected] Terri Schmit Robert Margo http://waynefugate.com 2099 County Road E Achille Bocus West Newton MA 02465 Blue Mounds, WI 53517 1022 53rd St. Email: [email protected] OREGON 1-608-437-1944 Oakland, CA 94608 Phone: 617-527-4904 Brian Oberlin [email protected] Email: [email protected] Website: P.O.Box 3614 Website: www.iltremolo.com http://www.namandolinensemble.com/ Hillsboro, OR 97123 CANADA available for online lessons pages/bios/bmargo.html www.mandoberlin.com Ginger Kautto www.oregonmandolinorchestra.org 626 Bathurst St CONNECTICUT MICHIGAN Phone: 503-686-8673 Toronto, ON M5S 2R1 Mark Davis Jackie Zito [email protected] 158 E. Old Route 6 Kalamazoo, MI Tim Connell Hampton, CT 06247 Website: www.kalmando.com Portland, OR Susan McLaughlin Phone: 860-455-2056 www.timconnellmusic.com 3064 Cameron St. Email: [email protected] MINNESOTA [email protected] Regina, SK S4S 1W5 Lou Chouinard 503-349-8873 306-741-5678 Mark Levesque 3925 30th Avenue South Available for lessons onlin [email protected] 180 Washington Street Minneapolis, MN 55406-3108 Vernon, CT 06066 Phone: 612-724-6009 RHODE ISLAND GERMANY Phone: 860-871-1815 Email: [email protected] Josh Bell Keith Harris Email: [email protected] 324 Rochambeau Kaempfrasen 26 Website: www.judyandmark.com Jim Plattes Providence, RI 02906 35037 Marburg, Germany 6125 Morgan Ave. S Phone: 401-345-6930 Tel.: + 49-6421-952344 KENTUCKY Minneapolis, MN 55419-2012 [email protected] mobile: + 49 176 800 22 531 Michael Schroeder http://www.wildgypsy.com www.mandolin-lessons.com 2643 Park Drive [email protected] Marilynn Mair available for online lessons Louisville, KY 40205 1-612-861-2954 271 Hillside Ave. Phone: 502-451-0045 (h) Pawtucket, RI 02860 Chris Acquavella 502-876-5121 (c) MISSOURI http://www.marilynnmair.com Lessingstr. 13 [email protected] Bruce Graybill [email protected] 32756 Detmold, Germany PO Box 222 Phone: +49 176 30603413 IDAHO Pleasant Hill, MO 64080 TENNESEE Email: [email protected] Becky Smith Phone: 816-540-4774 Ted and Norma Davis Website: www.chrisacquavella.com 22139 Eel lane, brucegraybill.com 205 Engel Rd Middleton, ID 83644 Loudon, TN 37774 SPAIN Phone: 208-585-3384 NEW JERSEY Phone: 615-458-5493 JULIÁN CARRIAZO BEAMUD Barry Mitterhoff Conservatorio Profesional de Música ILLINOIS 3 Nicole Ct. TEXAS de Plasencia Joel Simpson Scotch Plains, NJ 07076 Rich DelGrosso 10600 PLASENCIA-CÁCERES SPAIN Rob Curtis Phone: 908-654-4245 10938 Tulip Garden Ct. [email protected] Tobias Music [email protected] Houston, TX 77065 5013 Fairview Ave. www.mandolinblues.com KOREA Downers Grove, IL 60514 NEW YORK [email protected] Bikei Kim [email protected] Antonina Nigrelli available for online lessons 102 ho, 18-17 (630)960-2455 14 Cedar Point Dr Gaehwadong-ro 7-gil West Islip, NY 11795 Gangseo-gu Phone: 631-661-2987 Seoul, Korea 07504 Email: [email protected]

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31 Classical Mandolin Society of America CMSA Mandolin Journal 3925 30th Avenue South Minneapolis, MN 55406-3108

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