Instruments of sorrow

Moreover, from a musical standpoint, it is interesting to trace the direct influence of such instrumental treatments on subsequent non-folk Greek music, as in the case of Socrates and their popular song Mountains.

The clarinet’s mourning

In neighboring Turkey, the song “Yemen Türküsü” mourns the death of Turkish soldiers in Yemen during the First World War. The well known folk song can be found in several different versions, and it has been also performed by Taksim Trio, a band of accomplished instrumentalists (Hüsnü Şenlendirici – clarinet, Aytaç Doğan – qanun, İsmail Tunçbilek – baglama) that has been part of Istanbul’s diverse and vibrant music scene.

The guitar’s outcry

One of the oldest and most despondent forms of flamenco music, siguiriyas is characterized by its profound, expressive style and tragic nature. When sung, the lyrics reflect the suffering of human relationships, love and death; however, it is also encountered as an instrumental piece with great potential for emotional outlet in the hands of the capable and sensitive artist – as in this performance by flamenco composer and guitarist Manolo Sanlúcar.

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The -vinyl- music challenge

I was recently challenged to come up with a list of my 10 favorite records. No easy task, especially as one’s musical taste tends (and ought) to change along with -and because of- one’s life experiences and influences. In fact, any such list is essentially a moment frozen in time: no doubt my choices will be different if I try this exercise again in a month, year or decade from now.

Having said that, I tried to think how I could make my -inevitably arbitrary and ephemeral- selection a bit more meaningful. I wanted to make a point and so I decided to consider only records from my vinyl collection. Vinyl still persists amidst today’s technological frenzy, and for a good reason: apart from its full, warm sound it brings with it a whole culture, from the process surrounding its purchase to the actual listening experience and the sheer pleasure of enjoying its artwork.

So here’s some of the most memorable vinyl records I have acquired over the last few years (arranged à la Nick Hornby in chronological order of acquisition):

1) Sviatoslav Richter – J.S. Bach: The Well-Tempered Clavier

The world’s greatest pianist meets the world’s greatest composer. Amen.

2) Neville Marriner – Amadeus [Original Soundtrack Recording]

As if Mozart’s sublime music wasn’t rewarding enough, listening to this record reminds me of Milos Forman’s epic masterpiece, one of my favorite movies ever.

3) The Beatles – Rubber Soul

Someone once said there are three great Bs in music: Bach, Beethoven and… The Beatles. He was right.

4) Jacque Loussier Trio – Play Bach No. 1

I’ve hinted at the artistry of French pianist Jacque Loussier in an earlier post about Vivaldi, but it was with his inspired take on Bach that he made his breakthrough.

5) Baden Powell – Poema on Guitar

I love everything about this record: its title, its beautiful cover, and above all Baden Powell’s tuneful guitar sound and dreamy compositions.

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6) Simon & Garfunkel – The Concert in Central Park

I still get goose bumps every single time I listen to this. Timeless.

7) Led Zeppelin – IV

I bought this in a vinyl shop in Istanbul. Like the Quran in mosques or the Bible in churches, I think it should be freely available at all conservatories and music schools.

8) Arvo Pärt – Tabula Rasa

A deeply evocative work by a remarkable and highly idiosyncratic composer whose music truly makes time stand still.

9) Thanasis Papakonstantinou – Ο Ελάχιστος Εαυτός (The Minimal Self)

The finest and most original composer that has emerged in the last 20 years in Greece. His records are like rays of light amidst a vast darkness…

10) Paco de Lucía – Almoraima

A true miracle of technique, composition, and expression – the more I listen to it, the more I admire Paco’s astonishing skill as both guitarist and musical innovator.

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Haarlem’s musical treasure

The cathedral

Just a 15-minute train ride from boisterous and cosmopolitan Amsterdam lies the charming city of Haarlem (which incidentally gave its name to Nieuw Haarlem in the northern part of Manhattan Island back in 1658). Its skyline has been dominated by the imposing Grote Kerk (or Sint-Bavokerk) cathedral, a Protestant church situated on the city’s central market square.

The organ

The organ situated inside the church (known as the Christiaan Müller organ) is considered as one of the world’s most important organs. Built by the Amsterdam organ builder Christian Müller between 1735 and 1738, it was the largest organ in the world by the time of its completion with 60 voices and 32-feet pedal-towers.

Such has been the instrument’s reputation that even Herman Melville mentioned it in his classic novel Moby-Dick (1851) when describing the inside of a whale’s mouth:

“Seeing all these colonnades of bone so methodically ranged about, would you not think you were inside of the great Haarlem organ, and gazing upon its thousand pipes”

Many important musicians and composers have played the Christiaan Müller organ over the centuries including Mendelssohn, Händel, as well as the 10-year old Mozart who visited Haarlem in 1766 in order to play the renowned organ.

The concerts

Having been modified a number of times over the course of the past centuries, the organ underwent a major renovation between 1959 and 1961. Today regular organ concerts together with several special events are being held in the Grote Kerk in order to give the opportunity to the public to listen to the unique sound of this celebrated organ.

Although I have visited Haarlem in the past, it was only recently that I had the chance to attend one of these concerts. Listening to the sound of this spectacular instrument filling up the vast space of the cathedral’s interior was quite a special experience. And it was only made possible through the masterful  playing of Haarlem’s city ​​organists Jos van der Kooy and Anton Pauw, who treated the audience to an excellent program including works by J.S. Bach, Felix Mendelssohn, Max Reger, and Hendrik Andriessen.

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Max Richter and Daniel Hope in concert (Paradiso, Amsterdam)

From baroque to the present

It is always refreshing to hear a piece of classic stature in a way you would have never imagined possible. Such is the case with Vivaldi Recomposed: The Four Seasons, Max Richter’s fascinating reworking of Vivaldi’s timeless masterpiece (which has been through several creative transformations through the years).

Richter’s imaginative and highly idiosyncratic re-composition of The Four Seasons is indeed a unique achievement. Having infused Vivaldi’s work with postmodern and minimalist elements, Richter has at the same time managed to remain faithful to the music’s innermost essence producing a result of the highest standards, both aesthetically and technically.

Four Seasons in Paradise

On September 10, I was one of the fortunate Amsterdamers who had the opportunity to experience a live performance of the recomposed Four Seasons (for the first time in The Netherlands) by Max Richter, British violinist Daniel Hope and L’arte del mondo orchestra at Paradiso’s magnificent Grote Zaal.

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Given Paradiso’s tradition in bringing together the old the new, one could hardly think of a better venue for the occasion. Following an impressive opening by the vigorous Francesco Tristano and Alice Sara Ott piano duo, Richter and Hope gave a truly exhilarating performance which produced a highly enthusiastic response from the audience.

And rightly so: it is not every day that one gets to enjoy live the combined magic of Vivaldi’s captivating music and Richter’s innovative vision coming to life under the imposing windows of Amsterdam’s most celebrated music venue.

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Serenity (Γαλήνη)

Of course my moods change, but the average is serenity. I have a firm faith in art, a firm confidence in its being a powerful stream which carries a man to a harbor, though he himself must do his bit too.

Vincent van Gogh

A simple melody I came up with while seeking to evoke a feeling of serenity, arranged here for piano and strings.

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Singing it like it is

Meet Lara Eidi and the band

Lara Eidi is a singer-songwriter of Lebanese-Canadian-Greek background. She first got involved with music the moment she “learned how to mimic” through trying to sing and recreate any sound she happened to hear. She started with classical piano at the age of 8 and also had harmony and theory lessons at the conservatory. Next to her piano and singing skills she is also an accomplished guitar player and the founder of Lara Eidi Band, a small jazz-folk-pop trio comprised of Lara, Stavros Parginos (cello, loops) and  Giotis Paraskevaidis (guitars, loops, beatboxing).

Tell it like it is

The band just released their second EP  Tell it like it is to an amazing crowd at Athen’s Numismatic Museum, and it seems like the musical adventures of the promising trio are only beginning to unfold.

So how did Lara Eidi Band come about? Here’s the story in Lara’s own words:

It came at a point when I was close to packing it all in, music wise, after being disheartened by how little one could accomplish in the music scene in Greece. I had just returned to Greece from Scotland naively thinking I could achieve something. So after being a session singer, piano player and songwriter for a multitude of bands I retreated from the music scene thinking: ‘What can I do to change this course I’ve chosen?’ And then it hit me: 2 years ago I stayed at a friend’s house in Athens, locked inside a beautiful musical basement, writing tons of songs and feeling like a kid discovering toys for the first time. After that I called Stavros Parginos, a wonderful cellist and multi-instrumentalist who I had worked with before, and asked him if he would like to work on some of my songs with his cello. He said yes with a smile. So a year ago we started gigging around Athens, traveled abroad to Beirut, Lebanon, and Edinburgh , and recorded my first EP, “Little People” (Irida Studios). Then we met the third member of our band, guitarist Giotis Paraskevaidis. I heard him play at a gig, not knowing who he was, and approached him to ask if he would like to play my music. He was super positive about it – and also turned out to be a very good friend of Stavros! All of a sudden the music was reborn with this incredible energy. After doing a few cover songs on YouTube (incl. Nina Simone’s Be my Husband, filmed on a rooftop in Athens by videographer Dimitris Stamatiou and our sound guy Iraklis Vlachakis), we were eventually inspired to create “Tell it like it is” (Sierra Studios, In a Jam Studios) which is about just that: My personal way of saying that the music I write, and the way it’s developed together with the guys, doesn’t really fit into an roster and that’s OK. And so we found ourselves going from a singer-songwriter to a band formation. I told the guys I wanted to call the band LSG (laughs) but they insisted on Lara Eidi Band!

A beautiful challenge

Music for Lara is a “life force”, a kind of challenge that “needs to be embraced in its fullest and most beautiful forms”. And it seems she is indeed taking up the challenge – Lara will be going to London to follow a Masters in Jazz Voice Performance at the Guildhall School of Music, while at the same time keep performing with her band in both UK and Greece.

And what if Lara’s record collection was on fire? Here’s what she would save first:

I would save my Woodstock Full Two Volumes CD. I have to zone out to this more times than I care to mention! I’m a girl. I also have to save Sheryl Crow, Sarah Ann McLachlan and Alanis Morissette .

You can find Lara Eidi Band on:

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Roots Open Air (Java Island, Amsterdam)

A festival with strong roots

Throughout its long and interesting history, Roots Festival has been introducing Amsterdam crowds to exciting new sounds and great artists, many of whom (e.g. Fela Kuti, Salif Keita, Manu Dibangowho) were already hugely popular in their home countries before becoming part of the everyday vocabulary among the circles of local music aficionados.

New edition, new location

This year’s edition marked a big change as Roots Open Air, the outdoor event which concluded the festival, moved for the first time from Oosterpark to a new location: the Java Island in Amsterdam’s Eastern Docklands area. Thus, On 6 July, Java Island’s Kop van Java became host to a unique blend of musical styles ranging from non-Western pop and Afro-Caribbean to funk, psychedelic and electronic music.

Roots Festival (Kop van Java, Amsterdam)

Roots Open Air 2014 (Java Island, Amsterdam)

Singing in the rain

Despite the rain showers that persisted throughout most of the evening, the diversity and quality of music on offer were more than enough to make up for the lousy weather.

I first had the chance to watch Garifuna Collective, who presented the soulful melodies and powerful rhythms of their native region in Central America. After the beautiful tunes of the Garifuna people, the volume was raised for the Colombian Bomba Estereo and their dynamic ‘psychedelic cumbia’ sound.

Still, the highlight of this year’s festival was surely the closing performance by Youssou N’Dour. The Senegalese singer and composer performed both new and old songs (including 7 Seconds), as well as covers from such classics as Bob Marley’s Redemption Song.

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The best conclusion to the event (and certainly one of the day’s extra-musical highlights) was coming out of the main stage after the rain was over to watch an incredible evening skyline…

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