Again, thanks SO much.

--Joanna

I have been writing various kinds of articles for this newsletter for over five years. An incident recently occurred which prompted me to think that it might be advisable to review what sort of things I've written hereto- fore. More on that incident below.

First of all, I write editorials such as this one. While anyone can write an editorial for this newsletter, it has somehow fallen to me to do so from time to time. Surprisingly enough, I cannot recall writing an editorial that has sparked any great controversy, but I'll keep on trying. These editorials tend to be collective. Either I will run an idea past someone on the IFS board or they will do the same to me. When an idea comes up, it is discussed and some sort of consensus is reached.

I've also written artist profiles. I meet with the victim and we will have a lengthy talk or interview. The profile is not a transcript but rather an impression gained by that interview and various other things. For instance, when I interviewed Sandy Cash several years ago, it was done against a backdrop of the acclaim she has achieved and other people's reflections. When I've written my draft, I send it to the person for corrections and comments.

I have reviewed performances at various times. Certainly, my opinion is primarily reflected in articles I've written on such things, but not exclusively. I often attend performances with other people, and I will talk to them before I open my big mouth. If I hated a performance, and everyone else liked it, I will rethink my position.

In addition, I have reviewed recordings by various artists, local and foreign. In this case, the views expressed are mine alone and totally subjective. I do not purport to be omniscient or infallible. I'm a musician and I've been listening to music all my life. So when I've written such reviews, I've told it as I see it and I will continue to do so. It must be noted that such reviews tend to be shorter than editorials or artist profiles. So great care must be taken to say what needs to be said with clarity and brevity.

With this in mind, here is the incident that prompted all of this. A while back, I reviewed a recording of a local artist. I am not at liberty to divulge the name of the artist or the recording. I can tell you that on the whole I liked it, but I felt that there were problems, which I enumerated. Quite a while after my review was published, the artist in question sent me a

communication in which was expressed dissatisfaction with my review. Broadly speaking, there were two main complaints. The first was that I had brushed off the dedication and the life's work of an artist with one cruel stroke of the pen. The second point was, that rather than panning artists in the English-speaking folk community in Israel, I ought to be supporting them as much as possible.

With regard to the first point, we can all surely understand the disappoint- ment of an artist who hopes to get unreserved praise and winds up with reserved acclaim. However, it must also be understood that a reviewer has as much right to criticize, as does the composer to compose, the poet to have us versed with his verse, and both to publicize. Perhaps this artist felt that the length of my review, which as I say was not a learned treatise, indicated a brush off. All I can say in response is that I listen very carefully to everything I review. If I can't hear the whole thing through, I won't review it.

The second complaint cuts to the very heart of what this newsletter stands for. The purpose of FolkNotes is not to unabashedly and unreservedly praise every scrap of verse and note of music that issues from every single artist who happens to abide within the borders of the State of Israel. We report events. We write about people. In editorials we sometimes voice opinions such as right here and now. But we do not, and we will not, prevent anyone from having a say about any person, place, or thing – just because it isn't entirely gushing and full to the brim with hosannas.

Our folk community is vibrant, boisterous and mature. It can and it does make up its own mind. I would be the last person to attempt to influence people. I write what I feel for people to do with as they wish. If anyone can't stand the heat, perhaps they should stay out of the kitchen.

--Larry Gamliel

Latrun Monastery, April 18, 2003

The Latrun Monastery (located between Jerusalem and Tel Aviv) has become a cultural treasure for more reasons than one. Apart from its architectural beauty (it is a copy of a monastery in France), its pretty gardens and the shop that sells olive oil and local wines, it has begun to open the doors of its refectory to music-lovers. Most Saturday mornings, and occasionally on a Friday afternoon as well, it hosts a variety of high quality musical performers – many classical, some jazz and even the occasional traditional music group.

During the Pesach holiday, I heard Trova Pampa, a group of South Americans who are bringing their vibrant music to Israeli audiences. The main drawing card for me, I must confess, was the presence in their midst of a harper: I have loved the sound of the Paraguayan harp since early childhood, and this was a rare opportunity to watch this peculiarly loose-stringed instrument being played up-close (and personal).

The group's leader is Natan Furmansky, who sings and plays an impressive array of guitars and other stringed instruments. He was joined by the talented David Karlsburg on a beautiful 36-string harp; Roberto Bentuccia and Itcha Frizholtanski, also on guitar and vocals; Uri Raz on bass (yes, a token Israeli), and Marcello Zober on percussion, flute and reed instruments (please forgive me, kind gentlemen, if my transliterations are incorrect, they are taken from the Hebrew program).

The group's sound is full, rich and a touch rough – in other words, just right! They started with a samba, showing the interesting mix of traditional and modern composition that seems typical of performances of

this repertoire. The pieces offered covered the entire South American continent and a mixture of rhythms and influences. It was difficult to stay seated: I was very tempted to start dancing and, from the body language of the audience around me, I know I wasn't the only one.

The characteristics of the South American repertoire that I particularly enjoy were all fully displayed during this enjoyable concert: the syncopated rhythms –

accentuated so well on both the percussion and the harp; the full string sound of several guitars in unison; the harmonies that sound so easily on the ear... There is a vibrancy and warmth to this

music that I find irresistible.

The entire atmosphere was warm and relaxed: the audience (not enough of

them) were there to enjoy. Unfortunately, the sound people had not got the

balance quite right: there were several occasions in which the flute and reed instruments got a little lost amongst all those thrumming stringed instruments, and even the voices were sometimes overwhelmed. This should be fixed at future venues, because the ensemble effect is so stunning when the

balance is perfect. It's worth taking the time to achieve it whenever possible.

David Karlsburg's harp playing was particularly delightful. He displayed a

full range of techniques that are interesting to watch (some of which

will have demonstrated at the August meeting of the Jerusalem Harp Circle). One such technique is the use of a strong bass ground (pattern) for a song –played in octaves on the harp, the effect is far stronger than any guitar bass line. Then there is the wonderful 'hocket' effect, wherein the left and right hands alternate notes of a melody on the harp. (This can also be sung, but it takes time to work it up because it's

very tricky.) I was particularly enthralled when David simply grabbed a bunch of thick metal bass strings in one hand, to better control playing them. I had never seen that before... Sometimes the harp sounded sweet and flowing – the kind of harp sound we are all familiar with – but at other times, it was percussive and more assertive, as folk harp should be. He demonstrated

superb control over every string, whether using just his thumb or index finger for glissandos, stopping unwanted ringing strings with the heel of his hand, or gently raking his fingers over only a certain number of strings. This fellow is worth watching.

The concert of love songs (after all, Spanish is the loving tongue), drinking songs and dances of various kinds (both native and of European influence) carried us through happily from the first to the last: there was a general feeling that, had the musicians not needed a well-earned rest, we would have loved to hear far more. They had a great time and so, incidentally, did the audience!

-- Jill Rogoff

Please note: please watch for updates about the Jerusalem Harp Circle. We

generally meet on the second Monday of each month in a private home in

Jerusalem. Admission is NIS 10. All harper and -ists welcome (any shape

and size: the harps, that is!). We start at 11:00 am (unless otherwise arranged). For details, contact Shoshanna at (02) 624-3435.

Clarification: As explained by Jill to Carol: A harpist plays classical music on a pedal harp (47 strings); a harper plays a smaller harp (anything from 10-36 strings) - folk, medieval and Renaissance music. I guess a jazz player would call themselves a harpist.

E.g.: Sunita is both; Jill claims she is just a harper.

Music Exam Answers – a little humor

(Purported to be actual – yeah, right – answers from students on music exams).

Young scholars have expressed their rapture over the Bronze Lullaby, the Taco Bell Cannon, Beethoven's Erotica, Tchaikovsky’s Cracknutter Suite, and Gershwin's Rap City in Blue.

Music sung by two people at the same time is called a duel; if they sing without music it is called Acapulco.

A virtuoso is a musician with real high morals.

Contralto is a low sort of music that only ladies sing.

Diatonic is a low calorie Schweppes.

Probably the most marvelous fugue was the one between the Hatfields

and the McCoys.

A harp is a nude piano.

The main trouble with a French Horn is that it is too tangled up.

An interval in music is the distance from one piano to the next.

The correct way to find the key to a piece of music is to use a pitchfork.

Agitato is a state of mind when one's finger slips in the middle of playing a piece.

Refrain means don't do it. A refrain in music is the part you'd better not try to sing.

Most authorities agree that music of antiquity was written long ago.

Agnus Dei was a woman composer famous for her church music.

Henry Purcell was a well-known composer few people have ever heard of.

Happy Birthday: to Jack Lecker, Richard Levine, Eli Marcus, Arlene Strasbourger, Debora Whetstone, Efrat Whetstone, Hal Wrobel

Mazal Tov: to Della Lettvin on the birth of her granddaughter, Aden

Refuah Shlema; to Ray Scudero, and to Bev Burge after her recent surgery.

(NIS 5 for members).

**The New Country Klezmers – a foot-stompin' good time – 2-5 musicians for your simchah. Call David Baron (054) 955-997 or Bruce Brill (051) 565-479.

**CAPA (Computer Assisted Production and Arranging) -From your musical masterpiece to demo, playback, finished CD? Call David Baron (054) 955-997.

DISCLAIMER: FolkNotes is the official publication of the Israel FolkStuff Society. Views are those of the writers, not necessarily those of IFS. FolkNotes and all of the articles, photographs and material contained therein

are, unless otherwise noted, copyrighted by IFS 2003. The disclaimer is so that

people do not "steal your article." In every case that people turn to FolkNotes for permission, we refer them directly to the author of the article.

Advertisement tariffs for FolkNotes are available on request.

FolkNotes Staff: Sherry Whetstone, Larry Gamliel, Carol Fuchs, and Cecile

Panzer

C A L E N D A R

Try to get your information to us for the Calendar, as early as possible, so we can meet publication deadlines (15th of each month). Contact Larry Gamliel at (053) 801-202, or by email: carolf@savion.huji.ac.il

To receive the (more or less) twice-weekly email updates, write Carol: carolf@savion.huji.ac.il

ISRAEL FOLKSTUFF SOCIETY Membership (clip and MAIL today) Oh, YES! I'd like to become a member of/renew my membership in IFS. Includes a subscription to FolkNotes, discounts on IFS-sponsored concerts and Home Hoots, etc.