Yinon Muallem & Sirin Pancaroglu - Telveten

Posted By MiOd On Friday, August 02, 2013 Under
It seems that there are no barriers between musical worlds, even those as far from each other as West and East. And that is the important point - the interaction between East and West; between a string instrument as the harp which has the tonal intervals of the piano and percussions from the Eastern-Mediterranean species. Were they destined for each other? Listen to the music CD. You will find the answer there.

Yinon Muallem on the percussions is an Israeli musician who transferred both his personal and professional activities to Turkey. Shirin Pancaroglu, a classical harpist. To those joined the Persian Kemanche (an oriental string and bow instrument) player Arslan Hazreti. TELVETEN in Turkish means “ String and Skin”. The tunes of the harp are heavenly. The percussions tunes of Muallem-earthly. The merger is beyond any definition. Don’t rely on “World Music” for it is too general a trend, and neither “Fusion”, because it is a term describing a new style. What is enchanting in such an interaction is the fact that Yinon and Shirin didn’t try to be something definite or to ride a trend, but being weaved from what they are - each separately and then the two together. When a string instrument like the Kemanche joins the ensemble it sounds like a Creation which the ear and heart would love without paying attention to the differences between cultures.

The aim of Yinon and Shirin was to disclose a variety of possibilities (styles) out of the ethnic-classic dialogue between the instruments, of those which haven’t been disclosed yet. Thus they chose a wide spectrum of styles – Spanish classics (Albeniz), Argentine tango (Carlos Gardel), Anatolian folk music and Azerian music, Baroque (Francois Coupern), and original music from Yinon Muallem (Minor variations). If you like, this is a journey of discovery between musical traditions but in a very exclusive and exotic way, chosen by the three artists.

The entrance of Kemanche in Malaguena (track 3) sounds to me fantastic for Kemanche descends to the earth of Yinon. The sound of the harp is beautiful, though just hovering in the background. As a whole, the musical texture sounds to me astounding. The folklore dance element exists in Basgali, performed astonishingly, in which the Kemanche presents the dominant color. Yinon Muallem picks up a percussions solo where the harp retreats to embellishment. Actually, the tone and the tint develop according to the musical context. Sometimes the tendency is toward classical, other times to ethnic-popular. Albeniz Asturias is already a compound concerted adaptation with rhythmic emphasis of precise dosage, Flamenco elements and a special interweave of the harp sounds. In the Anatolian piece Kervan , the lyric sounds of the Harp turn to be dominant, with the accompaniment of the rather dim and threatening sea drums. In the short dance-like Lejana Tierra Mia from Gardel the join between the harp and percussions is most effective. The join of the three instruments in Minor Variations presents the rhythmic-melodic-harmonic highlight of the CD, simply a pleasure. At the end, the adaptation of “The Good Life” , the melody in Nicola Piovani’s movie, is rather a tapping dessert for the finale.

After listening thrice to the CD, I realized that a fourth and fifth will be coming, and I shall never depart from that CD.

Yosi Chersonsky

01 - Re Major Sonat / Sonata In D Major
02 - Efsaneyim / I Am A Legend
03 - Malaguena
04 - Milonga Sentimental
05 - Basgali
06 - Les Haricades Misterieeuses
07 - Asturias
08 - Kervan
09 - Lejana Tierra Mia
10 - Minor Çeşitlemeler / Minor Variations
11 - La Vita E Bella


320 kbps including Front Cover



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