Dominic Ambrose Blogblot

of words: narrative, film and non-fiction

Ibrahim Maalouf: Writing the Lebanese Rhapsody in Blue

Cover design from website Press Kit. Click for ibrahimmaalouf.com

Everything depends on the transformational artist. The one who can not only dig deeply into his medium and his traditional style to find the beauty and truth, but can also pull all kinds of other media and styles into that profundity with him. I think of George Gershwin, who took his love of popular music and his passion for classical traditions and brought them forward in ways that dragged all of American music with them. Ibrahim Maalouf is just such a transformative musician in a different time and place, but with a similar energy and a similar opportunity to effect a great leap forward for his chosen genres.

His latest album, entitled Diagnostic, is the work of an accomplished, mature musician who is at home with a variety of instruments and idioms. There are Arabic melodies played on unusual instruments, notably piano and trumpet, harmonic progressions where these would be unfamiliar in Middle Eastern music, there is Janissary drumming and the trumpeting of Turkish sünnet street bands. And just as prominently, there is a large amount of Western melody as well, and Western styles. The sounds are interwoven with the complexity of the East but the elements of the West, just as George Gershwin was able to do in his Broadway music and especially in a piece like Rhapsody in Blue, mixing the jazz of his age with the structures of classical music in an energized celebration of both. That same kind of energy is apparent here, with the result something totally new and innovative. Ultimately, the style that comes to mind throughout is neither Arabic nor European, but a fusion of the two. This is beautifully realized in “Maeva in Wonderland,” a piece dedicated to his sister. Here, riffs on Arabic themes mingle with Salsa, Spanish flamenco and heavy metal rock in the most natural way, stirring each other up into a frenzy.

Ibrahim’s father, Nassim Maalouf, was a classically trained trumpet player who felt frustrated by the traditional three valve instrument, which could only play notes in half steps. He invented a four valve trumpet in order to produce the quarter tone notes needed to play Arabic music properly. Nassim Maalouf is well known for his years as a trumpet soloist in Paris, and during that time, he made sure his son learned the four valve trumpet and got solid classical training in the Western tradition. Curiously, he did not encourage his son to study Arabic styles, either classical or popular, and it was without his father’s approval that Ibrahim moved in this direction. In a February, 2012 interview on BBC World Service, Ibrahim Maalouf explains this with a certain sadness. In any case, traditions and family are important to the younger Maalouf, it seems, as the whole album is dedicated to various members of his family. The tracks dedicated to his father are “Your soul” and “Everything or nothing.”

The album concludes with a piece entitled “Beirut.” In the jacket notes, he explains that he composed the melody on his first trip to Beirut in 1993, when he walked through the streets of the wartorn, broken city with Led Zepplin playing in his earphones. It is a strictly focused piece, with Ibrahim’s trumpet always at the fore, playing an emotional monologue that seems to express his reactions to the experience. In his BBC interview, he says that the trumpet is the instrument closest to the human voice, and you can hear that in this piece. It begins with a plaintive opening sequence, that sounds like a meditation on the city’s name. “Beirut…..” eventually, this melancholy section gives way to a melodious middle section that somehow perceives the beauty rising up from the ruins. Then in Maalouf’s style, the piece builds to a great climax, a tortured primal shout of protest expressed in wailing electric guitar. It is a dramatic and fitting way to finish the album.

But it is not the end of Ibrahim Maalouf. Is he writing the Lebanese Rhapsody in Blue? Only time will tell. But undoubtedly, he has opened up a vast new genre to explore for a long time to come. Go to amazon.fr or fnac.fr to see other discs which are available in France and check out some tunes to found on itunes and youtube.

On Monday, March 19, 2012 BBC World Service will dedicate a part of Harriet Gilbert’s daily feature to Ibrahim Maalouf. It airs at 04:05 GMT.

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March 17, 2012 Posted by | music | , , , , | 1 Comment

Respighi Lives in the Chamber Orchestra of New York

It feels great to get a new appreciation for a composer’s music and to hear it in new ways. To hear rediscovered pieces by a long gone composer is an even greater thrill. I experienced both in hearing the Chamber Orchestra of New York, under the direction of Salvatore Di Vittorio in recital at the Rockefeller University.

Ottorino Respighi

Di Vittorio, a composer in his own right, has a great dedication to the music of Resphigi. In recent years, he has been invited by Respighi’s heirs and curator “to edit, orchestrate and complete several early Respighi works in their first printed, critical editions under the Ottorino Respighi Publications series with publisher Panastudio in Italy.” (according to the program notes to February 3, 2012 recital).

On this occasion the Chamber Orchestra played two works which have been edited by Di Vittorio, Serenate, for small orchestra (in its U.S. premiere) and Aria for Strings. Both pieces were a revelation and a departure from our standard perception of Respighi’s music. As Di Vittorio remarked before the music began, the Serenate is more playful and more simply orchestrated than the larger and better known Respighi works. Then after a concertino by R. Strauss and the chamber version of Copland’s Appalachain Spring, the recital ended with the beautiful and soft Aria for Strings. The two Respighi pieces sat comfortably at the beginning and end of the performance, – with their transparent sonorities and calming structures, they cleansed the aural palate, so to speak. Assuming that they are among the “early” works cited in the program, they show how Respighi was able to use the traditions that he inherited as a starting point for his later, perhaps more innovative works. But this conformity to earlier norms does not in any way diminish the beauty and value of these pieces. From our perspective in the 21st Century, it is no longer relevant whether a piece was at the forefront of new forms when it was written a century ago, – what matters to us now is the worth of the music itself. And in this, the two pieces hold up beautifully.

As part of their ongoing efforts to bring the Respighi oeuvre to light, Salvatore Di Vittorio, Chamber Orchestra of New York and Panastudios have collaborated on several recordings of these works. The Aria for Strings is featured on a Naxos recording that was released in June, 2011, and the

Respighi in 1903

Serenate for Small Orchestra will be on a disc to be released later in 2012. The 2011 recording, which features the Violin Concerto in A major, also contains the Suite for Strings, which like the Aria for Strings is a warmly neo-Baroque piece that proves that these classical forms are still very viable and alive. Also on this disc is the Rossiniana, a suite full of arietta melodies, percolating flutes and Italian folk dance rhythms that pay homage to that great composer and delight the listener.

For more information, look at Di Vittorio’s website

or the website for Chamber Orchestra of New York, “Ottorino Respighi”

February 4, 2012 Posted by | concerts, music | , , , , | Leave a comment

Canzoniere Grecanico Salentino brings the bite of the tarantula to Alphabet City.

CGS, a group, from Southern Italy performs an astoundingly lively and living folk music that has existed undisturbed and undiscovered right in the middle of the Mediterranean for centuries. It is wonderful to hear it played so authentically in New York, albeit at Drom, a small club on Avenue A in Alphabet City.

Folk Music of Southern Italy

When people think of Southern Italian music, they generally conjure up Neapolitan music, which being the product of a large city, has a long history of commercialization and interaction with other musics. (see my article about Passione below). World music lovers might be familiar with other folk styles from the Neapolitan region, Campagna, through the efforts of La Nuova Compagnia di Canto Popolare, but the tarantella of the rural Salentino, with its characteristic pizzica style, a frenetic dance music which has been said to cure the bite of the tarantula, has remained in obscurity, ever in danger of extinction through emigration and indifference.

That would be a tremendous pity. This music has a historic quality that is unmatched elsewhere in Italy. The music of La Nuova Compagnia is closely related, but it is from a far more cosmopolitan and urban environment around Southern Italy’s main city and seaport. It reflects a society that thrives on cultural cross-fertilization and academic musical training. When you listen to the albums of NCCP you can hear the influences of other Mediterranean cultures, the melodies that gave inspiration to operatic composers from Pergolesi to Rossini and singing styles that grudgingly acknowledge the dictates of bel canto conservatories. In the music of the Salento, (in Puglia, the heel of the Souther Italian boot) in contrast, you hear the  sounds as they have existed for centuries in all their rustic glory. Right there, at very nearly the geographical center of the Mediterranean, the Salento culture has remained strong, like a little land in the permanent eye of the storm that has been the history of this sea over the centuries.

Even with the modern embellishments of violin and popular melodies that CGS brings to their music, there is nothing that I can point to as a close cousin to this sound. Sure, I can hear a wisp of fado in the ballads and clearly hear the Balkans resonating in the hollow-fifth male harmonies that imitate the sound of the bagpipes, and in the raw female voices, but the pizzica, with its frenetic drumming and bagpipe drone and its hypnotic melodies is something that can only be related to musics of a renaissance era past. Those simple melodies, often based on a triad of notes ascending and descending over and over again can be tiresome in some the songs, giving the tarantella a ninna-nanna lullaby quality, but in the pizzica they reveal their power: it is their very simplicity that gives the music its trance inducing dynamic. It is a music that comes alive in performance.

Alessandra Belloni performs

The Heritage Musical Groups

The post 1968 period brought an ethnic reawakening in Western societies as part of a broader urge for cultural exploration. The NCCP was formed in 1970 and the CGS later in the decade, as part of a new awareness of the value of the tarantella. In 1980 the formation of a New York group, the Giullari di Piazza brought the Southern Italian folk music to American audiences. The founder of that group, Alessandra Belloni, has dedicated herself to this music, laboring to bring this music to light from under a mountain of misconceptions and an active indifference from the Italian American community, who instead of championing the music of our people, generally turn up their noses and plug their ears at the very mention of the word “tarantella.” It is a word that conjures images of obligatory wedding dances on a level with the Hokey-Pokey and walking like an Egyptian. Belloni made a guest appearance with Canzoniere at Drom last night, and she made a spectacular impression with her passionate singing and dancing (to the point of writhing on the floor in pizzica passion). Although much older in years, she held her own with this group of virtuosi, blending perfectly with their incessant idiophones and string drums, blaring bagpipe, feverish violin and the smoking fisarmonica (can you imagine hot licks on an accordion? I couldn’t until last night).

An Audience for Canzoniere Grecanico Salentino

During the past decade, with the establishment of the annual tarantella festival in the Salento, La Notte della Taranta, (see below) the CSG has finally begun to gain recognition outside of its small region. Certainly there is a wider audience for this music. Anyone interested in world music would be enthralled by this sound, it is unique and vibrant and expressly danceable, a fact that was attested to by the unusually large number of people who ended up jumping around on the dancefloor in front of the musicians. If you get a chance to get to Casa Italiana at NYU on October 3rd, prepare to be enchanted, and bring a few extra dollars to buy one of their CDs.

Some Links:

Canzoniere Grecanico Salentino website

Alessandra Belloni, Giullari di Piazza

La Nuova Compagnia di Canto Popolare

Casa Italiana at NYU events

La Notte della Taranta

The venue: Drom

My articles:

my ezine article about Il Sibilo Lungo della Taranta

re: Passione, musica napoletana

September 16, 2011 Posted by | concerts, music | , , , , | Leave a comment

Music and Naples and John Turturro.

I

The film Passione, directed by John Turturro, is a dramatized documentary about Neapolitan music. It blends spoken word, songs and playful vignettes all set in the streets and boudoirs of Naples in an attempt to reintroduce American and international audiences to a music that they used to know or believed that they knew, and then forgot. The film takes an unusual approach: instead of focusing on the legacy of the music and the far reaching influence that it has had over the years, Turturro and his artistic collaborators in Naples present the state of the music and the city today. It is a jarring collection of images and sounds, the faces and voices of local people who are extraordinary in their oddities. Interspliced with the music are interludes of people from the most humble backgrounds doing strange

Pietra Montecorvino. Click here for more info

street theater type things. It is a film that had to be made by an Italian American rather than an Italian because it is unafraid turn an unflinching camera on the injured souls of Naples, with their uninhibited extroversion, something that is inextricably part of the music, but which is intensely embarrassing to most Italians. And being a part of the independent film community, which thrives on this type of stuff, Turturro perhaps errs on the side of enthusiasm: the film celebrates the deformities and gap-tooth decadence of Naples almost to the exclusion of any images of the more civilized aspects of Neapolitan culture, which also have had much to do with the development of this music. Baroque facades are only shown splashed with graffitti and teeming marketplaces with heaping garbage are more important than all the concert halls and theaters of the city. There is much text about the sexual passion of histrionic lovers, and several songs that correspond to this, but little room for the musical expressions of true love. However, the music is excellent, it is a pot-pourri of songs that run the gamut from old standards to jazz improvisation, to modern popular songs. The best of them showcase the evolving sounds of a newly cosmopolitan Naples that has recently regained the stature of a Mediterranean melting pot that it lost for a couple of centuries. Even such traditional songs as O Sole Mio are presented in various unusual ways, in this case as a medley beginning with old footage of Sergio Bruni singing it in its standard form, then on to a young Massimo Ranieri singing

M'Barka Ben Taleb. Click here for more info

it with a large pop orchestra in the 1960s and then the Tunisian-Neapolitan singer M’Barka Ben-Taleb interpreting it today in a bilingual Arabic-Italian rendition. The singers are also a surprise: they are mostly accomplished musicians but they are not among the most famous – there is no Gigi D’Alessio, no Lucio Dalla, or Anna Oxa (though there is a very talented Loredana Bertè sound-alike in Pietra Montecorvina). The only well known singers are the Portuguese singer Misia, whose soulful fado style gives a beautiful resonance to the melodies, and Massimo Ranieri, the veteran singer who has been dedicating himself in recent years to a reinterpretation of Neapolitan music in a new context.

As I said, this film had to be made by an Italian American and not an Italian. And it had to be a modern, independent minded Italian American who has come to revisit his heritage after a long journey everywhere else. Neapolitan music does not have many champions in the larger community of Italians either inside Italy or out. It wasn’t always that way: The music has been developing for centuries and has had a lot of success in the past. It influenced classical music through opera and other musical styles that were developing during the 17th and 18th centuries when Naples was a rich musical center. In the nineteenth century the Neapolitan song became the prototype of modern pop music. Sheet music for the latest popular songs were sold on the streets and in shops in the city, creating a dynamic of hit songs, singing stars and standard repertoires. In the early twentieth century this pop style spread internationally through the many songs that gained worldwide currency because of this early pop music infrastructure and because of the wealth of talented and highly trained composers, singers and performers that recorded and traveled throughout Europe and the Americas. And the tradition has never faltered. Neapolitan music has been developing and enriching its repertoire of music, its pantheon of composers and artists throughout the past century, and is as alive and vibrant today as ever in the past.

The CD at Amazon

Yet, in New York City during the last few decades, where one could find stacks and stacks of world music recordings in the great music emporiums like Tower Records or J & R Music World, it was always nearly impossible to find anything from Naples, other than tacky “souvenirs of Santa Lucia” type compilations by pop orchestras – this, in a metropolitan area with over a million people of Southern Italian descent. Now that music buying has moved on-line, the situation is much the same at the big american websites. Just see what you get if you search “Neapolitan” on any of the music store websites. Why is this? Why don’t Americans and Italian Americans in particular have any taste for Neapolitan music? One could point to the Anglo-conformist pressures which were particularly ferocious in the case of Southern and Eastern Europeans in the xenophobic hysteria of the first half of the Twentieth Century. But to put the blame there would be a cop-out. The fact is, it is nearly impossible to find Neapolitan music anywhere outside of Naples nowadays, in cities like Paris or Berlin, where there are large Italian communities. Even in Milan or Florence, in Italy itself, one has to search hard for more than just a smattering of the most famous singers. So obviously, the problem goes much deeper.

The DVD at Barnes & Noble

In reality, Naples itself is an embarrassment to Italians. Many people see it almost as a festering wound that drains the economy and the civil society of the country as a whole with its corruption, inefficiency and Camorra organized crime. It has come to symbolize something retrogressive, decadent, dirty and perhaps worst of all, a place with trashy bad taste – in a country that wants to see itself as modern, sophisticated and progressive. And it gets worse: the people who listen to ethnic and world music both inside Italy and out, are generally multiculturalists, on the left and progressive politically. For them, it is difficult to relate to Neapolitans politically, as the Parthenopean city has a reputation for revanchist attitudes and conservative reflexes. There are constant tales of intolerance and xenophobic violence coming out of Naples and the surrounding region even today and they feed a prejudice that already existed about the city. Whereas it is very PC and trendy to listen to Bulgarian monks and Andean pan-flutes, the music of Naples has a decidedly reactionary stink to it.

Then on top of this, the problem is compounded by the negative effects of the success of the past: Neapolitan music has come to mean smaltzy tunes warbled by someone’s tipsy old Uncle Mario at family gatherings, some treacly cliches of nostalgia.  Funiculi, Funicula! The combined weight of all these negative attitudes has made the music almost a pariah in the modern world.

Even the Neapolitans have a love/hate relationship with their tragic and beautiful, culturally rich and tacky city. The film ends with the song Napul’e by Pino Daniele. This iconic song from the 1970s has become a modern anthem for many Neapolitans. It is sung at San Paolo Stadium the way Frank Sinatra’s New York, New York is sung at Yankee Stadium. Here are the lyrics, with their melancholy and ambiguity, in Neapolitan dialect and in English:

Napule E’ :

Napule è mille culure

Napule è mille paure

Napule è a voce de’ criature che

saglie chianu chianu

e tu sai ca’ nun si sulo

Napule è nu sole amaro

Napule è addore e’ mare

Napule è na’ carta sporca e nisciuno

se ne importa e

ognuno aspetta a’ sciorta

Napule è na’ camminata

int’ e viche miezo all’ate

Napule è tutto nu suonno e a’ sape tutto o’ munno ma

nun sanno a’ verità.

Napule è mille culure..

 Naples Is

Naples is a thousand colors

Naples is a thousand fears

Naples is the voice of a child

that slowly slowly rises up

and then you know you’re not alone.

Naples is a bitter sun

Naples is the smell of the sea,

Naples is a dirty scrap of paper

and no one could care less,

they’re just waiting for the turn of luck.

Naples is a stroll through the crowded narrow alleys.

Naples is a dream that everyone knows so well,

but they don’t know the truth.

Naples is a thousand colors.

A film like Passione, helps to show a more nuanced and culturally evolving Naples than we are used to seeing. This beautiful tribute to Neapolitan music can go a long way toward changing hardened attitudes. But a vicious cycle must be broken first. There is no proven market for such a film and so it is a hard sell to get it into local art houses, and there is no young audience for Neapolitan music, so the new artists remain unknown. Hopefully, the situation can be changed one small step at a time. In the meantime, there is always the internet for those who, like John Turturro can move outside the box, pass through all the Bulgarian monks and Andean pan-flutists and reconnect with this culture in a new, 21st century way.

Other Links:

About the Soundtrack

A great interview with John Turturro at Sundance

Other posts about Naples on my blogs:

The photography of Norma Rossetti

The photography of Federico Garolla

The Last Pulcinella

Pappi Corsicato: Il seme della discordia

Scampia and South Bronx: Gomorra

August 25, 2011 Posted by | cinema, music | , , , , | Leave a comment

Woodstock Redux at Bethel Woods: Here to stay or gone forever?

Many people believe that Woodstock took place in the town of Woodstock in Ulster County, New York. It didn’t. It was supposed to, but Woodstock, New York would have nothing to do with this enormous kermesse of hippies, yippies and various hangers-on. So the organizers went out and searched for another venue… and eventually found Yazgur’s Farm in Bethel, New York, many miles away, near Monticello in Sullivan County.

The site of the original Woodstock, as it looks today at Bethel Woods

The rest is history, or at least partially history, and a good deal of myth. If it were truly history we might also know that the area around Monticello has gone through a downward spiral economically that has closed all of the big hotels that once thrived in this area. The myth gives us an image of Yazgur’s Farm as some kind of Garden of Eden in the Catskills.

the museum and hall

But myth is important, and powerful too, and it was the power of that myth and the energy that it inspired that led to the rebirth of the Woodstock venue in recent years, as Bethel Woods Center for the Arts, a vast, mostly open air celebration of contemporary music, arts and crafts. It includes a museum, and crafts market and conducts outreach and educational programs for the community.

The grounds are immaculately landscaped, the stage modern, acoustic and huge, the seats comfortable, the lawn pristine. And unlike the original Woodstock there are ample food stands, parking, and toilet facilities. On a recent night to see the Goo Goo Dolls, the place was full of happy concert goers on lawn chairs or seated on rocks or on cushioned seats, and the place was rocking. Unfortunately, it wasn’t nearly full, and a few nights later for Janet Jackson, it was still not sold out.

The modern stage and open air amphitheater

Has the damage to tourism in Monticello already been so complete that even Janet Jackson can’t draw a capacity crowd to a state-of-the-art open air venue in mid-summer?

There have been other attempts to revive tourism in this area of the lower western tier of New York State. Proposals have been drawn up to rebuild the Concord Hotel and to build new facilities for horse racing. However, these projects have been stalled by the lack of funding and proven marketability. Now a new nemesis has arisen: the introduction of fracking. This controversial method of extracting natural gas from shale strata below the ground dangerously close to the water table has split the local community. Some farmers who are now barely subsisting on their hard labors have been offered big bucks by oil companies to allow fracking on their property. They may be concerned about the possibilities of potential environmental problems in the future, but they are also concerned about putting food in the mouths of their children and paying their mortgages today. It is inevitable that some of them will be forced to take the money and allow the practice. Thus, the question mark of how this industrial activity will impact Sullivan County and its hopes for a touristic revival. Fracking is done along the Marcellus Shale Formation which extends through much o Appalachia. It has already had disastrous effects elsewhere where it has been loosely regulated and applied in an exploitative way by unscrupulous businesses. New York State hopes to regulate the activity and limit it to “safer” areas. It has its proponents, too, even among environmentalists who point to the possibility of safe methods. In addition, it should be noted that New York’s energy plan needs to find new resources to replace the Indian Point nuclear power plant near New York City (for which it provides up to 30 percent of the electricity), and fracking could help.

The Goo Goo Dolls in concert

The area is at the crossroads between revived tourism and industrial development. But could what appears to be diametrically opposed futures actually come together to lead to future prosperity? If the fracking can be closely monitored, learning from the mistakes in other states, and the large corporations that inevitably get involved can be required to help with touristic development, perhaps some kind of symbiosis can be achieved. That may be a new myth, but one worth striving to make reality.

Click the link to Bethel Woods.

August 10, 2011 Posted by | concerts, music, performances | , , , , , | Leave a comment

Orovela in a timeless world

I wasn’t sure what to write in my first entry in a year. Then it hit me. I was in the bedroom of my new apartment playing LPs on the record player that I had extracted from my sister’s attic. I was going through the handful of records I had saved over the years for various inexplicable reasons and here was something that really popped out at me. It was a recording I had gotten in the Republic of Georgia some time in the 1990s. The group was called Vocal Ensemble Orovela, and they were performing the title song, Orovela. It was a hypnotically beautiful folk song which artfully showcases the harmonic style and vocal flexibility of Georgian traditional song. I was blown away by it, and I thought, this is what I’ll write… a simple entry explaining how I discovered this gem just sitting in my stored attic boxes waiting all these years to be appreciated.

I had to know a little bit more about this song if I was going to write about it. I deciphered the Cirillic script on the album cover (ignoring the Georgian script, alas.) and found that the leader of this folk group was named Temur Kevhishvili. He also sings the title song. There is little more that I could glean from the Russian, except that the group was formed in 1988 and that my Melodiya recording dates from 1990. So I googled Orovela and just to

Hamlet Gonashvili

prove that nothing is new under the sun, one of the first links was to someone who had done just what I planned to do. On May 17, 2009, Poesis, a fascinating woman in Singapore, wrote about Orovela in her blog, Poetic Oneirism [ I had to look that word up 😦 ] . In it she simply stated that she had heard this song the other day, and how she just had to write about it. She gives some information about the singer on her recording, and some links. You can find a link to her blog at the bottom of this post.

Poesis has a recording by the singer Hamlet Gonashvili. I found him on youtube and I gather from the information on various sites that he is the singer who established the recorded standard to which other singers aspire. The vocal ensemble on my LP replicates almost exactly the style of Hamlet Gonashvili, though I am sure that the tradition goes back much further than that.

Getting back to Poesis. I looked at her most recent entry, and I was astounded to see that in June she wrote about

Jean Sibelius

THE other music which I have been obsessed with lately, namely the Violin Concerto in D Minor by Jean Sibelius. Actually, I bought the CD for another piece, the Wood Nymph, which I had heard in April on WQXR radio and which also struck me just as Orovela had. This time Poesis and I were contemporary music lovers, but it didn’t really matter, whether contemporary or separated by two year: blogging is a magical world that does not recognize the boundaries of time that we normally perceive. Time there is dictated by a ticking clock of technological progression which is beyond my realm of knowledge. To me, the internet is timeless, or more precisely, there are only two times: Now and Obsolete. So, as long as our computers can access Poesis’ 2009 blog entry, her words are as fresh as the day she wrote them. It doesn’t matter if she blogged every day before and after that, or never blogged again. That answers a question of mine with a blissfully simple wisdom. How to get back to a blog after ignoring it for a year? Just do it, no explanation necessary.

Click here for the link to Poetic Oneirism

Here is Hamlet Gonashvili.

The Wood Nymph

July 4, 2011 Posted by | concerts, music | , , , , , , | 3 Comments