Arta: Violin and Laouto Instrumentals
Author: Marc Dubin
View album and artist detailsAlbum and Artist Details
Artist/band: |
Yiorgos Floudas & Vassilis Triantis |
Label: |
JSP Records |
Magazine Review Date: |
August/2017 |
The Greek music of Epirus has long been identified with the Ioánnina district, ignoring the traditional styles of the Árta/Préveza region, which are more open to outside influences (Italian, Anatolian, Greek island).
This is the third Christopher King recording – and the third JSP release – I’ve heard, and both continue producing Greek material of flawless taste and sound quality. It's only a few significant differences between the Greek and English versions of the liner notes that annoy. Here, King sought out master fiddler Yiorgos Floudas and laoúto-player Vassilis Triantis, recording them inside Árta's castle one summer night; crickets lend audible atmosphere. Too often in Greece, the laoúto (a mandolin-like instrument) merely bashes out rhythm chords – a travesty of its melodic potential, which is thankfully fully realised here on ‘Lagiarni’ and ‘Ilios’, where the players engage in genuine duets. Floudas’ fiddle growls and purrs in the lower registers like something alive, positively singing as the notes climb. There are stately or danceable airs, including the Asia-Minor-inflected ‘Plevra’ and ‘Klammata’, bracketed by moirológia (laments), these are sung a capella elsewhere in Greece but performed as popular instrumentals in Epirus – the fiddle substitutes for the usual clarinet.
This is the third Christopher King recording – and the third JSP release – I’ve heard, and both continue producing Greek material of flawless taste and sound quality. It's only a few significant differences between the Greek and English versions of the liner notes that annoy. Here, King sought out master fiddler Yiorgos Floudas and laoúto-player Vassilis Triantis, recording them inside Árta's castle one summer night; crickets lend audible atmosphere. Too often in Greece, the laoúto (a mandolin-like instrument) merely bashes out rhythm chords – a travesty of its melodic potential, which is thankfully fully realised here on ‘Lagiarni’ and ‘Ilios’, where the players engage in genuine duets. Floudas’ fiddle growls and purrs in the lower registers like something alive, positively singing as the notes climb. There are stately or danceable airs, including the Asia-Minor-inflected ‘Plevra’ and ‘Klammata’, bracketed by moirológia (laments), these are sung a capella elsewhere in Greece but performed as popular instrumentals in Epirus – the fiddle substitutes for the usual clarinet.
