We went to Israel's southern desert, the Negev, because of Nancy's work with the Israel Studies Institute of Ben-Gurion University. But I also have professional connections there that could lead to who knows what: it turns out that the Negev is also the site of much mandolin music!
The central figure is Lev Khaimovich, a Russian/Lithuanian immigrant whose first instrument was the domra, a four-stringed Russian instrument closely related to the mandolin. He became a classical pianist, but upon moving to Israel it was his domra heritage that enabled him to find work as a conductor of the mandolin orchestra at the S. Rubin Conservatory in Beer-Sheva. Over nearly 30 years, Lev has mentored generations of new mandolinists, including several professionals who have developed an interesting and unique approach toward classical mandolin interpretation today.
Most of this I knew before arriving, thanks to my friend Ruth who grew up in Beer-Sheva, and played in the orchestra perhaps 20 years ago. Thanks to Ruth for the album photo, which dates to 1984! (BTW, Ruth is playing with my new group Boston Mandolins, which is sounding great. We're playing at the Mariposa Museum on Feb. 4).
Fortunately, maestro Khaimovich was very warm in welcoming me to Beer-Sheva. I went to hear the orchestra and to introduce myself. The photos I took of the orchestra show mostly kids playing, although as the evening progressed more adults joined. The blend of the orchestra was finely tunes, which evidenced Lev's long-term guidance. It was really quite impressive, along the lines of America's best mandolin orchestras. Also interesting was the use of a few woodwinds to complement the blend -- one flute and one clarinet, which were cleverly voiced in supporting parts to create the illusion of sustained sound from the mandolins. Lev's arrangements of classical and folk standards were elaborate and sensitive in their orchestration.
At one point they invited me to play, so I did a jazz-inflected improvisation on "St. Anne's Reel." They didn't seem to be familiar with fiddle tunes, but were very enthusiastic and interested. I played them my solo arrangement of "In My Solitude," which was warmly accepted. There are few connections to jazz mandolin here, so curiosity was high!
Afterward they investigated my instrument as if it was an oddity (which I suppose it is), and I got to try out one of the Kerman mandolins -- a wonderful invention played by the best Israeli mandolinists. It has an extra resonating surface underneath the top of the mandolin, suspended between top and back of mandolin. The sound was full and warm, although it lacked the full overtone spectrum of the Italian mandolin, or of my instrument. Undoubtedly that was at least partially because of the flatwound strings on the instrument I played.
We finished the evening by my joining the orchestra rehearsal, playing with the Mandolin 1 section. I was sightreading, which went pretty well although I gained a new appreciation for the wonderful musicianship of the players I'd been hearing. It was a fabulous experience overall, and I look forward to future collaborations. We discussed ideas for future concerts, so we'll see what develops!
Photos are here.
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