Israeli mandolinist Avi Avital is nominated for a 2010 Grammy Award and is attending the ceremony this weekend in Los Angeles, alongside Metropolis Ensemble’s conductor Andrew Cyr. The duo collaborated with producer David Frost to prepare a recording of Avner Dorman’s Concertos including “Mandolin Concerto” (2006), which received critical praise from the New York Times, NPR, Classics Today, and Sequenza21.
This is the first time the classical music recording industry is recognizing the instrument outside of the folk and world music categories in the Grammys. Avi recently sat down with Metropolis’ own Armistead Booker to discuss the significance of the nomination and the story of this recording project.
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Armistead Booker: What was your reaction when you found out about the Grammy nomination?
Avi Avital: I was quite surprised and excited. I mean, who would have thought? This is a big thing for the mandolin itself to be nominated in the classical category. On the other hand, it feels completely natural because I know that everyone involved in this recording put their best into it. I love this recording. Usually as a musician, you can’t listen to your own recording, but the piece, the ensemble, and the sound engineer are all amazing. Each and every element in this recording was the best it could have been, so I feel this is the right time for the mandolin to resonate.
AB: Why is this the right time for the mandolin to be noticed in the classical community?
AA: The mandolin was always there; it was especially popular in the Baroque Period. When we talk about mandolin, we might want to include all of the plucked-string instruments that are connected with different musical cultures. For example, in the United States the mandolin is very famous because of bluegrass music. During the last century, this instrument has been forgotten in the concert halls of Europe. So the mandolin offers something fresh within this very established context. I think this is the right moment for the mandolin to come back with the help of great pieces that are being written for it. Avner Dorman’s “Mandolin Concerto” is one great example that helps redefine the instrument: bringing it to life in a new way and taking advantage of its development over the centuries.
AB: How did you and Avner Dorman start working together?
AA: In 2004, Avner and I met and discussed the possibility for him to write me a concerto. I heard his “Variations Without a Theme” performed by the Israeli Philharmonic Orchestra with Zubin Mehta conducting. And I thought to myself, “this is the guy that will write for mandolin like I see it.” After I got the first draft from Avner over email, he asked me, “is this playable?” And I told him it’s as if a mandolin player wrote it. Everything is playable and it’s perfect for the instrument. Then I dug into the piece more and got to know it better. I called Avner and said, “if I had talent as a composer, this is how I would have written this piece.” It perfectly captured our two visions, with all the influences and associations that come with the mandolin, as well as a new concert hall perspective on the mandolin.
AB: What brought you in contact with Metropolis Ensemble?
AA: Avner introduced me to Andrew Cyr after the premiere of “Mandolin Concerto” in Italy, when we were brainstorming who should make the American premiere of the piece. Avner was familiar with Metropolis and sent Andrew the recording. So we performed it in May 2007 at the concert There And Back Again.
AB: And then it received an encore that fall with Metropolis, alongside other selections by Avner Dorman, including “Concerto in A” (piano), “Concerto Grosso” (string quartet and harpsichord), and “Piccolo Concerto.” What was it like hearing your piece in context with these concerti?
AA: It’s interesting; I know Avner’s music quite well. Every piece that he wrote was very different but you can hear his signature on each. They have their own language and dialect. Each instrument tells a unique story.
AB: What story would you hope listeners take away from this recording of “Mandolin Concerto”?
AA: That’s a difficult question. The story changes for me all the time. I can’t suggest any one narrative to follow. The listener should be free to create their own story. That’s what it’s all about. But generally speaking, this recording expands the horizons of the mandolin. You hear the mandolin like never before in Baroque concerti. Avner used some techniques to create a brand new sound for the instrument.
AB: How was your experience in the studio with producer David Frost?
AA: David is a genius sound engineer. He’s super sensitive, very supportive, and hears everything. We could let go of everything but the music. We were in good hands through the recording process with David. The sound was brilliant. I really enjoyed the project.