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Echo Of Time

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Echo Of Time

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My own work in the field of Cretan music is of a highly personal nature and, in no way do I lay any claims to what is generally perceived as authenticity. Equally, I do not consider myself to be a "traditional musician" per se, at least not in the usual and generally accepted meaning of the term. I have been deeply enamoured of many different musical traditions during the course of my life and, though I am acutely aware of the uniqueness and individuality of each of them, I never saw any reason to compartmentalize them and draw boundaries between them. This is especially the case when I find myself looking at traditions which already share a considerable amount of common ground. Perhaps for this reason it seemed natural to me to place a Cretan lyra alongside an Afghan rabab, or a Turkish saz, or even an Indian sarangi (a distant cousin of the lyra itself). To use a guitar however, an instrument with which I am at least equally familiar, is something which does not naturally occur to me. Cretan music is not based on chordal structures (something for which the guitar is ideally suited), and the guitar is not designed to render melodies which include microtonal intervals (an essential component of Cretan music). Apart from these practical and technical difficulties, which are not necessarily prohibitive, there is also a question of aesthetics. This, of course is always a rather personal issue, and so it should be, but I do feel that there is an inherent aesthetic kinship which links modal musical traditions, which, I believe, no one can really in all honesty deny. It also seems to me that the fusion of modality and polyphony very rarely results in anything more than a serious compromise of both. For this reason, I felt compelled to maintain the modal integrity of Cretan music, and this almost automatically pushed me in a very specific orchestrational and aesthetic direction.
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