“Smudging the lines between folk and classical is an intrepid endeavor… Mair’s a superb mandolin player who has brought the instrument to unexpected places…”
- Jim Macnie, The Providence Phoenix (USA)
“Marilynn Mair has always had the keen ability to balance classical mandolin traditions and repertoire, while constantly breaking new musical ground…a superb and versatile mandolinist and composer.”
- – Butch Baldassari, Mandolin Magazine (USA)
“Mair travels by mandolin to Brazil and brilliance… her commitment to the music shines through.”
- Rick Massimo, The Providence Journal
“Stepping back to the 18th-century masterworks gave her the opportunity to highlight her technique with a fresh light… her playing is thoughtful, vibrant and a delight to listen to.”
– Terence Pender, Mandolin Quarterly (USA)
“She’s a fabulous player with a wonderfully clear and lyrical sound.”
– The Ottawa Citizen (Canada)
“Mair displays an exceptionally gifted approach to this music, using her formidable mandolin technique with grace and sensitivity… It’s the next best thing to a trip to Rio.”
– David McCarty, Mandolin Magazine (USA)
“Marilynn Mair performs Brazilian mandolin music… she plays the mandolin as an instrument for all occasions.”
– Vaughn Watson, The Providence Journal (USA)Bring a talented ensemble of gifted musicians together playing some of the great concertos and chamber music pieces of the 1700s, present the extraordinary classical mandolinist Marilynn Mair front and center, and you have a rare combination of the right musicians performing the right music at the right time.
– David McCarty, Mandolin Magazine (USA)
“Marilynn Mair é uma bandolinista americana de formação erudita”
– Paulo Eduardo Neves, Agenda do Samba Choro (Brasil)
“Mair is unstoppable… capable of evoking any landscape, past or present, you’d care to conjure.”
– Mike Caito, Providence Phoenix (USA)
Marilynn Mair on mandolin…touches the deepest and most engaging reaches of the ancient and passionate ‘Latin soul’.
- Carlos Agudelo, Billboard Magazine
“A lovely concert! We estimate your spell-bound and enthusiastic audience at close to 1800 people…”
- Lincoln Center Out-Of-Doors (USA)
“The final repeat of the melody transmitted a strong feeling of peace and tenderness that escaped no one in the audience. It is this sensitivity and subtleness that characterized the overall performance.”
- Brian Hodel, Guitar Review (USA)
“A brilliant concert from beginning to end…The performance was extraordinary.”
– La Rioja (Spain)“A sparkling concert… absolutely brilliant!”
– Guitar Magazine (England)
“Marilynn Mair acquits herself very well indeed, a most accomplished player, able to deal with the many intricacies the repertoire demands of her.”
- Chris Kilvington, Classical Guitar (England)
“Marilynn Mair lives up to her reputation as an excellent mandolinist, with clear tone, a beautiful tremolo, and creative expressiveness.”
– Zupfmusik Magazin (Germany)
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Rio Blog 6: September 3, 2007
Saturday, September 1st, was my last EPM (choro school) and I arrived early to chat w/ Marcia & other friends who I wouldn’t be seeing for awhile. As we were assembling in to courtyard for an all-school
meeting, I found myself next to my rep teacher, Pedro Paes, and asked him about Joel’s comments on my assignment for his class (see the last blog). He was interested and said we’d go over it in class.
So after climbing the 5 flights of stairs (the elevator works about 1/3 of the time) my transcription of “Sensivel” was the class topic. I had to explain in portugues Joel’s concerns that his interpretation was very personal, quite different from the original, and so my transcription would be misleading, in a way, because it wouldn’t give a player reading it a basis to interpret the piece for himself. Pedro passed my version around so everyone could see it, and then we played it. He pointed out some of the notation that was very different than traditional choro (needed to capture Joel’s rubato) and asked me to change it to be a bit more like the original (which I’ll figure out by listening to other recordings of it, since this is not a piece that seems to have been published anywhere) and finish the second part. So, although I’m leaving, I still have homework that I’ll have to get Romulo to hand in for me next class.
Agua practice was short, because there was a teacher-led roda
for the whole school @ 3:00, but we played Siga and some of our other rep as well. I decided not to stay for the roda – still had packing to do – but met most of the band afterwards at the Garota da Urca for choppes (draft beer) and supper and a spontaneous planning session for our potential 1st CD. Very fun! I told them all that I’ve started writing a new choro for them – “Porque Nao?” (Why Not?) and sang the first part for them. Raphael & Marcusinho – the wonder-kids – were glad to note that it was fast.
Next morning, Sunday, was my last day. I set my bags up ready to go and Romulo picked me up for the roda @ Laranjaras. A good way to end my trip – playing choro outdoors on a beautiful morning. Raphael had decided to come too, and the 3 of us sat together in the circle and riffed off each other – so much fun, and, Romulo told me afterwards, our ensemble groove was noted by the other players. This whole band-as-community thing really does pay dividends. There were more soloists this week, so I played a lot of harmonies. And with Raphael & Romulo to my right and a really good 7-string player to my left, I was in a great spot. My friends Marcia & Jorge showed up too, toward the end, and the 3 of us said good-bye to R&R – who had other places to go – and the rest & went off to the Bar do Urca for my last lunch.
bjs.
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