Some of the fascination with this program came from the many different instruments, their sound, their place in the ensemble, and how they were played. Labaree, on the versatile ceng, could make subtle and temporary pitch changes on a string to give characteristic sliding micro-intervals. Its usually delicate sound was often in the background but it could be louder as needed. With Zajac, it was a question of what instrument he would pick up next. Continue reading In Alexander’s Memory, Music on the Ceng, Oud, Ney, and Saz