The week started rather formally, with a series of "World Cimbalom Music Concerts", in which many performers offered tantalising snatches of their playing, often only playing one short piece of music. I had volunteered to play, not knowing what to expect, and made sure that they understood my amateur status. Notwithstanding my diffidence (and mistakes!) I found myself playing more often than I had bargained for as the week progressed. One of the nicest things about the concerts was the comradeship that built up backstage. It was a great joy to meet so many wonderful musicians and hear their playing.

My hero of the week was the rather nondescript looking Russian who helped us back to our hotel on the first night. (He didn't know the way either - we had to follow a tram!). But Eugene Gladkov was transformed when he played - his repertoire went from Shostakovitch, a Beylorussian Polka and an English Madrigal. His party piece was the jazzy Cuban Muzicali Picture by Veksler with a dazzling display of techniques including plucking, harmonics, and hammering on the sound board.

I was also pleased to meet Xu Pingxin, a great Yangqin player currently doing a PhD in England, at Kingston University. He has been developing his own style, bringing in influences from east and west. Much of the Cimbalom and Hackbrett playing was classical. I loved what must have been the standard Cimbalom repertoire, with the rumbling low notes and delicate high ones. Both Cimbalom and Hackbrett are undergoing a struggle for recognition as "Not just folk instruments". But it's hard to fight the anti-folk snobbery and not become part of it.

In recognition of the Cimbalom's folk roots, part way through the week, the congress moved to Uherske Hradiste, which was the centre of a lively folk culture in South Moravia. It was here that the formality started to relax, and we were treated to the local Cimbalom bands at their celebrations to the young wine. Listening to about 20 young men singing the praises of Slivovice in the local wine cellar, accompanied by a brilliant young Cimbalom band was heady stuff indeed.

The folk culture is very strong and is an integral part of life for all age groups. A young man from one of these bands, Kunovian, invited to take us round the local museum and back to his home. He and his father, who leads the band, talked to us about the music and played a wide variety of their interests from Dixieland Jazz (excellently played by the father) to their own folk C.D., to music from the Czech Underground scene.

We were startled to meet an English photo-journalist who has settled over there. He decided he'd had enough of the rat race, and now works about one week a month, sending stories to the west, and living well on the proceeds. At first we thought he was crazy, but as we headed for home we were wondering who the crazy ones were. Keith (that's his name) recommended the many folk events held in the summer, especially an International festival in Straznice at the end of June. If anyone fancies a trip......

The hospitality of these people is unsurpassed. We dropped into Dr. Kunst in Brno, after the weeks events, because Roger wanted to see what information he had about Dulcimers. It seems the custom is that the hosts give their guests presents, feed them, but expect nothing in return. Our consciences felt that we were taking what could not afford to be given - but we were able to offer gifts that were 'work' and therefore acceptable. Dr. Kunst seemed to have a wide variety of interests, from art, to pottery, to music and folk culture.

What a contrast then, to return to the materialistic society of West Germany! I had been invited to stay with one of the German Hackbrett players who had studied under Schickhaus in Munich. A young newlywed, Christine lived outside Munich, a train's ride away. Although just starting on their careers, the couple had already established a luxurious and beautiful home. They were thoughtful hosts, who gave me an insight into everyday Germany - and a chance to have a go on a Hackbrett!

The Munich Hackbrett Festival lasted over a weekend, and was effectively a series of concerts in the Gasteig, a centre rather like the Barbican. Most events were acoustic, which was less effective in the larger halls, especially when small groups were performing. I was pleased to get a full performance from Patria, the folk group of Victoria Herencsar, president of the CWA. Victoria is equally at home in the concert hall with classical pieces, as with Hungarian folk music.(She's playing classical in the UK in February - see Events) However the most memorable events were in the Kleiner Konzertsaal, packed to the gills, with an enthusiastic audience. Playing here were the Ukrainian Baran brothers, with their flamboyant cimbalom and bandura playing, the Chinese trio of Yangqin players with their floating shimmering sound, and the mystical magic of the Indian ragas from the Santur player Nandkishor Muley and his trio.

Oh, and I shouldn't forget the delight of the audience to Hammerhouse (Mandi and Quentin). Their great showmanship (the playing was pretty good too!) ended with Mandi tucking up her dress, displaying her knees (she was wearing a posh evening frock, with red boots), and in danger of losing her knickers!

I returned to Britain fairly exhausted, my head buzzing with dulcimer music from all over the world, and with many new found friends. I'm already thinking about my next trip...