This kaba is a reinterpretation of the “Mediu’s Kaba” in two-part; kaba and dance.

As we have pointed out, typical of his kaba is the lamentation motif on which almost the entire first part of the kaba performs as well as the start-and-cut dialogue between the gërnet and the violin below the constant iso of the lute at the note Do’s height (unlike the variant performed by Medi Përmeti in Si b)

As in the original kaba, the kaba has a restrained pain which occasionally erupts into pathetic culminations related to the performer’s condition. In this kaba anyone feels a more dynamic attitude of the gërnet compared with the predecessors. It should be noted that in this kaba interpreted by Vangjel Poda there is an interesting use and combination of the texture of the virtuoso gërnet with that of the violin instrument. This happens for one reason. Vangjel Poda performs on the gërnet instrument after performing as a violinist. Thus many of the violin playing techniques he has naturally implemented in gërnet interpretations. That is why “Vangjel’s Kaba” stands out above all for this fact.

The second part appears as a cheerful and very dynamic dance.