9.10.17

Freedom's just another word ...

    
Tali'eh Kamran
Yadgar-e Habib

 
 Tracks:

01.Dastgah-e Homayoun — Talieh Kamran, Hoseyn Tehrani - 9:20
02.Zarbi-Khani In Bayat-e Esfahan, Dashti & Shushtari — Talieh Kamran, Hoseyn Tehrani - 9:41
03.Avaz-e Abou'ata — Talieh Kamran - 10:36
04.Zarbi-e Abou'ata — Talieh Kamran - 2:34
05.Chaharmezrab-e Dashti — Talieh Kamran - 2:37
06.Avaz-e Dashti — Talieh Kamran - 1:38
07.Dastgah-e Segah — Talieh Kamran - 8:48
08.Dastgah-e Homayoun — Talieh Kamran - 9:36
 
 ♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

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 Talieh Kamran (1930-2017), prominent Iranian female artist, poet and one of the first academic female musicians.
 
 Talieh Kamran & Maestro Hoseyn Tehrani
 
There is no Wiki about Talieh Kamran yet.
If you come across a page about her and her art
please let us know...
 
 *♥*
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  *♥*
  

3.8.17

Beauty comes from the heart...


Jarzębina
Łoj dolo moja dolo

 
Tracks:

01. Dziewcyno nadobna - 4:14
02. Po boru chodziła - 1:55
03. Dobro ja meme miała - 4:45
04. Wisienki - 2:53
05. Podróżniak - 2:25
06. Dołem dołem - 3:20
07. Tem pod borem - 4:46
08. Wysła Meniusia - 2:35
09. Polka weselna - 3:11
10. Oczepiny - 6:50
11. Łoj chmilu - 2:49
12. Przyśpiewki weselne - 8:54
13. Piosenka żydowska - 3:21
14. Cegoś mie memo za muż wydała - 2:34
15. Cieszcie się dziewczęta - 3:02
16. Jechoł pen gajowy - 2:01
17. Łoj dolo moja dolo - 2:16
18. Kołysanka Janiny Oleszek - 3:07

Irena Krawiec (vocals)
Lucyna Jargiło (vocals)
Monika Jargiło (vocals)
Janina Dyjach (vocals)
Beata Oleszek (vocals)
Janina Oleszek (vocals)
Bogumiła Smagała (vocals)
Władysława Dycha (vocals)

Accordion, Hurdy Gurdy, Vocals, Jew's Harp, Arranged By – Jacek Hałas (tracks: 3, 7, 12-17)
Drum – Alicja Choromańska-Hałas
Edited By, Accordion, Mastered By – Witold Roy Zalewski
Fiddle, suka – Krzysztof Butryn (tracks: 1, 5, 12)
Fiddle, Text By – Ewa Grochowska (tracks: 3, 7, 12, 14-15)
Graphics, Typography – Joanna Jarco
Photography – Mateusz Borny
Recorded By, Mixed By – Michał Kowalski
Text By – Remigiusz Hanaj
Vocals – zespół dziecięcy Wisienki

Guests:

Zbigniew Butryn (bas)
Mateusz Borny (suka, kornet)
Edward Pachuta (kornet)
Iza Gąbka (saksofon)
Jakub Dycha (trumpet)
Olena Yeremenko (violin)
Piotr Deptuła (fiddle)
  
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 Prezentujemy Państwu najnowszą płytę zespołu "Jarzębina". Płyta została wydana przez Starostwo Powiatowe. Jak pisała szefowa zespołu, Irena Krawiec na płycie zostały umieszczone pieśni tradycyjne, zaśpiewane w tradycyjnej kocudzkiej gwarze. Płyta prezentuje 18 utworów i piosenek wykonanych przez "Jarzębinę" z towarzyszeniem muzyków grających na skrzypcach, drumli, basach suce biłgorajskiej, harmonii i bębnach. W nagraniach usłyszymy orkiestrę dętą, zespół wspomogły też dzieci z zespołu "Wisienki".

Zapraszamy do posłuchania


 JARZĘBINA Ensemble

The music ensemble Jarzębina is amongst the most known singing groups in Poland. It was established in 1990, in the Community Culture Center in Kocudza, a village in the Janowski district, on the Roztocze hill range, one of the most interesting ethnographic regions in the Lublin area.

Jarzębina is a traditional, multi-generational female group led by Irena Krawiec. It is one of the most active in the Janowski area, recognized with many awards and honorary mentions. It consists of a singing group and ceremonial group. The music ensemble represents a rich and diverse genre repertoire of monophonic ceremonial and common songs. The repertoire is rooted in the oral tradition, based mainly on songs handed down from generation to generation in the families as well as numerous songbooks: folk carols, pastorals, Advent, Lenten and Easter psalms. The psalms and dialogues are performed in the Kocudzki dialect, with great attention to detail, such as the original tempo, volume and artistic style.

It is important to point out the unique funeral and Lenten psalms that brought Jarzębina its place amongst the leading music ensembles. Within its numerous activities, the group pays special attention to devising and preparing shows. They remind us of the life once led in the villages, according to the natural calendar and also cultivate old customs and traditions. In Jarzebina’s repertoire there is: Wesele kocudzkie (A Kocudza Wedding), Ocepiny (Capping ceremony), Prasowocki (Ironers), Miedlorki i pocirocki (Linen-Working), Łostatni rózeniec (The Last Rosary), Świecok (Food-Blessing), Mielenie w żarnach (Quern-Stone Grinding), Pośnik kocudzki (Kocudza Christmas Celebrations) and Herody kocudzkie (The Kocudza Christmas Pageant).

The group finds fulfillment playing concerts and theatrical productions of old ceremonies and traditions, performing abroad, in addition to touring the whole country, as well as being an active participant in the social and cultural life of their village, community, district and region. In 2012, Jarzębina gained popularity due to the song “Ko-ko Euro spoko”, although it has been appreciated for many years before that for its stylish and very expressive way of performing traditional repertoire. The constant invitations to festivals, solo concerts as well as a group of followers all across the country is more than enough proof of that.

Jarzębina has performed at musical reviews and festivals in: Kazimierz (an honorary mention in 1991, a guest performance with the show Linen-Working in 1993, the first prize - 2001, 2007, 2011); in Tarnogród (1991-1995); in Baranów Sandomierski (The Polish Festival of Orphan Tales and Songs 1992-1999); in Tychy (Theatrical Meetings 1996-1998); in Nadrzecze (The House Serving the Polish Art of Word, Music and Image 1997-2000); in Jarosław (The International Festival Early Music 1998-2000); in Kawkowo (The International Meetings Drama and Liturgy 1995-2002); in Zebrzydowice (The International Musical Review of Regional Groups 2002); in Modliborzyce (The Interdistrict Musical Review of Traditional Carols and Pastorals 1999-2003).

The group devotes much attention to ensuring the continuity of traditional culture in the local community. Jarzębina learns songs and gives concerts together with their “younger daughters” – the children’s group Wisienki. Jarzebina’s members have been teaching the Kocudzki style of singing for years, also outside of their community, for example in the Węgajty Theatre Schola, Gregoriana Silesiensis Schola or occasionally at special workshops (mainly led by Beata Oleszek). In 2006, the group was the co-organizer of the Tabor in Kocudza – a weekend summer camp that teaches the Lubelski school musical tradition.


   The musical ensemble Jarzębina with all its members: the back row from the left Lucyna Jargiło, Bronisława Dyjach, Janina Oleszek, Władysława Dycha i Genowefa Góra, in the front row from the left Monika Jargiło, Beata Oleszek, Irena Krawiec, photograph by Remek Mazur-Hanaj, Kocudza in 1999.

A turning point for Jarzebina turned out to be the show “The Last Rosary” (łOstatni rózeniec), that had its premiere in 1995 and gained a prominent place in the history of folk ceremonial theatre. At that time, the group began their collaboration with in crudo music centers, especially the Warsaw Dance House Association (concerts as part of the Stage Roots as well as the series Let me sing Your Passion and There is a Ladder to Heaven 1995-2003). Since 1998 with the Węgajty Theatre Schola, the group participated in international theatrical and musical projects and a young singer from Kocudza Beata Oleszek, became an actress and a singer in the Schola for many many years. At the Songs of Our Roots Festival in Jarosław, Jarzębina sang at a memorable concert along with the Italian Micrologus. They also participated in a series of Lenten concerts, mainly the Dominican Order Lenten Singing in Lublin, Lenten concerts at the Poznań School of Dance or the Wrocław Gregorian Silesiensis Schola. Henryk Mikołaj Górecki highly valued Jarzebina’s singing. The group’s performance can be found in the most important archives; academic, radio and many private archives. Some of which have been published in anthologies of traditional music – publishers In Crudo (three CDs) and Muzyka Odnaleziona. The group has taken part in numerous radio and television programmes, there are three documentaries dedicated to the musical ensemble done by TVP 2; the singers were also capable of finding their way so to speak in modern art (a project by Anna Molska, “The Weepers”). Finally, there have been several Bachelor and Master’s thesis’s written about Jarzebina.



 *♥*

1.8.17

The Last Village Musicians...

 
Andrzej Bieńkowski
Ostatni wiejscy muzykanci
 

 
Tracks:

01. Mazurek. Mikroregion Rzeczycy 1980/Kazimierz Meto (ur. 1922) skrzypce, Józef Meto (ur. 1939) basy, śpiew
02. Oberek. Mikroregion Rzeczycy 1987/Jan Lewandowski (ur. 1919) skrzypce, Stanisław Lewandowski (ur. 1927) basy, Stanisław Kaczmarek (ur. 1924) bębenek
03. Oberek. Mikroregion Rzeczycy 1987/Michał Rydz (ur. 1924) skrzypce, Stanisław Goska (ur. 1925) basy, Władysław Piątkowski (ur. 1932) bębenek
04. Oberek Śpiewak. Mikroregion Rzeczycy 1987/Stanisław Skiba (ur. 1932) skrzypce, Jan Osiński (ur. 1927) basy trzystrunowe, Stefan Chudy (ur. 1938) bębenek
05. Oberek. Rawskie 1987/Aleksander Nowakowski (ur. 1905) skrzypce, Władysław Kośka (ur. 1935) basy, Stefan Nowakowski (ur. 1930) baraban
06. Oberek Śpiewak. Radomskie 1981/Bolesław Zarębski (ur. 1913) skrzypce, Edward Fogt (ur. 1930) śpiew
07. Oberek Ciągły. Radomskie 1987/Jan Rogoliński (ur. 1907) skrzypce, Józef Lament (ur. 1911) bębenek
08. Oberek Ciągły. Radomskie 1981/Marian Lipiec (ur. 1937) harmonia, Piotr Strzałkowski (ur. 1926) skrzypce, Marian Lipiec (ur. 1958) werbel
09. Oberek Rdzuchowiak. Mikroregion Kajoków 1983/Józef Kędzierski (ur. 1913) skrzypce, Stefan Kędzierski (ur. 1921) basy, śpiew, Józef Kędzierski (ur. 1939) bębenek
10. Oberek Śpiewak. Mikroregion Kajoków 1988/Józef Piecyk (ur. 1932) skrzypce, Jan Kietla (ur. 1913) bębenek, śpiew
11. Oberek Śpiewak. Mikroregion Kajoków 1983/Walenty Mirecki (ur. 1911) skrzypce, Józef Janowiecki (ur. 1910) basy, Jan Sadowski (ur. 1925) bębenek, śpiew, Helena Wojtunik śpiew
12. Oberek Kazimierkowy. Mikroregion Kajoków 1997/Stanisław Ciarkowski (ur 1931) skrzypce, Józef Ciarkowski (ur. 1926) bębenek, Leokadia Ciarkowska śpiew
13. Oberek Pobiedziński. Dolina Pilicy 1988/Jan Michalski (ur. 1916) harmonia, Wacław Rek (ur. 1928) skrzypce, Józef Michalski (ur. 1939) baraban
14. Oberek Rytka. Mikroregion Kraśnicy 1984/Józef Fiderek (ur. 1909) skrzypce, Franciszek Wolowski (ur. 1919) basy, Tadeusz Fiderek (ur. 1940) baraban
15. Oberek. Mikroregion Kraśnicy 1984/Michał Wijata (ur. 1920) skrzypce, Adam Goska (ur. 1909) basy, Stefan Tomasik (ur. 1910) bębenek
16. Oberek. Opoczyńskie 1984/Tadeusz Podwysocki (ur. 1926) skrzypce, Stanisław Wilk (ur. 1914) bębenek
17. Oberek. Łowickie 1981/Leopold Talarowski (ur. 1904) harmonia dwurzędowa, Stanisław Domański (ur. 1926) baraban
18. Mazur. Mikroregion Księżaków 1992/Jan Szewczyk (ur. 1925) skrzypce, Józef Szewczyk (ur. 1966) baraban
19. Mazurek. Rawskie 1990/Jan Dziąg (ur. 1922) skrzypce, Jan Dziąg (ur. 1950) baraban
20. Oberek. Pogranicze Rawsko-Księżackie 1994/Stanisław Lewandowski (ur. 1934) skrzypce, Józef Szymczak (ur. 1927) baraban
21. Mazurek. Radomskie 1986/Władysław Cieślik (ur. 1919) skrzypce, Józef Bębenek (ur. 1919) harmonia pedałowa, Stanisław Cieloch (ur. 1924) bębenek, śpiew
22. Światówka. Radomskie 1981/Antoni Wyrwiński (ur. 1921) harmonia pedałowa, Adam Wyrwiński (ur. 1924) skrzypce, Jan Karczewski (ur. 1944) baraban
23. Mazurek Lesiacki. Radomskie 1992/Antoni Wrzesień (ur. 1914) skrzypce, Józef Wrzesień (ur. 1911) skrzypce, Stefan Kaczmarek (ur. 1922) bębenek
24. Oberek Kajocki Bąk. Radomskie 1984/Franciszek Reguła (ur. 1916) organki
25. Oberek ciągły. Radomskie 1982/Stanisław Motyl (ur. 1904) skrzypce, Jan Przybyszewski (ur. 1917) skrzypce, Stanisław Przybyszewski (ur. 1951) akordeon, Stanisław Wiatkowski (ur. 1941) bębenek
26. Oberek Bielińskie olszynki. Radomskie 1986/Jan Karaś (ur. 1917) skrzypce, Jan Babis (ur. 1914) basy, Stanisław Rogulski (ur. 1919) bębenek, śpiew 
  
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 This recording is an extraordinary document. It was recorded in Central Poland between 1980 and 2000 in the homes of rural musicians who had not played together in years. The emotions which ensued are clearly audible in the recording ? this atmosphere is impossible to replicate in a recording studio.

As time passes, it will become increasingly impossible to produce a recording like this. A chance to listen to rural folk bands playing in the same style as their predecessors of over 150 years before, and to hear the basses and accordions of village musicians at weddings in the 1980s.

 Andrzej Bieńkowski

 Andrzej Bieńkowski recording.

*

 About Music Lost/Found Series
 

Poland, 1980, and Communism is facing collapse. Petrol is being rationed, the shops are empty. I begin my journey through the countryside to record music. It’s strange, because there are a great many folk bands, but their services are no longer required in the villages or towns. Musicians stop playing and sell off their instruments; slowly but surely they are forgotten. The first difficulty we faced was finding them replacement instruments. I met musicians who hadn’t seen each other in years, having once played weddings together regularly; this was the last generation of village musicians. Then came the dawn of the pop era. We filmed and made unique music recordings in the musicians’ homes, which were natural, stress-free environments. We searched throughout Poland, Ukraine and Belarus and found 1500 musicians, as well as singers, and from this number we reconstructed eighty bands. Our archive contains recordings of some of the oldest village bands, as well as contemporary wedding music. We have thousands of field photographs. However, the real jewels in our collection are undoubtedly the photographs taken by the original village photographers, who faithfully captured weddings, parties, funerals and daily life.

Małgorzata Bieńkowska

Małgorzata Bieńkowska is a graphic designer, and book illustrator. Since 1986, she and her husband Andrzej Bieńkowski, worked on documenting Polish and Ukrainian village life. In November of 2007 she opened "Muzyka Odnaleziona" - a publishing firm devoted to documenting ethnic music and photo archives from Eastern Europe. She is engaged in publishing, graphic books development, concert productions, exhibitions and public relations.

Andrzej Bienkowski

Andrzej Bienkowski is a painter, ethnographer, writer and professor at the Warsaw Academy of Fine Arts. For the last thirty years he has traversed rural Poland to document and record the music of village fiddlers, accordionists and singers. He has produced many books and films about rural Polish music, including the Music Lost & Found series. He owns the largest private collection of rural music in Poland. 


There is not a single bad track on their CD's...

a serious treasure...

lovingly published...

Lucky Poland!


*♥*

31.7.17

From The Center Of The World ...


Poland-Pakistan
Sounds From Two Continents
November 2012


Tracks:

01. Lipa    
02. Zbójnicki Mountain Song
03. Magic Of Suka And Sarangi
04. Chmiel
05. Oberek
06. Raag Jaijaiwanti
07. Suwany
08. Chorea Polonica
09. Kia Haal Sunawan Dil Da
10. Służyłem Ja Tobie

 Maria Pomianowska (Poland): Vocals, BilgoraySuka, Plock Fiddle
Marta SołekMłynarska (Poland): BilgoraySuka, Plock Fiddle, Folk Bass
Taimur Khan (Pakistan): Sarangi
Ustad Muhammad Ajmal (Pakistan): Tabla
Muhammad Azam Khan (Pakistan): Vocals

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 This music cd was produced by the Institute for the preservation of Art and Culture (IPAC) in collaboration of the Embassy of the Republic of Poland in Islamabad.

 Poland-Pakistan: bridging cultures

The power vested within a single musical note is undeniable; it can transcend political boundaries and overcome social barriers. This project aimed to bring musicians from Poland and Pakistan closer and help strengthen cultural ties between the countries. This exchange program fostered an exchange of ideas, information, values, traditions, beliefs, and other aspects of culture, and nurtured mutual understanding of the cultures of both Poland and Pakistan.

 *

Maria Pomianowska

Maria Pomianowska is a graduate of the Chopin Academy of Music, a professor of the Academy of Music in Cracow, a multi-instrumentalist, a vocalist and an exceptionally talented composer. She is also the artistic director of the Cross Culture Festival in Warsaw. In recognition of her outstanding achievements she has been awarded the Chopin’s Passport, the Medal for Merit to Culture, the Marshal of the Mazovia Prize, the Woman of success in Mazovia award and the Silver Cross of Merit.

Since 1984 she has been studying unique techniques of playing Asian instruments, while travelling to India, China, Korea, Mongolia, Japan and Middle East. Her comparative studies and multicultural experiences allowed her to reconstruct two forgotten traditional Polish instruments: Suka from Bilgoraj and Fiddle from Plock. In 2010 she opened the first Ethnic Music Department at the Academy of Music in Cracow in Poland and also created the first Suka & Fiddle orchestra in the world.

Marta Sołek

Marta Sołek is a graduate from Academy of Music in Cracow and is the only student in Poland with diploma from division of ethnic music.  She is a very talented multi-instrumentalist and plays the cello, polish folk bass, BiłgorajskaSuka, MielecSuka, Plock Fiddle, Gadułka and Greek Lyre. She is one of the leading students of Maria Pomianowska and has mastered some of the rare traditional instruments of Poland such as the Suka, Plock Fiddle and Polish Folk Bass.

Marta took part in many projects around the world, ranging from concerts of classical music while playing with symphony orchestras, jazz concerts, theatrical performances and ethnic music festivals. She is permanently associated with the music group “ArcusPoloniae” – the first in the world knee fiddle orchestra. She is also associated a revolutionary women’s folk formation music band “Same Suki”.

Taimur Khan (Sarangi)

Taimur Khan is a prominent Sarangi player and a leading disciple of Ustad Allah Rakha – the last great living Sarangi maestro of Pakistan. Taimur’s interaction with music started with a guitar when he was a teenager. He eventually fell in love with Classical Music and started his experiments with Rabab, Sitar, Violin and finally Sarangi. Having played the Sarangi for 15 years, Taimur is little known for being a Medical Doctor. He learned under the teaching of UstadMubarik Ali, UstadMehfoozKhokhar and eventually Ustad Allah Rakha. At the same time, he gained invaluable knowledge from the recordings, texts and commentaries of RajanParrikar.

Taimur has performed in many local and international art platforms such as Radio Pakistan, the All Pakistan Music Conference, the Institute for Preservation of Art and Culture, and The Islamabad Music Society. He has also represented Pakistan in the Pakistan-Norway cultural exchange program.
 
Muhammad Ajmal Khan (Tabla)

Muhammad Ajmal Khan is a leading Tabla player of Punjab Gharana and a pupil of the late Tabla maestro MiyanShaukat Hussain. He was born and raised in a musician family with 4 generations of artists and started playing the Tabla at a very early age.

He has been playing the Tabla since the last 40 years and accompanied some of the leading Pakistani singers of classical, semi-classical and folk music such as NusratFateh Ali Khan, Mehdi Hassan, UstadSalamat Ali Khan, UstadAmanat Ali Fateh Ali Khan, TufailNiazi, Madam Noor Jahan, Farida Khaanam, IqbalBano, UstadShaggan Khan, RoshanAara Begum, AbidaParveen and ArifLohar. Intentionally he has performed in more than 60 countries with international artists from all sorts of genres. In recognition of his outstanding achievements in music he has been awarded the prestigious President Pride of Performance Award by the Government of Pakistan.
 
Muhammad Azam Khan (Vocals)

Azam Khan hails from a traditional music family. He is the son of the legendry BakshiSalamatQawwal. He has been exposed to Classical Music since an early age and learned under the supervision of his father and uncle. He was also a student of the late NusratFateh Ali Khan.

As a vocalist, he belongs to the QawwalGharana but has mastered Classical, Semi Classical, Ghazal and Sufi forms of vocal music also. He has been performing for more than 45 years. He has performed at various international festivals such as London Mela, Womad festival in France, Spain and U.K, Manchester Mega Mela, Streets of Brighton and Manchester’s Garden of Delights.

*

 I.Lipa – 5:07

Lipa is a Lime or Linden tree in Polish language; in this song it symbolizes a young maiden who is losing her carefree days of youth. The flowers of the tree are very sweet smelling of which the bees are making honey, as sweet and delicate as a young innocent girl. The context of the song is sad, when the maiden is left alone waiting for her beloved.

II.Zbójnicki Mountain song – 5:07

Zbójnicki in polish language means the dance of robbers. This song is music for the folk dance from Podhale, the mountainous region of Poland. It is a collective name for a number of steps and dances performed for centuries at Podhale. This highland dancing is traditionally performed by a group of men who very often use axes as an accessory.

III.Magic of the Suka and Sarangi  – 5:58

The BilgoraySuka was brought back to life by Maria Pomianowska after her inspiration from playing the Sarangi. Therefore in many ways the modern day Suka owes its existence to the Sarangi. This instrumental piece is a brilliant fusion bringing both these instruments together like the intimate reunion of lovers apart.

IV.Chmiel – 4:51

Chmiel is the polish name for the Humulus or Hop plant. This song is the oldest known ceremonial wedding song. The song probably comes from pagan times, and was traditionally sung at midnight, at the wedding ritual of removing the bride’s veil. The song associates the relationship of the young couple to that of the hop plant and the poles that hold it up.

V.Oberek dance music– 3:01

Oberek is a lively dance and is one of the national dances of Poland. “Oberek” is derived from “obracaćsię” which in Polish means “to spin”. This dance consists of many lifts and jumps and is the fastest of the Five National Dances of Poland. The beauty of the Oberek depends on each individual dancer’s talent of spinning at the fast tempo of the Oberek music.

VI.RaagJaijaiwanti  – 8:55

This piece is the rendition of RaagJaijaiwanti on the Sarangi. A Raag means “colour” or “passion” in Sanskrit, in the classical music of South Asia it is a melodic framework for improvisation and composition. This is an exceptionally tender Raag, which traditionally depicts the sadness of a woman who pines for her lover. This majestic and highly arresting Raag is assigned to the night hours.

VII.Suwany dance music – 2:53

Suwany means to shuffle; this is music for a dance routine which is based on slowly shuffling of legs. This form of Polish folk dance is popular in rural areas in many Polish regions, especially in Mazovia and Radomszczyzna. This very slow dance music is based on the triple rhythm which is the signature of all Polish dances.

VIII.Chorea Polonica – 8:07

Chorea Polonica literally means “Polish dance”. This music is associated to dance that was extremely popular in Poland during the 16th century mainly at royal and noble’s courts. This form of dance has now disappeared in Poland but can be found in the traditional orchestra of Spain, France and Scandinavia.

IX.Ki haalsunawandil da – 5:46

This is a devotional song comprising of poetry by Sufi poet and mystic Khwaja Ghulam Farid. It is in Seraiki language of the south Punjab region of Pakistan. This style of semi classical Sufi music is called Kafi. The song portrays the feelings of a divine lover who can’t find a sympathizer to share his feelings as he groans alone in the ecstasy of love for his beloved, the creator.

X.StużyłemjaTobie –5:52

This song is the instrumental version of a 16th century traditional polish melody. The literal meaning of StużyłemjaTobie are, “I was your servant”. The song tells a tragic love story, where a man loves a woman who doesn’t love him back. In despair the man is going to leave his home and undertake a journey from which he shall never return.

*



Quite some time ago, while in India, I understood that music, in its entirety, has already been composed long ago, and resides in a place that is beyond space and time. In creating it, we artists are essentially just discovering something that already exists, much like an explorer uncovers new territories. We simply extract it from potentiality, and materialize it.

 Maria Pomianowska

*♥*

11.6.17

Make China Great Again : )

The Year of China
 Traditional Chinese Music recorded by 
Deben Bhattacharya
2004

Tracks:

Silk Stringed Instruments
01. Fishing Music
02. Walking Along a Street
03. Purple Bamboo

Music From The Silk Route
04. Arduxi. Uighur Dance Music
05. Traditional Folk Song on Love from Turpan
06. Lailin Gul. Uighur Folk Song
07. Bahar de Bulbul. the Nightingale in Spring
08. Uighur Song About Nomadic Life

Music And Dance Of The Children Of China
09. Dance Music
10. Peacocks Playing in the Water
11. Laughing Buddha

Music And Dance Of The Minority Communities
12. Dance by Eight San-yi Minority Couples
13. Kon-di (flute) of the Miao Minority People

The Chinese Opera
14. Yan Dang Shan

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

·.ღ•:*´♥`*:•ღ.·

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

 During 1983 and 1984, I had the privilege of traveling extensively through China, first from Northeast to Southeast and then from Northwest to Southwest.  Each year, beginning with scouting and research and then accompanied by the film crew, I spent approximately five months, recording, filming and photographing the varied world of the performing arts of China. Our work extended from instrumental music to the Chinese Opera, to story-telling with instrumental accompa­niment in the countryside and the music of the minority communities including that of  the Uighurs of the Silk Route.  Our research and recor­ding also included  musical training and performance by children.The history of the performing arts of China which legitimately claim 4000 years of background, has been con­cerned with three clearly defined types of expression: ceremonial music, opera and folk music.  Ceremonial music was always an essential feature of the religious rites in the temples and of the secular rituals at Royal courts.  Although developed under court patronage, the second most popular type of the performing arts has usually been asso­ciated with the theatre because of its appeal to the general public. The orchestral music and the presen­tation of the Chinese opera today belong to this category. The traditional folk music of the Chinese villages, as else­where in the world, represents the local cultural and linguistic habits of the region and is simple and rhythmic, unlike the disciplined, mathematically organised music that developed under the patronage of the court and the temples.Chinese traditional music follows a pentatonic scale, although at about 600 BC two semitones were added to the original five tonal steps.  Primarily melodic in its form, Chinese music is closely connected to the speech-tone which guide the art of melody. During the long history of Chinese music, some rulers established orchestras with special characteristics as, for example, an all-women orchestra. In the long rule of the Chou dynasty, 1122 to 256 BC, there was a Minister of Music respon­sible for supplying highly cultivated ceremonial music during secular rituals at the imperial court. The I-ching, written before the age of Confucius, the great sage who lived during the 6th century BC, tells us that “There is nothing better than music in reforming people’s manners and customs.”  The emperors and rulers in China endorsed this wisdom. Music was given an important place in the royal courts and in the affairs of the State. It was treated as an integral part of the educational system, in theology as well as in secular studies.  This tradition is kept alive and fully utilised for the cause of Communism in China today.

- Deben Bhattacharya

**

Deben Bhattacharya (1921–2001) was a Bengali radio producer, record producer, ethno musicologist, anthropologist, documentary filmmaker, photographer, translator, poet, writer, broadcaster, lecturer, and folk music consultant. He produced over 100 records, 23 films and published more than a dozen books in his lifetime and much of his work was carried out under the auspices of UNESCO

7.5.17

¡Vive La France!

 
Luc Le Masne
Un Français a Veracruz
Marimba Mexicain: Vincent Limouzin
2001

Tracks:

01. El Canto Del Papaloapan - 4:13
02. Loteria Y Amor - 4:12
03. Eso Es! - 2:21
04. Un Francais A Veracruz - 3:02
05. Manos De Cangrejo - 4:13
06. Promesa - 5:22
07. Vuelve A La Vida - 3:02
08. Torito - 2:40
09. Luz De Veracruz - 5:55
10. Gaviota Enamorada del Sol - 3:42

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

·.ღ•:*´♥`*:•ღ.·

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫
 
Marimba 2 features ‘Mexican’ compositions by Luc Le Masne interpreted by Vincent Limouzin, vibraphonist with the Orchestre National de Jazz who has also created a show on “The Xylophones of the World”.

I wanted to express my acknowledgement to my friends by writing these simple, festive or nostalgic melodies aiming to give my personal rendition of the danzón, the bolero, and the ‘Jarocha’ waltz while remaining very close to the universe of the Veracruz harbour. Some of these melodies have already been adopted by local musicians.” (Luc Le Masne)

Luc Le Masne a vécu plusieurs années à Veracruz et y a noué de solides amitiés avec les virtuoses du marimba. C'est donc tout naturellement qu'il a souhaité leur exprimer sa reconnaissance, en écrivant ces mélodies simples, festives ou nostalgiques. Certaines de ces musiques sont déjà reprises par les musiciens locaux. Elles sont ici interprétées par Vincent Limouzin, vibraphoniste de l'Orchestre National de Jazz, créateur du spectacle « Les Xylophones du monde ».



***

 Nous avons seulement un monde...

 **

29.1.17

El Tonto y El Muro


El Columpio Del Diablo
Corridos Y Tragedias
De La Junta De Los Rios
2000

Tracks:

01. Corrido De Kiansis – Los Palomares De Ojinaga
02. Jacinto Trevino – Los Palomares De Ojinaga
03. La Tumba De Villa – Los Palomares Del Bravo
04. Los Traficantes Del Bravo – Los Palomares Del Bravo
05. La Tragedia De Ojinaga – Los Tres Amigos
06. Corrido De Fermin Arevalo – Los Suspiros De Ojinaga
07. La Muerte De Fermin Arevalos – Los Jilgueros Del Arroyo
08. El Corrido De Israel Y Guadalupe – Los Luceros De Ojinaga
09. Corrido De Martin El Shorty Lopez – Los Tres Amigos De Isidro Ruiz
10. El Corrido De El Pira Ramirez – Melquiades/Tomas Sevilla/Mariachi Frontera
11. El Zorro De Ojinaga – Los Suspiros De Ojinaga
12. Corrido De Pablo Acosta – Los Palomares Del Bravo
13. El Corrido De Amado Carrillo Fuentes – Tomas Sevilla/Melquiades Sevilla
14. El Arresto De Los Sanchez – Los Jinettes De Odessa
15. El Corrido De Gracielo Gardea – Mariachi Frontera
16. El Corrido De El Kilo – Los Suspiros De Ojinaga
17. El Leon De Le Sierra – Los Palomares De Ojinaga
18. Ejido De Palomas – Carlos Olivas
19. El Corrido De Esequiel Hernandez – Santiago Jimenez Jr./Victor Mermea/Jose Moreno/Amado Banda/Mar…

 ♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

·.ღ•:*´♥`*:•ღ.·

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫


Where the Río Grande and the Río Conchos join, rests a remote oasis in a mountainous desert wilderness of awesome austerity. There the cities of Ojinaga, Chihuahua and the town of Presidio, Texas form the cultural and economic centers of La Junta de los Ríos. As is well-documented in the film The Devil’s Swing (Documentary Arts Inc. of Dallas, Tx.), this isolation has helped to preserve not only many customs, traditional rituals, and beliefs but also a ballad tradition of uniquely local focus and origin, a sampling of which can be heard on this CD. Although a few of these corridos (narrative ballads) are also seen in the film, this CD is a complimentary audio document and not the usual “soundtrack.” The corridos were recorded mainly on location and memorialize themes such as 19th century cattle drives, border conflicts between Anglos and Mexicans, heroes of the Mexican Revolution, hardships endured by day laborers, and of course the recent tragedies which have resulted from trafficking. Smuggling back and forth across the Mexican-US border used to involve wax, cloth, liquor, guns and ammunition but since the end of prohibition in the early 1930s, the focus has been almost exclusively on drugs declared illegal in the United States. To the local population, which sees Anglo society as rich, insatiable consumers of all kinds of drugs, these traffickers often become Robin Hood like heroes.

 The devil has mounted a swing between the mountains above La Junta de los Rios from which he can affect everything. Where the Rio Concho collides with the Rio Grande, the resulting flood plain defines an area of the border where traditional divisions between God and the devil, between bandit and hero, between the United States and Mexico, no longer apply. The seemingly unrelated worlds of sacred rituals, drug lords and the memories of Pancho Villa combine with the words, songs, prayers, and chants of the people who live in this remarkable place and are indelible in the minds of those who have moved away.


 When oral tradition quickly slipped away in the 20th century, the art of ballad writing seemed to go with it. Luckily, in isolated spots like La Junta de los Ríos, corridos, or narrative ballads, have continued to thrive. These ballads preserve Texas-Mexican border culture dating from the mid-nineteenth century to the present, documenting everything from cattle drives to modern day drug lords. Vibrant accordion and bright singing enlivens much of The Devil’s Swing. Los Palomares De Ojinaga enlists vivid harmony in Corrido De Kiansas to tell the story of a dangerous cattle drive in Kansas, while Los Palomares Del Bravo recalls the legendary Puncho Villa in, La Tumba De Villa. Many songs, like Los Jilgueros Del Arroyo s bloody ballad, La Muerte De Fermín Arévalos, document the illegal trafficking of drugs and assassinations of rival drug lords. The music of these story songs is often happy and danceable, despite the grim subject matter.

The Devil’s Swing was recorded as a companion for the film of the same name. This fresh recording, with its ballads and acoustic instruments, will probably evoke an earlier, simpler culture to many listeners. But the tales of drug smuggling disavow that. The lyrics also point out the continued uneasiness between Mexicans and Americans along the border. The Devil’s Swing manages the twin tasks of documenting the life of a unique culture while remaining musically enjoyable.


-Ronnie D. Lankford, Rootsworld


 ***


19.1.17

Go tell It from the mountain

 
Anchiskhati Choir
Sacred Music From The Middle Ages
Georgian Polyphonic Singing
1998

Tracks: 

 01. Shobaman shenman (Eastern Georgian monastery school).
02. Dideba maghalta shina (Eastern Georgian monastery school).
03. Kovlisa dabadebulisa (Gelati monastery school, Imereti).
04. Jvarsa shensa (Gelati monastery school, Imereti).
05. Sashod mtiebisa (Gelati monastery school, Imereti).
06. Ghmerti uphali (Gelati monastery school, Imereti).
07. Tsina saukuneta (Eastern Georgian monastery school).
08. Kvertkhi ieses dzirisagan (Shemokmedi monastery school, Guria).
09. Meupheo zecatao (Gelati monastery school, Imereti).
10. Adide sulo chemo (Gelati monastery school, Imereti).
11. Saidumlo utsxo (Gelati monastery school, Imereti).
12. Ats ganuteve (Eastern Georgian monastery school).
13. Katolike eklesiisa (Gelati monastery school, Imereti).
14. Ghmerto, mokheden (Gelati monastery school, Imereti).
15. Akurtkhevs suli chemi (Gelati monastery school, Imereti).
16. Ikharebdit martalni (Gelati monastery school, Imereti).
17. Razhams Iordanes (Gelati monastery school, Imereti).
18. Ver shemdzlebel vart (Gelati monastery school, Imereti).
19. Tkveta ganmatavisuphlebelo (Shemokmedi monastery school, Guria).
20. Natelo mkhiarulo (Gelati monastery school, Imereti).
21. Sakvirveleba (Gelati monastery school, Imereti).
22. Ghirs ars (Gelati monastery school, Imereti).
23. Netar ars katsi (Gelati monastery school, Imereti).
24. Mkholod-shobili (Gelati monastery school, Imereti).
25. Dghes saghmrtoman madlman (Gelati monastery school, Imereti).
26. Kurtkheul khar shen (Gelati monastery school, Imereti).
27. Shoba sheni (Shemokmedi monastery school, Guria).
28. Ukhrtsnelsa khatsa shensa (Gelati monastery school, Imereti).
29. Alilo (Imeretian Christmas song).
30. Alilo (Imeretian Christmas song).  

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

·.ღ•:*´♥`*:•ღ.·

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

 This landmark recording is the first of its kind: a document of the ancient sacred songs of the Republic of Georgia. The haunting polyphony of this ancient music is still sung all over Georgia, from the smallest village to the ancient Anchiskhati Church in Tbilisi.

  
The Anchiskhati Church Choir

 A shared love of Georgian folk song brought a group of Conservatoire students together in 1987. Their aim was to study Georgian traditional song, both well-known and lesser known examples. Malkhaz Erkvanidze, Davit Zatiashvili, Guram Gagoshidze, Rezo Kiknadze, Davit Shughliashvili are the first five members of the choir; some time later, three other members joined the group. Zaal Tsereteli (mathematician and programmer by education), Temur Imnadze and Alexandre Khakhishvili – Conservatoire students.

  A very important priority for the young singers was to select their repertoire from recordings of old folk singers, where they could find a number of examples, not performed by any contemporary folk groups. A large place in the repertoire of the choir was occupied by songs of renowned folk singer Benia Mikadze (from the village of Kulashi, Samtredia District) and his choir "Sanavardo", as Malkhaz Erkvanidze, "Anchiskhati’s" young leader and Benia Mikadze shared the same village roots.

  Alongside learning songs, an interest in learning old, forgotten traditional polyphonic church hymns soon emerged. This became possible thanks to several collections of transcriptions of Georgian chants published at the end of the 19th century and preserved at the Georgian Folk Music Department of Tbilisi State Conservatoire. From these very collections, the group of students (yet to give themselves a name,) started to learn Easter chants. Very soon they were given the opportunity to chant in services at the church. The choir went to Betania Monastery on April 10, 1988 to chant the Easter liturgy. Despite their début, there was an amazing atmosphere at the church. Everybody was enchanted by the tunes glorifying God, so strange to their ears, but so close to their hearts, memory traces of which had been left by the ancestors. That Easter day can be marked as the return of Georgian traditional church chanting to Georgian liturgy.

  A week later Patriarch Ilia II of Georgia, invited the young choir to his place of residence. The first chant that was chanted for their esteemed host was Kriste Aghsdga from the Shemokmedi School of chant. At this point in time, Pentecost was approaching. For this holiday the blessing and opening of Anchiskhati - the oldest church in Tbilisi was planned. At this very meeting it was decided that the young choir be appointed as the Anchiskhati church choir. From that day on, the choir acquired the name "Anchiskhati Church Choir".

  The revival and renaissance of Georgian church chant, neglected over several generations due to Soviet atheistic censorship, started with the study of thousands of chant transcriptions at the initiative of the young Anchiskhati Church Choir; this initiative was supported both by the Head of the Georgian Church and by the clergy of the newly opened Anchiskhati church, which greatly contributed to the success of this initiative.

  Very soon the choir and what is more important the old, half remembered, Georgian chant gained love and popularity among the parishioners. This in turn led to the appearance of many followers of the choir on the one hand and new members seeking to join the choir on the other hand. Among these were young people of various professions who greatly admired chanting, such as Vasil Tsetskhladze (musician), Mamuka Kiknadze (architect), Grigol Bulia (a student of theological Seminary). Georgian traditional chant began to spread its tendrils all over Georgia. This process was also greatly supported by visits of the choir to different parts of the country. By that time Anchiskhati church choir had already published its first record entitled "Aghdgomasa Shensa" (1991) which included Easter chants from various schools.

  Anchiskhati Church Choir started a new stage of its activity after it was joined by a group of friends: Gocha Giorgadze (iconographer), Davit Megrelidze (architect), Levan Veshapidze (ethnomusicologist), Gocha Balavadze (artist), Nikoloz Beriashvili (geographer). This initiative of Malkhaz Erkvanidze - the choir leader was driven by the wish to perfectly present Georgian folk song repertoire and its diversity. This expanded choir of 12 singers, was then able to revive and learn a number of Georgian folk music examples, such as "Naduri" a variant of the village Dutskhuni , "Khasanbegura" a variant of the Khukhunaishvilis, together with a number of city songs, such as "Gvimgheria", "Gazapkhuli", etc.

  When learning a folk song the choir focuses first and foremost, on the manner of the traditional performance and on the authenticity of scale and intonation of the original song. . This very factor distinguishes Anchiskhati Church Choir from the performance styles of other choirs. It should be mentioned that from this standpoint the choir already had a good example in the form of ensemble "Mtiebi" directed by Edisher Garaqanidze, the first to introduce and instill authentic village manner of performance on stage. This undoubtedly was a big stimulus for the choir. At the same time it can be said, that Anchiskhati played an influential role in the creation of new ensembles and, helped forge their performance manner.

  In 1993 the choir went on its first concert tour outside Georgia - in Greece. This was a truly memorable tour for "Anchiskhati". They held several concerts and took part in New Year’s liturgy at the Cathedral Church in Athens. From this beginning, regular concerts tours to various countries took place: Germany, Austria, France, Poland, Great Britain, the USA, Canada, Italy, Switzerland, Russia, Armenia, Latvia, Sweden and Lichtenstein. The choir’s performance always inspired audiences. Thanks to "Anchiskhati" and other Georgian folk groups many foreigners were given the opportunity both to sense and appreciate the beauty and depth of Georgian songs and chants.

  "Anchiskhati’s" first CD was published by a Canadian Company ”Deep Down Productions”. Anchiskhati‘s solo CD collection now exceeds a dozen.

  Separate mention should be made of collections of transcriptions, published by Anchiskhati singers and edited by Malkhaz Erkvanidze, who published a 5 volume collection including hundreds of chants. Now these collections form a basic instruction manual for beginners and professional chanters and chanting choirs. A collection of chants of the Shemokmedi School, published by Davit Shughliashvili is another manual for chanting, which occupies a distinguished place. Dozens of Gurian folk songs have been transcribed by Levan Veshapidze, thus creating an excellent source book for both Georgians and foreigners who love songs of this part of Western Georgia.


 Georgian choral polyphony is unique within world music. It consists of three main styles - chanting, singing and humming. In church chanting, three separate melodies are brought together within a modal harmonic structure, a tradition that was current in the seventh century AD, three hundred years before polyphony developed in other parts of Europe. The seven-member ensemble, Dzveli Kiloeb (Old Modes), has been developed within the Anchiskhati Choir to research and perform this ancient music.

The roots of church chanting lay in the secular music that pre-dates Christianity and survives today in the folk music of the Georgian regions. The songs and dance music relate to the circumstances of village life - the weddings, funerals, lullabies, harvest and hunting songs - and contain vocal techniques, such as Krimanchuli (a kind of yodelling), unique to Georgia. The Anchiskhati Choir researched and now perform the songs; and are expert players of the rare Georgian folk instruments. 


*º* 
 

10.1.17

Mount Arakatz

Anna Mailian
Sharakan
 


Tracks:

01 - Sirt im sasani - Mghitar Ayrivanetsi ( XIII c)
02 - Ov, zarmanali-Aysor dzaynn Hairakan - Grigor Pahlavouni-Hovanes Yerznkatsi (XII-XIII c)
03 - Havoun,Havoun - Grigor Narekatsi ( X c )
04 - Our es, mayr im - Composer & period un know
05 - Daskn Hreakan - Arakel Siunetsi ( XIV-XV cc)
06 - Khorhurd khorin - Khacatur Taronetsi ( XIII c)
07 - Ter Voghormya - Shnorhali-Komitas ( XII, XIX-XX cc)
08 - Havik - Grigor Narekatsi ( X c)
09 - Varanim i meghats - Composer & period un know
10 - Voghormya ints Astvadz - Mestrop Mashtots ( V c )
11 - I nnjmaned arkaiakan ... - Paghtasar Dpir ( XVII-XVIII cc)
12 - Sailn ain ijaner - Grigor Narekatsi ( X c)

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

·.ღ•:*´♥`*:•ღ.·

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

 
Աննա Մայիլյան, հայ երգչուհի (սոպրանո), ազգային և միջազգային բազմաթիվ մրցույթների դափնեկիր։

Ծնվել է Երևանում, 23.10.1970թ.։ Ավարտել է Երևանի Ռոմանոս Մելիքյանի անվան երաժշտական ուսումնարանը (1992),Երևանի Կոմիտասի անվան պետական կոնսերվատորիան (1996)։ Կատարելագործվել է «Մոցարտ» ակադեմիայում (1997-98,Լեհաստան), «Վիլլեքրոզ» ակադեմիայում (Ֆրանսիա), «Հարիկլեա Դարկլե» ակադեմիայում (Ռումինիա)։ Վարպետաց դասեր է ստացել Արաքս Դավթյանի, Քերսթին Մայերի (Շվեդիա), Աննա Դեյնոլդսի (Գերմանիա), Էլլա Բլահովայի (Չեխիա), Մարիաննա Նիկոլեսկույի (Ռումինիա), Քերոլ Սմիթի (Շվեյցարիա) մոտ։

1995-ից մեներգել է Ջրվեժի Սբ. Կաթողիկե եկեղեցում։ 1998թ-ից դասավանդում է Երևանի Կոմիտասի անվան պետական կոնսերվատորիայի դասական երգի ամբիոնում, 2010թ.-ից դոցենտ է։ Երևանում 2000թ. հիմնել է «Սաղմոս» մշակութային կենտրոնը և «Վարպետներ» վոկալ անսամբլը։ 2006-ին հիմնել և ղեկավարում է «Էթնո» վոկալ եռյակը։ Մասնակցել է համերգային փառատոնների, մրցույթների (Ֆրանսիա, Գերմանիա, Բելգիա, Կանադա և այլն)։

1994թ-ին Երևանում «Կոմիտաս-125» վոկալ մրցույթում արժանացել է 1-ին մրցանակի, 1996-ին Ավստրոգերմանական և հայ երգի հանրապետական մրցույթում՝ 1-ին մրցանակի, 2000-ին Ռումինիայում Հարիկլեա Դարկլեի անվան միջազգային մրցույթում՝ ոսկե մեդալի և դափնեկրի կոչման։ 2001-ին Իտալիայում «Իբլա-Գրանդ Պրայզ» միջազգային մրցույթում արժանացել է դափնեկրի կոչման՝ հայ և արևմտագերմանական երգի յուրահատուկ մատուցման համար։

Երգացանկում են հոգևոր և ժողովրդական երգեր, դասական և ժամանակակից հայ և արևմտյան կոմպոզիտորների ստեղծագործություններ։

Պարգևները
2003թ. արժանացել է ՀՀ մշակույթի նախարարության ոսկե մեդալի։
2008թ. արժանացել է ՀՀ վաստակավոր արտիստի կոչմանը։

source


 Armenian Music

In friezes from the walls of ancient pagan buildings we see depicted singers with musical instruments of various kinds, entertaining royal audiences or singing in a group. From these it is evident that music had a place in the earliest civilization of Armenia. Of course, Armenia, like the countries that surrounded her in pagan times, had her strolling minstrels and troubadours, who used musical instruments and their own melodies to accompany the stories they told. From these, no doubt, developed the folk music of the Armenians, which has been described as "lively and distinctly peculiar to the Armenian people, although showing sometimes foreign influences, either Persian or Turkish."

The beginnings of liturgical music came in the fifth century, when so much of the work on an Armenian liturgy was undertaken:

"Christianity introduced a new kind of poetry, namely Church hymns and chants. These were called, in Armenian, sharkans. They were not only written in meter, but were composed with a view to being sung. The word sharakan means "row of gems" Historians of the Middle Ages say that the sharakans were written mainly by the "translators," i.e. by the writers of the fourth and fifth centuries. As a matter of fact, very few sharakans were written after the thirteenth century. Since then, no prayers or hymns have been introduced into the Armenian Church.

It is said by writers of the Middle Ages that St. Sahag arranged the sharakans for ten voices and St. Stephanos for twenty-six voices, corresponding to created things - elements, plants, birds, and animals. There were also women sharakan writers. One of these was Sahakadukht, who lived in the eight century. She not only wrote, but also composed music, and taught singing. Out of modesty, she used to hide behind a curtain, whence she gave instruction to both sexes. Singing was considered a great art in Armenia, and musicians were called "philosophers" Several such "philosophers" were canonized and had the word "philosopher" prefixed to their names… When Catholicos Petros Getarardz went to Constantinople, he took with him a company of musicians, whom he presented, as a gift, for the service of the Byzantine court."

By the end of the fifth century, the musical canons were set. But it was not until the ninth century that a system of notation, called the Khaz system, was used. In liturgical music books today, the marks used for this system are still included, but their meanings have not been deciphered because while they indicated the pitch, rhythm, and nuance, which the singer was supposed to use, they assumed that he already knew the basic melody. Today at the Armenian Academy of Sciences in Yerevan, musicologists are attempting to decipher this system with the aid of computers.

Under the influence of Nerses the Grace-filled, the Armenian hymnary was expanded in the twelfth century, for besides his poetic abilities he had much musical talent, and wrote some of the most beautiful liturgical music to be found in the church. It is said that when, as Catholicos, he was distressed to hear his guards singing Turkish ditties, he composed some of his music to give them something better to sing. In any case, his music is beautiful. One example is Norasdeghdzyal a hymn sung in three parts during the morning service, which speaks of the newly-created life God has offered us and conveys, by the purity of its melody, a sense of the new beginning that the Resurrection, the "morning" of the Church, brings to us.

Nerses was the greatest Armenian liturgical composer to come for many centuries, but closer to our own time stands another great figure. Komitas Vartabed. This sensitive young man received some of his early training under Makar Ekmalian, whose compositions of the Divine Liturgy are sung in many Armenian churches today. Later, he received further instruction in Berlin, and began writing some of the more than three thousand songs and compositions which are attributed to him. He took hundreds of old folk songs, arranging them in the way they were meant to be sung, with a pure national flavor. His work attracted the attention of many Europeans; "Debussy's opinion, in which he called Komitas a great composer on the basis of only one of his songs ("Homeless"), is well-known."

Komitas' greatest achievement is his arrangement of parts of the Divine Liturgy, which he wrote down and restored to their original style. The beauty of the Komitas Liturgy, performed today in churches throughout the world is matchless. After he died in Paris his remains were moved to Armenia to be buried there with other beloved artists. Through the work of Komitas, many people in Europe were for the first time exposed to Armenian music in its original form, unchanged by the influence of the Turkish and other Eastern, but foreign influences which had imposed themselves on the culture of the country.

Armenian folk music was arranged symphonically for the first time by Spendiarian, early in the twentieth century. His symphonic piece, Yerevanina sketches, was based on popular folk melodies, including one written by the eighteenth-century bard, Sayat Nova. With this work, and with others like it, Spendiarian became the greatest influence on Armenian symphonic music.

Spendiarian also took a poem by a classic Armenian writer, Hovhannes Toumanian, and based on it the opera Almast, which depicts the Armenians trying to defend their homeland. This lovely piece, which also contains many of the folk melodies, which Spendarian grew to love, has been performed in Moscow, Tbilisi, Odessa, Tashkent, and other places in the Soviet Union. In 1933, the Yerevan opera house which was later to be named after Spendiarian had its grand opening with a performance of Almast.

The operas of Armen Tigranian, whose Anush is not only beautiful but exacts incredible vocal feats from its singers; the ballets and symphonies of Aram Khachaturian; the haunting quality of Alan Hovhaness' music - all are based on the music which the Armenian church and people handed down to their children.

source

 It is impossible to perceive Armenia without Sharakans. Wherever you are in the wild nature of Armenian land, Sharakans seems to fill the forgotten colours of the canvas called "Armenia". They astonish us with their variety of colour and image, with the unity of man and nature, with the harmonic and marvellous explication of spirit and flesh.

*·* 
 

16.11.16

¡Asi Baila Mi Perú!


Perou 
Huayno, Valse Créole Et Marinera
1994

Tracks:

01. Pot-Pourri De Huaynos
02. Lo Cholito
03. Hermitana
04. Le Charangiste Solitaire
05. Adios Pueblo De Ayacucho
06. Tocucha
07. Inti Raymi
08. Bajo El Cielo De Los Incas
09. Huayno De La Merced
10. Mi Peru
11. Como Quisiera Tenerte En Mis Brazos
12. Cantenito De Mis Amores
13. Villancicos De Ayacucho
14. Nube Gris
15. Festejo
16. Marinera
17. Danzas Andinas
18. Las Virgenes Del Sol

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

·.ღ•:*´♥`*:•ღ.·

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

 Field recordings by Gérard Krémer in "Black" Peru.

Huayno - The Fingerprint of the Incas

Since Huayno lyrics are sung in Quechua, many consider it to be one of the most authentic Peruvian dances. Huayno has been a vessel carrying the essence of Inca culture throughout various generations.

The first references of Huayno appeared in 1586. The book “Vocabulary of the Indians of Peru” mentioned the “Huayñucuni”, a music indigenous people danced behind closed doors. “Huayñucuni” translates as “dancing with a partner, with arms folded.” Under colonial rule, Huayñucuni was rarely danced in public. Its successor, the Huayno, is the root of most Andean dances.

Huaynos are danced in most Andean festivities. They could be classified by the region of origin. Northern Huayno is characterized by joyful steps. Southern Huayno, instead, has cadent rhythms. Central Huayno has animated swings but very tragic lyrics. Why tragic lyrics? Quechuas lived under the despotic rule of mining corporations. Quechuas sang to vent off their sorrows and seek consolation through Huayno.

Vals - The Symbol of Peruvian Criollismo

Vals is the most valuable cultural expression of Peruvian criollismo. Due to its multiple cultural influences, Vals is an iconic dance encompassing our vast Peruvian diversity.

Dancing is not an activity disassociated with the world. Every dance is a living entity shaped by both historical and daily events. A minor change in the flow of events can provoke repercussions in the fate of any particular dance. This is how dances are developed, grow or simply decay.

In the late 1890’s, the fusion of African tunes, the French Minuet, the Polish Mazurka, the Viennese waltz and the Spanish jota produced the Peruvian Vals. Most Limeños, who loved Opera, didn’t pay attention to it. Gradually, fabulous performers as Felipe Pinglo and Chabuca Granda brought Vals to great acclaim. If a Limeño from Colonial times would materialize today, he would be astonished to see that Vals, a music generally despised then, is now the main symbol of Peruvian criollismo.

Vals, with slight steps and cadent tempo, is the most conventional of Peruvian dances.

Marinera Norteña - A Romantic Coastal Dance

Hands down, Marinera is the most iconic of Peruvian coastal dances. Along with Vals, Marinera also imbibed a manifold of cultural currents. Therefore, any serious exhibition of Peruvian dances would be incomplete without Marinera.

Despite multiple theories, Marinera probably arose from Zamacueca. There is a striking resemblance in the steps of both typical dances.

While men danced Marinera wearing shoes, women did so barefooted. Proud of their fortitude, women even sought coarser grounds to dance on. Hence, they created the motto: “the coarser the ground, the greater the dancer.” Women then exhibited their calloused soles to earn the respect of skillful dancers. Some women also danced Marinera holding a Chicha bottle on their heads.

Although we also have ‘Marinera Limeña’, ‘Marinera Norteña’ surpassed the former in popularity. The Norteño dance exudes joy, energy and speed. “La Concheperla” is the most popular Marinera song.

Why was it named Marinera (Sea dance)? Nobody knows. The swings and swirls of ‘Marinera’ assimilate those of sea waves. And some say Trujillano seamen may have baptized it so. Others assert that Trujillano writer Abelardo Gamarra picked that term in 1879.




**

26.8.16

¡Buckwheat!


Hell Yeah!

Buckwheat!

Zydeco!

Everybody clap your hands!
and if you can't clap your hands, 
clap your hands anyway...! 
 




Buckwheat Zydeco
Down Home Live
Thanksgiving At El Sid O's
2001

Tracks:

01 - Soul Serenade (Bucks Intro) - 6:14
02 - What You Gonna Do? - 10:57
03 - Hard To Stop - 7:33
04 - Walking To New Orleans - 8:40
05 - Trouble - 6:59
06 - Make A Change - 5:45
07 - Put It In The Pocket - 5:29
08 - Out On The Town - 8:12
09 - Beast Of Burden - 13:00

Personnel:

Stanley "Buckwheat" Dural, Jr. (accordion, Hammond B-3, electric keyboard, lead vocals)
Lee Allen Zeno (bass, master of ceremonies)
Michael Melchione (guitar)
Sir Reginald Master Dural (rubboard)
Kevin Menard (drums)
Curtis Watson (trumpet)
Gray Mayfield (sax)
Paul "Lil' Buck" Sinegal (guitar)
Melvin Veazie (guitar)
Calvin Landry (trumpet)
Paul Wiltz (Sax)

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

·.ღ•:*´♥`*:•ღ.·

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

 Live from Louisiana's Creole Country comes Buckwheat Zydeco’s "Down Home Live!," the first-ever live album of zydeco's best-loved ambassador, Buckwheat Zydeco. "Down Home Live!," is a record of rollicking good times tracked in the intimate confines of El Sid O's Zydeco & Blues Club during a hometown break for the barnstorming bandleader's annual Thanksgiving show in Lafayette, La.

Blues Access, in a cover story and lead review, said: "The good-natured energy that literally pops off of this disc immediately makes you wish you had been at El Sid O’s to witness the show in person. But you’ll be glad to have this document of the event that catches not only every feel-good note but the essential ‘vibe’ of the evening as well ... it’s impossible to resist being caught up in the sheer sense of fun and release (it) draws you into."

From the powerhouse dance floor boogie of "What You Gonna Do?" to the majestic soul of Dural's brilliant reading of "Beast of Burden," the band does it all. The group even revisits their inventive reworking of Fats Domino's "Walking to New Orleans" and Dural's reggae-tinged zyde-soul anthem "Make A Change."

The New York Times, The Wall Street Journal and others have called Buckwheat Zydeco "one of the best party bands in America," and now music fans need venture no farther than their CD players to find out what all the fuss is about.

" Down Home Live!" showcases the show-stopping dynamics that've turned countless curious listeners and concert-goers into full-fledged zydeco fanatics. This is also the disc the converted have been waiting for, as it captures Buck’s irresistible personality, bottling the between-song patter, soaring solos and horn-driven workouts that are this legendary live act's trademarks.

Lucky
Lucky
Lucky

that we have this music
rush to the last remaining
record shop
and get your copy
tomorrow

;-) 

or get your Buckwheat




... The selection of music is comprised of old standards and new originals that illustrate the scope of Buckwheat Zydeco’s capabilities. While technical bravado is substantial, the group’s delivery allows us to play distant witness to a rare party. Down Home Live is incredibly fun, and will make you want to catch the first plane to Louisiana for some first-person interaction with one of the greatest performing units of the past thirty years ...