The truth is out there...

 

Epirus Songs with Pagona
Clarinet: Makis Borodimos

 

Tracks:

01. Μια ωραία βοσκοπούλα - 2:43
02. Δεροπολίτισσα - 1:22
03. Γιάννη μου το μαντήλι σου - 2:57
04. Στου βοριά το μπαλκονάκι - 2:19
05. Τσιγγάνοι εσείς που ξέρετε - 2:18
06. Πες μου κόρη - 1:47
07. Με κοιτούν δυο μαύρα μάτια - 2:23
08. Σάββατο μέρα πίναμε - 3:34
09. Για την αγάπη ζούμε Γιαννακη - 2:19
10. Αυγερινέ που είσαι ψηλά - 2:23
11. Με Μαγιού λουλούδια - 2:10
12. Παπαρούνα - 2:48
13. Μπάρμπα Μυλωνά - 2:57
14. Ένα βράδυ βγήκε ο Χάρος - 1:35
15. Τον άνθρωπο τον μερακλή - 3:34
16. Τι έχεις βασιλικέ μου - 2:21
17. Τριανταφυλλιά - 1:32
18. Με κοιτά με κοιτάς - 0:40
19. Μπήκε στο χορό - 3:15
20. Αχός βαρύς - 2:16
21. Η αγάπη μήλο μου έστειλε - 2:27
22. Σήμερα είναι Πασχαλιά - 2:32
23. Αυτά τα μαύρα μάτια - 2:34
24. Απ' το Πογώνι μια παντρεμένη - 4:10

Αθανασίου Παγώνα / Athanasiou Pagona - voice
Μάκης Μποροδήμος / Makis Borodimos -clarinet

 

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The music of Epirus (Greek: Μουσική της Ηπείρου), in the northwest of Greece contains folk songs that are mostly pentatonic and polyphonic, sung by both male and female singers. Distinctive songs include lament songs (mirolóyia), shepherd's songs (skáros) and drinking songs (tis távlas). The clarinet is the most prominent folk instrument in Epirus, used to accompany dances, mostly slow and heavy, like the menousis, fisouni, podhia, sta dio, sta tria, zagorisios, kentimeni, koftos, yiatros and tsamikos. The polyphonic song of Epirus constitutes one of the most interesting musical forms, not only for the east Mediterranean and the Balkans, but also for the worldwide repertoire of the folk polyphony like the yodeling of Switzerland. Except from its scale, what pleads for the very old origin of the kind is its vocal, collective, rhetorical and modal character.

 

 

 

 

 

 

A happy new year to all of you!

 

> ♥ <

 

Bring back the pipes...

  
Konrádyho dudácká muzika
Písně a tance z Chodska
1984

Tracks:

01. Já ráda miluju - 02:30
02. Jel sedlák voraťou - 01:49
03. Ha ten knoflík blysknatyj - 02:44
04. Za tú horú, za vysokú - 02:43
05. Třeslavá polka - 01:11
06. Přenechčasnyj plácek - 03:15
07. Hu nás je plouh na dvoře - 01:25
08. Hdyž sem já houvrať vorál - 02:14
09. Nechoj tám - 01:52
10. Hopsasa, hyjsasa - 02:58
11. Masopustní polka - 01:09
12. Na vokýnko klepál - 02:28
13. V nevolickým houdolí - 01:55
14. Huž se ta travjička - 01:55
15. Náš kohútek kokrýhá - 02:28
16. Má mjilá, rozmjilá - 02:02
17. Jedlinko, jedlinko - 02:15
18. Zpívejte, ftáčkové - 02:17
19. Muzikanti, vy ste svatý - 01:59
20. Já mám doma kvočnu - 01:48
21. Tři taneční melodie: To buly časové - Mezůrka - Kalup - 03:12

  

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ. 

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

  

 The Chodové (Chods, "Walkers", "Patrollers" or "Rangers") were a group of people in Bohemia, mainly in the surroundings of Domažlice, Tachov and Přimda (Chod region, Czech: Chodsko, German: Chodenland). They were displaced from one of the Polish regions (possibly Silesia) to guard the borders between Bohemia and Bavaria. They were direct servants of the king with significant privileges that differentiated them from other subjects. Their descendants still live in the surroundings of town Domažlice. They speak the Chod dialect, a very special dialect of Czech, enjoy unique and strong traditions and have some special musical instruments. The Czech painter Jaroslav Špillar lived among them for many years, capturing scenes from their daily life.

In 1325, the King of Bohemia, John of Luxembourg, acknowledged the rights of the Chodové people to use the woods of western Bohemia, provided that they also protected the borders along them. The Chodové used dogs (Chodský pes) to help accomplish this goal. For centuries the agreement held, until the local aristocrat of German origin W. M. Laminger von Albenreuth canceled it in the late seventeenth century. The Chodové revolted in 1695, but were unsuccessful.

wiki

  

 About the Chodsko Folk Festival Domažlice is the centre of the Chodsko region where the tradition of bagpipe music, folk dances and customs is kept alive. The Chodsko Folk Festival, held since 1955, is one of the oldest folk festivals in the Czech Republic. Nowadays, it always takes place the first weekend after 10th August and is connected with St. Laurence´s Fair. The major part of the programme is devoted to local folk music and folklore dance groups. Besides, groups from other Czech regions and from abroad also perform every year. The main programme takes place on five stages and consists of more than 20 different kinds of performances. Visit the traditional fair in the historic town centre. The admission to all events within the main programme is free. 
   

 
Konrádys Dudelsackkapelle

Konrádyho dudácká muzika z Domažlic vznikla v roce 1955 a ve svém žánru patří mezi nejlepší skupiny v České republice.

V plzeňském rozhlasovém studiu nahrála víc jak 600 chodských písniček a orchestrálních skladeb a bývala častým hostem Československé televize. KDM je známá i v zahraničí, vystupovala v mnoha státech Evropy např.v SRN, bývalé NDR, Rakousku, Bulharsku, Polsku, Jugoslávii, Anglii. V těchto zemích účinkovala v různých hudebních a folklorních pořadech a natáčela zde i televizní pořady.

Contact

Vlastimil Konrády

Tel.: 00420 608 961 291
Email: info@kdm-cz.eu
Vrbova 393
CZ 344 01 Domažlice

link
   

Dudácká muzika

Bagpipe (Music) Band is a typical feature of folk music, southern and western Bohemia. The main centers of bagpipe music are considered the town Strakonice (ethnographic field Prácheňsko) and Domažlice (Chodsko). Bagpipe Band processed folklore of his ethnographic field and perform in costumes representing this area.
 

 The instrumentation is in the traditional form known as "velká dudácká muzika" (" a big bagpipe band"), i.e. an E flat clarinet, two B flat clarinets, two bagpipes, three violins and a double bass....

wiki

♥
 

Go, Little Goat...

   

Veronika Povilionienė, Petras Vyšniauskas 

Išlėk, Sakale [Fly, Falcon, Fly]

1993

Tracks:

01. Islek, sakale... (Fly, Falcon...) [06:14]
02. Bliuzas (Blues) [03:56]
03. Vai tu dziemed... (Oh, You Wormwood...) [02:45]
04. Sutartine [04:24]
05. Eik, ozeli (Go, Little Goat...) [05:22]
06. Lek gervele (A Crane Is Flying...) [03:14]
07. Kad jau saulute (Cause The Sun...) [04:44]
08. Sutems tamsi (Dark Night Is Coming...) [06:38]
09. Sutartine (Lament) [03:50]
10. Rauda [01:43]
11. Ein motuse (Mother Is Going...) [03:07]

Recorded in Vilnius, Lithuania in 1992.

Soprano Saxophone, Bass Clarinet – Petras Vyšniauskas
Vocals – Veronika Povilionienė
 Backing Vocals – Juozas Bakutis, Valdas Matulis, Vilmantė Liubinienė, Virgilijus Liubinas, Virginijus Meškinis, Vita Matulienė, Zina Stirneckaitė

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ. 

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

This duo of first class musicians has been well-known for over a decade. Veronika Povilionienė is the most famous Lithuanian folk singer with a career spanning more than 40 years. She is always creatively challenging herself by engaging in various projects with jazz, pop, and rock musicians. Petras Vyšniauskas has made his mark as a top saxophonist, well-known for his masterful jazz and contemporary music interpretations. Their innovative, freely breathing songs are a beautiful mix of folk music sensibility and modern classical virtuosity.

Ugnius Liogė

Veronika Povilionienė, the most famous performer of Lithuanian folk songs, has become a symbol of national culture. Originally from Dzūkija, the singer has inherited the tradition from the old singers of this region. Veronika Povilionienė's voice is strong and evocative; it reveals, with expression, the extraordinary beauty of the Dzūkian monodic songs, their modes and melodic turns. Apart from abundant solo performances and recordings, the singer frequently gives concerts with the folk ensemble Blezdinga and the ensemble of Indian classical music Lyla. The singer is also famous for her collaborations with jazz musicians and contemporary classical composers (saxophonist Petras Vyšniauskas, composers Vidmantas Bartulis and Bronius Kutavičius), other renowned artists, poets and film directors. One of her most notable recent projects is the program of historic and war songs Kada sūneliai sugrįš (When Our Sons Come Back), arranged by the composer Giedrius Svilainis and recorded with the Lithuanian Armed Forces’ Honour Guard Band.

  

  
"Soprano saxophonist Petras Vysniauskas, a Lithuanian, is I believe one of the most profoundly original musicians concentrating on that instrument -- his jagged phrases expanded on determinedly original intervals and his sound is powerful -- stronger and more pointed than Sam River's has become, for instance, more densely concentrated than the late Steve Lacy's, if not polyphonic in the manner of Evan Parker." - Howard Mandel, NYC, USA, 2007

"... Petras Vysniauskas is one of the best soprano saxists we've heard in many years ... " - Bruce Gallanter, Downtown Music Gallery, NYC, 2006

"Something of the rugged beauty of the Lithuanian countryside and the passion of many of his fellow countrymen has been breathed into his music. For me Petras Vysniauskas' music remains unforgettable because of his clear, individual concept. The use of themes from traditional folk music is one facet of this saxophonist, who reflects both the modern development in jazz and the sound idioms of the new and latest improvised and composed music. However, as he himself says, his feeling for folk music is part of his musical identity. And he adds: "In Lithuanian folk songs I hear echoes of John Coltrane; I try to combine this with the free form of expression offered by modern jazz". (Bert Noglik/1990) 

♥+♥

Singing Clarinet

  

Giora Feidman

The Dance of Joy
1992

Tracks:

01. Ani Ole L´Yerushalaim ( 2:36 )
02. Rue du Bac ( 4:14 )
03. Forget the Rears, It´s beautiful ( 3:57 )
04. If I were a rich man ( 2:56 )
05. Chassidic Dance ( 2:55 )
06. Giora, for your Neshama ( 4:33 )
07. Yankelle ( 2:59 )
08. Somebody loves me ( 2:34 )
09. The Dance of Fire ( 4:18 )
10. Song for the Earth ( 2:55 )
11. Dance of Joy ( 2:23 )
12. The Wedding Waltz ( 2:40 )
13. Sphiel zhe mir a liedele ( 2:36 )
14. L´Chaim ( 3:37 )
15. Song for Two ( 3:13 )
16. The Freilach Dance ( 2:31 )
17. Rue du Bac – Encore ( 1:38 )

 Clarinet – Giora Feidman

 

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ.

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

 

discogs

 

Giora Feidman was born in Buenos Aires, Argentina, where his Bessarabian Jewish parents immigrated to escape persecution. Feidman comes from a family of klezmer musicians. His father, grandfather and great-grandfather made music for weddings, bar mitzvahs, and holiday celebrations in the shtetls of Eastern Europe. Feidman married Ora Bat-Chaim, his personal manager, in 1975

Feidman began his career in Buenos Aires as a member of the Teatro Colón Symphony Orchestra. Two years later he immigrated to Israel to become the youngest clarinetist ever to play with the Israel Philharmonic Orchestra. He was a member of the orchestra for over 20 years. In the early 1970s he began his solo career. He has performed with the Berlin Symphony Orchestra, the Kronos Quartet, the Polish Chamber Philarmonic, the Munich Chamber Philarmonic Orchestra, and the Munich Radio Orchestra.

Movie director Steven Spielberg invited him to play the clarinet solos for the soundtrack of Schindler's List, which won seven Academy Awards.

Feidman founded the "Clarinet and Klezmer in the Galilee" seminar and master class program, which takes place every year in Safed, Israel.

wiki

 

 Klezmer, the language of the soul 

 

The unique music of Eastern Europe Jews is called "klezmer". The klezmorim (the musicians) were traveling musicians who spread their songs throughout the land and often struck up in the many little cities ("schtetl") that were so influenced by the Jewish faith, particularly at wedding ceremonies, feasts and dances. The emotional awareness of life that these homeless Eastern Europeans experienced alternated between one of melancholy, despair and unbridled joy in the untroubled hours they had. These contradictory moods find expression in klezmer music. This music can be arousing, funny and full of the joys of life, but it can also bring one to tears.

For the immigrant Eastern European Jews, this was how the music they had passed from one generation to the next over the centuries came to mix with the sounds of their host countries: In the USA, it mixed with jazz; in Argentina it mixed with tango. All of these melodious variations were now reuniting and blending together in the new Jewish nation and they also included some Arabian elements. They became the songs of a people that were once again allowed to be a people, but one which first had to find its own identity.

Giora Feidman plunges deeply into this "Jewish Soul", taking on various influences und developing them further into his own interpretations. The clarinet proves to be the ideal instrument to do just that, to find expression in the realm of emotional nuances. He travels from one kibbutz to the next with his small group of musicians and simply performs. The renaissance of the klezmer was then to take its course.

In the early 1970s, Feidman left the Israel Philharmonic Orchestra and began giving klezmer concerts in other countries. And the world listens intently - to the astonishment of many, who don't consider this kind of music to be socially acceptable. The well-known Jewish composer, Ora Bat Chaim, protagonist of the rising klezmer movement in the 1960s, recalls:

"Time and time again I was told that there is no audience for an artist, regardless of how talented he or she may be, to fill an entire evening concert program exclusively with Jewish music. Oh, how wrong they were! My years of experience tell me that precisely Maestro Feidman's abilities as a musician and entertainer are responsible for doing just that. His innovative concerts were given "standing ovations" around the world - and that fact truly speaks for itself."

Feidman left Israel in the early 1970s and traveled to New York as a soloist. He enraptured the stages of the world, from London to Tokyo, with his klezmer interpretations. In many foreign countries his name soon became well-known, but in Germany he was still practically unknown. That was to change quickly, when the director Peter Zadek began looking for a Jewish musician for his production of the musical "Ghetto" by Joshua Sobol in 1984. An Israeli colleague played Zadek some of Giora Feidman's music and Zadek was extremely enthusiastic. He then inquired with Feidman in New York, asking when Feidman could send one of his clarinet students to Berlin. The master made the journey himself.

The piece, with Esther Ofarim as the leading lady, debuts at the Berlin Playhouse and at the German Theater in Hamburg and is instantly a huge success. Germany discovered Giora Feidman, just as the musician discovered theater.

This was how Jewish Soul found its way to Central Europe. In 1985, the initial plans for his first record appeared, "Viva El Klezmer", and during the course of the coming years their numbers would eventually grow to several dozen (see Discography). The clarinetist, who is just as multifaceted as he is keen to experiment, found himself continually pushing off to new shores with his new formations and the number of people who eagerly and avidly accompanied him - both in the concert halls and in front of loudspeakers in their own livings rooms - continued to grow.

Aside from this, the works of George Gershwin and tangos from his Argentinean homeland can all be found in Feidman's concert programs. Symphonic works of contemporary Israeli composers (Ora Bat Chaim, Betty Olivero) would later find their way increasingly into his repertoire, along with other classical works, including Mozart's clarinet concerts.

The concert stage has long not been enough for him. Over and over again he finds his way back to theatrical works, musicals, operas and films. Together with Itzak Perlman, he performed the soundtrack for Steven Spielberg's epic holocaust work "Schindler's List", which was awarded an "Oscar" in 1994. He also performed in "The Comedian Harmonists" and in "Beyond Silence". In 1995, he caused quite a furor with the dubbing of the silent movie classic "Golem", as he did in 2005 with his piece "Nothing but Music", a production in ten poetic images.

Because of all of these projects, the musician Giora Feidman has become an ambassador of sorts, who specializes in building bridges between peoples and cultures.

The man has remained modest and has not earned fame as a noted orator. He would rather let his clarinet do the talking and is therefore gladly invited to the biggest of events. He performed the world premiere, together with members of the Berlin Philharmonic Orchestra, of Ora Bat Chaim's composition "Love" at the ceremony to commemorate the millions of victims of the National Socialist regime in the plenary hall of the German Federal Parliament in January 2000. And in August 2005, he was invited by Pope Benedict XVI to play at the vigil on World Youth Day in Cologne, Germany - before an audience of more than 800,000 people.

Today, the virtuoso Feidman is a personality of contemporary history. In 2001, he was awarded special acclamation in Berlin with the Great Cross of Merit with ribbon for his special achievements concerning the reconciliation between the Germans and the Jews.

"I don't play the clarinet. I am a singer", Giora Feidman once said. "I sing through my instrument." During the long song of his life, the first tunes of which were sounded in South America and which have guided him across all of the earth's continents, many, many verses have come together. And the number is still increasing. It is a timeless, very emotional song that doesn't need any texts. People listen with enthusiasm and their souls sing along.

"I consider music to be spiritual nourishment. Without this nourishment we simply couldn't survive." 

Giora Feidman

taken from his home page...

 

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