Happy New Year... : )

    

Mohsen Sharifian

Lian Music Band

Homely Parish

Tracks:

01. Mahaleh-ye Khomuni - 3:33
02. Faez o Maftoon - 5:01
03. Panjeh Banki - 3:12
04. Neymeh - 3:19
05. Ghale - 5:31
06. Kuwait Ghulum - 5:18
07. Delshureh - 3:19
08. Khayyami - 6:39
09. Telebooni - 4:24
10. Jostojoo - 5:53
11. Verar - 3:36

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.·.ღ•:*´♥`*:•ღ.·.

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

Mohsen Sharifian: 

 Regional Music of Iran: Bushehr

Taking traditional music from Iran to new collaborative heights

Interview by Madanmohan Rao

Mohsen Sharifian is a musician and composer from Iran, and heads the troupe Lian Band. He has spent the last two decades immersing himself in the musical traditions of the Bushehr region, writing several books and collecting songs and dance-tunes and composing new works inspired by them. He is a virtuoso performer on the two ancient, emblematic instruments of the Persian Gulf region, the Nay-Anban (bagpipe) and the Nay-Jofti (double-pipe reed flute). The Lian Band, formed in 1993, has released nine albums and performed around the world. Mohsen joins us in this exclusive interview on the highlights and challenges of his musical journey.

Q: How was your band formed?

My goal is to preserve and promote the folklore music of my region inside and outside of Iran. The band’s name is Lian and this is the ancient name of my city Boushehr. This name is about 3,000 years old and the meaning is ‘shining sun.’ The history of ancient Boushehr and its culture are deep and continuous sources of learning for us.

Q: Who would you say are the leading influences in your music, in terms of culture and family?

Music is in our family but remember however they were not willing for me to play music, because of the humiliating views by many in our society to folk musicians. But now I am happy, it’s honourable for the family, and they have never forbidden me.

Music across the world has been a part of society, and you can easily see the footprint of Indian music and songs, which I have seen in my trips to India and among the Indian workers in Boushehr. It’s amazing to see that the name of one of Boushehr’s parishes is Kuti; this is an Indian name meaning mansion. The spices in our food and the hotness in them is also because of Indians!

Q: Tell us about the more unusual instruments you have in your ensemble.

The bagpipe by the native name Ney-Anban is a special one, which has the identity of boushehri music. But we can see it all over the world. Even in India, but the bagpipes have their own accent.

This instrument is very unique and one of the aspects that makes it special is that the playing of this instrument at Bushehr is facing opposition, and this is unnecessarily radical and goes under a supposed religious facade.

Q: What is the profile of some of the artists in your band?

This band has working for about 20 years, and our relations began with activities during our student years, which eventually became a solid band going by the name of Lian.

Q: How would you describe your musical journey and its messages?
  
I believe that our work shows our birthplace of music and highlights our role as representatives for our music. The message that I want the world to hear is joy and peace, I’m glad that I did it with art and out of politics. Our albums like other artists of the world will change over the years, and sometimes may have effects on the world!

In my new album (to be released by Taraneh Sharghi), I have performed fusion music and tried a music speech to tell that our people were shaped by interaction and dialogue. So I composed a mixture of boushehri music with flamenco, Indian and modern music. It’s good to know I used an Indian musician by the name of Darchen Anand. He played tabla and sings a song with me. I would really love Indians to hear this album and explore opportunities to collaborate!

Q: How would you describe your composition process?

Most of the songs are composed by me; however I also get comments from musician of the band and audience reactions. Our folk music itself is composed from the combination of different music, including African, India and Arab. So essentially I believe in the combination forces of music, and over the years music of the world has intentionally or unintentionally absorbed other influences. How and to what extent it can be incorporated to introduce original music deserves reflection.

source of interview 

  

  
 The music of Bouchehr draws its distinct sounds from the diverse communities that settled in the region over many generations. This includes: the traditional music of several eras of Iranian history; the religious music of the Islamic, Zoroastrian and Christian communities of the region; fishing songs from coastal communities; influences from Chinese, Indian, Somali and Tanzanian merchants; and perhaps most importantly, the musical traditions of east African slaves who escaped and settled in Bouchehr.

 

*♥*

Bandari, Bandari : )

 

Mahmoud Jahan 

& 

Bandar Neshinan
Sabz-E Ghaba
Instrumental

Tracks:

01. Joome Narenji - 5:07
02. Kaj Kola Khan - 4:36
03. Kam Bia Donbale Man - 5:35
04. Goli Joon - 6:35
05. Bide Majnoon - 6:45
06. Bandari - 6:35
07. Mano Davat Kon - 5:31
08. Ghasedak Bandar - 4:50
09. Dokhtar Siah - 4:40
10. Kako Soleimani - 5:30
11. Bandari, Pt. 2 - 6:16

Arrangement: Mahmoud Jahan

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.·.ღ•:*´♥`*:•ღ.·.

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

 Bandari music of southern Iran was first made famous by Aghassi some three decades ago with his now classic song "Ameneh". These days we often hear of the group "Sandy" and their hit "Dokhtar Ahvazi" which is probably played more often at parties than any other dance tune.

But the Bandari tunes played in the small towns and villages of Khuzestan, Bushehr and Hormozgan sound very different. What the locals sing is not as polished and not always easy to dance to if you are, say, at a wedding in Tehran or Tehrangeles.

Nevertheless Bandari is one of the most upbeat Iranian musical styles. 

source

Bagpipes - Bahram Mehrbakhsh (?)

Bandari Dance

Bandari is often referred to as "Persian Bellydance". Bandari dance is a chain dance that often involves multiple people dancing and often perform this at parties, traveling around in a circle and sometimes stepping into the center for a solo with encouragement from other dancers, the only variations are in the arm movements. It's a Persian dance that prevails in the South of Iran next to Persian Gulf and has been influenced by the African and Arabic music and dance. It is a combination of rhythmic movements in various directions according to the beat of the song. The distinct feature of this dance is the way performers wave their hands in a unique manner that resembles the cooperation of a group of fishermen at the sea...

*** 

 

Josef Lada

  
Josef Lada
   
(17 December 1887, Hrusice, Bohemia – 14 December 1957, Prague)     
    
Czech painter, illustrator, cartoonist and writer. Pioneer of the Czech comicbook tradition and founder of the “Czech modern fairytale” genre. He is considered one of the greatest Czech artists of all times – which is also what the world-famous Pablo Picasso had claimed him to be. He is best known for his children’s books and for his illustrations of Jaroslav Hašek’s work. He’s an author of over 15000 illustrations (both colour and black and white) and more then 500 paintings. The main themes and motifs of his work include the following; home village Hrusice, water goblins and sprites, night watchmen, pub fights or the traditional pig-slaughter.

link

♥

  

Work well, but sing as well...

  

Zadudej, dudáčku

Chodské lidové písně a tance

 Chod folk songs and dances
chosen and selected by: Zdeněk Bláha 

1985

  
Tracks:
  
Národopisný soubor osvětové besedy Mrákov:
 
01 - Dudácká kapela - Čertovská Polka
02 - Jarmila Černá, Jan Hofman, Vlastimil Dřímal & Vlastimil Dřímal ml. - Nad Mrákovem je červená růžička
03 - Dudácká kapela - Mrákovské Sousedské
04 - Vladimír Baier, Josef Kupilík & Smíšený sbor - Bára, Cára
05 - Jan Hofman, Vlastimil Dřímal, Stanislav Tomala & Vladimír Baier - Štyry Koně Ve Dvoře
06 - Václav Kupilík - Chodské Štajdyše
07 - Jiří Feil & Dudácká kapela - Kamarádi, Co Hudělám
08 - Ženský pěvecký sbor & Dudácká kapela - Já se k Tumačovu zase podívám
09 - Václav Kupilík - Spáňovská Polka
10 - Karel Marik & Dudácká kapela - Komu Je Tak Dobře
11 - Vladimír Baier & Smíšený sbor - Ten Náš Slouha
12 - Miroslava Málková & Dudácká kapela - Haž Purou Cikáni
13 - Dudácká kapela - Mrákovská Polka
 
Národopisný soubor osvětové besedy Postřekov:

       
14 - Smíšený sbor & Dudácká kapela - Trumpeři, Ty Nám Pěkně Troubili
15 - Dívčí sbor & Dudácká kapela - Já Ráda Miluju
16 - Libuše Halzerová & Jitka Krátká - Hdybych Já Přesmutná Vedíla
17 - Mužský sbor & Dudácká kapela - Bula Jednou Jedna Panna
18 - Dívčí sbor & Dudácká kapela - Támhle Jdou Řešatníci
19 - Jan Holoubek, Jiřina Holoubková, Vladimír Baier & Malá selská muzika - Chodská Kolečka
20 - Antonín Kuželka & Dudácká kapela - Naši Sa Túlik Divili
21 - Mužský sbor, Ženský pěvecký sbor & Mužská skupina - Hra Na Cepy S Písničkami
22 - Markéta Volfíková & A Capella - Buj tu, Petře, buj tu
23 - Mužský sbor, Dudácká kapela & A Capella - Škály Se Pukají
24 - Jiří Kapic, Antonín Kuželka & Zdeněk Bláha - V tý Postřekovský hospodě
25 - Dívčí sbor & Dudácká kapela - Posvícení Máš
26 - Jiří Kapic, Hana Kapicová, Jan Holoubek, Jiřina Holoubková & Vladimír Baier - Šla Má Milá Do Hájíčka
27 - Dudácká kapela - Škarmanka
28 - Mužský sbor & Dudácká kapela - Postřekovská Chasa

  

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ. 

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

 This record features bagpipe bands from Postřekov and Mrákov, the folk-lore centers of the Upper and Lower Chod regions in South-western Bohemia.
 
Chodsko is the region situated between the Český les and the Šumava Region and is formed by 11 historical chod villages (Postřekov, Klenčí, Chodov, Újezd, Draženov, Stráž, Tlumačov, Mrákov, Klíčov, Chodská Lhota, Pocínovice). It is spread all around Domažlice, the former royal town. Chod people are famous for their pride, conservativeness and self-will. Thanks to these caracters many family and annual rituals and ceremonies were kept. The people speak a melodious dialect, the Chod women wear traditional popular costumes and during the balls and festivities, the traditional ‘Chod roundlay’ is never omitted.

 

♥

 

 

THE FOLK ENSEMBLE MRÁKOV

The Chod ensemble of Mrákov was founded by a group of enthusiastic people in 1961 and since then its musicians, singers, dancers and Chod narrators have been offering good cheer and good humour. The group has realized many performances on special occasions and has taken part in various folklore festivals in our country and abroad. Its main goal is to keep the tradition and to develop the interest in Chod folklore through Chod songs and dances. All shows are performed in traditional costumes of the region called ‘Lower Chodsko’. The number of members is about 20-30 and all age groups are present. The youngest members are performing under the name ‘Mráček’. Since 1978 the group has even had its own music band in which the musicians play the following musical instruments: ES clarinet, B clarinet, the bagpipes, violin and contrabass. The members of the group even iniciated the foundation of the association called ‘Association of the friends of Lower Chodsko’ and its role consists in broadening the interest in traditional culture not only in the surroundings of Mrákov. The Chod group of Mrákov regularly organizes its own festival ‘Chodská Hyjta’, in which the performers of Chodsko and from abroad participate. It is held every year, on the first Saturday after the 10 August (the festival of St. Lawrence) and takes place in Mrákov.

MRÁKOV BAGPIPE BAND

  
Since 1978 the folk ensemble in Mrákov has had its own bagpipe group. Its origin is associated with the bandmaster Václav Kupilík from Spáňov. The close cooperation of composer and folklorist Vladimír Baier was also of great importance. He arranged many Chod songs and also wrote new compositions. The bagpipe band plays in traditional configuration – E-Flat clarinet and B-Flat clarinet, bagpipes, violin and double bass. Since the death of the bandmaster Václav Kupilík the band and the singers have been directed by the outstanding bagpiper Vlastimil Dřímal.

more to read and look at:

link

THE FOLK ENSEMBLE POSTŘEKOV

   
 The folklore group Postřekov celebrated the 70. anniversary of its existence in the 2003. Due to this, the group coming from nearly the most distinctive village in Chodsko is ranked one of the oldest folklore groups in the Czech Republic. The group is of prosperity nowadays. Firstly, the shows consisting of songs and dancing coming from the upper Chodsko are performed at various festivals in Czech Republic and even in foreign countries. Secondly, the old shows are successfully restored and made ready for performance, and also the new songs are arranged and integrated. In the 2003, the CD "Zahraj mi houdečku" was released featuring the contemporary repertoire.

SEKÁČI - POSTŘEKOV BAGPIPE BAND

The Postřekov bagpipe band is connencted with the Folk Ensemble Postřekov. It often plays in the original configuration called „little rustic group„, i.e. violin, bagpipes and clarinet. This configuration used to be the most typical for Chod folk music.

a lot more to read and see:

link

♥

Henry, Henry!

  

Jindřich Jindřich

Chodský zpěvník
Vybrali a sestavili Zdeněk a Jaromír Jindřichovi 

1971

Tracks:

01 - Jaromír Horák & Konrádyho dudácká muzika - Pijácká
02 - Jaromír Horák & Konrádyho dudácká muzika - Můj zlatej Pepíčku
03 - Jaromír Horák & Konrádyho dudácká muzika - Alou, Páni Muzikanti
04 - Bohumil Kraus - Přenechčasnej Plácek
05 - Bohumil Kraus - Vosy, Vosy, Vosy, Sršáni
06 - Albert Švec, Oldřich Heindl & Bohumil Kraus - Truc Na Truc
07 - Chodské Trio - Ha ty svatýj Vavřenečku
08 - Chodské Trio - Přeškoda Nastokrát
09 - Chodské Trio - Bul Jest Jeden Sedlák
10 - Josef Smid - Ponocenská
11 - Konrádyho dudácká muzika - Polka
12 - Jiřina Skalová, Jaromír Horák & Antonín Konrády - Nad Luženci jaloveček
13 - Antonín Konrády & Konrádyho dudácká muzika - Hdyž Sem Spála Na Půnebí
14 - Antonín Konrády & Konrádyho dudácká muzika - Zahrajte Mi Teremtete
15 - Antonín Konrády & Konrádyho dudácká muzika - Má Panenka Hezká Je
16 - Jiří Kapic & Konrádyho dudácká muzika - Ha, My Máme Studánku
17 - Albert Švec & Oldřich Heindl - Sou, Sou Na Potoce Ráčata
18 - Albert Švec & Oldřich Heindl - Hdyž Sem Já Šel Vod Mý Mjilý
19 - Oldřich Heindl & Antonín Konrády - Dyj Sem Holka, Dyj Sem
20 - Bohumil Kraus - Můžeš Mě Má Mjilá Poděkovat
21 - Bohumil Kraus - Zahořanská Polka
22 - Jiří Kapic, Anna Kapicová & Antonín Konrády - Jen ty k nám Hondzíčku
23 - Jaromír Horák & Konrádyho dudácká muzika - Třikrát Sem Vobešel
24 - Chodské Trio - Hdyž sem šla v Praze po rynku
25 - Chodské Trio - Eště Si Písničku Zazpívám
26 - Chodské Trio - Hop, Hyj, Bula Sem
27 - Zdeněk Bláha & Antonín Konrády - Žádnej neví, co sou Domažlice
28 - Jaromír Horák & Konrádyho dudácká muzika - Čerchovská Šenkýřko
  

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ. 

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

  

 Chod folk music that was collected and archived by Jindřich Jindřich, a  Czech composer, pianist, choirmaster, etnograph and collector of folksongs (more than 1400 songs and music scores for 4000 texts!) ...

  

Jindřich Jindřich 

(5. března 1876, Klenčí pod Čerchovem – 23. října 1967, Domažlice) byl český hudební skladatel, klavírista, sbormistr, etnograf a sběratel lidových písní.

Byl synem učitele Aloise Jindřicha, typického venkovského kantora s širokým hudebním vzděláním. Hrál prakticky na všechny hudební nástroje a byl zejména velmi dobrý houslista. Pokoušel se i o kompozici, dochovalo se několik příležitostných skladeb. Pevné základy hudebního vzdělání získal tedy mladý Jindřich doma. Pokračoval ve studiu na učitelském ústavu v Soběslavi. Několik let učil na školách ve Lhenicích a v Domažlicích.

Vedle učitelského působení studoval skladbu u Vítězslava Nováka a klavír u Karla Hoffmeistra. Stal se oblíbeným doprovázečem českých pěvců Karla a Emila Buriana a zejména Emy Destinnové. Ta velmi milovala jeho chodské písně a často je na koncertech uváděla. Koncertoval se Ševčíkovým kvartetem a byl úspěšný i jako sólový klavírista.

Celý svůj život však zasvětil rodnému Chodsku. Byl sbormistrem studentského mužského sboru v Soběslavi a domažlického sboru Čerchovan. V Domažlicích vybudoval Chodské muzeum, které shromažďuje doklady chodského lidového umění.

Za své hudební i etnografické dílo byl v roce 1954 jmenován zasloužilým umělcem a v roce 1957 národním umělcem. Byl také členem České akademie věd a umění a čestným členem Svazu českých skladatelů.

Etnografické dílo

Jeho největším dílem je 26dílný etnografický sborník Chodsko. Čtyři první díly obsahují chodský slovník, gramatiku a historii Chodska. Dalších 22 dílů je věnováno životu, zvykům chodského lidu a lidové kultuře Chodska.

Výsledky své sběratelské činnosti publikoval v devítidílném Chodském zpěvníku, který obsahuje více než 1400 notových záznamů písní a na 4000 textů. (!) Je to sbírka ve své rozsáhlosti a úplnosti ojedinělá nejen v naší, ale i ve světové literatuře.

Hudební dílo

Hudební dílo Jindřicha Jindřicha je převážně vokální. Zkomponoval více než 170 písní s doprovodem klavíru či orchestru, 29 mužských sborů, 8 smíšených sborů a 16 ženských sborů. Vydal rovněž několik sbírek úprav chodských písní, z nichž patrně nejznámější je Poklad Chodska obsahující 102 písní a tanců.

Vedle této tvorby zkomponoval řadu drobných klavírních skladeb, rovněž vesměs inspirovaných Chodskem. Orchestrální díla jsou jen příležitostná. Z roku 1906 pochází Elegie pro smyčcový orchestr a z roku 1911 symfonická báseň Svítání v horách.

wiki

museum 

 
♥

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

♥
 

Lithuanian Sinawi

  

Gvidas Kovėra, Todar Kaškurevič,

Petras Vyšniauskas

 Tylos Labanoro

2006

Tracks:

01. Apie Liudininką    7:19
02. Apie Lygiadienį     5:43
03. Apie Smaką     5:28
04. Apie Akmenį     6:05
05. Apie Žolę     4:11
06. Apie Žaizdą     7:22
07. Apie Moterį     4:12
08. Apie Vėžę     4:34
09. Apie Neturėjimą     6:34
10. Apie Dešinę Ranką     4:29

 

 Credits:

Bagpipes – Gvidas Kovėra, Todar Kaškurevič
Saxophone – Petras Vyšniauskas

Tabla – Rytis Kamičaitis (track 01)

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ. 

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

 

 Recorded in the Samogitian chimney of steading museum of Jonas & Antanas Juška in Vilkija, February-April 2005.

 

 Samogitia (Zemaiciai, Zemaitija), western part of Lithuania bounded by the Nevezis river in east, the Baltic Sea on the west, the Nemunas river on the south, and the Latvian border on the north. The major portion of the region constitutes the Western Upland, but its name refers to the lowlands stretching along both sides of the Nevezis, which divides western and eastern Lithuania. Both the region and its inhabitants came to be called zemaiciai (lowlanders; nom. Sig. Zemaitis)...

...The wooden buildings of the farmsteads were usually arranged in the two groups: surrounding a clean yard stood the living quarters and the granary , and around the farmyard – barns for threshing and livestock, and other farm buildings. The dwelling house (troba) was a long wide structure, equality divided by a large chimney with an anteroom on each hearth...

source

 

 Tylos Labanoro is a project of bagpipers Gvidas Kovėra and Todaras Kaškurėvičius reviving a forgotten Baltic tradition. Labanoro Pipe (or bagpipe) is a traditional Lithuanian folk instrument, its distinctive types were widespread already in the 15th – 16th c., not only in Lithuania, but also in the present territory of western Byelorussia and Latvia. The importance of bagpipes in myths and old rites proves that they were used also during pre-Christian times.

In 2005 musicians recorded the album Tylos Labanoro, playing the instruments made according to surviving authentic examples of Baltic bagpipes. Famous jazz saxophonist Petas Vyšniauskas adds a contemporary touch to this album. The CD is part of the project Labanoro Pipe, supported by UNESCO, and in 2006 presented by several impressive concerts in various Lithuanian towns.

Both musicians are active Labanoro Pipe performers also with other ensembles. Gvidas Kovėra plays in Keisto folkloro grupė; additionally, he recorded also an album of Indian-Lithuanian music together with Veronika Povilionienė and band Lyla. Byelorussian Todoras Kaškurevičius not only plays bagpipe; he is also instrument master, making bagpipes for more than 10 years.

© Ugnius Liogė

source

 

 

Silences of Labanoras

Gvidas Kovėra and Teodoras Kaškurevičius have recorded the album in Vilkija, in the Samogitian chimney of Jonas and Antanas Juškos homestead-museum. The primitive space of rough texture has influenced the music, its sound and mood, has given a characteristic color to it. The exchange of states can also be seen from the creations, forming the music album “Silences of Labanoras”. About witness. About equinox. About dragon. Abut stone. About grass. About wound. Apie woman. About rut. About absence. About right hand.

Actually, the album “Silences of Labanoras” was recorded with bagpipes, which were made by Todaras Kaškurevičius according to the authentic samples of the Baltic bagpipes. Byelorussian Todaras Kaškurevičius is considered as one of the best masters of the Baltic bagpipes in the Baltic region. According to the historic sources such bagpipes already in the 15th and 16th centuries were widely prevalent in Lithuania, Belorussia and Lettigallia. The fact, that bagpipe is important both in myths and in the ancient ceremonies can be, suggests that in this region it was widely used also during the pre-Christian period.

“Silences of Labanoras” have already sounded in Kaunas, in the church of the saint George and in the great hall of the recent year music festival “Kaunas Jazz”. In Vilnius the album was represented on the 13th of May in Bernardine church. The album “Silences of Labanoras” is part of the project sponsored by UNESCO “The pipe of Labanoras”, through which it is intended to revitalize the traditions of bagpipes in Lithuania. CD publishing was sponsored by the companies “Aigipto durys”, “Silita”, BOD, newspaper “Statybų pilotas”, also by the Architecture fund, TV 1 and the Lithuanian national commission of UNESCO.

source

 ♥+♥+♥

Rakish Paddy

  

The Irish pipes of Finbar Furey
1996 ~ 1974

Tracks:

01. Rakish Paddy
02. The Hag with the money
03. Castle Terrace
04. Madame Bonaparte
05. The Young Girl Milking her Cow
06. Fin's Favourite
07. Peter Byrne's Fancy
08. O'Rourke's Reel
09. Roy's Hands
10. Planxty Davy
11. The Bonny Bunch of Roses
12. Eddy's Fancy
13. The Silver Spear
14. The Spanish Cloak
15. Sliabh na mBan
16. Graham's Flat
17. Piper's in the Meadow Straying
18. Rocking The Baby
19. Colonel Fraser
20. Pigeon on the gate
21. Eamonn an Chnuic
22. Tattered Jack Welch
23. The Fox Chase

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ.

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

  

 From the Sleeve Notes:

The Fureys are a musical family. Finbar's father, Ted, is a well-known fiddler who for many years played in that center of Dublin music, O'Donahue's Bar in Merrion Row. Finbar's arrival in Britain was preceded by his reputation as the youngest player ever to spellbind an audience. The pipes have always been considered an instrument to be mastered only in maturity. Possibly Finbar will be a great piper at the end of twenty-one years' playing, but certainly he was already a staggeringly good piper after just twenty-one years of living.

:-)

WIKI 

 

 some info

 

some more

 

 

~♥~

yes this was one of my very first records, long time ago... ; ) 

...

Music from the island of Karpathos

Grèce: 

Musique de l'île de Karpathos
Recordings by Giuliano d’Angiolini, 1994-1995
1996

Tracks:

01. Sousta
Nikos Nikolaou-lyra
Andreas Fasakis - laouto
02. Skopi tis nichtas, Pano Choros and Sousta
Andonis Zografidis- tsambouna,
Michalis Zografidis- song and lyra
Yiannis Prearis, Yiorghos Zografidis- laouto
03. Pathos
Michalis Zografidis- song and lyra
Yiannis Prearis- laouto
04. Syrmatikos and ''Sta marmara tou Galata"
Andonis Zografidis- tsambouna,
Michalis Zografidis- song and lyra
Yiannis Prearis- laouto
05. Mandinadha
Michalis Zografidis- song and lyra,
Yiannis Prearis,Yiorghos Zografidis - laouto
06. Mandinadha
Michalis Zografidis- lyra,
Yiorghos Protopapas- laouto
07. Pano Choros
Andreas Fasakis- lyra
Nikos Nikolaou- laouto

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•♫

        

.ღ•:*´♥`*:•ღ.

        

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•♫

  

  

"And this is how our life goes by at the edge of the world. One day with laughter and joy, and the next day with tears". One more remarkable edition with field recordings of Greek folk music, which comes from France and which this time it takes us to a tour to the local repertoire of Olympos, a mountain village in the northern part of Karpathos. Olympos is one of the few places in Greece that preserves to a great extend up until the present day its largely traditional rural and pastoral social character. This is contributed to the isolation (the road and the electricity of the village is an event of recent years ...) and the persistence of traditional social structures and values. There would be no exaggeration to say that, until recently, Olympos was still a "living museum" where in spite of the passage of time, it kept ancient elements of speech, social organization and music. For this reason the village has many times been the object of study for sociologists, social anthropologists, musicologists and other scholars and has much to reveal to researchers ... This music edition thus seeks to give us an acquaintance with the music and dances of Olympos. A "dialogue" with mandinadhes (on the spot improvisation of rhymed distichs of 15 syllables), which took place in a coffee shop and transferred unchanged to the disc, gives us the stigma of this attempt for acquaintance. It could be an everyday dialogue in prose, but the music brings it out by serving it, distracts it from everyday life and projects it to a different-ritual level. Besides the music upon which the mandinadhes are matched, we have the opportunity to hear two very interesting "paraloges" (long narrative songs) that have survived in the music tradition of the island. The first is told on the "syrmatikos" music type, with which many old songs (Acritic and ballads) are rendered. It begins slowly to gradually accelerate and reach (after the end of the lyrics) to the lively "Pano Choros". "Last night I fell asleep in the arms of a young girl, in a powerful embrace I covered her with kisses..." The "syrmatikos" is followed by the Byzantine narrative ballad "The marbles of Galatas". This song is an example of very ancient Greek folk songs that have survived until today in conservative and isolated societies, such as Olympos. This is a direct connection to the distant past, which shows how the collective memory is preserved and disseminated through song and ritual. The old repertoire was accompanied by the "lyrotsambouna" a most unusual ensemble, which includes a lyra, a bagpipe and a lute and which today survives only in Olymbos. The disc also includes representitive dances of Karpathos such as "Pano Choros" and "Sousta". The first moves entirely within the capabilities of the tsambouna, while the second uses more melodic scale, thus exploiting the technical possibilities of the Dodecanese lyra. The publication is accompanied by a bilingual (French and English) insert booklet that includes a brief but very informative text about the music of Karpathos, the mandinadhes and folk musical instruments. It also contains the lyrics in Greek, English and French. It is worth noting that the writing of the verses in Greek is made with special care, something not always common in corresponding Greek editions. The articles are signed by Giuliano d 'Angiolini, who made the recordings in 1994 and 1995 and edited the recording.

Reviewed by: Charis Sarris. Translated from Greek by NOCTOC
 

thanks for the music, the words and the hint :)  

  

  

thank you manelaki for the photos

***

About the Music of Olymbos and the Region

1). The music of Karpathos

I.General

    Karpathos, as well as nearby Kassos form a unit that is extremely aligned in all forms of life including geography, culture, and music. Karpathos and Kassos are the southernmost islands of the Dodecanese and the closest to Crete.

Exploring the music of Karpathos, one has to only experience the music from the village of Olymbos which is located in the northern part of the island. The village, until recently somewhat isolated, remains highly important for the wealth of its cultural traditions and contains a mountain community still preserving the characteristics of an agro-pastoral economy.

Nonetheless, the reality of emigration has caused-and is still causing-substantial modifications in the social balance of the community life which affects the area of music as well.

II). Music and Musicians

    Musicians in Olymbos play a major role in the musical life of the village, and are the leaders in the island’s cultural life including those who live on the neighboring island of Rhodes. There is a great cultural continuity and integration between them, especially when time comes for all of them to perform together. This can be explained by the geographical proximity but also because the vast majority of the immigrants of Olymbos retain and exercise their traditions and cultural affairs anywhere they might live, and they return to the village for the holidays and the summer months.

Musicians have a status  which could be defined as "semi-professional"; recognized for their musical talents, they are called upon to play in other villages on the island. This activity can be a source of considerable income in addition to what they earn from their everyday professions.

    There are a number of players of the lyra, laouto, and tsambouna, the three main instruments of Karpathos, constructed by local craftsmen, most of the times the musicians themselves. The players span across all ages including young musicians which maintain a high level of interpretation and performance skills. From all the musicians, the tsambouna players, often specialized in the technique of this difficult instrument, are more rare, but still well represented. The kafeneio7, often constitutes the natural surroundings for the commencing of  festive occasions and popular musical and cultural events. When in the kafeneio, the musicians will start playing in the early afternoon, and from there the singers, most of the times being very good composers of mantinades6 will start gathering and at the end, they will form a diversified group of meraklides, able of arousing the whole village into a celebration which will last until the next morning.

    The content and form of mantinades is not specified in advance. Therefore, mantinades do not constitute a repertoire, but on the contrary, they vary and are generally conceived within the framework of a dialogue between several participants in certain tunes, or skopous, in clearly defined social functions and situations. In other words, the context of mantinades is generated by the situation at the moment and is incorporated within the music.

 

...read the whole thing here :)

  

♥

100 gaidas ; )

   

Bulgaria: Gaida Orchestra

Bagpipe Music from the Rhodope
1995

Tracks:

01. Rodopi Gaida Suita (Large Ensemble)   
02. Kapa Gaida Duo Contest   
03. Shirokalaka Gaida Suita (Veteran Ensemble)   
04. Rodopi Posadnitsa (Gaida Solo)   
05. Dospat Gaida Suita (Veteran Ensemble)   
06. Ovnyolyo Vakal Ramatan   
07. Rodopi Gaida Suita (Veteran Ensemble)   
08. Rodopi Suita (Gaida Solo)   
09. Rodopi Suita (Gaida Duet)   
10. Grashikovo Gaida Suita (Large Ensemble)   
11. Chereshko Chorna Vishnichko   
12. Rodopi Gaida Suita (Young Ensemble)   
13. Ovcheri Moi, Ovcheri   
14. Dospat Gaida Suita (Young Ensemble)

  

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•♫

        

.ღ•:*´♥`*:•ღ.

        

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•♫
  

   

This CD is a collection of one specific type of gaida music, that of the kaba (low) ga-ida from the Rhodope mountains in Western Bulgaria. Tuned lower than its smaller brother the Thracian gaida which if often used to accompany dancing, the kaba gaida is occasionally featured in mass unison ensemble playing ( the so-called sto gaidi, or 100 gaidas-though no more than 18 kaba gaidas are heard performing in ensemble on this recording) or used as a single instrument in accompanying singers.

The fourteen tracks on this CD were recorded for Japanese JVC by members of youth and a "veteran"' ensembles from villages in the region around Smolyen in the Rhodopes. Presented are examples of the various performance forms in which kaba gaida is found, the solo (two examples), duo (two examples), solo accompaniment of a singer (three examples) and mass performance (seven examples). One tune is presented by both the youth and veteran ensembles.

Lynn Maners

Rhodope Mountains

Gaida

The GAIDA (bagpipe) has two sounding parts: the Gaidounitsa and the drone. The Gaidunitsa is the most important part of the Gaida on which the performer plays the tune, and the drone accompanies the melody with a constant buzzing sound. There are two main types of Gaidas in Bulgaria: lower (“kaba”) and high (”djura”). The low (“kaba”) Gaida is spread in the Rhodope Moutain Region and the remaining types in the remaining parts of the country.

♥

some

more

?!

Caval, Fluier, Cimpoi

  

Ștefan Dicu

"Jocuri mândre de la noi"

Tracks:

01. Sarba-n bataie, Sarba ca la Vartop, Sarba ca la Vrata (caval, bagpipe, flute)
02. Hora cujmirenilor - caval
03. Baluta - caval
04. Hora ca la Gruia - flute
05. Sarba ca la Corbu - flute
06. Sarba ca la Calafat - bagpipe
07. Tinca popii, Hora pe furate, Hora-n doua parti (caval, flute, bagpipe)
08. Sarba ca la Prejna - caval
09. Boierasca - caval
10. Bulgareanca - flute
11. Hora Nutei - flute
12. Floricica - bagpipe

 

Personnel:

Ștefan Dicu: caval, flute (fluier), bagpipe (cimpoi).
& Orchestra Ansamblului "Maria Tanase" Din Craiova

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•♫

        

.ღ•:*´♥`*:•ღ.

        

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•♫

 

The caval is an aerophone instrument of Balkan farmers, especially shepherds. It can be found throughout in the south east (Wallachia, Oltenia, Moldavia) as well as in the mountains of central Romania. The caval is a big straight flute (approximately 80 cm long) made of ash, cherry or plane wood. It consists of a tube partially closed at the top by a cork (dop) with five finger holes and a rectangular mouth hole (vranã) on the opposite side.

Farmers make the caval in a number of sizes. The one in the photo is an average size, about 76 cm in length. Recently, the caval has been tuned to an F-scale to make it easier to play in folk music groups.

The caval can produce from two to four or five partial sounds simultaneously. Its hoarse, soft and expressive tone is sometimes imitated by violinists who play "like the caval". Its instrumental effects include changing pitch in the same piece (by blowing harder) and playing in parallel octaves (on the first and second harmonics).

When playing the caval, the musician produces a throaty sound: "in tune" and stable in relation to the melody (in Oltenia) or of an undetermined and fluctuating pitch (in Wallachia and Moldavia, like the recording here). The caval can easily play complex melodies that are highly ornamented with appogiatura, mordents, trills, small glissandi and tremolos. Its rich and varied repertoire includes long songs (doinã), lyric songs in instrumental versions, dance tunes and the instrumental poem "The shepherd who lost his sheep".

C.M.

 

Pipe musicians are generally from rural Romanian backgrounds and not from gypsy lăutari families. In the town and state ensembles they play fluier and caval, with additions of tilinca, nai, cimpoi (bagpipe) and may be other not so common pipes, clarinet or taragot, and when it comes to their solo this is most often a suite which progresses through all the different pipes in succession.

 

source

 

( : ♥ : )