Showing posts with label Duduk. Show all posts
Showing posts with label Duduk. Show all posts

16.8.15

It takes two...

  
Sohrab PourNazeri
Nocturnal Gypsy Wind

2010

Tracks:

01 - Shabgard
02 - Kooliye Baad
03 - Saharkhani
04 - Rakhse Baad

Sohrab PourNazeri: Tanbour
Roubik Aroutzian: Duduk

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.ღ•:*´♥`*:•ღ. 

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 'Gypsy Wind's Nightwatch', ... by internationally acclaimed Iranian musician Sohrab Pournazeri was released ...

It was recorded in 2010 in Los Angeles, the US, Musicema reported.

The album features 'tanbur' player, Pournazeri, in duet with accomplished Armenian duduk player Roubik Aroutzian.

Pournazeri was born in 1983 in Kermanshah. His father, Keykhosro Pournazeri was a well-known musician who played 'tanbur' and tar. Keykhosro was the founder of the first ensemble of 'tanbur'. He introduced this instrument to the urban musical culture of Iran. His ensemble also introduced several musicians who later became noted artists of Persian music.

Sohrab began studying 'tanbur' and 'daf' from a very early age and later went on to 'tar' and 'setar' before finding his true interest by taking up 'kamancheh'.

His first choice was the folk instrument 'tanbur' due to his orientation, but he added 'kamancheh' to improve his career as Iranian classical musician. At the age of 15, he teamed up with 'Shamss' ensemble in performing before audiences.

Sohrab learned 'tanbur' from his father, Keykhosro, 'kamancheh' from Ardeshir Kamkar, vocalization from Hamid Reza Nourbakhsh.
  
  
Sohrab Pournazeri, virtuoso of the tanbour and the kamancheh, is a phenomenon in modern Iranian music. He is a singer and instrumentalist whose music has transcended the borders of Iran, fusing with cultures and artists as far and wide as China and the United States. His talent and courage have been acknowledged as extraordinary by no less than Mohammad Reza Shajarian, the great master of Iranian music.

Sohrab was born in 1982 to the musical Pournazeri family. His father Kaykhosro Pournazeri is one of Iran’s most influential musicians and musicologists, and his brother Tahmoures has sparked a new movement in Iranian music through his performances and compositions.

Music was Sohrab’s mother tongue; he learned it as other children learn to speak. At age 2 he would play his father’s tanbour (whose body was larger than his) and sing the poetry of Rumi and Hafez. At age 13 he was introduced to the stage as part of the Shams Ensemble, and today he is one of the core members of the group. Also at age 13, Sohrab began studying kamancheh with Ardeshir Kamkar, and because of his musical talent was able to begin performing as a soloist with the Shams Ensemble after just two years of study.

While following in the footsteps of his musical family, Sohrab has developed distinct and idiosyncratic instrumental, vocal and compositional techniques that have enabled him to steer the distinct Pournazeri musical form–with its emphasis on passion, emotion and inventiveness–toward new horizons.

Sohrab is well versed in the regional music of his native Iran, as well as in Western classical music, and he holds a degree in music performance. As an instrumental soloist and vocalist, Sohrab has collaborated with artists and ensembles worldwide, including Ostad Shajarian, Shujaat Hussain Khan, the Beyond Borders Project and the Pacific Symphony Orchestra.
  
 

Does anyone have any info about Roubik Aroutzian?!
  

  

1.11.10

Souffle

  
Souffle
breath
Musique Du Monde

1998

Tracks:

1. Arménie : Yeghish Manoukian - Hautbois Duduk
2. Equateur :     Shuar - Ocarina Pututu
3. Namibie : Himba - Flûte Ongembo
4. Mongolie : Kazakh - Flûte Sigizbi
5. Iran : Mohamed Musavi - Flûte Ney (extrait)
6. Maroc : Ait Bou Guemmez - Clarinette Aghamin
7. Federation De Russie : Udege - Trompes Kuinki
8. Afrique Centrale : Trompes D'ivoire
9. Australie : Bamboma - Trompes Didjeridoo
10. Guyane : Wayana - Clarinettes Waitakala
11. Bali : Flûtes Suling
12. Europe : Une Anche Passe - Saxophone Taragot Et Clarinettes
13. Chine : Haubois Suona
14. Japon : Yoshikazu Iwamoto - Flûtes Shakuhachi
15. Cameroun : Peil - Hautbois Ghaïta (extrait)
16. Vietnam : Hmong Noir - Orgue à Bouche Khèn (extrait)
17. Maroc. : Ait Bou Guemmez - Flûte 'awwada (qasba) (extrait)
18. Baloutchistan : Flûte Doneli
19. Kirghizstan : Ocarina Copo Coor
20. Papouasie Nouvelle Guinnée : Sepik - Flûtes Harmoniques
21. Zaïre : Mongo - Ocarina Lolofongo
22. Papouasie Nouvelle Guinée : Huli - Flûte De Pan Gulupobe
 
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Recordings of ethnic flutes and reed instruments, often with percussion, from Musique Du Monde releases.

Souffle : La Base De Toutes Les Traditions Des Musiques Du Monde

If vocal music was the first man-made music and percussion the second, wind instruments would undoubtedly be the third (and the first melody making instrument). The idea that a dead bone or cut plant had a voice of its own was not simply considered interesting it was magic – used to aid man with his communication with the world of spirits, to cure illness, protect crops etc.
Originally primitive one-note instruments would be blown in sequence by a collection of primitive beings to form a primitive melody. Amazingly around this time the use of harmonics was also used to extend melodic possibilities (blowing harder to get a different note – a harmonic of the basic note).
  
  
thanks for the music 123
  
:)

6.8.10

Duduk 3

T.: Yes,:) but before Vache Hovsepyan was another great duduk player: Levon Madoyan :)

  
Levon Madoyan
Collection

Tracks:

1. Akhalkalaki (Dance Song)
2. Akhourian Bar (Dance of Akhourian)
3. Derbent
4. Eraz (A Dream)
5. Hanum bva ozhan
6. Haygagan Azkagragan Barer
7. Jan Gouloum/ Momerov Bar-Alayloukners
8. Maralik
9. Shalakho
  
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"I've collected from various sources (2 books on CDs and 3 Soviet ottsifrovanye records from the 50-60 years) 9 tracks. Apparently, it is no exaggeration to say that this is the first solo album, ofthe great duduk player. :-)
The founder of modern Armenian style of playing the duduk, Madoyan opposed pretentious eastern melizmatike, adopted at that time, more rigorous, but no less expressive style of Armenian folk songs. He expanded the repertoire of Duduk, performing folk songs and mugham, and dance tunes. Madoyan emphasized that the duduk is perfect for the performance of dance music, not just for the music of mourning.
One of the most beautiful melodies of the Armenian "Siretsi yares ram" was written by him.  As a soloist with the orchestra of folk instruments with the Yerevan Philharmonic, he worked on radio and touring throughout the Soviet Union and abroad, many recorded Madoyan, and where ever these records are, and hopefully, we will ever hear them one day.~ hachik"

Thank you hachik :)
  
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Levon Medoyan (1909-1964) was People's Artist, winner of USSR (1939) government awards and prizes, soloist of Radio Folk Instruments State Ensemble, a successful performer of the Armenian melody on the numerous stages of the USSR and Diaspora. He changed the idea of the duduk, and significantly expanded the repertoire starting to play on it dance tunes. Нe is the author of such songs as "Sireci yars taran", first track on Vatche Hovsepian record...
  

Duduk 2

...I think Gevorg Dabaghyan is the best Duduk player around...

T. says: Hello Miguel nice to hear that. Many experts believe the best duduk player was Vache Hovsepyan (1925 -1978). If you have not listened yet...
 
  
Vatche Hovsepian
Duduk

1998

Tracks:

01 - Sireci yars taran
02 - Uxt kertai
03 - Machkal
04 - Otar champeki vra
05 - Taran, taran
06 - Overn Inkan
07 - Indz mi xndri
08 - Karlosi prken
09 - Knir im balik
10 - Dun en glxen
  
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Before Jivan Gasparyan there was Vatche Hovsepian who set the standard by which all duduk virtuoso's are judged. This album is a collection of his best pieces.

...

Vatche Hovsepian (sometimes credited as Vatche Housepian) is a duduk player. With Antranik Askarian, he performed the duduk parts on "The Feeling Begins," the first track of Peter Gabriel's Passion, the soundtrack album from Martin Scorsese's film The Last Temptation of Christ. The duduk recording is actually an excerpt from a song titled "The Wind Subsides," originally recorded for a collection of Armenian music released by Radio France's Ocora label.

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The breeze blew. The national melody that sounded for the first time in the performance of Vache Hovsepyan, became the touchstone of presenting the master duduk playing. His recordings sounds in every part of the world as an exclusive interpretation of emotionality and. His high-class art admired everyone. Renowned dudukist was an authority not only in Armenian but also out of its borders. His compositions were very popular among everyone. Lets mention the most popular of them "Come Back Again", (Lyrics by V. Teryan), "In the Evening", (Lyrics by Silva Kaputikyan), "Clover", (lyrics by Pruyr Sevak). Hovsepyan, arguably is the best dudukist of the past fifty years, on stage.

...

The duduk accompanies popular Armenian traditional songs and dances of the various regions and is played at social events, such as weddings, festivities and funerals. It is impossible to imagine the past, the present as well as the future of the musical culture of Armenia without the admirable sonority of duduk and without its magic musical modulation. It has accompanied Armenians on the roads of relocation, in Siberian deportation camps, in cathedrals and modern concert halls.

The prototypes of the duduk are met in the national cultures of Transcaucasia, North Caucasus, Middle Asia and Iran. However, they greatly differ from the structure of the Armenian duduk which brings to the differences also in sound and technical possibilities. Armenian duduk which is also called tsiranapokh (apricot tree pipe), has a warm, soft, slightly nasal timbre. The sound peculiarities of the Armenian slang are noticeable in the sonority of the duduk.

In a course of centuries and with the development of technical means, the instrument has got better and now it has ten holes, eight of which are on the front face and two are on the opposite side.

The duduk is mainly played by two musicians. One player creates the musical environment for the lead melody by playing a continual drone that is held by circular breathing, while the other player develops complex melodies and improvisations.

In 1920-30s a new performing school founded by Margar Margaryan, Levon Madoyan, Khachik Khachatryan and Vache Hovsepyan was established in Armenia. The latter and Jivan Gasparyan, continuer of Hovsepyan’s traditions, created a new repertoire based on Armenian folklore and dance melodies which is performed mainly during festive occasions.
  

5.8.10

Duduk

  
Gevorg Dabaghyan
  
  
 Miniatures - Masterworks for Armenian Duduk
2002 
  
Tracks:

1 Anush Garun - folk inspired contemporary composition
2 Kan Voor Jan - bardic love song (improvisational)
3 Shiraki - folk dance
4 Alagyas-Khnki Tsar - folk inspired contemporary composition
5 Vardani Mor Voghb - medieval;text set in 5th century
6 Yaylavor Yar - by modern folk singer (1896-1978)
7 Akhalqalaqi - traditional dance
8 Knir im Balik - traditional lullaby
9 Hayots Aghcheekner - folk inspired contemporary composition
10 Shustar - classic Middle Eastern mode and motif
11 Krngeli - folk dance
12 Aravot Luso - 12th century religious
13 Spasum - classic Middle Eastern mode and motif
14 Havun, Havun - 10th century religious allegory (rooster and hens!)
15 Tsaghik Es - folk dance
  
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Gevorg G. Dabaghyan (Armenian: Գևորգ Դաբաղյան) is a duduk player of Armenian folk music. He is a professor of the duduk at the Yerevan State Musical Conservatory, and on the advisory board of Yerzart Arts. In 1991 he founded the Shoghaken Folk Ensemble, a group of Armenian folk musicians and singers who specialize in traditional Armenian music.
 
The earthy, haunted voice of the ancient Armenian wind instrument known as the duduk has dominated Armenian folk music for over a thousand years and transfixed modern listeners far beyond the Caucasus. Gevorg Dabaghyan, one of Armenia’s greatest duduk players, brings a rich delicacy and power to his interpretations of both folk and liturgical music, performing most recently on the movie soundtrack of Atom Egoyan’s Ararat, and in concerts in Europe and the USA with the world with cellist Yo-Yo Ma as part of the Silk Road Concerts.
 
The music of Armenia is steeped with ancient instruments and haunting melodies. The intriguing rhythms and melodies seem to combine the music of Turkey and the Balkans to create mellow, ambient, melancholy, meditative music ... this is exactly the kind of music I love! Gevorg Dabaghyan reveals the soul of Armenia with each and every note he plays on the duduk, a double reed pipe. Some of the music dates from as far back as the 5th century. Others are from the 10th & 13th centuries, some from the 19th century. Many of the selections are considered "Eastern classical" music, meaning they fit within prescribed modes and makams. There are folk songs from regions that in the past were Armenian territory. There are religious pieces with symbolism, for hope, resurrection and a new life ... Often the music is accompanied by a drone (produced by another duduk) and there is the beat of a dhol (large cylindrical drum). This is the music I play after a long and stressful day ... it soothes my restless spirit and restores my energy. While remaing still and concentrating on the sounds produced by the dudu,k my mind clears the tension and worries of the day. It can meander into unknown musical landscapes by following the melodies and rhythms of this fascinating and beguiling instrument. Anyone who loves Middle Eastern, Balkan, or Turkish music should expand their horizons and experience the pleasures of the duduk ~ Erika Borsos
  
As the liner notes to Miniatures: Masterworks for Armenian Duduk suggest, Dabaghyan is one of the foremost duduk players in Armenia. He has been featured on more than fifty recordings, including the soundtrack to Atom Egoyan's Ararat (an amazingly bad movie, by the way). Miniatures is his second solo release; the first was volume four of the six volume Music of Armenia set (released in 1996). Dabaghyan is also featured on several albums as part of the Shoghaken Ensemble—including the recently released Armenia Anthology.
 
The goal of Dabaghyan's Music of Armenia volume was to introduce western audiences to the mystery and the magic of the duduk—a feat that is readily accomplished. By contrast, the goal of Miniatures is to explore the role of the duduk in the myriad styles that make up Armenian music. Hence, this fifteen-song collection features duduk performances of traditional folk and dance songs, troubadour love songs, Eastern classical compositions (known as makam in Arabic and mugham in Armenian), and Armenian liturgical chants.
 
When I say "features," I mean it: the only accompanying instruments are the dhol (a round drum for rhythm) and a duduk dharm (a continuous duduk drone note played in the background). One thing that a solo recording such as this one does is render its disparate songs a rather unified sound. Hence, the medieval and liturgical songs blend seamlessly with the folk dance and lullaby numbers. At times, this can make the actual listening experience a bit redundant; in fact, I had to study the liner notes to be able to differentiate one musical style from another. It's easy to listen to all fifteen tracks here and think, "Well, there are a lot of nice melodies, but they're all the same—what's the point?" Only by listening to each track by itself and carefully discerning the overall shape and structure of the different musical styles here can one truly appreciate not only Dabaghyan's artistry but also the richness and depth of the duduk's sound. For this album is really all about the duduk. If you enjoy the instrument's sound, you'll love this disk; if not, then get something else.
 
Reviewed by: Michael Heumann
 
 
Thank you TOT for the music :)