Ľubomír Párička
Spoved Fujary
Fujara Confession
2003
Tracks:
01. Oj, pomaly, ovečky - 5:12
02. Oj, boli by ma zabili - 1:46
03. Oj, pusť ma, bača - 5:36
04. Gajdošské z Kokavy - 1:50
05. Oj, a ja tak, a ja tak - 2:16
06. Hej, gajdoško s gajdami - 3:13
07. Hej, nebudem orať, ani siať - 2:27
08. Rýchlo na dvojačke - 1:43
09. Ja bača starý - 3:28
10. Oj, bohdaj skazu vzala - 2:08
11. Išiel Janík - Nechcela mi chleba dať - 3:55
12. Oj, fujera, fujera - 2:38
13. Ovsenisko, jačmenisko - 2:26
14. Terchovské melódie - 2:36
15. Gajdoško s gajdami - 4:43
16. Oj, môj otec bol dobrý pytliak - 4:36
17. Oj, na holi, na holi - 2:00
18. Handrárske signály - 1:20
19. Ovečka, kozička - 1:25
20. Išiel gajdoš do dediny - 2:40
21. Pil som, pil som, ľumpoval som - 1:14
Účinkujúci:
Ľubomír Párička (1954) - spev (1-3,5-7,9-13,16,17,20,21);
fujara (1,3,5,7,9,12,16,20); pastierska píšťalka (2,6,11,); dvojačka (8); rífová píšťalka (13,17);
koncovka (14); handrárska píšťalka (18); gajdy (10,15,19); drumbľa (4,21)
Spoluúčinkujú:
Roman Bienik (1958) - fujara (1); gajdy (4); pastierska píšťalka (13,14)
Miroslav Párička (1978) - fujara (1); drumbľa (14); spev (15,19)
♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫
.ღ•:*´♥`*:•ღ.
♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫
Lubomir Paricka is a fujara player. He is also a manufacturer of authentic Slovak folk music instruments.
Fujara
is a typical Slovak folk music instrument. Its origin is in the
Podpolanie region. It is an awesome overtone flute of four to seven feet
in length made from wood. Fujara is among the 43 new masterpieces
designated as UNESCO heritage items on November 2005.
Ľubomír
Párička (1954) je hráč na fujaru a na iné ľudové nástroje, a tiež je ich
výrobca. Pochádza z Martina. Pri nahrávke CD spoluúčinkovali: Roman
Bielik (1958) a Miroslav Párička (1978).
~♫~
Fujara Flute History
- the full story -
"I remember my old conversation with uncle Paciga, respected
Fujara craftsmen. I entreated him to show me how to mark out the holes
on the Fujara flute. We agreed and one day I brought to him a worked out
timber for Fujara flute. First he made a fipple flute sound device and
then he started to mark out the holes. I wondered that he marked on the
timber even six holes - like on a whistle. So I urged him: "Mister
Paciga, but I want to know how to make the holes into the Fujara flute,
not whistle". He smiled and said: "you know my boy, before the Fujara
flute a whistle was and that is why I mark out the Fujara flute like a 6
hole shepherd pipe, and then I drill just the three lower holes". At
that time I did not realise that the man had a big truth."
Basically, Fujara flute is a gothic three-hole bass whistle.
The three hole whistles were in the 12. - 13. century Europe very famous
and wide spread. They used to be played in a musical configuration
together with a tambour (small hand drum):
Because
these bass whistles were shorter and had only 3 holes, it was possible
to play them with just one hand. The musician often accompanied himself
playing tambour on his own: playing the three hole whistle in one hand
and the other hand beat the tambour.
Substantial expansion of these instruments in Slovakia confirm
the period papers, for example a picture of a flutist with tambour
under the Ostry castle, or two three-holes whistles from the 13.century
acquired lately by Phdr. Hanuliak during excavation in the Pusty castle
near Zvolen.
During the renaissance, flutes and whistles with three tactual
holes were retreating. However, later on, following an example of the
string instruments family /fiddle - alto position, violin - canto,
violoncello - tenor, contrabass - bass position/, also the wind
instruments families were formed spontaneously /16.century/. This
documents the flutes in a german enviroment, where coexisted alto, tenor
and bass flutes with side air flow channel of similar construction as
the side air pipe of Fujara flute.
Also by the three-holes whistles there was an effort to create
a family and renew repertoire. Musical scientist from the 15. - 16.
century Michael Pretorius /from Sliezko/, documents an existence of such
three hole whistle family in his work "Teatrum instrumentarum" from the
year 1619. Though, he remarks that this configuration of three hole
flutes had never been played together: because of the limitation of this
3 hole flute's scale range achieved by overblowing, the harmony
inbetween the alto, tenor and bass three-hole flutes just was not
reached. Simply, it did not tuned. He states, that there were three
basic dimensions of the three holes-whistles: " a 20 inch "melodic
whistle", a 26 inch "tenor whistle" and a 35 inch "bass whistle".
Similarly, but independently from Praetorius, French musicologist Mersen
writes about this issue in his work from the year 1632.
The three hole bass whistles from this period were about 91 to
130 cm long, with two lower tactual holes located in the front and the
upper one located in the back of the flute's pipe.
In Brussel's music museum collection of very old musical instruments
occurs also a three-holes bass whistle approximately 98 cm long, with
the side air flow channel and three fingering holes /two in the front
part and one in the back part of the flute's main pipe/. The instrument
has a north italian origin and its construction is extremely similar to
the Fujara flute in former times occuring in the surroundings of
Priechod, Hiadel, Strelniky, Podkonice and likewise, named by Slovak
ethnomusicologists "Priechod's Fujara flute" ("Priechodska Fujara").
Because of the above listed reasons is the so called "Priechod´s Fujara
flute" regarded as the most archaic form of the Fujara flute.
In this context Dr. Macak tracks the place of a Fujara's flute
origin into the area northerly from Banska Bystrica (middle Slovakia),
to the actual Slovenska Lupca environment and to above listed
communities. He assumes that the three-hole bass whistle has got to this
territory during the turkish wars, where a regiment of soldiers from
western Europe and Italy was stationed adjacent to today's Slovenska
Lupca.
Fujara flute gradually reached and penetrated into the Slovak
environment, "conserved" there and persisted until today as a rarity.
Fujara's flute movement into the Detva area and its surroundings is
considered as a secondary matter, where also the design reform is
evident - the lenghtening of the Fujara main pipe to almost double size
achieving much lower, deeper bass possitions and resulting placement of
the top fingering hole into the front part of the main Fujara flute's
pipe.
From the turkish wars period persisted in musical culture of this
region a style of melody enhancements by baroque ornamentation. Even
nowadays it is still present in ciphers of bandmasters, flutists'
melodies, as well as in some melody ornaments present in traditional
interpretation of the fujarists from Podpolanie region.
