The shepherd walks over the hill...

  

Górale

Mountain Dwellers

Melodies and Songs from 

the Polish Beskid Mountains

2007

Tracks:

01. Wjym jo to dobrze (I know I’m not doing right) - Zwyrtni - 1:47
02. Ej hoja hoja swoboda moja (Ej hoja hoja my freedom) - Zwyrtni - 1:40
03. Kosie Kosie / Pod Leśzcynóm (Under a hazel tree) - Zwyrtni - 3:32
04. Dwa Gronie (Two mountains) / Jak Jo Umvym w Mieście (When I die in the city) - Zwyrtni - 2:30
05. Kóniokowski Pole (The field of Koniakow) - Zwyrtni - 4:44
06. A Mom Se Jo W Masztali (In the horse’s stable) / Wsecki Zynićki (All the women) - Zwyrtni - 3:13
07. Hanka Czorne Uoczka (Hanka’s black eyes) - Zwyrtni - 2:10
08. A Jak Jo Pojadym (When I rode out) / Śtyry Kónie (Four horses) - Zwyrtni - 4:19

  

 
09. Hej Jak Ta Sarna (Like that hind) - Grojcowianie - 3:51
10. Polano Polano (Fields, fields) - Grojcowianie - 3:45
11. Ho Ho Ho Piyknie Gro (Ho ho ho he plays beautifully) - Grojcowianie - 2:49
12. Obyrtka - Grojcowianie - 3:27
13. Usnyla Dziewcyna (A girl fell asleep) - Grojcowianie - 2:54
14. Jak Jo Se Zaśpiywom (If I sing by myself) - Grojcowianie - 2:12
15. Hajdukujmy Jaz Pod Powale (Let’s dance up the ceiling) - Grojcowianie - 1:40
16. Jechol Se Chlop Z Wieprza (A farmer came riding from Wieprz) - Grojcowianie - 3:47

  

   
17. Zagrejcie Gajdzićki (Play bagpipe) / Kulalo Sie Kulalo (The red apple) - Walasi - 3:56
18. Idie Lowciorz Gróniym (The shepherd walks over the hill) - Walasi - 2:47
19. Powiydz Mi Ma Mila (Tell me my loved one) - Walasi - 3:36
20. Poslochejcie Kamaradzi (Listen comrades) - Walasi - 3:17
21. Szla Dziywećka Na Wodym (When the girl fetched water) / A Wysie Dziwciynta Niewydocie (You girls will have no husband) / Siostro Moja Siostro (Sister my sister) - Walasi - 3:52
22. Szumi Dolina (The valley rustles) - Walasi - 2:44
23. Doliny Doliny (Valleys, valleys) - Walasi - 2:31
24. Janiciek Trowym Sieczie (Janek is reaping) - Walasi - 3:11

Musicians:

Zwyrtni:

Stanislaw SUSZKA (Voix, Violon)
Jerzy KUKUCZKA (Voix, Violon)
Elzbieta CZAJKA (Violon)
Robert KUBICA (Contrebasse, Voix)

Grojcowian:

Brygida MURANSKA (Voix, Violon)
Anna WRZESZCS (Voix, Violon)
Wociech WRZESZCZ (Voix, Violon)
Rafal WRZESZCZ (Voix, Violoncelle)
Franciszka BURCZAK (Voix, Violon)
Lukasz KLUSAK (Voix, Violoncelle)
Karolina KUPCZAK (Voix)
Anna KUPCZAK (Voix)
Sylwia BIEGUN (Voix)
Jadwiga JURASZ (Direction)

Wałasi:

Zbigniew WALACH (Voix, Violon)
Jan KACZMARZYK (Gadjy, Voix, Violon)
Krzysztof LASON (Violon)
Stanislaw LASON (Fujara, Violoncelle)
Jan STAP (Collecteur de musique de tradition)

 ♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ. 

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

The Górale

  

 Language and music of the inhabitants of the far-away mountain villages in the Polish Beskidy Mountains are quite special. The górale (mountain dwellers) migrated from Rumania into Poland at the end of the Middle Ages and have since lived in isolation, keeping their traditions.

This CD contains music of these górale, performed by two ensembles from the Silesian Beskids and an ensemble from the Zywiec Beskids. Hardly any recordings exist of this music, which is undeserved as the language, the peculiar scales, and the powerful style of singing and playing, make the górale music very much worth listening to.

The three ensembles on this CD have stayed close to their roots. Although now and then their ensemble playing sounds archaic, the songs are melodious and accessible. 

 

...one day I would like to be there : )

  
♥

Christmas Carols...

   

Trebunie Tutki

Kolędy Góralskie
1996

Tracks:

01. Malućki, malućki
02. Dnia jednego o północy
03. Przybieżeli do Betlejem
04. Idziemy tu idziemy
05. A wcora z wiecora
06. Lulajże Jezuniu
07. Przy hornej dolinie
08. Posoł baca owce
09. Dobrze ześ się Jezu pod Giewontem zrodził
10. Z downa zwycoj bywa wsyndyj
11. A wczora z wieczora
12. Jezusicek malusieńki
13. Do szopy hej pasterze
14. Panie Boze dam Ci co fces
15. A jo stary dziod
16. Na Kondrackie Holi (sł. Stanisław Gąsienica-Byrcyn)
17. Na to Boze Narodzenie
18. Za kolęde dziękujemy

Skład zespołu:

Krzysztof Trebunia-Tutka - prym I, piszczałki, fujarki, dzwonki, śpiew
Andrzej Polak - prym II i III, śpiew
Anna Trebunia-Tutka - sekund I, śpiew
Jan Trebunia-Tutka - sekund II, altówka, śpiew
Andrzej Wyrostek - basy podhalańskie, kontrabas
oraz dzieci góralskie z Poronina:
Ania i Jaś Malacina, Jadzia i Małgosia Szwajnos, Józek i Staś Morula

  

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•♫

        

.ღ•:*´♥`*:•ღ.

        

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•♫

  

The name of Trebunie-Tutki  group is the name of a big, famous family, that has been living in Podhale region for generations. And for all those years music has been present in the family life; during very important events, like weeding or funeral and also during ordinary days and long winter evenings. But Trebunie-Tutki did not play only for themselves. The Trebunias’ grand father- Stanislaw Budz Mróz gave concerts in Warsaw, Lvov, Hamburg, Berlin and even, in 1925, at the World Exhibition in Paris. He also played for such well known Polish artists like Jan Kasprowicz or Karol Szymanowski.

All members of Trebunie-Tutki group still live in Podhale-mountain region, far away from the overcrowded capital city, big events and a commercial market, what, of course, is not good for them. But the Trebunias say, that „they have to be close to the sky-touching mountains, dark forests and green valleys, to hear a wind whistling and to fill an air vibration during a thunderstorm. And all those things you can find in their music.

  

   

"A traditional highlander music is difficult and not very popular. To make it more interesting and do not forget the traditional customs and ceremonies, Trebunie-Tutki try to create a new, special sound of their music - called by them ”a new highlander music” or ”a heavy wood music”. In this music you can find elements from reggae, jazz and rock."

   

...so they say... good thing on "Kolędy Góralskie" they don't "create new"... humble me thinks just the opposite is true... all that fusion/fashion will disappear... "Górale" muisc is here to stay...

listen...

♥

Three villages...

  

Wisła, Istebna, Jabłonków

Muzyka Beskidów

Cz II
2008

Tracks:

01. Mamko Moja
02. Pytel Mąki
03. Improwizacja Cz.1
04. Poleju, Poleju
05. Boże Mój, Boże Mój,...
06. W Jaworowym Lesie
07. Tryptyk
08. Hop Dana, Dana
09. Doliny, Doliny
10. Improwizacja Cz.2
11. Wyjeżdżej Furmanku
12. Janicziek Trowym Sieczie
13. Leszćiniańsko Polka
14. W Nidzieliczikym Do Kościoła
15. Szumi Dolina
16. Ciymno Nocka
17. Improwizacja Cz.3
18. Hej Ochodzito!
19. Hore Koniakowym
20. Węgierska Suita

  

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•♫

        

.ღ•:*´♥`*:•ღ.

        

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•♫

  

Kapela Wałasi i goście

...music from the Silesian Beskids mountain range, near to the borders with the Czech Republic and Slovakia, in the historical region of Cieszyn Silesia.

Where is this place?

You could say: Far, far away behind the mountains, behind the endless woods, behind seven rivers - and you would not be wrong because this country truly lies behind hills and forests in the heart of The Beskid Sląski.

Here, on the slopes of "Złoty Groń", "Ochodzita" and "Wawrzaczowy Groń", in the valleys between these beautiful hills are placed Istebna, Koniaków and Jaworzynka called often "The Triple Village".

  

Istebna, Koniakow and Jaworzynka are summit - placed villages of The Beskid Slaski situated in the south of Cieszyn Silesia. Their common name usually used is The Beskidy Triple Village.

Istebna - the home to local authority - lies around picturesque sunny hill of Złoty Gron in the Olza river - basin.
Koniakow - the highest placed of the three - has its kingdom on the slopes of Ochodzita, the highest hill in this part of the range stretching out east of the community.
Jaworzynka - south - western corner of the Beskid Slaski - is set in the valleys of the rivers Czadeczka and Kreżelka.

Thanks to the climate and rich culture Triple Village have been one of the most attractive  tourist mountain regions of Poland. Istebna and Jaworzynka are the oldest of the three. First mentions are from 1577 (Istebna) and 1649 (Jaworzynka) whereas the village of Koniakow was found in 1712.

Historical researches say, that all three villages were associated with The Duchy of Cieszyn in the times of Silesian Piast Dynasty ruling (up to 1625). Then in 1653 Habsburg dynasty took control over the region to create out of it their profitable property called "Komora Cieszynska".

The process of settling down the region which started in XVth century had two main streams. One from northern flat land of Cieszyn Silesia and the other, much more important, from the south - east Wolosi, nomad shepherds coming from the east of Romania. They used to move west searching new grazing fields reaching eventually green meadows of The Beskidy. Over the years their population mixed with local people and their way of wearing, working and worshiping affected the region life a lot.

The very first settlement in the area was Jasnowice, which name was derived from the religious sect called "Jasnowidze" (clair - voyants) settled down there after escape from religious persecution. The main activity of the citizens then was shepherding which was more profitable than traditional farming. 

 

source

 

did you count more then three... you were right :)

♥

Muzyka góralska

  

Kapela Góralska 

TORKA

Szyroko daleko...
2005

Tracks:

01. Zagrajcie gajdziczki
02. Hanka czorne oczka
03. Jak jo Pode na muzyke
04. Za dźwierzami
05. A w tym naszym zomku
06. Elektryczka
07. Górskie klimaty
08. Szyroko daleko...
09. Za Jabłonkowem
10. Stoi lipka
11. Uż sie mi ławeczka
12. Kukułeczka
13. Furmanek
14. A mom se jo w masztali
15. Zwoleńska dolina
16. O Macieju
17. Węgierska nuta
18. Torka
19. A dzie idziesz Helenko
20. Ulubiony

Personnel:

Kazo "Nędza" Urbaś: prym, okaryna, dzwonki, śpiew
Józef Kawulok: gajdy, śpiew
Piotr Kukuczka: sekund altowy, śpiew
Ryszard Gąska: sekund skrzypcowy, śpiew
Lubomira Tumova (Słowacja): cymbały, śpiew
Małgorzata Gerat: śpiew
Marzena Zając: śpiew

słowa: Kazo Urbaś

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•♫

        

.ღ•:*´♥`*:•ღ.

        

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•♫

Kazo "Nędza" Urbaś założyciel i lider kapeli TORKA, rozpoczął swoją muzyczną działalność już w latach 60. Początki każdego muzyka są cięzkie, lecz "Kazo" przedarł się przez nie bardzo szybko. Każda osoba która zobaczyła, a co ważniejsze usłyszała, tego wybitnego muzyka zamierała w zachwycie. Każdy jego występ to powrót do przeszłości gdzie uliczni grajkowie rozpowiadali okoliczne wieści. Sukces takiego trubadura zależał od zdolności przekazywania. "Kazo" posiada tą zdolnośc i jeszcze ją rozszerza, zaraża nią ludzi, podczas gdy jego muzyka płynie zostaje ona przekazywana przez słuchających dalej. Jest to jeden z powodów dla którego kapela Torka nie mogła się opędzić od propozycji wyjazdów za granicę co w owych czasach nie było rzeczą najłatwiejszą. Udało im się jednak pokonać te wszystkie przeciwności, gdyż jego sława szybko się rozchodziła, co umożliwiło mu zagoszczenie w jeszcze większej ilości ludzkich dusz. Przez cały czas swej egzystencji TORKA podtrzymywała tradycje swego regionu i zajmowała się jej propagowaniem także podczas serii koncertów charytatywnych na których ze łzą w oku można było zauważyć radość dzieci, bawiących się do każdej melodi.

source

one more were you might be able to get the cd.

GÓRALSKI

Essay by Maja Trochimczyk

HISTORY

The góralski is one of the two basic dances of the Skalne Podhale region (Rocky Foothills of the Tatra Mountains in southern Poland). The góralski and zbójnicki do not occur in the neighboring mountains of Pieniny and Beskidy, and the districts of Orawa and Spisz. The góralski is a general name of the solo dance of one couple who perform a series of dances (3-8). In each segment of the dance, the male dancer sings a selected tune (nuta) in a freely structured rhythm. The ensemble of musicians picks up this tune and performs it for the couple to dance to.
       
The góralski varies in content and style from one village to another and from one dancer to another. Although the góralski is a couple dance, the partners touch only during the final turning together figure, called "zwyrtanie" (according to Ada Dziewanowska, Polish Folk Songs and Dances, p. 267). The man plays the leading role and performs the most intricate steps. The woman has only two or three different patterns to perform and mostly responds to the actions of the man.

There were few transcriptions of górale music in the first half of the 19th century and none earlier; an explosive growth in the outsiders' interest began in the late 19th century. At that time, Dr. Tytus Chałubiński organized many excursions into the Tatras accompanied by groups of górale musicians. Despite the presence of górale themes in 19th-century Polish opera (Karol Kurpiński's Zabobon, czyli krakowiacy i górale; Stanisław Moniuszko's Halka), a serious interest in the stylistic traits of the Podhale folklore was expressed only in the 20th century, starting with Karol Szymanowski (his Mazurkas, ballet Harnasie), and continuing with Artur Malawski (symphonic poem Tatry), Henryk Górecki (two string quartets), and Wojciech Kilar (Krzesany for symphony orchestra).

MUSIC

Podhale is the only area of Poland where the folk culture is still alive as it is present in the daily activities of the górale. They wear their costumes, speak the local dialect, and sing and play the traditional melodies. The music of this region strongly differs from Polish folk music of its northern regions, especially because of its predominantly duple meters (triple meter is the most popular on the Mazovian plains). However, Timothy Cooley discovered that the 19th century collectors, especially Oskar Kolberg, found numerous triple-meter melodies in the Tatras; the change of the repertoire may be attributed to the influence of outsiders, the tourism promoters and ethnographers, who emphasized the differences between the music of the górale and that originating from the rest of the country (Cooley 1998, 2000).

Several types of melodies are used for the dance: nuta ozwodna, krzesana, drobna, and zielona. The man sings one couplet in a high and tense falsetto voice and a quasi-improvisatory manner. The band (called kapela or muzyka), led by a violinist, responds with repeats of the ornamented melody (performed by lead violinist). The strongly accented rhythmic foundation is provided by the accompanying violins and the basy (see the entry on zbójnicki for a description of the band and the instruments).

read the whole thing (and more) here.

  

♥

Tatra brigands

  

Kapela Harnasie

Hej tam spod Tater

2002   

   

Tracks:

01. Kupiym se korole Nie pódym jo z tela

02. Malorz   

03. Niedaleko Lewocy   

04. W Bernie   

05. Hej ta spod Tater

06. Szalała   

07. Hej Janicku siwy włos    

08. Corne ocy

09. Mioł nos łociec    

♥ 10. Idzie dysc

11. Hej horolecka    

12. Mamo moja

13. Jo za wodom    

14. Orawa    

15. Tocy się mi tocy

16. U kowala    

17. Syćkok ci godała   

18. Góralu czy ci nie żal

  

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•♫

        

.ღ•:*´♥`*:•ღ.

        

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•♫

  

Harnaś - Tatra and Carpathian brigand. Famous Harnasie  were: Juraj Janosik, Ondraszek, Tomas Uhorčík... (see Robin Hood)

Sabała the legendary Góral bard and musican, used to say:

To hang on the gibbet is an honourary thing!
They don't just hang anybody, but real men!

Could not find much info about the music.

and that's all that wiki tells us:

   

While folk music has largely died out in Poland, especially in urban areas, the tourist destination of Podhale has retained its traditions. The regional capital, Zakopane, has been a center for art since the late 19th century, when people like composer Karol Szymanowski, who discovered Goral* folk music there, made the area chic among Europe's intellectuals. Though a part of Poland, Podhale's musical life is more closely related to that found in the Carpathian mountains of Ukraine, Slovakia, Moravia in Czech Republic and Transsylvania. The people in the Tatra mountains of Poland and Slovakia are descendants of Vlach shepherds who settled there from 14th to 17th century.

Local ensembles use string instruments like violins and a cello to play a distinctive scale called the Lydian mode. The distinctive singing style used in this scale is called lidyzowanie. The lead violin (prym) are accompanied by several second violins (sekund) and a three-stringed cello (bazy). Duple-time dances like the krzesany, zbójnicki (Brigand's Dances) and ozwodna are popular. The ozwodna has a five bar melodic structure which is quite unusual. The krzesany is an extremely swift dance, while the zbójnicki is well-known and is perceived as being most "typical" of Podhale and Northern Slovakia. Folk songs typically focus on heroes like Janosik.

*Goral (mountaineer)

  

source: Music of Poland

    

 

   

  

source

   

The music of the Górale folk tradition is usually performed by a small string ensemble, resembling the make-up of a string quartet: a lead violin performing ornamental melodies, two accompanying violins, and a three-stringed basy, providing the harmonic basis for the chords. The basy is smaller than the double-bass, roughly the size of a cello. The second violin and the basy play rhythmic quarter-notes in duple meter with strong accents, providing the rhythmic framework for the music. In the nuta zbójnicka (the zbójnicki tune), the rhythm is upbeat and lilting; in Timothy Cooley's words "the accompanying violins bow downward on each beat with the basy and add an up-bow in-between each beat (1&2&1&2&1&2), effectively playing twice as fast as the basy." (from Fire in the Mountains CD, Yazoo 7013; 1997, p. 8-9). Another common instrument used in the area was a simple carved string instrument resembling a basic fiddle, called "złóbcoki." ...

read some more here

 

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