Horses (6)

Robert Yuldashev
Raven-black horse

Ҡara yurġa (Bashҡort xalyҡ ҡөyө)
Bashkort folk song
  
The Kurai melody "Ҡara yurġa" is connected with an epic story about a horse that managed finding and returning his masters daughter in law. Like in many other tracks the Kurai melody is an imitation of the tune of a well known song.

~*~

Living Buddha

  

World Morin Hoor Master: Chi Bulag

Wild Horse Morin Hoor Troop

The Golden Hall of Vienna

2005

Tracks:

01. Krzysztof Moron River
02. Rising Sun
03. Dances and Song
04. Mongolian Dance
05. Recall Song
06. Ordos Plateau
07. Eagle River Palace
08. Blue Lullaby
09. Pentium Mustang
10. Fantasia
11. Mongolian Lullaby
12. Genghis Khan's Two Horses
13. Bird Song
14. Ga Da Mei Lin
15. Full Steam Ahead

   

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On August 16th in 2005 world morin khuur Master: Chi Bulag with Wild Horse Morin Hoor Troop
played in Vienna's Musikverein Golden Hall, they finally made it...  :)

  

  

Chi Bulico, Master of the Horse-head Fiddle

 

Chi Bulico 齊寶力高, also spelled Ci Bulag, or Ci Bu-Lag, or Qi Baoligao.

In 1907, a Japanese scholar mentioned an instrument in his journal describing it as a chordophone with a horse head carved on the top. He called it a Matouqin, literally translated as horse-head fiddle in English. A symbol of Mongolian ethnicity, the horse-head fiddle has been played by Mongols for centuries. Chi Bulico, an artist who has been playing the horse-head fiddle for more than 50 years, has brought about significant changes in the development of the ancient instrument.

The horse-head fiddle was called Morin Khuur in Mongolian, and gained popularity among Mongols in the 13th century. The resonant and far-reaching sound made by the fiddle is described as "a wild horse neighing" or "a breeze in the grasslands". Some even say the notes produced by the instrument paint a better picture of the grasslands than any painter or poet. The horse-head fiddle is indeed considered the most important musical instrument of the Mongolian people.

The descendant of Jochi, the eldest son of Genghis Khan, Chi Bulico was born in 1944, and was made a living Buddha when he was 3 years old. At an early age, Chi Bulico showed his talent in music through his exquisite sense of sound.

"In the summer, the telephone lines set up on the grassland buzzed while they swayed in the endless winds. During the winter, the frozen lines made strident sounds. I was enchanted by all the different sounds in the grasslands, and could spend days listening to them. The first time I heard the music of a horse-head fiddle on the radio, I was deeply touched. My heart began to beat faster when I heard the instrument. It will always do, until the day I die."

At the age of seven, Chi Bulico got his first two instruments called "Chao Er" and "Si Hu" from his father. And he was able to play several dozens pieces of music with other folk artists the next year even without knowing the scores. After learning from a horse-head fiddle master San Duren, Chi Bulico got a much better understanding of music and the instrument.

In 1970s, Chi Bulico made several improvements to the ancient horse-head fiddle, and modernized it so that it could be used in the symphony orchestra. According to Chi Bulico, his ideas were inspired by the legendary Italian violin master Niccolò Paganini.

"I admire Paganini the most. He took violin playing to the next level using his knowledge of the guitar. And I improved the horse-head fiddle using the violin. The improved bow can now play many different tunes. If I had not learned the violin, there would not have been these new techniques of playing the horse-head fiddle now."

With only two strings, the current horse-head fiddle can make quite a number of fascinating sounds.

Although he has never entered middle school or learned composing, Chi Bulico is considered the master of the horse-head fiddle. His playing skills are the standards of teaching materials today and over 80 percent of fiddle music has been written by him. Using just three notes - Do, Re and Mi - he has managed to compose a song that is 15 minutes long.

"I don't compose music according to the music theory. I compose because I am moved by the melody. I use different tunes to express my feelings and emotions."

In the eyes of others, Chi Bulico's performances are replete with expressions and emotion. Miyazaki Emi from Japan is one of them and is learning horse-head fiddle from Chi Bulico.

"My master is true to his feelings. Happiness, anger, loneliness... Whatever he feels, he expresses through his performance, holding nothing back."

In 2001, Chi Bulico created a Guinness World Record by performing a piece called Galloping Horses together with 1,000 horse-head fiddle players. And the once solo instrument became suitable for tutti.

Today, Chi Bulico has a collection of over 100 horse-head fiddles, among which the oldest one is an ancient fiddle he spent 28 years to get. It is considered the oldest fiddle existing in the world. Many people ask to leave their horse-head fiddles with Chi Bulico for a while, because it is said that will improve the timbre of the instrument.

Once a living Buddha in Inner Mongolia, Chi Bulico is still esteemed by many Mongols. However, he holds a different view of the Buddha.

"In my opinion, the real Buddha is the one who serves and helps the people. I play the horse-head fiddle with all my energy for the people, and they like it. I think that's what a living Buddha should do."

  

source

 

  

Morin Khuur

  

Even though the morin huur does not own a long history, its direct predecessor Chuurqin has a long history. In Tang dynasty (600s~800s), when the ethnic Mongols were still a branch of Shiwei people, there appeared to be records of huqin. In Northern Song dynasty, when the Mongols are forming, horse-tail huqin (馬尾胡琴) appears. Since then, the chuur fiddle has been separated from general huqin till now.

One legend about the origin of the morin khuur is that a shepherd named Namjil the Cuckoo received the gift of a flying horse; he would mount it at night and fly to meet his beloved. A jealous woman had the horse’s wings cut off, so that the horse fell from the air and died. The grieving shepherd made a horsehead fiddle from the now-wingless horse's skin and tail hair, and used it to play poignant songs about his horse.

Another legend credits the invention of the morin khuur to a boy named Sükhe (or Suho). After a wicked lord slew the boy's prized white horse, the horse's spirit came to Sükhe in a dream and instructed him to make an instrument from the horse's body, so the two could still be together and neither would be lonely. So the first morin khuur was assembled, with horse bones as its neck, horsehair strings, horse skin covering its wooden soundbox, and its scroll carved into the shape of a horse head.

Chinese history credits the evolution of the matouqin from the xiqin (奚琴), a family of instruments found around the Shar Mören River valley (not to be confused with the Yellow River) in what is now Inner Mongolia. It was originally associated with the Xi people. In 1105 (during the Northern Song Dynasty), it was described as a foreign, two-stringed lute in an encyclopedic work on music called Yue Shu by Chen Yang. In Inner Mongolia, the matouqin is classified in the huqin family, which also includes the erhu.

The fact that most of the eastern Turkic neighbors of the Mongols possess similar horse hair instruments (such as the Tuvan igil, the Kazakh kobyz, or the Kyrgyz Kyl kyyak), though not western Turkic, may point to a possible origin amongst peoples that once inhabited the Mongolian Steppe, and migrated to what is now Tuva, Kazakhstan and Kyrgyzstan.

wiki

 

  

In 2001, Chi Bulico created a Guinness World Record by performing a piece called Galloping Horses together with 1,000 horse-head fiddle players...  : )

want to read some more?

 

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Abkhazia

  

Abkhazian dance tunes and melodies
Абхазские танцевальные мелодии и наигрыши

 
Tracks:

 
1. Wedding song with dance. (Traditional music)
2. Sharatyn (Traditional music, arrangement by O. Khuntsaria)
3. Shepherds dance tunes (Traditional music, arrangement by O. Khuntsaria)
4. Achandara  Dance (Traditional music, arrangement by V. Tsargush)
5. Dance  tunes on Amyrzaqan (Traditional music, arrangement by O. Khuntsaria)
6. Dance  of the Bebia family (Music by M. Bebia and Shch. Bebia, arrangement  by O. Khuntsaria)
7. Youth  Dance (Traditional music, arrangement by O. Sakania)
8. Khuap-village  Dance (Traditional music, arrangement by V. Tsargush)
9. Dance-tunes  on the ‘achamgur’ = folk-instrument (Traditional music, arrangement  by O. Khuntsaria)
10. Dance  tunes of the Abkhazian diaspora in Turkey (Traditional music, arrangement  by O. Khuntsaria)
11. Dance-melodies  -- B. Bagatelia (Music by B. Bagatelia, arrangement by O. Khuntsaria)
12. For dancing (Music by V. Tsargush)
13. Abzhuy  Dance-melody (Traditional music, arrangement by O. Khuntsaria)
14. Dance  melodies -- Ak.  Malia (Music by Ak. Malia, arrangement by O. Khuntsaria)
15. For  dancing (Traditional music, arrangement by O. Khuntsaria)
16. Hunting  dance (Traditional music, arrangement by O. Khuntsaria)
17. Working  dance (Traditional music, arrangement by O. Khuntsaria)
18. Abazinian dance-tunes (Traditional music, arrangement by O. Sakania,  O. Khuntsaria)
19. Wedding  dance-tunes (Traditional music, arrangement by O. Sakania, O. Khuntsaria)

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source

  

Abkhaz culture is rich in history and tradition, and most residents live in rural areas, often on large, self-sustaining family farms. Equestrian activities are important to the culture of Abkhazia. Riding is a popular activity, and horses often play a central role in festivals. Song, music, poetry and dance are also important to Abkhazian culture. Abkhazia has a rich collection of songs that are performed at weddings and other celebrations, such as holidays or big family gatherings. Abkhazia places great value on high and popular culture, boasting a number of drama and dance companies, art museums, music conservatories, and theatres for the performing arts.

   

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Horses 5

      

"One shaman who had no horse put his kobyz to participate in a horse race. During shamanic rites, it was the kobyz and dangyra-tambourine that turned into fast horses on which the shaman backed to whatever place of the Higher, Middle and Lower Worlds inhabited by people and spirits, both good and evil. Knowing the super natural power of his kobyz the shaman tied it to a big tree in order to give the ordinary horses an upper hand in the start. The people who gathered at the finish watched in amazement as the kobyz lead the race dragging the uprooted tree behind it in a cloud of dust."

   

  

 

Horses 4

   

Cholo Valderrama
¡Caballo!
 
Tracks:
 
01.¡Caballo!
02.Como vivir
03.Me voy pal´llano
04.Ojitos de Pararapara
05.Soy el llano
06.Levantate Llaneraza
07.El deporte del coleo
08.Las alpargatas de Pancha
09.Saman florido
10.Dejo que mi verso viaje
11.Me dejó el rancho solito
12.Voy doble a mi gallo tuerto
13.El hato donde me crié
14.Catira pelo e´cocuiza
15.Caballo amigo
16.El baile de doña Asuncion
17.Llanero viejo
18.Y no la dejen pasar

  

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¡Caballo!

Caballo al hablar de ti
He de quitarme el sombrero,
Es respetar tu linaje
No importa el color del pelo
Solo me importa que seas
Tesoro que desde el cielo
Nos mando Dios pa’ poder,
Decir que somos llaneros.

Caballo tu eres mi vida
Eres mi pasión y ensueño,
Sin ti no habría los poetas
Ni existirían los llaneros;
Sin ti no habría coleadores
Tampoco caballiceros
Ni habría trillo en los caminos
Que marcaste de cerrero,
Cuando te comías el llano
Bajo la luz de un lucero.

Caballo tu eres la forja
Del nombre de caballero,
En ti se hicieron batallas
Y se libertaron pueblos;
Se engendraron ilusiones
Y se realizaron sueños;
Se fundaron amoríos,
Se trasnocharon recuerdos;
Se motivaron pasiones
Y se apocaron tormentos;
Cuando  tu relincho se oye
Quebrando en dos al silencio;
Siente la sabana rapia
Tus cascos sobre su pecho;
Tu cola como bandera
Tu crin a los cuatro vientos,
Paladín de libertades
Estampa del llano inmenso….

Caballo al hablar de ti
Es hablar de campo abierto
De las faenas del llano
De soga, bozal, cabresto
Es recordar mañoseras
Lazos  de toro violento
Es alargar los caminos
Sobre el pajonal disperso…

Tú fuiste, eres y serás… caballo
Botalón de mis ancestros
Tu brío afinca esperanzas
Que entre tus nervios de acero
Dan templanza a la hidalguía
Corajuda  de lanceros
Tu nobleza es la enramada
Donde descansan los tiempos;
Los que fueron, los que son,
Los que serán, los que han muerto.

Hay tantas cosas en ti
Que me sirven como ejemplo
Tu nobleza, tu paciencia
Tu coraje, tu talento
Y la enseñanza sublime
De cómo infundir respeto
Me crié contigo caballo
Caballo contigo muero;
Son muchas las galopadas
Que atesoran mis recuerdos;
Como aquel día que en tus ancas
En la manga de mi pueblo
Monté a mi morena altiva
Mi morena pelo negro
Que se abrazó a mi cintura
Puso en mi espalda sus senos
Cuando a galope tendío

Nos llevaste llano adentro…

   

      

Biography of Cholo Valderrama

Orlando ""Cholo"" Valderrama is one of the most outstanding Llanero singers of Colombia. With a successful singing, composing career spanning 25 years, and with 17 albums to his credit, he is a recognized performer of Llanero folklore music.
When he was still a baby, his parents were transferred to the Eastern Llanos region of Colombia. There, Cholo passed his childhood learning the workings of the llaneros farmers. As he grew older, Cholo developed a great fondness for horses that grew with the passage of the time and still exists today.
 
His first approaches to music were at the dances or parties of the neighborhood, a common practice for the people of llaneras land. But nothing was so far from their goals as to become singers and to dedicate themselves to music, because the love of music and experiences in the tasks of the field filled their lives completely.
Nevertheless, it was a good day when Cholo made the decision to sign up for a copleros competition . He didn't know that at that moment his life would change radically. In the years ahead, he continued gaining performing skills and acquired the name of Cholo. Valderrama had begun being recognized by the llaneros singers.
Cholo's first record, which was produced in 1978, was a success because of the song Quitarresuellos no. 2. This song, to the satisfaction of the artist, is still is in the market and continues to be requested by his fans.
 
After this recording, Cholo Valderrama became one of the preferred singers of the demanding, loving fans of llanera music. In addition, his born talent as composer was covering the region between the performer and educated people of llanero folklore. They began asking for songs written by this important singer. At the same time, he perfected his musical style with advanced studies of vocal technique at Westminster Choir College of Princeton (New Jersey).
 
Cholo Valderrama has crossed the world as an ambassador of llanera music with its Creole style. On several occasions, he has visited countries like China, Hong Kong, Japan, Korea, the United States, Mexico, Guatemala, Panama, England, France, Germany, Spain, Italy and, of course, Venezuela, llanera region par excellence. Venezuela recognized the talent of this Colombian artist and awarded him the ""Florentino de Oro"" Honoris Causae.

In Columbia, a deserved tribute to Cholo was being chosen to participate in television special called ""Maestros"" that extolled and praised the works of the best exponents of Colombian folklore.

   

Casa de Cholo

 

source 
   
 one more
  

Llanero

  

 

Documental de Aniara Rodado y Gabriel Román
en Antropología Visual

  

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Música Llanera 2

  

Conjunto Hermanos Chirinos
Festival De Joropos

 

Tracks:

 
01. Pajarillo
02. Quirpa
03. Los Merecures
04. Corrio llanero
05. La Guacharaca
06. Seis Numerao
07. Zumba que zumba
08. Carnaval
09. Nuevo Callao
10. La Catira
11. Periquera
12. Cunavichero

    

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source

 

WHAT IS JOROPO?
  
    The word Joropo encompasses a tradition which includes village fiestas, poetry, singing, music and dance in a form of popular expression which is constantly evolving. Improvised creativity flourish on existing structures and defined patterns of style. 

    Its origins date from ancient Iberian music from the XVII and XVIII Centuries, such as the multiple fandango, the folias, peteneras, jotas and Andalusian malagueñas. These roots have been flavored with the influence of eight centuries of Arabic occupation and then transformed in America by the mixing of African and indigenous elements under the burning sun of the Orinoco Basin and the infinite largeness of its horizons and savannas.
    The roots of joropo include music from sailors and troubadors who came in the galleons from Spain, taking root in South American soil and developing into a powerful and vigorous tradition. Over time joropo even became a symbol of national identity in Venezuela where it is considered the national dance, but only attained that status in eastern Colombia.

    There are three regional styles of joropo defined by instrumental and stylistic differences: eastern joropo and central joropo in Venezuela and the llanero joropo, from the plains along the Orinoco River, which is the one found in both countries and the very popular, due to its many recordings, extensive radio airplay and an abundance of festivals and competitions.

    Joropo music has become a genre for great solo virtuoso performances on the leading melodic instruments: harp or bandola (four-string lute) while the accompaniment is with the cuatro (four-string strummed small guitar) and the maracas. The double or electric bass has been incorporated into this group since the 40's. The llanero musician strums and plucks his instrument in a fierce and percussive manner and prefers lyrics which are strongly rooted in the poetic elements of his province, often in a proud nationalist gesture. The instruments offer a surprising palette of harmonic and percussive textures wrapped around the voices and the harp or bandola.

    Couplet singers improvise rhymed verses which refer to historical or daily events and even to people present at the party; the instrumentalists search for new percussive sounds and textures through constant variations, improvisation being at the heart of joropo music. The typical "canto recio” singing has a strong declamatory style and an epic character, featured by a long note called "tañío" at the beginning of most songs.

    The main forms are golpes (fast dances,) pasajes and tonadas (slow songs). Its names often refer to birds such as Gabán, Gavilán, Guacharaca, Periquera, Pajarillo, etc.
    The musical forms can be vocal or purely instrumental, but the real Joropo classic is the vocal ‘joust’, an improvised rhymed duel between two singers called “contrapunteo”.
    Born at full gallop with an incredible speed and powerful rhythmic vitality practically shouted out at the imense savannas,llanero joropo’s brisk and fiery character is therefore called the "untamed" joropo.

  

 source

  

   
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Música Llanera

   

Claudia Calderón
El Piano Llanero
Fundación Bigott - 2001
 

Tracks:

 
01- Quirpa (Folklore) 2:55
02- Quitapesares con San Rafael (Folklore) 3:32
03- Gabán, Chipola y Pajarillo (Folklore) 10:53
04- Las Espigas (Simón Díaz) 3:07
05- Amalia (Joaquin Arias) 2:40
06- El Trapiche (Emilio Murillo) 4:22
07- Revuelta Tuyera (Folklore) 8:42
08- El Sr. Jou (Pablo Camacaro) 3:50
09- El Avispero (Alberto "Beto" Valderrama) 3:02
10- Seis por Derecho (Folklore) 4:19
11- Zumba que Zumba con Periquera (Folklore) 3:42
12- Palo Negro (Anónimo) 2:55

Musicians:

Piano: Claudia Calderón
Cuatro: Cheo Hurtado (tracks 01, 02, 03, 04, 09, 10, 11, 12)
Tiple & Cuatro: Rafael Brito (tracks 03, 05, 06, 08)
Acoustic Bass: David Peña
Maracas: Ernesto Laya
Oboe: Jaime Martínez (track 04)

  

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A New Vision of the Traditional Joropo Music 
from Venezuela and Colombia 

  

After years of research into the roots of Colombian and Venezuelan Music, pianist Claudia Calderón has produced a collection of the best pieces of traditional harp and bandola folklore from los Llanos, the great plains of the Orinoco Basin and the Valley of the Tuy River. This music, traditionally known as "Joropo", combined with other genres from the Colombian Andes, creates an exquisite piano repertoire, revealing an unexpectedly high degree of musical discourse. This repertoire of  brilliant pieces is full of delightful hints of Spanish Baroque harpsichord music, set in the most powerful rhythmic context. Claudia Calderón has carefully transcribed the original Andean and llanero pieces for her instrument and her ensemble, seeking the highest musical fidelity to achieve a perfect rendering of these fascinating sources of unique world music onstage, worldwide.

The Chamber Music combination of piano and traditional Colombian and Venezuelan instruments is a breakthrough, bringing the sounds from los Llanos, the great plains and mountains north of the Amazon Basin to a universal concert format. This show, in which Claudia Calderón and her amazing guests make us discover a variety of music, is also a strong cultural statement. By combining the familiar voices of Piano and Double Bass with the surprisingly colorful performance of the Maracas, the Venezuelan Cuatro (small four-stringed guitar) and the Colombian Tiple (metal twelve-stringed guitar), the group reveals the profound musical and cultural universe spanning from the the Eastern tip of the Venezuelan Coast to the Southernmost parts of the colossal Colombian Andes; a great geographical arc which is full of musical surprises for world audiences.

The Andean ingredient gives an appropriate stylistic complement to the fiery music of  the Llanos, introducing the fresh and relaxing sounds of the mountain guitar, the tiple, gently strumming the delicate forms of  Colombian melodies. It is the realm of Bambuco, Pasillo, Joropo and Vals; an ancient musical tradition shared by Colombia and Venezuela. Piano Llanero brings these powerful forces together, and helps us enjoy a clear and authentic show of these relatively unknown but incredibly expressive families of Latin American music.

    

   

Colombian pianist and composer Claudia Calderón based in Venezuela since 1987, was born in Palmira, Colombia. She specialized in performing music from Venezuelan and Colombian traditional sources, as well as classical, romantic and contemporary piano repertoire, often playing her own compositions. After studying in her native Cali and Bogotá, she graduated 1987 in Piano Performing under Professor David Wilde at the Musikhochschule in Hannover, Germany. She also studied composition under Professor Diether De La Motte and attended courses in Italy under pianist György Sandor, a disciple of Béla Bartók.

Claudia Calderón has been Chamber Music Faculty at the Simón Bolívar Conservatory and at the Instituto Universitario de Estudios Musicales, IUDEM, in Caracas. She has also passionately studied the Joropo music from the plains and the coasts of Venezuela and Colombia and developed musicological research in traditional llanero harp at the FUNDEF Institute in Caracas, publishing several papers on the specific subject of  Venezuelan harp music in Venezuela and France.

She has produced the first complete and exact set of transcriptions of Joropo music from different historic ethnomusicological recordings, setting a new standard in the studies of this relatively unknown genre, giving also lectures at the Historical Harp Society at the University of Amherst, Massachussetts, USA and at the Mainz Universität in Germany.

Mrs. Calderón has toured extensively in solo and chamber music formations in Colombia, Venezuela, Uruguay, England, France, Germany, South Africa, USA and Mexico. Calderón's own works include solo piano pieces, chamber and symphonic music and have been performed and recorded in Venezuela, Colombia, England and Mexico.

In 1999 she created the Fundación Editorial Arpamérica, an institution for the purpose of researching, rescuing and promoting harp and bandola music through educational publications and new compositions. She has developed an entirely new repertoire for the piano, based on the sources of the harp and mandolin music, which she has recorded in the CD "El Piano Llanero", with the traditional ccompaniment of cuatro, tiple, double bass and maracas, released in 2002 in Caracas. The Banco de la República in Bogotá, Colombia, recently published a CD with the Piano Solo Works by Colombian composer Pedro Morales Pino she recorded in 2004.

Her new CD "El Piano Llanero II" will soon be released in Caracas.(November 2007) In 2004, she was awarded an artistic residence at the G-3 program (México-Colombia-Venezuela), where she created a composition for piano and small orchestra that has not yet been premiered.
  

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"Hoy canta alegre el Llanero
cabalgando sin cesar
a la luz de los luceros
en sueños sin despertar..."

  

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Horses 3

 

Renato Borghetti

Gaúcho

Tracks:

1. Milonga do Coração
2. Valsa do Coroa
3. Rasgando em Dobro
4. Kilometro 11
5. Bailinho na Capela
6. Entardecer no Pontal
7. Debochado
8. Pra que "Esse" Bemol?
9. Fazendo Jogo
10. Chamando os Cachorros
11. Para que Tu Saibas

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Gaúcho

 

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Renato Borghetti´s music is unusual in Brazilian recording for being so firmly centered in the folkloric elements of his native Rio Grande do Sul, in the southernmost region of Brazil, which shares a border with Argentina. Music of this area is often associated with the traditional people of Rio Grande do Sul, the "gauchos", and with the accordion instrument. The accordion may be best known in Brazilian music as important to music from the northeastern section of Brazil – but the southern area from which Renato Borghetti hails has its own accordion, a button – box known as gaita ponto.

The gaita ponto – driven folk of Rio Grande do Sul, possesses great power and intensity. With that kind of music, Borghetti has enjoyed a degree of success surprising for any artist who remains faithful to his folk roots. Not that Renato Borghetti´s music is hidebound or purist: he has revised, adapted, and modernized many of the native tunes of Rio Grande do Sul; he does not shy away from more typical forms from the wide spectrum of Brazilian and global pop – samba, jazz, tango, and beyond. Each of those forms he adapts to his unique style of accordion playing.

The accordion´s journey thorough Brazilian music dramatizes the many elements and influences of Brazilian music – and society – itself. Brazilian music has so many conflicting and harmonizing influences that the painful , creative histories of pre – Columbian America, European imperialism, and post – colonial struggles can be heard in its strains. The accordion is first a European instrument , popular in many variations among working people throughout the European continent, with particularly recognizable styles rooted in southern Europe. It was the Portuguese colonists who first brought the accordion to Brazil – but twentieth – century Italian immigrants their own influences to Brazilian playing.

Brazilian folk styles of accordion playing were never, however, solely European. Accordionists quickly picked up chant – like and modal qualities from native people, violating the European dance forms; to those odd blends were added the complex, syncopated rhythms of the African slaves who became an important part of the country´s population during the Portuguese colonization. Thus did the development of Brazilian accordion music – taking place, for the most part, far from the musical centers of Rio de Janeiro and Salvador Bahia – parallel the development of more familiar Brazilian forms like samba, which also blended European dance and religious music with native influences and a powerful dose of African percussion.

Parallels with the development of accordion playing in the southern part of the United States also come to mind: in bayou and Tex – Mex culture, French folk singing and dancing, the music of later German and other immigrants to Louisiana, and black, Latin, and native American rhythms combined to make the zydeco accordion an instrument of grater heat, intensity, and power than its antecedents could ever have suggested. It is perhaps just such intensity in Renato Borghetti´s accordion playing that has made him a popular mainstream artist even as he renovates the folk sounds of Rio Grande do Sul - a success that is all the more surprising for a musician who has generally focused on instrumental rather than vocal music.

Brazilian listeners are sophisticated, at home with jazz and folk as well as with more accessible pop forms: Borghetti recorded his first album in 1984, and it was instantly successful. Later albums were even more popular; his second release, for example, was the first gold record in Brazil ever feature exclusively instrumental music. Renato Borghetti has also reached out from the older forms to samba and tango, among other styles. His playing is uncompromising in its loyalty to a folkloric past, adventurous in its openness to new ideas. by William HogelandIt is perhaps just such intensity in Renato Borghetti´s accordion playing that has made him a popular mainstream artist even as he renovates the folk sounds of Rio Grande do Sul - a success that is all the more surprising for a musician who has generally focused on instrumental rather than vocal music. Brazilian listeners are sophisticated, at home with jazz and folk as well as with more accessible pop forms: Borghetti recorded his first album in 1984, and it was instantly successful.

Later albums were even more popular; his second release, for example, was the first gold record in Brazil ever feature exclusively instrumental music. Renato Borghetti has also reached out from the older forms to samba and tango, among other styles. His playing is uncompromising in its loyalty to a folkloric past, adventurous in its openness to new ideas.

by William Hogeland

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Horses 2

  

David Hykes / Djamchid Chemirani 

Windhorse Riders

Tracks:

1. Raised by a Power 8:49
2. Shaman's Column 7:41
3. Crossing Over 12:52
4. Right at the Time 2:46
5. Flock of Hands 3:38
6. Windhorse Riders 7:06
7. "... The Unknown, Now ..." 3:04
8. Just Between Ourselves 6:38
9. A Quiet Place in a Quiet Time 9:02

Total: 62:01   

Credits:

Goblet Drum [Tabla] - Zameer Ahmed (tracks: 3 to 5, 7)
Goblet Drum [Zarb] - Djamchid Chemirani (tracks: 2 to 7, 9)
Voice - Eric Barret (tracks: 3, 4)
Voice, Tambura, Jew's Harp, Sampler - David Hykes (tracks: 1 to 4, 6 to 9)

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 windhorses

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"An exquisitely haunting disc of meditative music accompanied by subtle percussion."

CD Review: The Basic 50 Definitive
World Music Library

...

The Harmonic Chant is a contemplative musical discipline I founded, named and have been developing with fellow researchers since 1973. From the beginning, I have had just one real aim: to seek out a true, symbolic musical language, simple and universal, which could express the quest for contact with a level of being higher
than oneself.

This aim is certainly the heritage of the Harmonic Chant as found in Tibet and Mongolia, where I received my first inspiration. As an experimental filmmaker and musician, I was searching for a 'refracted' or 'prismatic' sound when I came across the sacred overtone chanting of the Gyuto and Gyume monks of Tibet and the traditional 'hoomi' singers of Mongolia, all of whom I worked or studied with thereafter. These singers, and their counterparts in Tuvan Russian, each produce in their chanting several notes at the same time, that is, a fundamental note and one or more soaring harmonics, or overtones, of the fundamental note.

I was inspired -- reminded, one could say -- by the sounds of these monks, shamans and singers to learn to chant in the same way. My aim and inspiration was to bring to life a new, global sacred music emanating from this most basic music universal - the harmonic series - present in all vocal or instrumental sound. The harmonic series is to sound what the color spectrum is to light.

Hykes 

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Horses

 

Ordo Sakhna 

The Flame Horses

Tracks:

01. Takh [przhevalski horse]
02. Butsefal [the horse of aleksander the great]
03. Mustang [north american horse]
04. Konyok-Gorbunok [russian fairy-tale horse]
05. Marengo [napoleon's horse]
06. Seter [gengis khan's horse]
07. Al-Burak [the mystical horse of prophet mohammad]
08. Rassinant [the horse of don kikhot]
09. Jilkichi [horse herdsman]
10. Taitoru [the last horse of manas]
11. Kulun [a foal]

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 horses

 

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