Showing posts with label Italy. Show all posts
Showing posts with label Italy. Show all posts

30.6.15

O sole mio :-)

  
Les Sœurs Dalmasso
Saga Italienne
2004

Tracks:


01. La mamma
02. Torna a Surriento
03. Una canzone per te
04. Portami tante rose
05. Ai Maria
06. Violino tzigano
07. Tarentelle
08. La strada del bosco
09. Brasilia
10. Vivere
11. O sole mio

Interprètes:

Les Sœurs Dalmasso:

Suzel Zajac Dalmasso (Voix)
Linette Dalmasso (Accordéon, Voix)
Pierrine Zajac Dalmasso (Violon)

avec:

Dominique Cravic (Guitare)
Robert Santiago (Accordéon diatonique)

Enregistrement 2003-2004

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ. 

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

 Utterly charming music from another era, 
from sisters with a tale to tell.

:-)




 




 read it all



30.4.15

02:28 min pure joy & a some more tracks :-)


rose marine
Méditerranée, chansons et recettes... 
2011

Tracks:

01. La marinin (feat. Choeur d'enfants de l'école Saint-Exupery) - Stefano Valla & Daniele Scurati - 2:28
 
02. Kanaria (feat. Choeur d'enfants de l'école de Montagnat) - Elisa Vellianiti - 5:24
03. Haddi ya baher haddi (feat. Choeur d'enfants de l'école de Saint-Exupery) - Rana Elayan, Adel Salameh & Reem Handal - 4:31
04. L'ortu di minna (feat. Choeur d'enfants de l'école de Peronnas) - Patrizia Gattaceca - 2:51
05. I trata (feat. Choeur d'enfants de l'école Saint-André sur vieux Jonc) - Elisa Vellianiti - 3:40
06. Monachella (feat. Choeur du conservatoire 'Farendole 2') - Stefano Valla & Daniele Scurati - 6:38
07. Ala dalouna (feat. Choeur d'enfants de l'école Les dimes) - Rana Elayan, Adel Salameh & Reem Handal - 3:31
08. E castagne (feat. Choeur d'enfants de l'école de Montagnat) - Patrizia Gattaceca - 2:17
09. Tis kardias sou ta klidia (feat. Choeur d'enfants de l'école de Dimes) - Elisa Vellianiti - 3:18
10. Elwadi (feat. Choeur d'enfants de l'école de Dimes) - Rana Elayan, Adel Salameh & Reem Handal - 2:14
11. Madre crudela (feat. Choeur d'enfants de l'école de Jasseron) - Stefano Valla & Daniele Scurati - 3:58
12. A merula (feat. Choeur d'enfants de l'école de Peronnas) - Patrizia Gattaceca - 1:35
13. Mnein jebt lhenna (feat. Choeur d'enfants de l'école de Saint Andre sur Vieux Jonc) - Rana Elayan, Adel Salameh & Reem Handal - 1:56
14. Un piatto di maccheroni (feat. Choeur d'enfants de l'école de Peronnas) - Stefano Valla & Daniele Scurati - 2:47
15. Thalassa (feat. Choeur d'enfants de l'école les Dimes) - Elisa Vellianiti - 3:38

Avec:

Elisa Vellia – Grèce
Duo Stefano Valla & Daniele Scurati – Italie-Gènes
Patrizia Gattaceca – Corse
Rana Elayan, Reem Handal et Adel Salameh – Palestine

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ. 

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

Ce 10ème album est une ode à la Méditerranée.

Il réunit les sonorités, les voix et les chants qui bordent ses rivages. Il associe voix d’artistes et voix d’enfants et nous entraîne dans un voyage en terre de Palestine, de Grèce, d’Italie ou encore de Corse. Une découverte musicale qui ravira petits et grands.

  
 

la la la lo lo la la la la la lero 
la la la la la lero la la la la
la la la  la la la la

..


~~♥~~

28.4.15

Canta, canta...

Cantos a Kiterra
Canti dalla Sardegna
2003

Tracks:

01. Canto In Re / Song In D - 5:53
02. Nuoresa (original) - 8:47
03. Mutos (Original) - 6:23
04. Gadduresa e Filonzana - 9:17
05. Canto In Re / Song In D - 8:02
06. Corsicana - 6:12
07. Fa Diesis/ F Sharp - 2:52
08. Si Bemolle / B Flat - 3:01
09. Disisperada - 4:58
10. Mutos - 10:18
11. Mi e la / e and A - 4:58

Personnel:
 
Voci: Torangelo Salis, Giuseppe Contini, Antonio Porcu, Francesco Demuru
Chitarra: Nino Manca, Giacomo Usai
Fisarmonica: Claudio Dessena

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ. 

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫
  
 A musicla tournament where singers rival in elegance, breath control and vocal audacity, cantu a chiterra is still largely unknown outside Sardinia. With a guitarist, each contestant takes turns at performing texts from books of poetry (more often 19th century works transmitted orally), in a show of endurance, vocal prowess and melodic inventiveness.

***
 
 Senesia is a cultural initiative that Amiata Records, in collaboration with Pandela, dedicates to the musical heritage of Sardinia, one of the oldest of the Mediterranean basin.

This first volume takes a look at the canti a chitarra (guitar-accompanied songs), which form one of the most original expressions of the island's musical repertoire.

Generally interpreted in competition form, this tradition invites a variety of vocalists to put to test their ability to improvise to guitar accompaniment, in front of a passionate audience of connoisseurs.

Presented by Andrea Parodi, the leader and unmistakable voice of the group Tazenda, this audiobook includes two important essays by Pietro Sassu and Paolo Scarnecchia, a rich and accurate photographic collection and a CD containing the most popular canti a chitarra performed by the most acclaimed talents of our time.

This is a unique opportunity to step closer to the millennial culture of this rich island, a splendid jewel of the Mediterranean.


Cantu a chiterra

Traditional singing accompanied by guitar cantu a chiterra is also found in Sardinia, represented by performers like Luiginu Cossu, Maria Carta, and nowadays Francesco Demuro; this genre is especially well known in the northwest region of Logudoro near the city of Sassari and in the northeast region of Gallura.

The cantu a chiterra (Sardinian for "singing with guitar") is a typical form of monophonic singing in Sardinian and gallurese, accompanied by guitar. This type of song is particularly prevalent in the northern part of the island; in particular in the Logudoro, Goceano, Planargia and Gallura. Very likely, some of the songs existed before the invention of the guitar, for example, Cantu in re (Song in D), but with the advent of the instrument they have developed different variations.

Competitions

After centuries of existing in familiar setting, the cantu a chiterra also developed during the twentieth century as a singing competition, with the guitar (sa gara), taking place in front of an audience, usually at religious festivals, in forms that are still in place.

The gara is a musical competition where two or three singers, accompanied by a guitarist, compete with their improvisations on pre-established musical themes to show the quality of their performance. The competition requires that each cantadore (singer) performs one verse at a time, alternating with the other competitors (usually being assigned three stanzas each). The musical reference model (variant) is not a form fully and completely defined, but rather a set of pre-established forms of musical structures (meter, melody, harmony) relatively undefined. So that is it allowed to each cantadore to improvise at will on the model of reference.

wiki


& thanks to Lucky : )
 
 

27.4.15

Come, good Shepherd, feed thy sheep

Super Folk
Sardegna
Antiche Corali di Orgosolo - Orosei
Ovodda - Fonni - Nuoro
City Record - 2009

Tracks:


01 - Passu torrau  - Coro Di Orgosolo  - 4:11
02 - Muttos de amor  - Coro Di Orgosolo  - 2:59
03 - Voche otte antica  - Coro Di Orosei  - 3:11
04 - Selezione tipica  - Coro di Ovodda  - 2:29
05 - S'orgole sa  - Coro Di Orgosolo  - 2:53
06 - Fonni fizza de su gennargentu  - Coro Di Fonni  - 3:03
07 - Gosos di chidana santa  - Coro Di Orosei  - 3:43
08 - Ninna nanna  - Coro Di Orgosolo  - 2:55
09 - Bobore ficomurisca  - Coro Di Nuoro  - 1:41
10 - Sa cozzula  - Coro Di Nuoro  - 3:15

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ. 

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

The Tenore Song
An expression of the Sardinian pastoral culture


The A Tenore song has developed within the pastoral culture of Sardinia. It represents a very specific form of guttural polyphonic singing performed by a group of four men using four different voices called bassu, contra, boche and mesu boche. One of its characteristics is the deep and guttural timbre of the bassu and contra voice. It is performed standing in a close circle, where the solo singer sings a piece of prose or a poem while the other voices form an accompanying chorus. To be able to hear simultaneously their own and the other singers’ voices and reach entire harmony, the singers hold one of their ears closed.

Most practitioners live in the region of Barbagia and other northern and central parts of Sardinia. Their art of singing is very much embedded in the daily life of local communities. Often it is performed spontaneously in su zilleri (local bars), but also at more formal occasions, such as weddings, sheepshearings, religious festivities and the Barbaricino carnival.

The Gosos, an ancient form of A Tenore song which is still practised in some villages today, is already mentioned in the Gosos de sa Figumorisca, dating from the early seventeenth century.

The A Tenore song encompasses a vast repertoire that varies from region to region. The most common melodies are the serenade boche ‘e notte (‘the voice of the night’) and dance songs such as the mutos, gosos and ballos. The lyrics are either ancient or contemporary poems on present-day issues, such as emigration, unemployment and politics. In this sense, the songs can be regarded as both traditional and contemporary cultural expressions.

Like many oral traditions, the A Tenore song is especially vulnerable to changes in the socio-economic structure, such as the decline of the pastoral culture and the increase of tourism in Sardinia. The diversity of forms and repertoire is slowly decreasing. There is a tendency to perform on stage in front of (tourist) audiences, which affects the originally very intimate way this music was performed. Furthermore, many young people emigrate from the rural areas, making the transmission of the A Tenore songs within the villages increasingly difficult. 



 
    
     

Coro Di Orgosolo

 

Map of Central Sardinia
 

 source of pic 04 - 06 - google


26.4.15

La voce umana

Tenores
Suoni Di Un’Isola - Vol. 1
2003
   
Tracks:

Tenores Mialinu Pira (Bitti)
01. Oche 'e notte - 3:57
02. Ballu seriu - 4:33

Tenore Milìa (Dorgali)
03. Muttos - 3:59
04. Ballu torrau, Ballu 'e tres passos - 3:30

Cuncordu Vramentu (Fonni)
05. Boghe 'e notte - 3:57
06. Ballu Torrau, Ballu sartiu - 4:28

Tenore Barbagia (Ollolai)
07. Lestra - 4:02
08. Ballittu, Boghe 'e notte - 4:14

Su contrattu de Seneghe (Seneghe)
09. Gosos - 4:38
10. Ballu 'e cantidu - 4:04

Tenore Sélema de Torpè (Torpè)
11. Muttos - 3:35
12. Ballu brincadu - 6:07

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ. 

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

 Tenores is the first volume of the series “Suoni di un’isola”("Sounds of an Island”)  edited by Marco Lutzu and published by Live Studio. The purpose of this project is to  "portray" the present musical lanscape of Sardinia as regards traditional genres through a series of cd-roms devoted to the different repertoires. Notwithstanding the many available recordings and books on Sardinian music, an organic initiative directed to the multimedia documentation of this incredibly rich world, accompanied by accurate scholarly information, has not so far been available.

The first volume deals with one of the most important genres of Sardinian polyvocal male singing: the a tenore singing, reserved mostly for secular occasions. The editor points out that this genre has already been documented in 1787, when the abbot Matteo Madau from Ozieri published Le armonie de' sardi. It was described in the following terms: "In the area of Logudoro they sing their verses with concord of many voices, called Polyodia by the Greeks, that is an artful union of voices […] divided into four parts: soprano, alto, tenore, basso, opposed to each other with exact measure of time […]. This song seems to be introduced by the Greek Dorian colonies, whose way of singing […] was low, pathetic, vigorous, majestic and noble, and able to arouse and gather the hearts […]" (Madau 1787).

In modern terms, a tenore singing is described as a polyvocal genre distributed across the central-north of Sardinia, performed by a group of four male singers, each of them entrusted with rendering one of the four parts. The tenore belongs to the wide family of “canto ad accordo”, where a melodic line performed by a soloist is accompanied by chords realized by the other singers. Sa oghe, the leader of the group, both sings the text and leads the singing, choosing the tone, tempo, speed, length, and tonal shifting (which deeply characterizes this kind of polyvocality). The other parts are usually called su bassu, sa contra and sa mesu oghe. They are endowed with a specific range and perform a rhythmical and harmonic counterpoint, singing nonsense syllables that change from area to area (bim-bò, bim-bam-bò, etc.).   

The volume Tenores presents six a tenore groups from six different villages, which are representative of the main geographical areas where the genre can be found today: from the western coast of Sardinia (Seneghe) to the eastern coast (Dorgali and Torpè), and even the most internal villages like Bitti, Ollolai and Fonni.

In this way the different styles of singing found in the region are carefully documented. Compare for instance the style of a group from Bitti (Tenores Mialinu Pira) performing Oche ‘e notte with the more relaxed and extended way of singing the same form realized by a group from Fonni (Cuncordu Vramentu).

Twelve audio tracks document also the main repertoires which commonly employ a tenore singing: ballu, that is dance song - perhaps the most typical expression of this style -; boghe 'e notte (night song),  muttos and lestra, secular songs whose form is individually determined by a particular poetic structure; and gosos, a religious type of song.

The volume also includes an interesting survey of the main questions related to a tenore singing dealt with in the section entitled “a tenore singing”. Marco Lutzu talks over its history — from its origin until its role in today’s Sardinian society —, occasions and functions, and musical features — from the function and role of the voices to their timbre, from the repertoire to the language and relationship text-music, and even the singers’ behavior in terms of kinesic and prossemic.

Further sections deal with the geography of a tenore singing, the performers, texts, and musical transcriptions, thus providing wide information on the genre, its structural aspects, the related poetic forms and its distribution across the island.

Finally, the editor takes advantage of the multimedia format in order also to include a series of video-interviews with the six groups of singers, which allow us to observe their behavior while singing, besides providing information from inside.

In conclusion Tenores is certainly a work worthy of consideration, which will be very useful both for scholars and for a wider audience thanks to the quality of the audio and video recordings and the accuracy of the accompanying text. The only criticism concerns the English translation of the text, which would benefit from a revision.

Tullia Magrini


get the cd:
 





25.4.15

...another excellent example of Sardinian vocal skill...

Polyphonies de Méditerranée
Sardaigne - Italie
Tenores Di Bitti Remunnu E' Locu
Romanzesu
1993

Tracks:

01. Cantu A Ballu Seriu - Su Bandu Universale - 03:41
02. Cantu A Isterritas - Sos Avaros - 06:42
03. Mutos - 04:22
04. Ballu A Passu Torratu - 05:34
05. S'Andira Antica - 05:14
06. S'Andira De Como - 03:58
07. Ballu Lestru - 04:23
08. Su Nenneddu - 02:39
09. Andelus Cantade A Su Vitzu De Maria - 04:33
10. Cantu A Boche Note - S'Incontru Fortunadu - 07:01

Personnel:


Daniele Cossellu: boche e mesa'oche
Tancredi Tucconi: contra
Salvatore Bandinu: bassu
Piero Sanna: boche e mesa'oche
 
♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ. 

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫
 
 Tenores di Bitti are Sardinia's celebrated masters of traditional "tenores" singing, a tradition that dates back over a thousand years. The Tenores do not use written music - this precious cultural/musical tradition is handed down orally from father to son. Their singing is characterised by the sounds of the natural landscape and the singers stand one in front of the other, forming a circle; their singing is a symbol of the strength, of the social cohesion, which is felt inside.

 
Tenores di Bitti are the established masters of this millenarian art. After twenty years of activity with the same line-up, winner of hundreds of prizes, admired by the most important ethnomusicologists, invited by such musicians like Lester Bowie and Ornette Coleman to perform with them, Tenores di Bitti are considered the absolute perfection of "canto a tenore" and in Sardinia they are near to the legend.

 
 

The "Canto a Tenores", typical of the centre of Sardinia, is one of the most precious and enchanting polyphonic arts in the Mediterranean area. This traditional singing form is still well alive in the island. Four voices create the music: Boghe, Contra, Mesa 'oche, Bassu. The lead voice (Boghe) sings the main melody and starts the song, while the other three voices are the rhythmic accompaniment characterised by nonsense syllables. Using their typical guttural timbre and tuning jumps, Tenores have an enormous repertoire: Mutos, Ottave, Battorinas, Terzine, dances and improvised rhymes. Deeply different from any other Italian polyphonic style, specially for the bass voices, surprisingly "Il Canto a Tenore" shows many analogies with the primitive vocal music of Oceania and Africa.


 

24.4.15

La Donna canta e suona la chitarra

 
Marina Pittau
Raighinas
2003

Tracks:

01. Su beranu (Le printemps) - 5:13
02. A bosu pregaus - 4:00
03. Rosariu - 1:50
04. Ballu sardu - 4:29
05. Su bandidu antuneddu - 5:45
06. Dadenos abba (Donnez nous de l'eau) - 4:53
07. Duru duru a trunfa (Tourner) - 4:15
08. Dies Irae (Le jour de la colère) - 5:00
09. Sa chiterra - 3:19
10. A badda (À danser) - 5:51
11. Non potho reposare - 5:15
12. Dillu de Anton'istene - 3:28
13. Goccius de Santa Luxia (Joie de Santa Lucia) - 4:44

Personnel:

Marina Pittau (Voix, guitare (4, 5, 10, 11), percussions (8), trunfa (7))
Valentino Meloni (Guitare (1, 2, 5, 7, 8, 10, 11, 12))
Orlando Mascia (Launeddas, organittu, trunfa, sulittu)
Peppino Cabiddu (Guitare sarde (9))
Rossella Faa (Voix (3, 6))
Marco Malatesta (Percussions (1, 7, 10))
  
♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ. 

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫
  
 Marina Pittau was born in Cagliari, Sardinia. From her earliest childhood, she was inspired by the music she heard around her and she taught herself to sing and play the guitar. For the past ten years or so she has been living in Geneva, where she teaches music and singing, but she returns to Sardinia regularly, and it was there that this recording was made, with some of the island’s most remarkable musicians. And the result meets all our expectations, with a colourful mixture of the ‘musical mysteries’ of Sardinia, including fascinating instruments such as the launeddas, and the cosmopolitan sensibility of this very fine singer.

"Il est étonnant de ressentir l'entrain irrésistible à la danse autant que les accents d'une douleur insondable, qui cohabitent dans le répertoire de cette magnifique vocaliste comme dans le génie de son pays natal" (Vibrations)
 
  
Ce CD se présente sous forme d’un voyage imprégné des sons et des songes de la Sardaigne, où la mélancolie des ballades alterne avec les rythmes effrénés des danses. Il nous conte l’amour, la séparation, l’exil, l’espoir de retour, mais nous parle aussi de légendes et de rites magiques. La recherche musicale de Marina Pittau vise à mettre en évidence le côté narratif du texte. À côté de ses propres compositions, nous pouvons entendre des chants issus de la tradition orale, du XIVe siècle à nos jours, redécouverts dans un arrangement nouveau. Marina Pittau est ici accompagnée par une palette de musiciens sardes, dont les timbres instrumentaux ancrent sa démarche dans une tradition en perpétuel renouvellement.
 
  
Marina Pittau est née à Cagliari, en Sardaigne. Dès sa plus tendre enfance, elle s’imprègne de toutes les mélodies et des rythmes qu’elle entend. Elle aime chanter ! Mais sa terre lui paraît hostile : elle ne peut pas y développer sa passion pour le chant et la musique. Comme un oiseau qu’on veut mettre en cage, elle doit s’envoler. Elle décide de partir pour le Nord, ses bagages emplis de souvenirs et de mélodies. La musique est désormais sa seule patrie et elle erre longtemps comme une nomade. Foncièrement autodidacte, elle témoigne dans son chant et son jeu de guitare d’une grande liberté expressive.

En 1982, elle arrive à Paris, où elle entreprend ses premières études musicales, et aussi ses premières expériences de la scène en interprétant les chants traditionnels de sa terre natale. Elle est invitée plusieurs fois à la radio, d’abord à France Musique, puis à France Culture, qui lui consacre une émission, « une Sarde à Paris ».

Après quelques années, elle poursuit ses études au Conservatoire populaire de Genève, où elle obtient un diplôme de chant classique. C’est à cette époque qu’elle commence à étendre son champ artistique en direction de la composition et du théâtre. Elle participe dès lors à de nombreux concerts, festivals, émissions de radio et de télévision en France, en Suisse, en Italie, en Espagne et, dernièrement, jusqu’au Maroc.

Marina Pittau enregistre son premier CD, « A Distempus », en 1996, en duo avec la chanteuse Lucia Albertoni. Depuis plusieurs années, elle se consacre à l’enseignement de la guitare et, surtout, du chant dans le cadre des Ateliers d’ethnomusicologie de Genève, animant notamment des stages de chant polyphonique.

Pour préparer ce nouveau disque, Marina a fait un long séjour dans sa terre natale afin d’y retrouver ses racines et de renouer des liens avec des musiciens traditionnels. Les enregistrements, réalisés sur place, présentent les résultats de cette rencontre avec certains des plus remarquables de l’île.

Valentino Meloni est né à San Gavino Monreale en Sardaigne. Baignant dans la musique depuis son plus jeune âge, il commence à étudier la guitare avec son père, Maestro Celio Meloni. Guitariste éclectique, formé tant à la musique classique qu’au style traditionnel sarde, il a souvent accompagné des poètes improvisateurs. En tant qu’interprète et que compositeur, il se produit fréquemment en solo, en duo ou au sein de diverses formations. Depuis plusieurs années, il enseigne également la guitare en Sardaigne.

Orlando Mascia est né à Maracalagonis, en Sardaigne. Il se produit depuis de nombreuses années dans l’intention de faire vivre différents instruments typiques de Sardaigne : les launeddas, une triple clarinette de roseau, le sulittu, une petite flûte de berger, la guimbarde (trunfa) et l’accordéon diatonique (organittu). Spécialiste notamment de la fabrication de ces instruments, il enseigne et anime des stages dans différentes écoles de Sardaigne. Il a également participé à de nombreux festivals et émissions en tant que soliste ou qu’accompagnateur, en Sardaigne et à l’étranger.

Peppino Cabiddu est né à Abbasanta, en Sardaigne. Il chante et joue de la guitare sarde depuis l’âge de treize ans. Passionné par le « chant à guitare » (boghe a chiterra), un style qui s’est développé dans le Centre-Nord de l’île dont il est originaire, il est fréquemment invité à participer aux fameuses « sérénades » traditionnelles. Dans le passé, il a souvent accompagné à la guitare les plus grands chanteurs, notamment lors des joutes de chant à guitare (gare de boghe a chiterra), tout en se produisant aussi en soliste.

Rossella Faa, chanteuse et compositrice, est également sarde. Elle collabore à divers groupes de musique traditionnelle et a participé à différents projets théâtraux en tant que comédienne et que musicienne. Dans ce disque, elle prête sa voix à deux compositions de Marina Pittau : « Rosariu » et « Dadenos abba ».

Marco Malatesta est originaire des Abruzzes. Diplômé en musicologie de l’Université de Bologne, il suit également une formation de pianiste, de batteur et de percussionniste, qu’il a perfectionnée à Rome. Il travaille actuellement comme compositeur et musicien avec différentes troupes de théâtre et ensembles musicaux, avec lesquels il effectue de fréquentes tournées.




13.4.15

Minestrone



Minestrone is a thick soup of Italian origin made with vegetables, often with the addition of pasta or rice. Common ingredients include beans, onions, celery, carrots, stock, and tomatoes.
There is no set recipe for minestrone, since it is usually made out of whatever vegetables are in season. It can be vegetarian, contain meat, or contain a meat-based broth (such as chicken stock). Angelo Pellegrini, however, argued that the base of minestrone is bean broth, and that borlotti beans (also called Roman beans) "are the beans to use for genuine minestrone"
 

 
Compagnia Sacco Di Ceriana
U menestrun de Seriana
1996
  
Tracks:

01. O Barcaiolo [Boatman]
02. Quando Rosina Scende Giu Dai Monti [Little Rose]
03. Stanotte in Sogno [Tonight in a Dream]
04. Dunde l'È La Mia Morosa [Where Is My Beloved?]
05. Bela Marianina [Beautiful Little Mariana]
06. Maïre Fiürentina [Florentine Mother]
07. Marietta [Little Mary]
08. Lenga Serpentina [The Snake's Tongue Speaks About Love]
09. 'U Menestrun de Seriana a l'Ustaria Minestrone [The Big Soup]
10. Minestrone

Personnel:
   
Prima: Niccodemo Martini
Bassi di bordone: Livio Embrìaco, Roberto Barucchi, Rino Lanter
Seconda: Redentore, Rebaudo Alberto, Lupi Giovanni Martini, Claudio Martini, Giacomo Cappone, Massimo Martini, Giannino Ferrari, Camillo Rebaudo, Mirco Soldano
 
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La grande Soupe

Voici un recueil de chants composé de chefs-d'œuvre d'art populaire, d'expressions profondes de l'âme.

"MINESTRONE. En Italie, soupe de légumes enrichie de pâtes ou de riz", (extrait du Larousse Gastronomique, édition mars 1986 p. 632). A Ceriana 'U MENESTRUN DE SERIANA est non seulement un terme de cuisine mais désigne aussi une improvisation musicale, un enchaînement d'airs, un divertissement chanté au gré de celui qui lance la chanson, un véritable pot-pourri qui s'entonne all'osteria, au bar. Les thèmes différents et le répertoire est à grande majorité celui de Ceriana, mais la Compagnia puise aussi dans d'autres recueils: chants du nord, du centre de l'Italie et de Gênes (trallallero), mélodies de fanfare, etc. La particularité du MINESTRONE réside cependant, comme c'est le cas dans cette interprétation, dans la présence d'airs célèbres de l'opéra italien qui témoignent de la grande popularité dont jouit le bel canto dans ce pays. L'improvisation est basée sur les structures du chant polyphonique tel qu'il est pratiqué à Ceriana: seconda, voix soliste qui lance le thème et prima, voix qui soutient, suivies d'une dizaine d'hommes formant le bordone, la basse continue.

En Ligurie occidentale appelée le Ponente, non loin des Alpes maritimes françaises, se trouve Ceriana, à quelques kilomètres de Poggio, fameuse côte sur la course cycliste Milan San Remo. Ce bourg jadis fortifié se dresse sur un rocher émergeant au fond du Val Armea dont les flancs escarpés, aménagés en terrasse, sont cultivés en vignes et oliviers. La tradition des polyphonies vocales transmises oralement reste immuable et le riche répertoire a été sauvegardé notamment par la Compagnia Sacco, un ensemble des plus importants. C'est aussi le plus ancien de la communauté, né au début du 20ème siècle de la rencontre, au café Stella d'Italia, d'un groupe d'amis qui trouvaient dans le chant une récompense après une journée de travail, l'occasion de se divertir et de faire, parfois, de puissantes bombes, baldorie. Le nom de la Compagnia Sacco provient de l'habitude des paysans d'emporter, lors des travaux des champs, un sac blanc contenant les provisions du repas.

 
   
 Compagnia Sacco Di Ceriana
 
In the medieval borough of Ceriana, singing has always been a popular spontaneous expression, deeply rooted in everyday life. The vocal heritage of Ceriana in very rich, both in the sacred and profane aspects, it reflects very old polyphonic structures. One can find in these songs the extraordinary tradition of the Mediterranean polyphonies. The group formed in 1926 and it is the true testimony of the way of singing of the tradition of Ceriana. The particularity of the vocal tradition in Ceriana consists in the presence of the bassi of bordone, which create a continuos basso structure. In general the singing is introduced by the second baritone voice, to which is added the first voice, the more acute one of the tenor. The bassi di bordone accompany the soloists. The combination of these different vocal tones creates the impression of a higher register of sound, an echo reminiscent of a delicate female voice, which is actually not present. The togetherness of this structure, thin and powerful at the same time, sustained by the beauty of the lyrics allows an ornamental melody and frees deeply powerful emotions. The group is, at present, made up by seven members: Rino Lanteri, Alberto Lupi, Niccodemo Martini, Camillo Rebaudo, Matteo Lupi and Mirko Soldano. The group’s name derives from the habit the land workers had of carrying on their shoulders a white sack, which contained their lunch: this shows that the workers used to sing during their labour, a habit still alive nowadays, and later they decided to start a group with a written statute. 
  
  

 
   
In Ceriana, a village in West Liguria on the southern slopes of the Italian Alps descending to the Mediterranean coast, people love to sing. Among not less than five choirs, The Compagnia Sacco, founded in 1926, is the most committed to preserve the traditional drone polyphony. Different from Corsican and Sardinian polyphonies (but similar to East Georgian table songs), the local three-part singing is characterized by two solo voices and the drone of the choir.
 
 
 

12.4.15

Genoese Songs

 
La Squadra
Chansons génoises

2000

Tracks:

01 - Introduction - 01:34
02 - Quartu au maa - 03:06
03 - Notte a bocadasse - 03:44
04 - Maa de zena - 03:40
05 - Strasetti d'arba - 04:07
06 - Zena a perla du maa - 04:16
07 - Ave Maria - 03:46
08 - Fuxe de zena - 03:47
09 - Tre caravelle - 04:17
10 - Serenata a sturla - 02:38
11 - Serenata a trasta - 03:33
12 - Madonnin-a-di pesoei - 05:23
13 - All'alba - 02:52
14 - Il rumesciu - 02:32

Members:

Francesco Tanda (conductor), Aldo Giaccon (tenor), Sergio Bruzzone (baritone), Claudio Valente (contralto), Enrico Tardito (bass vocals), Rinaldo Barbleri (bass vocals), Eros Cassoti (bass vocals), Giovanni Nocetti (bass vocals), Giovanni Bruzzone (bass vocals), Elio Maggiolo (guitar)
  
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Genoese Songs

The great seaport on the Ligurian coast, Genoa has a tavern song tradition called trallalero, a polyphonic vocal style, possibly related to the nearby Sardinian and Corsican varieties, involving a complicated counterpoint by five male voices. The sound of trallalero is one of the most ornate and haunting in the Mediterranean.

  
La Squadra (compagnia Del Trallalero)

The tradition of polyvocal singing was born at the turn of the century, when urbanization drew rural populations like a magnet to work in the factories of the major cities. From one generation to the next, the heritage was refined and encoded into a sort of classicism.

The Genoese docks were the birthplace of trallalero, a polyphonic vocal style with five voices, one of which imitates a guitar. It arose in the 1920s and includes modern groups like La Squadra -- Compagnia del Trallalero and Laura Parodi...

 Trallalero
  
Trallalero is a kind of polyphonic folk music from the Ligurian region of Genoa, in northern Italy. It is traditionally performed by men, though there are some female performers in the modern era. The name derives from the monosyllabic vocables (non-lexical vocalizations), tra-la-la.

In the 1950s, American musicologist Alan Lomax and Diego Carpitella recorded trallalero. Lomax later claimed he was blown away, and called it the most significant work in his long and storied career. Edward Neill worked to revitalize the tradition in the middle of the 20th century.

Trallalero groups consist of tenor, baritone and bass parts, accompanied by a contralto and a singer whose voice imitates a guitar (chitarra). Nine singers are considered a normal line-up: one each of chitarra, tenor, contralto, baritone and five basses.

Group harmony in Liguria is historically associated with mountain villages, where two voices (usually a tenor and a baritone) sung over accompaniment by bass or drone. A repertoire of traditional songs evolved over time, and the style moved to the docks of Genoa, a noted port city. There, metal-workers, longshoremen and stevedores sang trallalero, with the practice peaking in the first three decades of the 20th century. Some trallalero groups are still existing in Genoa and Liguria.



11.4.15

Ah, Granny's come to help us out...

   
Italie
Polyphonies des Quatres Provinces
2012
 
Tracks:
 
01. Avóta vgni curé ant la mè vigna (Veux-tu venir, mon cœur, dans ma vigne) - 1:09
02. E la vien dal ciel (Elle vient du Ciel) - 3:17
03. Mamma mia dammi il biondo (Maman, donne-moi le blond) - 3:02
04. Dove vai o ti Armando ? (Où vas-tu, ô toi Armando ? ) - 3:29
05. Tri bèi giuvin (Il y avait trois beaux jeunes garçons) - 2:53
06. Lei mi voleva bene (Elle me veut du bien) - 4:50
07. Sotto il ponte (Sous le pont) - 4:50
08. Çappellino rotondo (Le petit chapeau rond) - 2:30
09. Marcinella (Marceline) - 3:25
10. Stornèlli in risaia (Stornèlli dans la rizière) - 2:25
11. Cristoforo Colombo (Christophe Colomb) - 3:20
12. La strada di Mede (La route de Mede) - 3:23
13. Cinque minuti (Cinq minutes) - 1:50
14. La sposina (La petite épouse) - 3:36
15. E darmi d'un ricciolo (Donne-moi une boucle de tes cheveux) - 4:10
16. La bèlla si marita (La belle se marie) - 4:06
17. La figura (La figure) - 1:34
18. Angiolina - 1:17
19. Serenatella proibita (Sérénade interdite) - 3:08
  
I cantori di Marsaglia - Colleri U Canta - Paolo Marchelli - La Squadra Trallalero - Le Voci Dei Confine - Le Voci Di Fego - Le Voci Di Ferriere - Le Voci Di Lesima...
  
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 The traditional polyphonic singing of Northern Italy is locally known as canto fermo (“song without rhythm”). This is an all-male tradition; female groups were also once common, but for some reason have now disappeared, and the singing generally takes place when friends gather in someone’s cellar or in a bar. As its name suggests, this is music that unfolds without rhythmic pulse, but with rich and powerful harmony. This recording was made in the field by amateur singers, and the sound quality is very good; the singing is rough-edged but expert...

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The ... CD presents the canto fermo (songs without rhythm) genre found, among other places, in the quattro province of northern Italy - a mountainous area situated where the four northern Italian provinces of Genova, Piacenza, Alessandria and Pavia join.  The local culture is very interesting in that it has incorporated disparate elements of Piemontese, Ligurian, Emilia Romagnan and Lombard tradition into a cohesive whole.  To the uninitiated, this canto fermo sounds a lot like the famous Genovese trallalero tradition - but only superficially; it tends to be less complex and 'arranged', and usually excludes the chitarra (vocal guitar) part.

Group harmony singing can, of course, be found all over the world and these mountain villages are no exception - but the normal form was for a 'first' and 'second' voice (often a tenor and a baritone) to carry the song over a bass accompaniment or drone.  In a few areas, a vocal 'guitar' part was added to the accompaniment.  A broad repertoire of such songs developed over a long period.  Liguria is a poor area for most sorts of agriculture and many villages operated at near subsistence levels whenever the circumstances were less than perfect.  Having a city like Genova (Zena in the local dialect), rich from trade and commerce from the 11th century through to fairly recent times, acted as a magnet, as all powerful cities do, to the more adventurous dwellers in the hinterland, and such people flocked there in search of fame and fortune ... bringing their songs with them.  For reasons which it would be impossible to fully explain, the polyphonic singing style of the mountain villages found a particular place among the gangs of longshoremen, stevedores and participants in the various metal-working trades which supported the industry of the port.  The male contralto part may well have been borrowed from the castrati who formerly sang in the church choirs of the city.

So it may be said that the canto fermo is a rural forerunner of the urban trallalero, and it has continued to develop alongside it right up to the present day.  This present disc seems to be the brainchild of Stefano Valla, who I first encountered as part of a group called Voci del Lèsima, whose excellent 1996 CD, Splende la luna in ciel, I reviewed in fROOTS at the time.  As well as singing, he played a bit of piffero on that CD, and subsequently became known as one of the foremost exponents of that fine instrument ... but more of that later.

The CD features the singing of several goups: Le voci di Lesima; Le voci dei Confine; Le voci di Ferriere; Le voci di Fego; Colleri u canta; I cantori di Marsaglia; and the trallalero group La Squadra.  In addition there are a few songs from Stefano Valla and Daniele Scurati (accordion).  It starts, however, with a solo - which seems a bit odd for a record featuring polyphonic singing - from Paolo Marchelli (Chacho's cousin, and primo in Le voci di Lesima), but it's a good example of the true strambotti style, now becoming popular in the area.

OK - let's hear some of the singing.  I'll start with what I think may be the most typical example of the canto fermo style, E la vien dal ciel (She comes from Heaven), sung by Le voci di Lesima.  Next, here are Le voci di Ferriere with Sotto il ponte (Under the bridge).  I think this borrows a characteritic from the mondine of the Po Valley rice fields, in that the 'chorus' starts towards the end of the first or third line of the verses.  For a closer example of this style, Le voci di Fego sing Stornèlli in risaia (verses in the rice field).  As you can hear, this group includes some women singers - the mondine were always women (the only men empoyed in rice field were called trapiantini; they transplanted rice plants one at a time, by hand).  To make a change, let's hear a bit of Stefano Valla and Daniele Scurati playing and singing La bella si marita (The beautiful bride).  This is a composite of a song and two dance tunes (canto da piffero), which recall the old masters of the quattro province, Giacomo and Ernesto Sala, with hints of the old sestrina tune.  While Stefano sings with both Le voci di Lesima and La Squadra, it is (rather obviously) Daniele who is singing here.  To complete a sample of the sounds to be heard here, I'll finish with a bit of trallalero from La Squadra, Angiolina.  Although most of the group come from Genova, it has always been common for trallalero singers to visit the mountains for feste, singing and good company.

One of the delights of a labour of love like this CD is the little insights that those 'within' the tradition let 'out'.  When reviewing CDs of the Sardinian coro (sacred) tradition, I've often mentioned the quintina - the fifth harmonic which can emerge from the four perfectly attuned voices.  When this happens, the singers believe that it is the voice of the Virgin Mary joining in with them.  Unsurprisingly, we are told that this phenomenon also sometimes occurs in the canto fermo, where it is said to be the voice of the grandmother - "Ah, Granny's come to help us out" say the singers!  Isn't that just beautiful?

Rod Stradling - 26.9.12