toro y loco: Music

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•♫

An anthology, in the original Greek, means a collection of flowers; and the garden tended here by Felicity Lott and Graham Johnson contains many species from around the globe: violets, rosemary, mimosa, periwinkles, lilies, daisies, roses, jasmine, immortelles, sunflowers, snowflowers, saffron, primroses, walnut and orange-tree blossom, laurel, carnations, lilac, strawberries, cornflowers, convolvulus, cyclamen, broom, lilies-of-the-valley, marigold, iris and pinks. And these flowers grace gardens in Germany, France, America and England.

There are six songs each by Schumann and Wolf, and delights from four French composers. In the English part of the disc we range from Haydn Wood's well-known Roses of Picardy to the humorous Red Roses and Red Noses by Lord Berners, a take-off of Thomas Moore's The last rose of summer.

The anthology ends irreverently with Cabbages, Cabeans and Carrots, a music-hall song prefaced in the score with the words: 'I think all these Flower Songs are ridiculous'!

A London garden - - Thomas Matthews Rooke. 1842 - 1942.

♥

5.11.10

Les fanfares bavaroise

source foto

Musik aus Bayern

Musique bavaroise
1994

Tracks:

1. Heinz Gotzel/Oberlander Kapelle Coburg - Tiroler Holzhacker Baub'n
2. Heinz Gotzel/Oberlander Kapelle Coburg - Ich Hab' Dich Gern
3. Alfred Paulus/Original Bayern Kapelle - Waldler Marsch
4. Die Bückeburger Jäger/Wilfried Majowski - Prima! Prima!
5. Die Bückeburger Jäger/Wilfried Majowski - Potpourri
6. Oberlander Kapelle Coburg - Beliebt und Bekannt
7. Alfred Paulus/Original Bayern Kapelle - Appenzeller Jodler
8. Die Bückeburger Jäger/Wilfried Majowski - Alte Kameraden
9. Die Bückeburger Jäger/Wilfried Majowski - Flascherl Wein
10. Heinz Gotzel/Oberlander Kapelle Coburg - Unter Maibaum/Auf Der Wies'n
11. Alfred Paulus/Original Bayern Kapelle - Polka Perlen
12. Alfred Paulus/Original Bayern Kapelle - Blaue Augen
13. Oberlander Kapelle Coburg - Bayrischer Defiliermarsch (Parade of the Bavarian Troops)
14. Alfred Paulus/Original Bayern Kapelle - Polka Marsch
15. Die Bückeburger Jäger/Wilfried Majowski - Hymne À la Joie

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•♫

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•♫

As the only representative of Bavarian Beer Hall Music, this album rates an easy "5". Classics such as "Walder-Marsch" and "Blaue Augen" will bring tears to any respectable Bavarian's eyes, and the medely of Marlene Deitrich songs is not to be missed! A must for anyone planning an Oktoberfest party!

In the Bavarian Alps just an hour away from München (Munich) there is a small monestary, Andechs, perched on a hill. You can reach it by 'subway' from downtown. During "Bock Bier Zeit" the monks fast, subsisting only on the dark brown beer brewed from the sludge at the bottom of the barrels. Is it any wonder they have 'visions'? This album gives you the perfect introduction to the unique and festive culture of the Bavarians.

~ Thomas A Schulz

Oans, Zwoa,... Gsuffa :)

♥

4.11.10

Les fanfares funk

Fanfares Festival

18 Fanfares Qui Ont Le Vent En Poupe
2000

Tracks:

1. Ceux Qui Marchent Debout - Slowpress
2. Zdong - The Dong
3. Toups Berey & Le Spirit Pan African Brass Company - Aghata
4. Qui Sème Le Vent - Simon
5. L'occidentale De Fanfare - La Marche Des Déménageurs-rondeaux De L'an 2000
6. Les Chevals - Cactus
7. Les Astiaous - Pauvre Marius
8. Sergent Pepere - Bris De Bec Louche
9. Les Fils De Teuhpu - Iron Vulva
10. Les Haricots Rouges - I´m Walking
11. Uranus Bruyant - General Grente
12. Pistons Flingueurs - Portier Au Queen
13. Balkan Brass Band - Balkans Brass
14. Accoules Sax - Marseille
15. Quelques Fiers Mongols - Heartbreaker
16. El Zef - Pas De Panique
17. Boukovo - Romski Cocek
18. Pistons Circus - Le Poinconneur Des Lilas

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•♫

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•♫

A fanfare, a typical French, Dutch and Belgian orchestra, with trumpets, trombones, flugelhorns, French horns/saxhorns, tubas, saxophones and percussion.

Les fanfares funk :)

some ideas for your next shopping list: ici :)

♫

3.11.10

Les fanfares ethniques

Fanfares
2003

Tracks:

01. El Vito - Une Anche Passe
02. Batuta de Zece Prajini - Fanfare De Zece Prajini
03. Carga Sito - Ahmet Ozden Et Kumpanya Istanbul
04. Kiye Bwa - Societe Kiye Bwa
05. La Petite Cantate - La Banda Municipal De Santiago De Cuba
06. Mandilatos - Une Anche Passe
07. Rituel de Noces - Fanfare De Zece Prajini
08. Vasa Prema Dalli - New Bharat Brass Band
09. Chant des Repiqueurs de Riz - Troupe De La Societe Generale D' Alimentation
10. El Machete de Oro - La Banda Municipal De Santiago De Cuba
11. Charter pour Hale-Bopp - Une Anche Passe
12. Etoman - Ongo Trogode
13. Estergon - Ahmet Ozden Et Kumpanya Istanbul
14. Batuta de Dagata - Fanfare De Zece Parjini
15. Canzone Arrabbiata - Une Anche Passe
16. G.R. - Toups Bebey & Le Spirit Pan-African Brass Company

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•♫

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•♫

When most people think of brass bands, they generally think of New Orleans-style Dixieland bands. Fanfares is an overview of the brass band tradition from around the world. Africa, India, the Middle East, and Cuba are all represented on this excellent recording that showcases the true diversity of the brass band tradition. This is fun, generally fast-paced stuff that's recommended to open-minded listeners. ~ Sean Westergaard

☆

1.11.10

Souffle

breath
Musique Du Monde
1998

Tracks:

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

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•♫

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•♫

Recordings of ethnic flutes and reed instruments, often with percussion, from Musique Du Monde releases.

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

Photo source

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

A Brief History of Wind Instruments

thanks for the music 123

20.10.10

La Ceiba

La Ceiba, or the Tree of Life for Mayan culture, represents the belief that all aspects of life are interrelated. Body and mind are the synthesis of human existence and one does not coexist without the other.

For the Mayans, trees were intermediaries between the physical and spiritual worlds, and absolutely essential to life. They believed that without the tree man could not survive and that "with the death of the last tree comes the death of the human race."

The tree of life is a common symbol in many cultures. To the Maya, the sacred Ceiba tree connects the three layers of the world. The roots reach into the underworld of death, the trunk is in the middleworld of life, and the branches reach up into the upperworld of paradise.

The trees, which grow extremely tall, connect the earth to the sky. It is said that the Ixtabai, the malevolent forest spirit, often frequents them at night. Besides the spiny trunk, the tree also has characteristic seeds imbedded with a soft material known as "kapoc".

The Ceiba is a rapidly growing deciduous tree that reaches heights of 80 feet or more, and a diameter of five to eight feet above its buttresses.

Ceiba wiki

Colombia

La Ceiba
1989

Tracks:

01. La Cuidad - Santiago Salgado (merengue)
02. El Manduco - Totó La Momposina (chalupa)
03. Grito de Vaquera - Maria De Los Santos
04. La Muerte - Los Gaiteros De San Jacinto (gaita corrida)
05. Pajarillo - Llano y Leyenda (toropo)
06. El Sapito - Pablo Carvajal (puya)
07. Tres Clarinetes - Concours de Fanfares de San Pelayo (fandango)
08. La Verdolaga - Totó La Momposina/Estefania Caicedo (bullerengue)
09. Cuando Llora el Indio - Los Gaiteros De San Jacinto (gaita corrida)
10. Criollito de Pura Cepa - Llano y Leyenda (seis por derecho)
11. La Ceiba - Cantadores De Arbolete (bullerengue)
12. Arbolete - Santiago Salgado (paseo)
13. Grito de Monte - Maria De Los Santos
14. El Estanquillo - Siete Notas (paseo)
15. A Pilar Arroz - Totó La Momposina/Estefania Caicedo (bullerengue)
16. Se Va Mama - Pito De Las Sabanas (bullerengue)
17. Mi Capi - Tres De Copa (bambuco)
18. Celestina - Los Gaiteros De San Jacinto (porro)

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•♫

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•♫

Performers include: Toto La Momposina.
Featured are new versions of several of Toto la Momposina's performances, along with several other groups playing gaitas, porros, bullerengues, and even a fandango. ~ David L. Mayers

I say: shut up, dl and listen...

Colombian music and culture are truly representative of the area's geographic regions. As with many of the countries in the continent of South America, combinations of European, African and indigenous traditions emerged over the centuries, producing a wide variety of music (and dance) styles.

read it all here

29.9.10

Godê Pavão

Samba de Coco Raízes de Arcoverde

Godê Pavão

2003

Tracks:

1. Barra da saia (2:37)
2. Godê pavão (2:24)
3. Abelha aripuá (2:27)
4. Despedida de amor (2:29)
5. Coqueiro novo (4:05)
6. O canto do uirapuru (2:33)
7. Menina rica (3:01)
8. Olho d`água dos bredos (3:34)
9. Roseira oh rosa (2:28)
10. Noite de São João (3:11)
11. Bote essa menina pra dançar (2:55)
12. O amor do bacurau (2:29)
13. Galinha zabelê (2:29)
14. Aperto de mão (2:24)
15. Não brinco mais (2:05)

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•♫

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•♫

Coco

Far, far away from the coast, where he first flourished in the hands of slaves, the coco-de-roda reached the backwoods of Pernambuco. Honed for the trip, the pace and incorporated elements of indigenous traditions evidence hinterland, but managed to keep the syncopated tap dance and environment that characterize the coastal version. Samba de Coco Raízes de Arcoverde became the great exponent of this new-style rhythm, which is expressed in letters plain, hit and striking melodies squeaky timbre.

The Group

Initiated by Lula Calixto, a staunch defender of popular culture hinterland, the saga of Coco Raízes represents the people's attachment to the traditions and unconscionable effort to preserve them. But it's also a story of love between two families that came together around the rhythm. In the hands of Gomez and Calixto, coco is not just a beat of a tambourine or dance, is a covenant, a way of life. Cousins, uncles, parents and children, all siblings are at the time of the samba.

Blessed are those invited to the grand celebration of the coco. At Alto do Cruzeiro, where the head office of the group is still time to celebrate. Just get a visitor reception is a warm gun. Everything starts with a bounce shy troupe, which infects the hypnotic drum Biu Neguinho and culminates with the opening of the runway to the tune singers and dancers showy.

Every day, Coco Raízes seduces more fans. People are hungry for praise by popular culture, who enjoy the simplicity and authenticity of the group. Since the recording of a track on a compilation of Pernambuco in Concert, Coco took off and began to perform various shows in Recife, all prestigious by a large audience that was formed in the capital. The two CDs - Cóco de Raizes do Arcoverde and Godê Pavão - recorded to date testify to the relentless wind of the caravan, which has not stopped or will not stop.

source

Even with the founder's death in 1999, the group continued their journey. The group's headquarters is the home of Lula Calixto, and also a small museum with his name. As one big family, the group consists of uncles, cousins, parents and children. Currently, who commands the coco are Seu Damião and Seu Assis.

Coco Raízes de Arcoverde is back. Three years after the recording of her debut album, the group has a new job ready to be put on the market. The CD - titled Godê Pavão "Gode Peacock" - brings 15 new compositions, all of its own members, uniting elements of indigenous people and poetry Xucuru hinterland.

The new album is a tribute to one of the oldest coco players Neguinho Biu, 72, dedicated to the pace for more than five decades. He is one of the only group to have participated in the early stage of the coco, when building a house, the owner invited family and friends to dance on the ground in order to settle the clay. Seu Biu, as he is known in Arcoverde, who has been director of the samba school of the United Avenue in the 70s, is responsible for the beat of the deaf that is special to mark the rhythm.

link

♥

lation: trans google :)

10.9.10

Mexericos Da Rabeca

Duo Bem Temperado

Mexericos Da Rabeca
José Eduardo Gramani & Patricia Gatti
Cântaro 001 - 1997

Tracks:

1. Ao Coco do Riachão (José Eduardo Gramani)
2. Dobradinho (José Eduardo Gramani)
3. Seresta (José Eduardo Gramani, Ana Salvagni)
4. Sereno (José Eduardo Gramani)
5. Ana Terra (José Eduardo Gramani)
6. Morena (José Eduardo Gramani)
7. Das flores (José Eduardo Gramani, Ana Salvagni)
8. Modinha (José Eduardo Gramani)
9. Melodia (José Eduardo Gramani)
10. Calanguinho (José Eduardo Gramani)
11. Mel poema (José Eduardo Gramani)
12. Forró da Ferdinanda (José Eduardo Gramani)
13. Mexericos da rabeca (José Eduardo Gramani)
14. Carinhosa (José Eduardo Gramani)
15. Rancheira (José Eduardo Gramani)
16. Banhão-nhão (José Eduardo Gramani)
17. Além de Olinda (José Eduardo Gramani)

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•♫

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•♫

José Eduardo Gramani (1944–1998) was a violinist, fiddler, composer, conductor, musical scholar, and professor at the Universidade de Campinas (Unicamp). He was one of the foremost authorities on the Brazilian fiddle (rabeca) in its mutitudinous forms.

As a composer, Gramani dedicated his work to the rescue of the Brazilian musical heritage, especially that of the rabeca, a traditional Brazilian fiddle.

Gramani founded various musical ensembles that survive him, performing disparate styles of music. One of these is the vocal-instrumental group Ânima, which specializes in early music. Another is the trio Carcoarco, whose music is produced via a mind-boggling array of violins, rabecas, and percussion instruments.

link

Em 1995 José Eduardo Gramani, violinista e professor de Rítmica da UNICAMP, apresentou à FAPESP (Fundação de Amparo à Pesquisa do Estado de São Paulo) um projeto de pesquisa chamado "Rabeca, o som inesperado". Seu objetivo era documentar o processo de construção das rabecas de Martinho dos Santos (Morretes- PR), de Julio Pereira (Paranaguá- PR), de Arão Barbosa (Iguape- SP) e de Nelson dos Santos (Marechal Deodoro- AL). Além da pesquisa, o projeto previa o lançamento de um livro e um cd. Parte da pesquisa foi financiada pela FAPESP e aconteceu em Morretes e Paranaguá entre fevereiro e março de 1996, e em Iguape e Marechal Deodoro em julho de 1997. Gramani contou com a ajuda preciosa de Ana Salvagni durante toda a pesquisa e registrou através de fotos, gravações em DAT e K7 e filmagens em VHS, a construção e utilização dessas rabecas. Infelizmente Gramani faleceu antes de escrever sobre os dados por ele coletados, nos deixando um material fotográfico belíssimo, todo o processo de feitura registrado, mas apenas alguns pequenos textos escritos (todos publicados no livro).

source

Rabeca-A 16th-century Portugues violin that has been used continuously in northeastern Brazil and is common in the folk music of Pernambuco.

“A rabeca é um instrumento. Não é uma imitação de instrumento. Não é um violino mal acabado. NÃO! A rabeca é outro instrumento.” A frase do músico e professor José Eduardo Gramani é o ponto de partida para uma importante pesquisa que realizou sobre o instrumento no final da década de 90. O projeto, interrompido pela morte do pesquisador, procurava investigar uma rica fração do universo musical brasileiro, acompanhando o trabalho de quatro construtores de rabeca, de regiões diferentes e com características artesanais distintas.

7.9.10

Mestre Salustiano

Sonho da Rabeca
1998

Tracks:

1. Coco de Manoel
2. Pimenta na Brasa
3. A Pata Piou
4. Toada de Cavalho-Marinho
5. Esse Coco é Bom
6. Arretação
7. Mateus e Catirina
8. Bota o Cachorro no Mato
9. Macaco Ensaboado
10. Salu na Rabeca é Bom
11. Cirandas
12. Mané Corta o Pau na Mata
13. Maracatu
14. Maracatu Rabecado

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•♫

artista maior da cultura popular pernambucana

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•♫

Date of birth : 12 November 1945, Aliança, Pernambuco, Brazil
Date of death : 31 August 2008, Recife, Pernambuco, Brazil (cardiac arrhythmia)

"Mestre Salustiano: Sonho da Rabeca. Northeastern Brazil has a tremendous fiddling tradition and Mestre Salustiano was among the greatest. This CD is a marvelous collection of cocos, forrós de pé de serra, toadas de Cavalo Marinho and maracatus." maria-brazil

Mestre Salustiano

Mestre

"As três gerações"

♥

6.9.10

Nelson da Rabeca

Nelson da Rabeca E Dona Benedita

Segredo das Árvores

Tracks:

01 Segredo das Árvores 1º Parte
02 Panavueiro da Rabeca
03 Eu Vou Chegando
04 Eu Aprovei no Canecão
05 Estava Num Campo de Areia
06 Forró pra Zé
07 Forró Bem Pisado (improviso)
08 Forró Maluco
09 Segredo das Árvores
10 Pra Vanessa
11 Cachaça Boa
12 Forró do Breque
13 De Nelson Rabeca Para Tião Marcolino
14 A Saudade é Companheira
15 Alegria da Rabeca
16 Baliciê
17 Pense Meu Filho no Que Você Vai Fazer
18 Acompanhado do Acordeon de Meu Amigo Tião
19 Jovelina
20 Bem-Ti-Vi

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•♫

Nelson da Rabeca e o Segredo das Árvores

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•♫

Nelson dos Santos, known as Nelson da Rabeca (Joaquim Gomes, March 12, 1929), is a fiddler, accordionist and composer in Brazil. Like his family, his principal occupation has always been agriculture, particularly the farming of sugar cane. Married Benedicta , has ten children. Without having attended school, therefore, unable to read, and from an unprecedented musical family, he learned to play fiddle alone, around the age of fifty.

Setteled in Marechal, Alagoas, along with work in agriculture, he plays violin and composes baiões, xotes, marches and forró pé de serra. He also plays accordion. He started building violins in the 1970s, reaching renowned originality and perfection in the letter that he taught himself by following a process of experimentation to get a result that would satisfy him. For his work, he researched different woods, aiming at the beauty and sound results from the instrument. His favorite wood is jackfruit which he said "besides being beautiful and it gives a good sound, never ends."

With the refinement of his work as composer, instrumentalist and especially as a builder of violins, he became known in the community of Marechal Deodoro, but it was the search of José Eduardo Gramani, who won recognition not only in Alagoas, but also for scholars in various parts of Brazil. Gramani, when in contact with the first fiddle of Nelson was so impressed with the means of musical expression with its rich timbre and he felt inspired to compose several themes that have become specific parts for that fiddle. These parts were recorded on a CD in 1994.

In 1998, aiming to strengthen this recognition, the "Association of Friends of Nelson's Rabeca" was founded led by artists, intellectuals and cultural Alagoas, who see him as one of the legitimate representatives of popular culture and Alagoas who voluntarily promote the artwork. A number of musicians and researchers, certifying the quality of the instruments of Nelson, have recorded their admiration and respect to him, musicologist Wagner Campos, said about him: "Mastering all processes of your musical art, cutting wood, moving for all the specific steps of the construction of each of the instruments, to the creation and interpretation of his own compositions, his work supported Nelson in a secular wisdom, representing the culmination of ancient knowledge brought in the luggage of the colonizers, reducing distances between past and present, tradition and actuality. "

translation: google :) as usual

Seu Nelson e Dona Benedita na casa sonhada

♥

5.9.10

Rabeca & Cantoria

Cego Oliveira

Coleção Memória do Povo Cearense - Vol. 2

Tracks:

1. Na Porta dos Cabarés
2. Sereno de Amor
3. Alguém Disse Que o Amor Vem de Um Aperto de Mão
4. Leva Eu, Corina
5. Serenou
6. O Verdadeiro Romance de João de Calais
7. AI, Lampião, Cadê Tua Muié?
8. O Lavrador
9. A Seca de 25
10. A Vida do Padre Cícero
11. Minha Santa Beata Mocinha
12. Bendito de Nossa Senhora das Candeias
13. São José Também Chorou
14. Baixio Verde
15. Sítio Cipó
16. Juazeiro
17. A Volta da Asa Branca
18. Rua Santa Rosa
19. Música de Repente
20. Despedida
21. Minha Rabequinha
22. Um Liforme Pra Vestir

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•♫

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•♫

source

Cego Oliveira (the blind Oliveira)

Pedro Oliveira was born blind, in a poor family in the poor Ceará region, Brazil. He had to beg for a living.

When he was already in his late teens, his uncle gave him a fiddle, which he learned to play by himself - so that he would forever hold it in a peculiar position. With his older brother, who read poems to him, he learned popular poems by heart, some long enough to tell biographical stories in a popular way. He also created quatrains. He traveled through country markets and popular fairs and parties, singing his poems and stories, and playing his fiddle taking all the alms people would give him - small coins mostly, for his audiences was made of workers and jobless people themselves.

The 'Blind Oliveira' became well known in Ceará, and his repertory grew to 75 "rumances" (mispronounced romances), among which "Romance do Pavão Misterioso" (story of the mysterious peacock) and "A verdadeira história de João de Calais" (the true story of Jean de Calais).

As radio penetrated his backwoods country, his cultural services became less and less appreciated, but he was still welcome to anniversary parties, baptisms, and funerals.

His work was included in a long play disc, "Nordeste: Cordel, Repente e Canção" (1975), a digest of music from similar popular artists, and a volume of the Brazilean musical collection "Memória do Povo Cearense" (1999).

He was included in a 1975 documentary on Brazilean folklore, but possibly his largest audience out of Brazil was achieved with the feature film Cobra Verde (1987). Werner Herzog went to Ceará during research for his film, and was so impressed with the artist that he decided to start the film with introductory quatrains and fiddle music played on camera by Pedro Oliveira.

"Essa minha rabequinha
É meus pés, é minha mão
É minha roça de mandioca,
É minha farinha, o meu feijão,
É minha safra de algodão,
Dela eu faço profissão
Por não poder trabalhar,
Mas ao padre fui perguntar
Se cantar fazia mal.
Ele me disse: Oliveira,
Pode cantar bem na praça,
Porém se cantar de graça
Cái em pecado mortal"...

"This my little rabeca
It is my legs, it is my hand
It is my field of manioc,
It is my meal, my beans,
It is my crop of cotton,
I make it work
By not being able to work,
But the priest I asked
If singing was bad.
He told me, Oliveira,
You can sing well in the square,
But if we sing for free
Falls into mortal sin"...

♫

4.9.10

Rabeca

A palavra rabeca foi usada durante a idade média para designar um Rebab, instrumento importado do Norte da África. Posteriormente, passou a designar qualquer instrumento folclórico parecido com o violino de cultura popular. De timbre mais baixo que o do violino, tem um som fanhoso e sentido como tristonho. Suas quatro cordas de tripa são afinadas, por quintas, em sol-ré-lá-mi.

O tocador encosta a rabeca no braço e no peito, friccionando suas cordas com arco de crina, untado no breu. É juntamente com a viola, um instrumento tradicional dos cantadores nordestinos. Muitas pessoas confundem a rabeca com o violino, apesar de não terem o mesmo som e timbre.

Em São Paulo, é usada em folganças ou fandango, na folia-do-divino, moçambique, congadas, dança-de-são-gonçalo e folia-de-reis. No nordeste foi popularizada por bandas locais, onde também é fabricada por gente simples do interior de Alagoas como Nelson da Rabeca. Ao contrário do que a maioria das pessoas pensam, a rabeca foi o primeiro instrumento melódico utilizado no forró. Só posteriormente, com a imigração dos alemães, é que a sanfona foi difundida por todo o Brasil e introduzida na música nordestina. E por ser um instrumento com mais recursos musicais, pois é um instrumento melódico e harmônico (ao contrário da rabeca que é apenas melódico), a sanfona teve maior aceitação.

Na região Norte a rabeca é usada nas festividades de São Benedito na cidade de Bragança onde destaca-se como o principal instrumento da festa, é tocada desde 1978 pelo mestre Zito no período de 18 a 31 de dezembro. Músicas como retumbão, chorado, xote, mazurca e contra-dança fazem parte do repertorio da festa, mais conhecida com o nome de Marujada.

Aurimar Monteiro de Araújo, mestre Ari, é um dos mais renomados artesãos do instrumento na Região Amazônica, utilizando madeiras e fibras vegetais da floresta ele confecciona instrumentos de sons inigualáveis. O mestre foi responsável pela criação da Orquestra de Rabecas da Amazônia, além de uma escola de música e de uma oficina escola que capacitam profissionalmente crianças e adolescentes, preservando assim a memória do instrumento na região.

Rebec

The rebec (sometimes rebeck, and originally various other spellings) is a bowed string musical instrument. In its most common form, it has narrowboat shaped body, three strings and is played on the arm or under the chin, like a violin.

Origins

The rebec dates back to the Middle Ages and was particularly popular in the 15th and 16th centuries. The instrument is European and derived from the Arabic bowed instrument rebab and the Byzantine lyra. The rebec was first referred to by that name around the beginning of the 14th century, though a similar instrument, usually called a lyra, had been played since around the 9th century.

A singular distinguishing feature of the rebec is that the bowl (or body) of the instrument is carved from a solid piece of wood. This distinguishes it from the later period veilles and gambas known in the renaissance.

Tuning

The number of strings on the rebec varies from one to five, although three is the most common number. The strings are often tuned in fifths, although this tuning is by no means universal. The instrument was originally in the treble range, like the violin, but later larger versions were developed, such that by the 16th century composers were able to write pieces for consorts of rebecs, just as they did for consorts of viols.

In use

In time, the viol came to replace the rebec, and the instrument was little used beyond the renaissance period. The instrument did remain in use by dance masters until the 18th century, however, often being used for the same purpose as the kit, a small pocket-sized violin. The rebec also continued to be used in folk music, especially in eastern Europe and Spain. Andalusi nubah, a genre of music from North Africa, often includes the rebec.

As Músicas de Rabequeiros

Tracks:

01. Na chegada dessa Casa (5:59)
02. Toadas de Cavalo-Marinho (3:42)
03. Revendo o Mandacarú (3:40)
04. Impoeira (2:07)
05. Lá em Mari (2:08)
06. Caranguejo Danado (2:24)
07. Violino no Choro (2:17)
08. Chorinho Pequeno (2:26)
09. Quebrando a Barra do Dia (3:18)
10. Viva Raimundo (5:15)
11. Baião/A Força (1:54)
12. Minha Santa Beata Mocinha (2:29)
13. Meu Verso (3:06)
14. Mucunã (3:13)
15. Na casa de Dona Dá (3:06)
16. Coco da Bicharada (3:31)
17. Moreninha vou embora (4:01)
18. Canoa (6:31)
19. Baiano de Cavalo-Marinho (7:31)
20. Despedida (5:41)

Rabequeiros:

Artur Erminio (PB), Luiz Paixão (PE), José Ermínio (PB), Alício Amaral (SP), Geraldo Idalino (PB), Waldemar da Silva (MA), Cego Oliveira (CE), Antônio Nóbrega (PE), Siba Veloso (PE), Mané Pitunga (PE), Luismario Machado (RN), Nelson da Rabeca (AL), Renata Rosa (SP), Manoel Almiro (SP), Maciel Salustiano (PE), Esdras Rodrigues (SP) e Luis Fiaminghi (SP).

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•♫

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•♫

Uma parcela da diversidade da música dos rabequeiros pode ser admirada neste precioso registro. Oriundos de diferentes estados brasileiros, os rabequeiros aqui apresentados brindam-nos com diversificadas formas e ritmos, músicas advindas de brincadeiras e contextos culturais vários.

Este trabalho foi trazido a público por empreendimento de Agostinho Lima, professor da Universidade Federal do Rio Grande do Norte, com financiamento do governo da Paraíba. Trata-se de mais um importante fruto resultante do curso de Etnomusicologia do Programa de Pós-Graduação da Universidade Federal da Bahia, onde Agostinho Lima concluiu mestrado e doutorado, orientado pelo Dr. Manuel Veiga.

a lot more to read and explore

Luiz Paixão

Mané Pitunga

fotos

♥

and, many many years ago when that big ship sailed to Brazil, loaded with Rabecas they dropped a few off when they fetched water in Cabo Verde... so they say :)

3.9.10

Bom Bonito E Barato

Samba Enredo Du Carnaval De Rio

Tracks:

1. Gres.estacao Primeira De Mangueira - Lendas Do Abaete
2. Gres, Portela - O Mundo Melhor De Pixinguinha
3. Gres, Portela - Macunaima, Heroi Da Nossa Gente
4. Academicos De Salgueiro - O Segredo Das Minas Do Rei Salomon
5. Gres, Beija Flor - Sonhar Com Rei, Da Leao
6. Gres.estacao Primeira De Mangueira - No Reino Da Mae De Ouro
7. Gres, Beija Flor - Vovo O Rei Da Saturnalia Na Corte Egipiciana
8. Gres, Uniao Da Ilha Do Governador - Domingo
9. Gres, Imperio Serrano - Brasil Berco Dos Imigrantes
10. Gres, Beija Flor - Criacao Do Mundo Na Tradicao Nago
11. Gres, Uniao Da Ilha Do Governador - O Amanha
12. Gres, Portela - Mulher A Brasileira
13. Gres.estacao Primeira De Mangueira - Avatar E A Selva Se Transformou Em Ouro
14. Gres, Beija Flor - O Sol Da Meia Noite
15. Gres, Uniao Da Ilha Do Governador - Bom Bonito E Barato

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•♫

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•♫

A significant majority of the samba schools, mainly in Rio de Janeiro, have in their name the words Grêmio Recreativo Escola de Samba (Recreative Guild Samba School), represented by the acronym GRES, before the name itself. In São Paulo there is a common variation Grêmio Recreativo Cultural e Escola de Samba (Recreative Cultural Guild and Samba School). There are exceptions, such as the Sociedade Rosas de Ouro (Golden Rose Society) and the traditional Agremiação Recreativa Cultural e Escola de Samba Vizinha Faladeira (grêmio and agremiação in Portuguese are synonyms). The standardization of the classifications of entities emerged in 1935 when the Rio carnival associations were required to take a charter to the Delegacia de Costumes e Diversões (Delegation of Customs and Entertainment) to be able to parade. In an effort to show a modicum of decency and organization, the delegate owner, Dulcídio Gonçalves, refused to grant the permit to associations with "inappropriate" names, which is why the GRES Portela had to change to the current name, instead of the previous Vai Como Pode (Come as You Will).

The samba school system seems to be unique to Brazil. Unlike parades such as the Rose Parade in California, for instance, the samba schools paradigm almost entirely consist of community volunteer work. Beyond a musical group, the schools are in fact the neighborhood associations that cover a variety of community needs, such as educational resources and medical care. There are often political and commercial interests involved as well, even from abroad, especially when the samba school honors the literature, music and dance, or a myth, historic figure or event from another country. Drug lords who control traffic in the Rio favelas are also said to contribute, as many of them are guardians and controllers of shanty town life.