Fire On The Mountain

Dast-i Afshān
Improvisation on garmon, naqara & tombak


01. Ipak (12:19)
02. Araram sani (29:30)
03. Daghlar (11:01)
04. Tombak & Naqara (15:49)



Garmon: Khan Nar Jafarov
Naqara: Vahid Asadollahi
Tombak: Kambiz Ganjei
Khan-Nar Jafarov
Born in 1956 in Baku, he began learning the garmon at the age 16 through listening to performances of the contemporary masters of his time. Then, he developed his understanding of the Azeri maqams repertory under master Mirza Ebrahimov. Nowadays, he is regarded as one of the most prestigious master players on the garmon in the Republic of Azerbaijan and widely performs inside as well as outside the country. There have been published a couple of his recordings in Baku. The present collection is the result of his collaboration with two Iranian percussionists. He is currently the conductor of the Oil Company of Baku Orchestra.

Vahid Asadillahi
Born in 1960 in Tehran, he learned the qaval under his brother while being 11. Then, he switched to naqqare owing to its wider range and studied it with Hushang Zive. Being a player for over 18 years, he made a trip to the Republic of Azerbaijan and extended his technical faculty under Almas Qoliev. Along with the master Safar-Ali Javid he experienced an orchestral performance and his learning there assisted him in his journey to Baku in 1998 a lot. He has so far had various tours to Canada, the United States, Germany, Italy, and France. He has achieved the first rank at Fajr Music Festival twice and appeared in the jury of Regional Music Festival in 2001.

Kambiz Ganjei
The son of Davud Ganjei, the renowned kamanche player. He was born in 1968 in Shahr-e Rey near Tehran. In basic principle of music his first teacher was his father. Then he went for learning tombak with Mahmud Farahmand. He has played in many concerts in Iran and abroad with ensembles Sama` and Mowlana. He began his teaching courses in the Center for Preservation and propagation of Music from 1987. He has attended the class of many Iranian masters such as Naser Farhangfar and Bahman Rajabi to perfect and improve his musical knowledge.



The way to freedom

Okna Tsagan Zam
National Kalmyk Djangartschi

Vladimir is the national Kalmyk Djangartschi. He was born on the way home from exile in Siberia in 1957. His Russian name  is Vladimir Karuev, but when he was born, his mother gave him the Kalmyk name Okna Tsagan Zam. Tsagan Zam means  The White Road, in a free translation means something like “The way to freedom”, Okna is his father’s name. 

When he was a young boy, he had strange dreams. In one of the dreams an old man told him to sing the Djangar, but he did not want to sing, however strange forces pushed him.  He started to sing parts of the Djangar epic only for friends.

Then in 1987 he started to sing in public and in 1990, on the anniversary of Djangar, he received the title of National Kalmyk Djangartschi.  Then he was invited to a festival in Paris, it was the start of many concerts in Western Europe and Russia, later followed concerts in Japan, India and the USA. 

The ‘Djangar’ is a centuries old heroic story, a source of ancient wisdom, the singers of this epic are called ‘Djangartschi’.

Most of the energy of Tsagan Zam is devoted to bring the old culture and traditions back to the people. In the summer he organizes camp holidays for Kalmyk children on the steppe at Godschur.  Here they learn about the Djangar and the   old nearly forgotten culture and traditions, but also their own Kalmyk language, old sports like bowing, spear throwing, wrestling and horse riding.

Tsagan Zan has a privately recorded CD of him singing a 61 minute version of the Djangar. He mainly sings in his Khargiraa with some khöömei (more Tuvan style that Mongolian khöömii) interludes. Tsagan Zam accompanies himself on the Dombra (dombra) and is assisted by an unknown Morin Khuur Player. The CD of Tsagan is not for sale in shops. It can be obtained by emailing Jan Scheerder  j.scheerder2@chello.nl  who is Tsagan Zam’s good friend in Holland.






Vladimir Karuev says how he got interested in folklore: “Once I felt a kind of blood call, as if an invisible force drove me to start collecting tales of my predecessors. I used to have dreams about my forefathers, retelling me our national folk tales. I began to visit villages and settlements and then perform folk tales, or what we call jengre tales. For me jengre is amazing wealth about which many of my compatriots have forgot”.

He recently founded a cultural village at Godjur (80km North of Elista) where he raises horses and tries to collect and bring back to life various aspects of Kalmyk culture. Thanks to Karuev young Kalmyk people are studying national tales and mastering the guttural singing technique. Last year Kalmykia’s folk tales performed by Vladimir Karuev were put on the UNESCO list of the world’s cultural treasures. 


The Epic of Djangar, Jangar, Jangur
He became an orphan at the age of two, and began to fight around the age three. When he was seven years old, he had become a well-known hero. This is the story of the epic Jangar.

Jangar was written between the 15th century and the first half of the 17th century in the Weilate region of Mongolia. A tribe of the ancient Mongols, Weilate means "the tribe of the forest". They mainly dwelled in the area of Mount Altair in northwest China's Xinjiang.

The hero of the story is named Jangur, whose parents were killed by the invader, Manggusi, when he was two years old. To avenge his parents' deaths, Jangur began to go out to battle at the age of three. When he was seven years old, Jangur had established his fame and was elected Khan by locals at Baomuba. Despite his loss in war, Manggusi still attempted to invade Baomuba. Leading 35 generals and 8,000 warriors, Jangur defeated Manggusi and kept Baomuba free from occupation. Finally, with his great talents, he established a Utopia where people could stay as young as 25 years old and winter and summer would never come but spring and autumn would always stay with them.

As a heroic epic, Jangur obtained great achievement in the portrait. Take the hero Jangur as an example. The epic talks about his bitter childhood and hard battle experiences repeatedly, describing him as a smart, brave and talented hero who was respected by followers. Hongguer is another big hero in the epic. It says from Hongguer one could find "99 merits of Mongols". He had boundless faith to his people and great hatred for his enemies. He had the spirit of the eagle, very tenacious.

In terms of the landscape description, the epic displays not only the grand scene at Mount Altair, but also the living environment of Weilate Tribe with strong ethnic flavors, which reflects the unique characteristics and aesthetics of Mongolians. Jangur contains a lot of the oral language of Weilate Tribe, supported by the ancient Mongolian folk songs, hymns, and proverbs.
Written at the peak of ancient Mongolian literature, the epic Jangur has shown great influence on the literature of the following centuries.

listen to Eelyan Ovla and others:

Kalmykian heroic epos Jangar

Side A

1.Ode about Khongor’s marriage (fragment). Eelyan Ovla (1857 – 1920), rec. 1908
2.Ode about the heroic deeds of Dogshin Khar Sanal, the son of Bulingir, the owner of the brave horse Bural Galzan (fragment). Tseren Aduchiev (b. 1918), rec. 1982
3.Ode about the victory of Ulan Shonshur against Dogshin Shara Giurgiu, the khan of Mangas (fragment). Ara Chovaev (1884 – 1959), rec. 1939

Side B

1.Ode about the fight of Kervin Kioviun Monkhul with the beautiful dappled horse, against enemy fighters (fragment). Dava Shavaliev (1879 - 1944) rec. 1939.
2.Ode about the fight of Kervin Kioviun Monkhul with the beautiful dappled horse, against enemy fighters (fragment). Nyamen Dzhukaev (b. 1923) rec. 1970
3.Ode about how Khongor stole a stud of dark brown short haired horses with coral-shining manes and pearl-like tails from Shar Kermen-Khan (fragment). Vladimir Karuev (b. 1957) rec. 1982

thanks to Жужу : )


"Jangar", A Mongol Hero Epic

The Mongol Hero Epic Jangar is one of the three major works of Mongol Classical Literature. Jangar can be compared to Homer's Iliad in its size but at the same time it is an epic well adapted to a migratory culture, in that each chapter is a separate story within a story, allowing for a fresh start with each storytelling.

The cradle of the Jangar Epic is in Xinjiang, northwestern present day China, home to the Oirat Mongols. However, the epic can also be found in areas of Mongolia and Russia, along the path of the Volga River, home to the Kalmyk Mongols. The first publishing of Jangar was during the late 1950's by the Inner Mongolia People's Publishing House, when a 13 chapter Oirat version of the over a hundred chapter Oirat Jangar Epic was published in the Oirat Mongol "clear" script. Later in the 1980's Boyinheshig, a mythologist from Inner Mongolia University, and T. Dolma, spent over one month in Xinjiang recording what would become a 15 chapter version transcribed and published in modern Mongol (Uigur-Mongol) script in the 1980's. Today, there are many different translated versions of the Jangar Epic in different languages all around the world.

The main story-line in the Jangar Epic is the battle between good, Jangar and his heros; and evil, the Mangus or evil monster, and the achievment of a life of bliss.

The Epic of Jangar is a masterpiece creation of the "Jangarchin", individual tellers of the Jangar Epic. The epic has been passed down orally for ages and it is unclear to this day who created it or when it was created.

Jangar was orally created by the people from Mongolian Tuerhute Tribe in the 13th century and handed down to modern times by word of mouth. There wasn't a written text until the early 19th century. Later, the epic was introduced to other parts of the country and foreign nations in Kalmyk, Todo and Mongolian texts etc.

According to legend, Jangar was the son of the headman in Benba area. He had exceptional wisdom, noble character, amazing strength and excellent martial arts since young. From the tender age of seven, Jangar kept making remarkable achievements. He was later selected as khan by the people.

Warriors led by Jangar gradually expanded their military power, wealth and territory. Then, they established a perfect homeland with Benba at the center. It was an area with mild weather all the year round. People there led a peaceful life filled with love and had ample food and clothing.

However, the happy life led to the jealous hatred of Jangar's enemies, who targeted skilful craftsmen under Jangar, his good horses and righteous wives on their seizing sprees. Focusing on the enemies' bride-seizing, looting and meadowland occupying, the epic unfolds one heartquaking battle scene after another. This epic helps you understand the economy, culture, life customs, political systems and other aspects of ancient Mongolian society.

a lot more sources out there ; )


Allo, Allo, Allo Beirut - Happy New Year!

Sabah ‎– شمس الشموس 
The Wonderful World of Sabah


A1     الو بيروت Allo ... Bayrouth   
A2     يا بيت الدين Ya Beit Eddine    
A3     القلعة El Kalaa    
A4     من الشام لبيروت Menesham Lebayrouth    

B1     شفتو بالقناطر Sheftou Bel Anater    
B2     عالورقة خرطشت شوي Al Warka Kharbtasht    
B3     دبكة من هالوادي Dabka Men Hal Wade    
B4     عطشانة يا صبايا Atshana Ya Sabaya    




The World mourns Sabah the singer, beautiful symbol of a vanished golden age.

With an ‘entire past’ fading, the death of an admired diva revives memories of the lighter side of life from Cairo to Beirut.

As a child in the late 1950s, the leading Egyptian theatre director Hassan el-Gueretly remembers accompanying his mother to the workshop of Pierre Clouvas, a couturier in central Cairo. Various Miss Egypts bought their dresses there, as did Sabah, the Lebanese singer and actress. For the young Gueretly, it gave a rare frisson to see the superstar’s avant-garde clothes up close.

“I remember walking around the atelier and seeing Sabah’s robes hanging on mannequins in the next room to my mother,” Gueretly recalls. “As a lover of performance and film, I was thrilled to move among her clothes.”

Sabah died 26st of November, aged 87, and her death prompted in Egypt as much as in Lebanon an outpouring of warm memories. At a bleak moment for the region, Sabah’s joyous career and character are reminders of a lighter side to life.

“When you think of the gloom we’re in in the Arab world, to hear her voice is to make life liveable,” said Gueretly. “It doesn’t make me nostalgic – I don’t think in terms of past and present, I think of the future – but to hear this dead woman sing, it makes you think she has a lot more life than many people who are living.”

Born Jeanette Feghali in a mountain village in Lebanon, Sabah took her nickname from the Arabic word for morning, an appropriate nom-de-plume for a woman adored for her sunny vitality. She moved to Egypt in the 40s and became a star of musical cinema, appearing in more than 80 films, performing about 3,000 songs, and developing a reputation for bold fashion choices.

Few remember Clouvas now, and while central Cairo still has its charms, it is no longer grand, and the shops are no longer fancy. Sabah is a throwback to what, according to one nostalgic narrative, was a more triumphant era. An era not of fundamentalism but of pan-Arabism. Of a Cairo, where Sabah spent her cinematic heyday in the 40s and 50s, that housed a flourishing film industry – a Hollywood-on-the-Nile or “Niley-wood”, as Gueretly jokes. And of a pre-civil war Lebanon whose celebrities one by one are dying.

“With her passing away, an entire beautiful past of Lebanon passes away,” Walid Jumblatt, the Lebanese politician, wrote last week. “She was a great singer of a Lebanon that my generation knew that will never come back.”

If in artistic terms Sabah was of another time, in social terms she was in some ways ahead of it. Other divas of her era married and divorced several times. Sabah’s nine or 10 marriages – no one is certain which – outnumbered everyone else’s. She broke taboos with her frank and frequent pronouncements about men and desire. And as she got older she ignored pressure to hide herself away, continuing to wear outlandish outfits and date younger men.

“In a male-dominant society, she was a symbol of woman power,” said Helen Shammas, a Syrian-Lebanese artist and writer who is related to one of Sabah’s husbands. “She was a free woman with nothing to hide. Joy, terror and disappointment all showed behind her heavy makeup. What amazes me most is that she was never ashamed of her old age – she dressed in outfits that betrayed her decaying body. I loved her acceptance of life.”

With fellow divas Fairouz and Umm Kulthum, Sabah became one of the undisputed giants of the age, building a successful stage career in Beirut after leaving Cairo for good in the 60s.

Unlike Fairouz, Sabah’s work was not political, apart from a couple of songs that dealt with pan-Arabism. And unlike Umm Kulthum, her songs were not weighty or serious. Nor was she a strong actress.

Instead her vocal technique, her warmth and sincerity as a performer, and the lighter nature of her songs [Yana Yana] were what made her loved. “She had no relationship with political issues – and that’s why people needed her,” said Momen al-Mohammadi, an Egyptian author and thinker.

Salwa, a Bahraini lawyer, recalls watching Sabah perform at a private wedding in the 80s, at the height of the Lebanese civil war. Her warmth has left a lasting memory. “Usually the famous singers would leave weddings quickly, but Sabah really looked like she was happy to be there,” remembers Salwa. “She would go up to people and interact with them. She sang old songs, new songs, whatever anyone asked her to. She was smiling the whole time.”

And she took people’s minds off the conflict in her homeland, says Salwa. “She was singing and dancing and jumping around when Lebanon was in a war – and she showed a different side to the country. Back then people didn’t go on holiday to Lebanon, and she was one of the few happy Lebanese people we saw.”

In Lebanon itself, 30 years on, Sabah’s death is about more than just the departure of an entertainer. For Fadi al-Abdallah, a Lebanese poet and critic, it has also raised gnawing questions about the nature of Lebanese identity.

“There is a general feeling that the symbols of the era are leaving, and that at the same time they haven’t been replaced by a new generation,” says Abdallah, who wrote a widely shared paean to Sabah last week.

“There is the feeling that the old times were better, and also objectively that the new era of art is less interesting, and less capable of leaving a mark in our heads and hearts. And that the ingredients of our identities are being more and more lost.”





The Kanklės Of The Soul

Algirdas Svidinskas
Vėlių kankliai



01 - Improvizacija I
02 - Oi toli toli
03 - Improvizacija
04 - Šaliu šaliuokit
05 - Improvizacija III
06 - Aušta aušrela
07 - Improvizacija IV
08 - Vidury lauko
09 - Improvizacija V
10 - Improvizacija VI
11 - Oi seniai seniai
12 - Improvizacija VII
13 - Improvizacija VIII
14 - Pavasario dienely
15 - Improvizacija IX


 Algirdas Svidinskas grew in musical family. Mother learnt him folk songs, father – to play guitar with seven strings. With this instrument he performed valse and polka dances. He with family often sang in winter evenings, as he says, that evenings was the most impacted reminiscence from childhood. Ethnic culture and singing poetry – two music genres, which are closely concerned in his life. Folk – the energy of soul, and singing poetry lets to spray inner attitudes. Musicant, who plays guitar and Lithuanian stringed instrument, mostly sings with loud Upper Lithuanian dialect.

"I do not call myself nor poet, nor bard, nor folklorist. The main profession I got with birth – to be a human. If even one of my professions will overtake inborn, I will feel guilty. I spill in songs and poetry everything what is actual to me, what hurts, or what brings joy, – says
Algirdas Svidinska.

He has published his poesy collection „I was and I will be“. He is indrawn in national writers digest. Besides, he has recorded an improvisation with tradition Lithuanian stringed instrument in album format – „Vėlių kankliai“ and authoric dialectic songs „Kryžkela“.With the country group „Šulnys“ was published album „Unt Sartų“.
Algirdas Svidinska – member of lithuanian etno culture essemble, initiator of dialectal creation section. „I had to do some jobs in my life: before twelve years together with nephew we managed to restore famous Sartai horses racing to their historical place. Promoted in producing Rokiškis region etnoculture world by organizing folk ensemble „Gastauta“, with whom we organized calendar holiday events, expeditions of regional studies. I was one of „Ambrosia“ author and famous „Acacia avenue“ author of idea“ – says Algirdas Svidinskas.

The kanklės (pronounced [ˈkʌŋkles]) is a Lithuanian plucked string musical instrument (chordophone), of the zither family. The instrument is similar in construction and origin to the Latvian kokle, Russian gusli, Estonian kannel and Finnish kantele.
The psaltery is one of the oldest Lithuanian folk stringed instruments. Imformation about the psaltery can be found in Lithuanian folk songs, tales, legends often reaching the times when Lithuanians were pagans and believed that a man’s soul can dwell in a tree or in a psaltery and speak or sob in a man’s voice.

In the historical sources the psaltery is mentioned for the first time in the 16th century.
Taking into consideration the peculliarities of making, psalteries can be divided into three groups: primary, simple and complex. Gouged from one piece of wood, the primary psaltery is the most ancient and most primitive. The simple psaltery is also gouged from one piece of wood but it is larger, has more (from 9 to 12) strings, and, besides, it is made with greater artistry. The complex is glued up of separate parts: the ends, the sides, the soundboard and the back. The strings of the psaltery were made of catgut or iron or steel wire.

The characteristic features of the general construction of uhe Lithuanian psaltery are as follows. The body has the shape of a trapezoid. One end is narrower – here the strings are fastened. On the other-wider-end the pegs that stretch the strings are fixed. The wider end of the psaltery is cut obliquely: the acute angle is from 17degrees to 70 degrees, the obtuse angle from 100 degrees to 150 degrees. The slant narrows from right to left.



Countryside Mantras

Vytautas V. Landsbergis
Kaimiečių mantros


1st CD:

01. Puta puta
02. Kalnie rugiai
03. Kai paverges as gulesiu
04. Sunes loja, kates moja
05. Parlek blazdinka
06. Kad ejau as keleliu
07. Oi marti marti
08. Kai mazas buvau
09. O jeigu as numirciau
10. Auga ant kalno
11. Devyni metai
12. Toje ulycioj
13. Is karcemeles
14. Pucineli raudonasai
15. Vai liuliu liuliu
16. Sedziui ant kranto1
17. Oi kad as jojau uliavojau
18. Pragyda gyda
19. Tupi pievoje lektuvas
20. Kur mano tetusis geria

2nd CD:

01. Oi tu saula saulula
02. Saulele raudona
03. Oi toli toli
04. Isvykstu as mama toli
05. Oi tu kleveli
06. Teka teka
07. Kai mes buvom du broliukai
08. Islek, sakuole
09. Oi gaidy gaidy
10. Gerkim gerkim
11. Salia kelio karcemele
12. Kas girelej trinktelej
13. Kaip gera, kaip man gera
14. Kas tau kaltas, panyta jaunoji
15. Vilioj pana sakaleli
16. Ir pajaugo zali liepa
17. Padovanok man sypsena, zeme
18. Ne del zalio vyno
19. Lek gerveli
20. Geriau aluti



 The first album titled Countryside Mantras (Kaimiečių mantros) was recorded in 2004 and consists of two CDs with 40 Lithuanian folk songs accompanied by a guitar. The songs are performed by Vytautas V. Landsbergis, Ramunė Landsbergienė and Regimantas Žitkauskas.

  “The major part of the album consists of folk songs and folk ballads that have always fascinated me. Some of them have a modern touch and may sound like romances, for which I apologise to the fans of pure folklore. The album also contains several authorial songs. And the last song I Drank Beer (Gėriau alutį) performed in Samogitian dialect is a soundtrack for a non-existing musical film. I created the arrangement together with the saxophonist Petras Vyšniauskas, while the voices were lent by the ethnographic band fronted by Evaldas Vyčinas...” speaks Landsbergis about his first album.
Juozas Žitkauskas

 (The works of Vytautas V. Landsbergis are marked by post-war resistance)

  (...)It is virtually the most important topic in his sung poetry. By looking back at this period of Lithuanian history, by showing interest in the life and songs of post-war partisans, Landsbergis distinguishes himself from the top 10 of Lithuanian bards. His songs about partisans can be heard in the film When I Was Little (Kai aš mažas buvau), the play Bunker (Bunkeris), as well as the CDs Countryside Mantras (Kaimiečių mantros, 2004), Dream (Sapnas, 2007) and Thirteen Brothers (Trylika brolių, 2009). Those who enjoy sung poetry, but have a narrow understanding of the genre, may question whether Landsbergis’ consistent efforts in promoting the topic of resistance are truly following the tradition of singing-songwriting. But I believe that in a broad sense Landsbergis’ works have a right to be considered singing-songwriting. He has enriched the genre with vivid reflections of Lithuanian folklore and even entire folk songs. I do not dare to claim that he is the only one to do so (as such claims might cause reasonable discontent of Algirdas Svidinskas from Kaunas Region), but the works of Landsbergis seem to be influencing other bards – young song-writers have been more and more frequently combining folk songs with the sounds of guitars and keyboards. And those are not necessarily the popular songs know to every pub crawler.

  How did Landsbergis start singing poetry? I must admit that I was surprised when Gediminas Storpirštis told me in early 2002 that Vytautas was going to perform in the Singer-Songwriter Website Concert in Vilnius Teachers’ House. I had known him as a poet, children’s author and filmmaker, but I had never heard him sing (although neither have I ever been a member of “Ratilis”, the folk band of Vilnius University, where Landsbergis had been singing for 15 years). He performed only a few songs in that concert headlined by Vytautas Kernagis. All of those songs were later included in his first CD Countryside Mantras. Since the 2002 show, he has attended all major Lithuanian singer-songwriter festivals and concerts accompanied by his wife Ramunė or Šiauliai-based composer Raimondas Rašpoliauskas.

  From 2004, fans of the genre can also enjoy Landsbergis’ songs from CDs. The Cruelly Beautiful Romances (Žiauriai gražūs romansai, 2005) will wine the heart and pluck a tear from any lover of folk ballads, while the Dream (Sapnas, 2007) will please the admirers of more conventional singing-songwriting.

  The CD Thirteen Brothers contains 12 songs, two of which were created by partisans, three are Lithuanian folk war songs, two were written by other poets (Vytautas P. Bložė and Alfonsas Nyka-Niliūnas) and the rest by Landsbergis himself. At the heart of the CD is the song Thirteen Brothers. In his interview to the news website www.bernardinai.lt, the author said: “A long time ago, I wrote a poem about thirteen brothers reflecting different stages of life from early childhood to the first love, to maturity, and to the transcendental exit. The poem rested as a certain code, but I always felt that it had to become a song. When it did, other songs joined in until there were 13. However one song was left unsung and thus there were 12 songs for 13 brothers.”

  The Thirteen Brothers is an exciting release with a good line-up that seems to be telling a single story. While the Cuckoo (Gegutė, lyrics by Bložė) speaks about the post-war period from the present, the other authentic partisan song Hey, Hawk (Ei, sakalėli) reveals the grim reality of the time through the dialogue between a partisan and a hawk. The songs are spiced with irony and hidden philosophical subtext:

God is lying on the roots,
A hitman tryin’ to nick his boots
God is smiling at the hitman’s deeds,
God is sorry for the hitman’s fleas

  The song can be frequently heard in Landsbergis’ personal shows and often makes the audience smile. The connection with the described historical period is reinforced by the sound of keyboards, flute and other instruments played by Rašpoliauskas, who has also arranged all the songs. The additional instruments also fill the album with lightness and hopefulness. According to Landsbergis, Rašpoliauskas brings the release closer to the main goal “to stop shedding tears for the painful period of our history and for the ranks of men who perished in Lithuanian forests; to stop crying and begin celebrating ourselves being the progeny of the fearless. (...) Through this song I wanted to reach that state of painlessness.”

  A few songs came to this album from the Countryside Mantras. But more loyal listeners may miss Vosilkos that was included in the earlier CD and performed during the presentation of the latter release in Vilnius Teachers’ House. The author mentioned then that not all partisan songs from the repertoire had made it to the new release. Hopefully they will make it into the next one.

  Vytautas V. Landsbergis is one of the authors whose melancholic songs are either loved or misunderstood. Melancholy is abundant in the new CD as well. However for the first group of listeners – including myself – this album is a tool for achieving harmony and comfort. I would recommend listening to the release from the beginning to the end, as it is a coherent work “pulling the listener from the first chords and words into a world of harmony where the line between the author’s songs and folk songs is blurred. That world is ruled by inner rhythm providing the tie with the reality – whether it is the poetic dream world, or a partisan's experience”.



I Totally Don't Know Why

Vytautas V. Landsbergis
Ramunė Landsbergienė
Aš visai nežinau kodėl



01. Aš visai nežinau kodėl
02. Vaikštinėjo povela
03. Siuntė mani motula
04. Strazdas
05. Imk mano ranką, brolau
06. Aušta aušrelė
07. Pavasario dienelė
08. Nieko karalius
09. Oi lunkela
10. Vienatvė
11. Tarakonai
12. Prie rytinio ekspreso
13. Ant kalno kalnelio
14. O žvaigždė puodynėj
15. Tu pucine



 Dainuojamoji poezija su lyriniais, šmaikščiais, juokingais Romo Lileikio ir Vytauto V. Landsbergio tekstais, lietuvių liaudies dainomis, gitaros, akordeono, cimbolų, fleitos, dūdmaišio garsais, susiliejančias į savitą visumą...apie „žvaigždę puodynėje“ ir „tranzuojančią karvę“...

...2005 saw the release of the third album I Totally Don't Know Why (Aš visai nežinau kodėl) consisting of authorial and folk songs performed by Vytautas V. Landsbergis.

The CD follows the tradition of the previous albums – on the one hand Landsbergis combines his own songs with folk songs (five of the songs were written by Romas Lileikis and two by Landsbergis), on the other hand there is no dissonance between the two genres...

 Vytautas Landsbergis (b. 1962. 25 May. Vilnius) - poet, writer, singer, theater and film director, children's writer, politician, son of Vytautas Landsbergis and...
I am Vytautas V. Landsbergis. 
I was born in dismal times of the Soviet occupation in Vilnius to a musicologist Vytautas and a pianist and a Siberian exile Gražina. As a kid I went to a kindergarten on the Red Army Avenue. Immediately after the kindergarten, I was desperate to apply for a director’s job in Kaunas Zoo, but my parents objected claiming that I was too young. Thus, I was forced to go to A. Vienuolis secondary school in Vilnius.

  My first poems were dedicated to my physics teacher and written on the pilot graduation exam sheet – I was already more adept at poetry than at physics. The teacher evaluated my creative torment by giving me 4 out of 5.

  Several years later I graduated from Vilnius University with a degree in Lithuanian language and literature, which is now my main language of communication and writing poetry, screenplays, essays and fairy-tales.

Later I studied filmmaking in Tbilisi Theatre and Film Institute in Georgia, but the studies were interrupted by a civil war. Left without a degree I had to find other teachers, so I went to Mekas at his Anthology Film Archives in New York and later to Kieslowski and Zannussi in Poland.

  When Lithuania regained its independence and the Revival period began, I started making national archive documentaries on prominent Lithuanian persons, including the partisan Juozas Lukšas Daumantas, diplomat Stasys Lozoraitis, basketball player Arvydas Sabonis, sculptor Vilius Orvidas, filmmaker Jonas Mekas, poets Henrikas Nagys, Vytautas Bložė and Nijolė Miliauskaitė, and other outstanding Lithuanians. During the 15 years of cinematography, I produced 15 documentaries, and one children’s film Hansel and Gretel (Jonukas ir Grytutė) in 2002.

  Over 10 of my children’s books have been published in Lithuania, including Tales of the Little Brownnoser (Rudnosiuko istorijos), Tales-Non-Tales (Pasakos-nepasakos), Apple Tales (Obuolių pasakos), Angel Tales (Angelų pasakos), The Love of Dominic the Horse (Arklio Dominyko meilė), Zita the Mouse (Pelytė Zita) etc. There were three poetry books too. I also staged nine plays in a number of theatres across Lithuania – mostly written by myself.

  Recently I have been staying in the provincial town in Anykščiai. I have five children and three grandchildren. Most of the time I write children’s books, look out of the window or go to the Šventoji River with children to watch cranes catching fish – all of this makes me feel as if I were the director of an imaginary Anykščiai Zoo…


Vytautas V . Landsbergis - Žiema žiema žodžiai

Tokia graži žiema, tik baltos snaigės krenta
O mes tokie jauni, tarsi šešiolikmečiai
Žiūriu tenai gatve graži mergaitė bėga
Pamačiusi mane ji metė gniūžtę sniego

Žiema žiema, snaigės veidą bučiuoja
Man taip gera širdy, o kodėl nežinau.

Mergaite tu nebėk, vistiek tave pagausiu
Ir baltame sniege veidelį tau išprausiu
Mergaite tu nepyk, aš čia visai nekaltas
Čia tik kalta žiema ir kaltas sniegas baltas

Žiema žiema, snaigės veidą bučiuoja
Man taip gera širdy, o kodėl nežinau.

Žiema žiema, snaigės veidą bučiuoja
Man taip gera širdy, o kodėl nežinau.


Hun synger med en finstøpt diamants briljans, en overjordisk stemme

Åsne Valland Nordli


01. Eg synger julekvad
02. Mitt hjerte all tid vanker
03. Kling no klokka
04. Eg er så glad kvar julekveld
05. Din herlegdom Frelsar
06. Her er det ny, som på jorderik skjedde
07. I denne søte juletid
08. Det lyser i stille grender
09. Deiliig er jorden
10. Det kimer nå til julefest
11. Guds son er komen til oss ned
12. No koma Guds englar
13. Den fagraste rosa
14. Stille natt


Åsne Valland Nordli - vocals

Arve Henriksen - trompet
Paolo Vinaccia - percussion
Joakim Friis Holm - celtic harp
Elin Ødegård - support vocals




 CD’en formidler julens alvorlige og glederike budskap med raffinert enkelhet.
«Hun synger med en finstøpt diamants briljans, en overjordisk stemme».
Dagbladet (6)

:-) mi

 Jul or jol is the term used for the Christmas holiday season in Scandinavia and parts of Scotland. Originally, “jul” was the name of a month in the old Germanic calendar. The concept of “jul” was a period of time rather than a specific event prevailing in Scandinavia. In modern times, "Jul" is a general time stretching from mid-November to mid-January, with Christmas and the week up to New Year as the highlight.

The term "Jul" is common throughout Norway, Sweden, Iceland, Greenland, Denmark, Scotland and the Faroe Islands...

Recorded 29. October - 1. November 1996 at Ullensaker Kyrkje 

Åsne Valland Nordli (født 10. oktober 1975) er en norsk sanger, oppvokst i bygda Norheimsund i Hardanger. Åsne startet å synge religiøse folketoner da hun var en liten jente, og lærte kveding av Steffen Eide, Margrete Opheim og Sondre Bratland. Bare 15 år gammel begynte hun selv å undervise ved Ole Bull-akademiet på Voss.

Valland Nordli har hatt en rekke konserter på ulike festivaler, blant annet på Bergen Nattjazz, Førde Internasjonale Folkemusikkfestival, Vossajazz, Telemarkfestivalen, Maijazz og under Filmfestivalen i Haugesund. Allerede som 16-åring turnerte hun med Bergen Filharmoniske Orkester. Og i 1998 skrev samtidskomponisten, Magnar Åm, verket Vandrande Himmel spesielt for Åsnes stemme.

Åsne har spilt inn tre soloplater: Den ljose dagen (Kirkelig Kulturverksted, 1994), Julekvad (Kirkelig Kulturverksted 1996) og Himmelske Balsam og sødeste Drue med tekster av Daniel A. Buli (Via Music 2001), alle i samarbeid med produsent Sigbjørn Tveite. Åsne var i 2000 med på platen Christmas, utgitt på det internasjonale selskapet Putumayo. Hun har også medvirket på felemusikeren Nils Øklands utgivelse Straum (Rune Grammofon 2000). I 2005 utga hun sammen med pianisten Kristin Skaare juleplaten Lille Messias.

Åsne Valland Nordli er i dag bosatt på Stange i Hedmark, hvor ektemannen Andreas Nordli er leder for Ungdom i Oppdrag. Hun bodde i fem år i havnebyen Constanta i Romania der hun sammen med sin mann og lokale aktører drev kristne humanitære prosjekter blant gatebarn.

...it hardly can get any better, can it...



There’s this notion of space

 Алесь Лось 
Лірніцкія песьні, псальмы і канты


01. Архіўны запіс лірніка (зап. З. Эвальд 30-я гады, Паўночна-Усходняя Беларусь)
02. Песьнь аб Страшным Судзе (зап. Ул. Берберавым і Н. Матыліцкай у в. Ульянаўка Слуцкага р-на)
03. "Не шумі дуброўка" (зап. М. Залатуха ад сваёй бабулі ў вёсцы Велеўшчына Лепельскага р-на Віцебскай вобл.)
04. Лазар (зап. ад Н.І. Смаля 1920 г. нар. у вёсцы Расохі Пружанскага р-на Берасьцейскай вобл. публ. З. Я. МАжэйкі "Песни Белорусского Полесья", М. 1984)
05. Песьнь аб сьв. Гаўрыле (зап ад О.Н. Тамашук 1900 г. нар. у вёсцы Парэчча Пінскага р-на Берасьцейскай вобл. публ. З. Я. МАжэйкі "Песни Белорусского Полесья", М. 1984)
06. "Даўным даўно тое было..." (зап. Р. Шырма 1929 г. ад Зоі Карпюк у в. Харкі Пружанскага р-на Берасьцейскай вобл.)
07. "У нядзельку па абедзе" (зап. Г. Кутырова 1983 г. ад Г.П. Дамарад 1922 г. нар. у вёсцы Паўстынь Слуцкага р-на)
08. "У нядзельку ранюсенька..." (зап. Г. Кутырова 1984 г. ад Е.І. Пархімчык у вёсцы Каралевічы Пухавіцкага р-на)
09. Ванюша (рэкруцкая песьня зап. у Магілёўскім р-не, экспедыцыяй Мінскага студэнцкага этнаграфічнага таварыства)
10. Марусячка (зап. Т. Кулаковіч 1983 г. ад Я.А.Унук 1893 г. нар. у вёсцы Хмелеўка Мінскага р-на)
11. Дарожка (зап. А.У. Хадыка і М. Залатуха у 1981 г. ад Маланьні Забурмах у г. Мсьціслаў)
12. "Maryio, Vilna obrono..." (в. Бастуны Лідскага р-на. Pub. Etnolincwistyka "Problemy jeryka i kyltury" 9/10 uniw. Maryi Curie-Sklodowskiej.")
13. Piesn do swietej Filomeny (w. Sierki, gm. Tykocin, woi. Bialystok 1989 r. od S. Malinowskiej, pub. "Piesni pustych nocy" Janina Szymanska.)
14. Не ляжы ветру ў полі (pub VI t. "Lud Bialoruski" M. Fedenowski.)


Ales’ Los’ - Lyre

(turning) Lyre songs, Psalms and Canticles

Профессиональный художник и музыкант Алесь Лось не только играет на многих народных инструментах, но и изготавливает их.

Professional artist and musician Ales’ Los’ not only plays many folk instruments, but also makes them.

Born: September 13, 1958 in Belarus...

Old music instruments maker. Educated as an artist, Ales’ Los’ is a tireless researcher of various aspects of traditional folk culture. His interests include batleika folk puppet theatre, traditions of making and playing old music instruments, folk dance, various crafts. He has participated in a number of culture, theatre and art-related projects in Poland, Lithuania, Czech Republic, Bulgaria, Estonia, USA, Turkey, and Greece.

“There’s this notion of space, a personal emotional space. My personal space includes my making the instruments, producing the sound, studying the music played with these instruments. It’s all I need.” (Ales’ Los’)


you might need to get it translated...
Біяграфія - Biography

Алесь Лось нарадзіўся 13 верасьня 1958 года. Бацька Уладзімір сын Васіля, маці Ларыса дачка Мікалая з роду Петручук-Карпінскіх-Ваніцкіх.

1973 — 1977 г. — вучыўся ў мастацкай вучэльні імя Глебава ў Менску.

З 1977 г. — студэнт Беларускага дзяржаўнага тэатральна-мастацкага інстытута. Пачаў цікавіцца архіялёгіяй і этнаграфіяй, у 1977-1980 гг. браў удзел, як мастак, у даследаваньні гарадзішча Мацкавічы пад кіраўніцтвам архіёляга Л. Дучыц. У 1978-1979 гг. прымаў удзел у рэстаўрацыі фрэсак Мсціслаўскага касьцёла кармелітаў пад кіраўніцтвам рэстаўратара У. Ракіцкага. З 1982 г. разам з Яўгеніяй Ліс пачаў займацца рэканструкцыяй старажытнага лялькавага батлеечнага тэатра. Багата езьдзіў у этнаграфічныя экспедыцыі, вывучаючы народныя тэхнікі ігры на скрыпцы, цымбалах, бубне, жалейцы, натаваў народныя танцы. Пачаў зьбіраць матэрыялы па беларускай дудзе і рабіць першыя крокі па стварэньні гэтага інструмэнта.

У 1983 г. — скончыў вучобу ў інстытуце на мастацкім аддзяленьні, атрымаўшы дыплём мастака-графіка. На абароне дыплёма разам з Яўгіняй Ліс паказаў батлейкавае прадстаўленьне «Цар Ірад», дапамагаў Хведар Кашкурэвіч, тады студэнт першага курсу манументальнага аддзяленьня інстытута.

1983 г. — пераехаў разам з сям’ёю з Менску ў в. Зарудзічы Смаргонскага р-на. У плянах было стварыць у кальвінскім зборы г. Смаргоні музэй-тэатар батлейкі (на той час храм быў складам). Ідэя стварэньня музэю належала калектыву Белрэстаўрацыі пад кіраўніцтвам А. У. Хадыкі.

1983—1985 г. — служба ў войску.

1986 г. — персанальная выстава графікі і жывапісу, разам з Я. Ліс у Смаргоні; ішла праца па стварэньні тэатральнага рэпертуару для калектываў дарослага і дзіцячага, лялькавага тэатра «Батлейка» ў вёсцы Залесьсе. У гэтым жа годзе тэатар «Батлейка», пад кіраўніцтвам Яўгеніі Ліс (рэжысёр-пастаноўшчык) і Алеся Лася (мастак-пастаноўшчык і музыка) атрымаў ганаровае званьне «Народны».

1987 г. — тэатар «Батлейка» бярэ ўдзел у міжнародным фестывалі драматычных і лялькавых тэатраў у г. Вільяндзі (Эстонія), дзе за аднаактавы спектакль»Цар Ірад» атрымаў І месца за найлепшую пастаноўку сярод лялькавых тэатраў на фестывалі.

Увосень гэтага года зрабіў сваю першую ліру.

1988 г. — тэатар (дарослая трупа) выязджае на гастролі ў Чарнобыльскаю зону. Выступае па маршруце — Брагін-Хойнікі-Нароўля-Малінаўка, пасля выступаў тэатру перад дзецьмі школаў закрытага тыпу і вяскоўцамі ладзяцца вечарыны народных танцаў. Спектаклі і канцэрты народнай музыкі ладзяцца для ліквідатараў Чарнобыльскай катастрофы (Паўночна-Каўказскі і Уральскія палкі, якія кватэраваліся ў вялікіх намётах у адлегласьці 8 км ад атамнай станцыі).

У гэтым годзе прыняты ў прафесійны Саюз мастакоў Беларусі, апрача тэатру і этнаграфіі, актыўна працаваў як мастак графік, удзельнічаў у шэрагу выстаў у Беларусі і за яе межамі.

1989 г. — разам з сябрамі-аднадумцамі (Верамейчык С. І., Астравух А. М. і Ліс Я. Я.) стварылі праект па адкрыцьці ў палацы М. К. Агінскага, што ў Залесьсі, Школы мастацтваў імя М. К. Агінскага. Праект быў падтрыманы Міністэрствам культуры і адукацыі. Пачалася актыўная праца па рэстаўрацыі будынка палаца і заняткі з дзецьмі па тэмах музыкі, тэатру і мастацтва. У сувязі з »перабудоваю», у 1991 г. скончылася фінансаваньне школы — і праца спынілася.

1990 г. — у Віцебску разам з вядучымі этнографамі, інструмэнтазнаўцамі, прафэсійнымі майстрамі клясычных і народных інструмэнтаў Беларусі прымаю ўдзел па стварэньні Музычнага таварыства Беларусі пры Міністэрстве культуры Беларусі. Вёў працу па тэме «Народная скрыпка, ліра, дуда, жалейкі, дудкі» (школа ігры, эргалёгія, кансультацыі па вырабы інструмэнтаў на абшары усёй краіны). Прымаў удзел у першай на Беларусі выставе народных інструмэнтаў, выставу шыкавала прафесар-інструмэнтазнаўца І. Дз. Назіна.

1991 г. — на замову Міністэрства культуры Беларусі разам з Я. Ліс і калектывам мастакоў-рэстаўратараў (Г. П. Калнін, О. Ю. Аттас, Л. П. Асеньні) выканалі копію магілёўскай батлейкі 19 ст. з камплектам лялек для філіялу музэю М. Багдановіча.

1991 г. — пачаў супрацоўнічаць з фундацыяй «Muzyka kresow» (Польшча), выступаў з рэфератамі і навукова-дасьледчымі працамі па тэмах: эргалёгіі, рэпертуару, рэканструкцыі жанру ў кантэксце абрадава-сакральнага ўжываньня беларускіх народных інструмэнтаў — ліры, дуды, скрыпкі, жалейкі, бубна. У траўні 1991 г. — выступіў разам з Хв. Кашкурэвічам, які ў той час быў маім вучнем па вырабе дудаў, у Вільні на фэстывалі «Skamble kankles». Мы ўпершыню зайгралі на дзьвюх дудах, дуэт меў назву «Крыўе», пазьней гэту назву прадублявалі іншыя музыкі. На сьвятой Віленскай гары Трох крыжоў пасьля фэстывалю мы з Хведарам цэлы вечар гралі на дудах, і там нам прыйшла ідэя ладзіць свае дудовыя фэсты на Беларусі.

1992 г. — выступ тэатру «Батлейка» (А. Лось, В. Доўнар) у Парыжы, у Сан-Трафіма, на фэстывалі лялькавых тэатраў і выставе лялек. Выступы тэатру ў Варшаве.

1993 г. — прыняты ў прафэсійны Саюз мастакоў Польшчы. Працаваў як мастак-графік і жывапісец, удзельнічаў у творчых пленэрах, рабіў дуды і ліры, працаваў над рэпертуарам гэтых інструмэнтаў.

1993 г. — з блаславенства мітрапаліта аўтакефальнае царквы Польшчы, Яго Эмінэнцыі Базылія, працаваў у галіне сакральнага жывапісу і інтэр’еру на Беласточчыне (Польшча). За працу над стварэньнем іканастасу ў царкве Св. Мікалая ў в. Чыжы, Беластоцкага ваяводства, быў узнагароджаны разам з В. Доўнарам, які дапамагаў у працы, ордэнам Св. Марыі Магдалены. Супольна з В. Доўнарам выканалі праектныя працы і напісалі абразы да іканастасаў царквы ў Чарнай Беластоцкай -1994-95 г., галоўны іканастас царквы Сьвятога Духа ў Беластоку, другі іканастас быў выкананы супольна з Хв. Кашкурэвічам ў 1998 г., з яго дапамогаю быў створаны іканастас царквы Успенія Маці Божай у Бельску Падляскім ў 1998-2000 г.

1996—97 г. — працаваў над іканастасам царквы ў м. Грудэк. У працы дапамагалі Уладзімір Лось, мой сын, мастак Барыс Цітовіч з сынам Данілаю, гісторык Алесь Краўцэвіч, музыка Януш Прусіноўскі.

1998 г. — удзельнічаў у творчым праекце «Mitologii Gornej» (аўтар Франсуа Мане, Францыя). Мэта праекту — стварыць музычны спэктакль па тэмах Калевалы і старажытнай грэцкай міталёгіі. Удзельнікі — творчыя маладыя людзі, акторы, балярыны, музыкі, мастакі з Галяндыі, Францыі, Італіі, Польшчы, Турцыі, Беларусі. Пастаноўка спектаклю праходзіла ў Эклізіі (Турцыя). Рэжысура музычнай часткі — Алесь Лось, Януш Прусіноўскі. Спектаклі паказваліся ў старажытных грэцкіх храмах Зэўса, Апалона, Артэміды на тэрыторыі Турцыі і Грэцыі.

1999 г. — творчы пленэр па мастацкім вырабе ручной паперы «Хартията» ў Кранева (Балгарыя). У гэтым жа годзе набыў хутар «Барок». Персанальная выстава графікі і ручной мастацкай паперы у г. Полацку.

1999—2001 г. — экспедыцыі па дударскіх мясьцінах Беларусі. Разам з Хв. Кашкурэвічам сфільмавалі каля 17 гадзінаў унікальнага матэрыялу пра дудароў Полаччыны, Лепельшчыны, Віцебшчыны. Знайшлі працоўню і фрагмэнты дуды Хведзькі Сьцеся. На гэтых матэрыялах планавалася стварыць фільм пра беларускія дуды. (Тэма дагэтуль адкрытая. Я адлічбаваў частку стужак, і для сумеснай працы па стварэньні фільма запрашаю ўсіх, каго цікавіць тэма дудаў і дудароў нашае зямлі ў кантэксьце этнаграфіі, гісторыі, музыкі, традыцыяў і абрадаў). У гэты ж час супрацоўнічаў з кафедрай беларускай культуры аддзяленьня Варшаўскага ўніверсітэта ў Беластоку. Разам са студэнтамі ладзілі экспедыцыі па старых беларускіх вёсках Беласточчыны, праводзіў майстар-клясы па беларускіх народных танцах. Мне дапамагалі: Света Конева, Агата Адамкевіч (Польша), Юзэф Міхалоўскі, Хведар Кашкурэвіч.

2000 г. — супольны творчы праект «Музыка Дзядоў», зьвязаны з народнай музыкай Польшы і Беларусі. Прайшлі канцэрты ў Варшаве (Агата Адамкевіч — цымбалы, скрыпка; Пётр Пішчатоўскі — скрыпка, бас, акардэон, бубен; Алесь Лось — скрыпка, дуда). У Беларусі канцэрты прайшлі ў Менску, Полацку, Гародні, да капэлі далучыліся Юзэф Міхалоўскі — акардэон, бас; Хведар Кашкурэвіч — дуда.

2001 г. — творчы пленэр на маім хутары ў межах праекту «Прошча». Тэмы майстар-клясаў: ткацтва паясоў па старажытных тэхналёгіях, вырабы з цэглы і абпальваньне архаічных свістковых інструмэнтаў, навука народных танцаў, вывучэньне народных тэхнік ігры на скрыпцы і дудзе, выраб ручной паперы па сярэднявечных тэхналёгіях. У майстар-клясах удзельнічала творчая моладзь з Латвіі, Польшчы, Беларусі.

2002 г. — праца над запісам СD альбома «Сьпяваная паэзія Ларысы Геніюш». У апрацоўцы запісанага матэрыялу дапамагаў Ю. Міхалоўскі. Дзякуючы С. Панізьніку, які прадаставіў свае архіўныя запісы з голасам Л. Геніюш, на дыску ўпершыню прагучаў верш, які чытае сама паэтка.

2003 г. — вядзецца работа над запісам CD альбома «Ліра», дзе лірніцкія псальмы і канты пад выкананьне ліры калёснай, традыцыі старчаства, упершыню былі акрэсьленыя як жанр у народнай музыцы Беларусі.

2004 г. — разам з музыкамі маёй капэлі (Ганна Харчанка — скрыпка, віяланчэль, басэтля; Марына Калечыц — народныя цымбалы) запісваем альбом «Смыковая музыка» па матэрыялах, сабраных у экспедыцыях.

2005 г. — выходзіць у сьвет CD альбом «Musika Incognita»: гэта спроба на невялікім адцінку часу паказаць багацьце і разнастайнасьць музычна-інструмэнтальных традыцыяў нашага краю. У запісу браў удзел новы музыка капэлі спадар Юры Рымашэўскі, выбітны кантрабасіста і трубач, а таксама таленавітая скрыпачка, мая вучаніца, Вольга Шульпянкова.

2006 г. — мая капэля выступае на розных фольк-фэстах, дае канцэрты ў Польшчы, Чэхіі, Літве, Беларусі. Дзякуючы маім амэрыканскім сябрам, асабліва спадарыне Даян Макдональд, наведаў Злучаныя Штаты, дзе разам з калегамі музыкамі і навукоўцамі з Беларусі мы пазнаёміліся з калекцыямі музычных інструмэнтаў фондаў найбуйнейшых музэяў краіны, з працаю найлепшых студый гуказапісу, з формамі фінансаваньня розных культуралагічных і творчых праектаў.

2007 г. — працаваў выкладчыкам у Акадэміі культуры (былы Інстытут культуры), выкладаў тэму «Народны інструмэнт» з надзеяю стварыць пры Акадэміі лабараторыю па дасьледаваньні народных інструмэнтаў, але хутка надзею згубіў…

2008 г. — удзельнічаю ў праекце «Рада» /аўтар Васіль Грынь/. Разам выдаем альбом «Рада», выступаем з канцэртамі, прымаем удзел у фольк-фэстывалях.

2009 г. — жыву і працую на хутары «Барок», месцы, дзе можна шмат чаму навучыцца, добра папрацаваць і адпачыць, месцы, дзе заўжды рады харошым людзям.

Праект "Маналог Майстра"
Monologue of Master

The series commences with an episode entitled Musica Incognita
They say Belarusians are so poor and miserable because they don't know how rich they really are! They have these riches all around them..." Ales' Los' reflects upon this and many other subjects as he is captured at his work. Artist, musician, instrument maker and ethnographer, he is also the owner of Khutar Dudara countryside guesthouse, a place to learn new things, try your hand at ancient crafts, and have a nice time; a place where good people are always welcome...

Monologue of Master is a collection of short documentaries that aspire to sketch out artistic and psychological portraits of some of the unique figures in traditional crafts, who live and work in our land today.

The camera records an artisan at work, sharing his or her thoughts on the craft and the person who practices it; on tradition, life, and culture; on the past and the future.

Belarus is a country where the heartbeat of age-old traditions has nearly ceased. There are objective reasons behind being ashamed of one’s own past. Those include repressions against the intellectual elite (including craftsmen and entrepreneurs), a massive influx of rather ill-educated bureaucrats, teachers and military men from Russian provinces, rapid migration of a large portion of rural population into towns, which created a disparaging attitude towards peasant and small-town culture.

Industrialization and Globalization have shaped a negative image of handiwork products, now regarded as home-made stuff fit only for kids. Provincialism most tellingly reveals itself in a shared urge to live in a “modern European-like” home, furnished with expensive-looking imported materials and embellishments. As a result, the interest to old traditions and handicrafts has plummeted, and in many cases craftsmen could find no pupils to pass on their knowledge and skills to.

At the same time, it is unique things that help a country successfully develop tourist trade, which has been rightfully suggested as a foundation for a restructured economy in Belarus.

That is why we believe that such a project may become instrumental in addressing the issues we have mentioned above.

The project is promoted and implemented as part of Budzma non-governmental culture awareness campaign.


 see & read some more : )


yes, this is another one of these rare ten out of ten records 
and yes it's hurdy-gurdy and voice again...
and so much more : )