22.12.14

I Totally Don't Know Why

Vytautas V. Landsbergis
Ramunė Landsbergienė
Aš visai nežinau kodėl

2005

Turinys:

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
  
♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ. 

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

 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.




6.12.14

Hun synger med en finstøpt diamants briljans, en overjordisk stemme

  
Åsne Valland Nordli
Julekvad
1996

Tracks:

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

Personnel:

Åsne Valland Nordli - vocals

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

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ. 

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

 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...

*

27.11.14

There’s this notion of space

  
 Алесь Лось 
Лірніцкія песьні, псальмы і канты
 2004

Tracks:

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.)
  
♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ. 

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫
    
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 : )
  
  
 

25.11.14

Heavenly Balsam And Sweetest Grapes

  
Åsne Valland Nordli 
Himmelske Balsam Og Sødeste Drue
Salmer Av Daniel A. Buli /1820-1900
2001
  
Tracks:

01. Nu Ser Vi Solens Glans     1:32
02. Fryd Dig Du Gjenfødte Sjel     6:56
03. O Deilig Vaar Med Blomster-Krone     4:14
04. Pintsevers     1:49
05. Ledsag Og Herre     4:45
06. Himmelske Balsam Og Sødeste Drue     6:13
07. Unge Ægtefolk     2:10
08. Se Tiden Kommer, Tiden Gaar     3:41
09. Kom Himmellys, Oplys Mit Bange Hjerte     4:48
10. Jeg Slutter Nu Mit Sangkor     3:18

Personnel:

 Vocals – Åsne Valland Nordli
Guitar, Mandolin, Trumpet – Torbjørn Økland
Harmonium, Organ [Church] – Sigbjørn Apeland
Violin, Hardingfele, Viola D'amore – Nils Økland

Lyrics By – Daniel A. Buli
Recorded February 8th - 10th 2001 at Galleriet Johanneskirken, Bergen

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ. 

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

   
 ”Heavenly balsam” is a fitting description for Åsne’s carrier. As an artist she brings a beautiful sense of light and warmth into musical performances.

Her crystal clear voice, giving unique renditions of old hymns and folk songs, keeps her in high demand.

    

Åsne Valland Nordli (1975), from Nordheimsund on the West Coast of Norway, is a freelance vocalist working with improvisation and Norwegian folk songs. Her five albums from 1994 to 2014 has been well recieved and norwegian press has used words like “State of the art” about her work. Over the years she has played with, had conserts and recorded with norwegian jazz musissions like Nils Økland, Sigbjørn Apeland, Nils Petter Molvær, Arve Henriksen, Paolo Vinaccia, Knut Reiserud etc.

She started very young, at only 14 years of age she started tutoring at the Ole Bull Academy in Voss and she had conserts all over the country. At 16 she toured with the Bergen Philharmonic Orchestra. Before 18 years of age she had sung at many norwegian music festivals, toured with norwegian jazzmusissians and released her first cd at Kirkelig Kulturverksed. Åsne Valland Nordli was in her young age awarded by the Ole Bull Academy’s Artistic Grant and  the NRK (Norwegian Broadcasting) grant for Young Talent.

Åsne gave concerts at festivals both at home and abroad, such as the Bath International music Festival, ”Festspillene” in Bergen, Vossa Jazz, the Telemark Festival, Natt Jazz in Bergen, Førde International Folk Music Festival, Haugesund Film Festival, Hardanger Musikkfest and the ”Hardingtonar”  music festival i Norheimsund.
At Hardingtonar in 1998 Åsne, together with the Ter Jungs Sextet, gave the premier performance of “Wandering Heaven” by the contempoaray composer Magnar Åm. Åm had written the work by special request and had tailored it Åsne’s voice. It was later released on the album “Hexa” (Hemera 2000).

From 1998 until 2003 Åsne and her family lived in Constanta in Romania, where they worked together with local partners to develop Christian humanitarian projects reaching out to street children, victims of trafficking and other needy groups. They now live near the rural township of Stange north of Oslo.

The last years she has worked mainly with the jazz pianist Kristin Skaare, fiddler Nils Økland, organist Sigbjørn Apeland and the hardangerfiddle player Benedicte Maurseth in different musical projects, at the National Theatre in Oslo and at recordings.




 

21.11.14

Lithuanian Sinawi

  
Gvidas Kovėra, Todar Kaškurevič,
Petras Vyšniauskas
 Tylos Labanoro
2006

Tracks:

01. Apie Liudininką    7:19
02. Apie Lygiadienį     5:43
03. Apie Smaką     5:28
04. Apie Akmenį     6:05
05. Apie Žolę     4:11
06. Apie Žaizdą     7:22
07. Apie Moterį     4:12
08. Apie Vėžę     4:34
09. Apie Neturėjimą     6:34
10. Apie Dešinę Ranką     4:29
 
 Credits:

Bagpipes – Gvidas Kovėra, Todar Kaškurevič
Saxophone – Petras Vyšniauskas

Tabla – Rytis Kamičaitis (track 01)

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ. 


♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫
 
 Recorded in the Samogitian chimney of steading museum of Jonas & Antanas Juška in Vilkija, February-April 2005.
 
 Samogitia (Zemaiciai, Zemaitija), western part of Lithuania bounded by the Nevezis river in east, the Baltic Sea on the west, the Nemunas river on the south, and the Latvian border on the north. The major portion of the region constitutes the Western Upland, but its name refers to the lowlands stretching along both sides of the Nevezis, which divides western and eastern Lithuania. Both the region and its inhabitants came to be called zemaiciai (lowlanders; nom. Sig. Zemaitis)...

...The wooden buildings of the farmsteads were usually arranged in the two groups: surrounding a clean yard stood the living quarters and the granary , and around the farmyard – barns for threshing and livestock, and other farm buildings. The dwelling house (troba) was a long wide structure, equality divided by a large chimney with an anteroom on each hearth...


source

 
 Tylos Labanoro is a project of bagpipers Gvidas Kovėra and Todaras Kaškurėvičius reviving a forgotten Baltic tradition. Labanoro Pipe (or bagpipe) is a traditional Lithuanian folk instrument, its distinctive types were widespread already in the 15th – 16th c., not only in Lithuania, but also in the present territory of western Byelorussia and Latvia. The importance of bagpipes in myths and old rites proves that they were used also during pre-Christian times.

In 2005 musicians recorded the album Tylos Labanoro, playing the instruments made according to surviving authentic examples of Baltic bagpipes. Famous jazz saxophonist Petas Vyšniauskas adds a contemporary touch to this album. The CD is part of the project Labanoro Pipe, supported by UNESCO, and in 2006 presented by several impressive concerts in various Lithuanian towns.

Both musicians are active Labanoro Pipe performers also with other ensembles. Gvidas Kovėra plays in Keisto folkloro grupė; additionally, he recorded also an album of Indian-Lithuanian music together with Veronika Povilionienė and band Lyla. Byelorussian Todoras Kaškurevičius not only plays bagpipe; he is also instrument master, making bagpipes for more than 10 years.

© Ugnius Liogė

source
 

Silences of Labanoras

Gvidas Kovėra and Teodoras Kaškurevičius have recorded the album in Vilkija, in the Samogitian chimney of Jonas and Antanas Juškos homestead-museum. The primitive space of rough texture has influenced the music, its sound and mood, has given a characteristic color to it. The exchange of states can also be seen from the creations, forming the music album “Silences of Labanoras”. About witness. About equinox. About dragon. Abut stone. About grass. About wound. Apie woman. About rut. About absence. About right hand.

Actually, the album “Silences of Labanoras” was recorded with bagpipes, which were made by Todaras Kaškurevičius according to the authentic samples of the Baltic bagpipes. Byelorussian Todaras Kaškurevičius is considered as one of the best masters of the Baltic bagpipes in the Baltic region. According to the historic sources such bagpipes already in the 15th and 16th centuries were widely prevalent in Lithuania, Belorussia and Lettigallia. The fact, that bagpipe is important both in myths and in the ancient ceremonies can be, suggests that in this region it was widely used also during the pre-Christian period.

“Silences of Labanoras” have already sounded in Kaunas, in the church of the saint George and in the great hall of the recent year music festival “Kaunas Jazz”. In Vilnius the album was represented on the 13th of May in Bernardine church. The album “Silences of Labanoras” is part of the project sponsored by UNESCO “The pipe of Labanoras”, through which it is intended to revitalize the traditions of bagpipes in Lithuania. CD publishing was sponsored by the companies “Aigipto durys”, “Silita”, BOD, newspaper “Statybų pilotas”, also by the Architecture fund, TV 1 and the Lithuanian national commission of UNESCO.

source


 ♥++♥


18.11.14

It can hardly get any better...

 
Volodymyr Kushpet
Ukrainian minstrel tradition

between the 18th - the early 20th centuries
Instruments: Kobza, Lira, Torban, Bandura
2002

Tracks:

CD1


01. Dudochka (The Pipe), Kozak-valets (dances) – kobza
02. Kyselyk (dance) – kobza
03. Duma about Khvedir bezrodnyi (a cossack psalm) – acc. – kobza
04. Rozpynanie Khrysta (The crucifixion of Christ (psalm) – acc. – lira
05. Mlynok (The Mill) / Savradym / Molodychka (A young women) (dances) – bandura
06. Georgiu (chant) – acc. – lira
07. Podorozh Vaclava Rzhevus'koho (A jorney of Vaclav Rzevusski – acc. – torban
08. Vidortova pisnya (Vidort's song) – acc. – torban
09. Spiv Revukhi (Revukha's singing) – acc. – torban

CD2

01. Pobratavsya sokil (Falcon fraternized) (according to the authentic kobzar's genre definition – "street" song) – acc. – bandura
02. Bida (A trouble) (authentic definition – "shtuchka") – acc. – bandura
03. Pro Savu Chaloho (a cossack song) – acc. – bandura
04. Potop (The Flood) (psalm) – acc. – lira
05. Kaperush (dance) – acc. – lira
06. Khhrystu na khresti (To Christ on the cross) (psalm) – acc. – kobza
07. Duma pro udovu i tryokh syniv (Duma about a widow and three sons) – acc. – kobza
08. Hey hook, maty, hook (18th century cossack song) – acc. – kobza
09. Khloptsi-molodsi (Cheerful fellows) (by S. Rudansky) – acc. – kobza
10. Oy, jihune [gigolo] (19th century humoristic song) – acc. – kobza

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ. 


♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫
 
   "To save a monument of your nation's life from oblivion - that is a truly heroic deed, which even now bears its full value in the eyes of every educated human being".
 P. Kulish.
  

   
Volodymyr Kushpet (born 1948) is an influential Ukrainian baritone singer, and player on torban, kobza, bandura and lira, he is noted for reconstruction of traditional playing techniques on these instruments. He is the author of a primer for these instruments and an in-depth study of the institution of Kobzar Guilds, associations of itinerary blind singers in Ukraine.

Volodymyr Kushpet studied bandura initially under Andriy Omelchenko and then later completed his studies at the Kiev Conservatory under Serhiy Bashtan. Along with Kost Novytsky he was one of the founding members of the KOBZA pop group and played an electrified bandura in the ensemble.

Later Kushpet performed in a duo with Novytsky playing instrumental primarily classical transcriptions on the bandura. Kushpet became extremely interested in the authentic bandura and particularly the kobza as played by Ostap Veresai, after being introduced to Heorhy Tkachenko. From the transcriptions made by M. Lysenko in the 1870s Kushpet has managed to restore most of the repertoire performed by Veresai.

Kushpet teaches as the kobzar school in Strytivka near Kiev and at one time at the Kharkiv Musical-Drama Institute. Recently he has also taught the torban for a short period of time at the Kiev Conservatory.

 wiki

 Traditional culture as a whole, and music culture in particular, is always a subject of changes. In order to comprehend the essence of such changes, that have influenced its development, we would have to distinctly separate the artificial processes from the natural ones.

The absence of the Ukrainian state has forced out the ancient customs into the conservative countryside environment. It is there, in those songs and rhymes, ballads and legends, the spiritual testament of our ancestors was being preserved.

One of the reveals of ethno-cultural self-expression could be traced in the music sphere. Apart from very popular in Ukraine collective singing, the individual performance, accompanied by kobza, lira, torban and bandura have also developed. The blooming era of this genre would be the period between the 15th-18th centuries. But from the late 18th cent, in the city music culture the national music priorities yield to the european. The demand for the secular minstrels dissapears, and the traditional folk set of instruments (except torban) remains only in the hands of blind travelling old men. Each period of this genre's existance requires a detailed analysis.

Claiming that all previous minstrels were "kobzars" would've been a rather unfair statement. The reconstruction of instruments and the methods of using them, and finally - covering the authentic new material - this is the only way to make correct solutions in practice.

The comparative analysis of different music samples from the "kobzars", "torbanists", "lirnyks", "bandurists" of the 18th - the early 20th centuries shows the existance of genre and performance differences within traditions, that have emerged owing to different tasks (secular, spiritual, social, political, etc.), that minstrels had to confront throughout different historic periods. These recordings are an attempt to bring social attention to the processes of reconstruction of traditional performance, which nowadays is a working model of Ukrainian historic music culture.

- from the booklet 


read some more about the music here

and some more here

and maybe buy from here 

 
Tradition and Tragedy - Ukraine's Kobzar Minstrels
 
Listen closely and the Ukrainian wind may still carry an ancient song sung by blind minstrels, a song that tells a spellbinding tale of Cossack courage and their heroic quest for Ukraine’s freedom. Traveling from village to village as ox-drawn carts stumbled across muddy roads leading into dark forests, Ukraine’s minstrels once trudged past Baroque churches with Greek domes and mosaic Virgins pieced together from crimson, turquoise and emerald fragments and wandered freely across the Ukrainian steppe. Indeed, Ukraine’s blind minstrels, called kobzari, are special in the country’s history, in part, because of their traditional customs as well as their tragic ending.
Playing the kobza, a precursor to the bandura, these trained musicians plucked and strummed the instrument similar to European and Eastern lutes by touch. As far back as the nineteenth century, the kobzari formed “guilds” to apprentice boys and girls as young as five or six to master musicians. Not all apprentices passed the initiation test, however, and in an effort to offer a future to a child without sight, the kobzari guilds sanctioned beggars allowed to perform some of the songs namely the “begging song” and the “song of thanks.” The repertoire of the kobzari masters emphasized religious and epic tales, called the duma, performed outside churches and monasteries, village fairs and festivals. Guided by a sighted child, a povodyr, who worked for food, clothing and a small wage.
Kobzari, like other peasant villagers married and created families. Only blind children were allowed to be minstrels however, and other minstrel children became farmers. Absorbed into the culture and history of the country, the kobzari were welcomed by the villagers as their songs brought good luck for the soul until Stalin’s rise to power in 1939. 

Threatened by any demonstration of “national art”, Stalin considered the kobzari and their guilds an example of counterrevolutionary activity. Determined to exterminate the blind minstrels, Stalin tricked the guilds into coming to a “convention” of kobzari. “Life is better, life is merrier,” Stalin wickedly declared. Minstrels eagerly traveled to the convention from all over Ukraine, coming from tiny, forgotten villages, to celebrate their talent and history. A living history gathered only to be met with a barrel of a gun when Stalin’s henchmen assassinated nearly all of the existing kobzari.
Decades later, the songs of the kobzari have been resurrected from the annals of history. Many receive conservatory training rather than being apprentices to masters, and many more musicians are sighted. Traditions endure, however, and Pavlo Stepanovych Suprun, a contemporary blind kobzari, continues to sing surviving epic songs and composes his own material in the traditional vein of the Ukrainian kobzari. History may be occasionally silenced, but often, history refuses to be ignored. 


some more to read



This record is one of these rare 10 out of 10 records.
That is what my ears and my heart tells me.
Thank you for listening!

 

12.10.14

¡Baila, Baila Latvia!

  
Latviešu danči
Latvian Folk Music Collection
1999

Tracks:

01. Makaidū  
02. Cūkas driķos     
03. Eilanders
04. Enģelits  
05. Mugurdancis
06. Kurzemes mugurdancis 
07. Dzīsme
08. Skroders 
09. Diždancis  
10. Tūdaliņ tagadiņ 
11. Šaine
12. Žīga 
13. Padespaņs   
14. Lielā Jūle 
15. Garais dancis

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ. 

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Latvian music for happy feet

by Daina Bolšteins

It makes me feel happy.” A British executive of a prestigious international company said this when he heard the new Latvian Folk Music Collection’s Latviešu danči (Latvian Dances) playing as telephone on-hold music at his company. Overall, that is quite an accurate assessment of this disc.

To put it another way, the music on this album is, in two words, quintessentially Latvian. As ethnomusicologist Valdis Muktupāvels writes in the liner notes (in both Latvian and English, although a few of the English phrases are a bit awkward), Latvians love to dance. This love is truly evident in the joyous music on this disc.

The music was performed by a number of people, including Māris Muktupāvels (producer of this album) and Ilga Reizniece, both of whom are well known and highly respected in Latvian folk music circles. Other notable performers include Gints Sola, guitarist for the pop-rock group Jauns Mēness, and Mikus Čavarts, like Reizniece and Māris Muktupāvels a member of the folklore ensemble Iļģi. One surprise addition is Ilmārs Mežs and his family. Mežs, known in part for his research into Latvian demographics, also is lead singer for the folklore ensemble Eilenders.

Included in the liner notes are instructions (in Latvian only), written by Sniedze Grīnberga, for dancing the dances. It’s a wonderful idea, but does not work all that well. The directions particularly would not work well for two groups of people (other than those who do not read Latvian): those who are highly visually oriented and those who have no Latvian dance knowledge or experience. These people might be able to figure out only the simplest dances. I am quite visually oriented when it comes to dancing, never having been a big fan of written dance instructions with no illustrations because I have a very difficult time picturing the steps and formations. As for the dances on this disc, I was able to follow along the instructions mostly only to the dances that I have danced before.

However, on a purely musical level, this is absolutely fantastic music. The second track, “Cūkas driķos” is one of the more rousing versions I’ve heard and I had an almost irrepressible urge to begin dancing down the hallways of my office when I heard it. The tracks with vocals make you want to sing along at the top of your voice. The 15 dances chosen for inclusion on this disc offer a nice variety: some are fast, others are slower, some have vocals, others are instrumental. Most Latvians will be familiar with at least a couple of dances, such as “Tūdaliņ, tagadiņ” and “Mugurdancis,” which are classics that children learn at very young ages. Yet there also are tracks that will be new to many listeners.

Another enjoyable aspect of this disc is that dancers were a part of the recording. Not only does the listener hear the wonderful music, but also the actual dancing. In other words, it is very much a live recording. For those of us living outside of Latvia, at times this disc is as close as many of us will come to an authentic evening of Latvian dancing, singing and merrymaking.

This disc will make Latvians feel Latvian to the depths of their souls (and to tips of their toes) and it will give non-Latvians a greater appreciation of Latvian culture. Naturally, this is the somewhat biased opinion of a former dancer who is crazy about both Latvian dance and music, but if a half dozen co-workers from around the world at my office enjoyed Latviešu danči, I am certain all readers will as well.


 

11.10.14

Go, Little Goat...

   
Veronika Povilionienė, Petras Vyšniauskas 
Išlėk, Sakale [Fly, Falcon, Fly]
1993

Tracks:

01. Islek, sakale... (Fly, Falcon...) [06:14]
02. Bliuzas (Blues) [03:56]
03. Vai tu dziemed... (Oh, You Wormwood...) [02:45]
04. Sutartine [04:24]
05. Eik, ozeli (Go, Little Goat...) [05:22]
06. Lek gervele (A Crane Is Flying...) [03:14]
07. Kad jau saulute (Cause The Sun...) [04:44]
08. Sutems tamsi (Dark Night Is Coming...) [06:38]
09. Sutartine (Lament) [03:50]
10. Rauda [01:43]
11. Ein motuse (Mother Is Going...) [03:07]

Recorded in Vilnius, Lithuania in 1992.

Soprano Saxophone, Bass Clarinet – Petras Vyšniauskas
Vocals – Veronika Povilionienė

 Backing Vocals – Juozas Bakutis, Valdas Matulis, Vilmantė Liubinienė, Virgilijus Liubinas, Virginijus Meškinis, Vita Matulienė, Zina Stirneckaitė

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ. 

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This duo of first class musicians has been well-known for over a decade. Veronika Povilionienė is the most famous Lithuanian folk singer with a career spanning more than 40 years. She is always creatively challenging herself by engaging in various projects with jazz, pop, and rock musicians. Petras Vyšniauskas has made his mark as a top saxophonist, well-known for his masterful jazz and contemporary music interpretations. Their innovative, freely breathing songs are a beautiful mix of folk music sensibility and modern classical virtuosity.

Ugnius Liogė


Veronika Povilionienė, the most famous performer of Lithuanian folk songs, has become a symbol of national culture. Originally from Dzūkija, the singer has inherited the tradition from the old singers of this region. Veronika Povilionienė's voice is strong and evocative; it reveals, with expression, the extraordinary beauty of the Dzūkian monodic songs, their modes and melodic turns. Apart from abundant solo performances and recordings, the singer frequently gives concerts with the folk ensemble Blezdinga and the ensemble of Indian classical music Lyla. The singer is also famous for her collaborations with jazz musicians and contemporary classical composers (saxophonist Petras Vyšniauskas, composers Vidmantas Bartulis and Bronius Kutavičius), other renowned artists, poets and film directors. One of her most notable recent projects is the program of historic and war songs Kada sūneliai sugrįš (When Our Sons Come Back), arranged by the composer Giedrius Svilainis and recorded with the Lithuanian Armed Forces’ Honour Guard Band.
  
  
"Soprano saxophonist Petras Vysniauskas, a Lithuanian, is I believe one of the most profoundly original musicians concentrating on that instrument -- his jagged phrases expanded on determinedly original intervals and his sound is powerful -- stronger and more pointed than Sam River's has become, for instance, more densely concentrated than the late Steve Lacy's, if not polyphonic in the manner of Evan Parker." - Howard Mandel, NYC, USA, 2007

"... Petras Vysniauskas is one of the best soprano saxists we've heard in many years ... " - Bruce Gallanter, Downtown Music Gallery, NYC, 2006

"Something of the rugged beauty of the Lithuanian countryside and the passion of many of his fellow countrymen has been breathed into his music. For me Petras Vysniauskas' music remains unforgettable because of his clear, individual concept. The use of themes from traditional folk music is one facet of this saxophonist, who reflects both the modern development in jazz and the sound idioms of the new and latest improvised and composed music. However, as he himself says, his feeling for folk music is part of his musical identity. And he adds: "In Lithuanian folk songs I hear echoes of John Coltrane; I try to combine this with the free form of expression offered by modern jazz". (Bert Noglik/1990) 

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28.7.14

Kati sings...


Szvorák Kati & Bekecs group
Live
Hungarian Folk Music
1993

Tracks:

01. Gömöri dallamok
/ Songs from Gömör / Melodías de Gömör (6’44”)
02. Vajdaszentiványi táncdallamok
/ Dances from Vajdaszentivány /Melodíasde baile de Vajdaszentivány (5’35”)
03. Kalotaszegi hajnal
/ Early morning song from Kalotaszeg / Canción matutinal de Kalotaszeg (2’20”)
04. Kalotaszegi táncok
/ Dances from Kalotaszeg / Bailes de Kalotaszeg (3’38”)
05. Húsvétoló
/ Today here is easter / Canciónes de pascua (2’33”)
06. Tavaszvilág
/ Springtide / Pajarito pequeno (4’48”)
07.Moldvai párosítók
/ Match-making songs from Moldavia / Canciones emparejadoras de Moldavia (3’05”)
08. Szentiváni dalok
/ Midsummer songs / Canciones de noche de San Juan (5’32”)
09. Dunántúli cimbalommuzsika
/ Cymbal music from Transdanubia/ Música de címbalo del Transdanubio (4’40”)
10. Tavaszi szél
/ Spring wind / Viento de primavera (7’26”)
11. Két út áll előttem
/ There are two ways in front of me / Hay dos caminos delante de mí (2’54”)
12. Bonchidai táncdallamok
/ Dances from Bonchida / Melodíasde baile de Bonchida (4’37”)
13. Dudanóták
/ Bagpipe songs / canciones de gaita (6’63”)
  
 ♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ. 

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

 "Kati Szvorák is another singer in the Marta Sebestyen class. But it is Kati’s voice that’s the best instrument here, whether singing sweetly on a tender ballad or using that hard Balkan edge….. Pretty wonderful stuff."
Folk Roots Magazine, UK.
 

 
Kati Szvorak has long been a favorite amongst the Táncház audience in Hungary. She has won many awards for her singing and work for folk art in her native Hungary. She has given over two thousand concerts in 27 countries, and has been featured on many other projects including the internationally successful recording ‘Deep Forest’ (1995). In 1999 she appeared at the Edinburgh Festival with the Hungarian all-star group ‘Kőfaragók - The Stonemasons’ to great critical acclaim.
  
   
An exceptional talent, folk singer Katalin Szvorák was born in Losonc, Slovakia. She spent her early childhood in the magical rural world of a small village (Pinc) by the Ipoly river, later studying in Fülek and, finally, leaving her homeland for Budapest where she studied at Eötvös Loránd University, qualifying in Hungarian and librarian studies; being also a member of elite students’ Eötvös College.

She won twice (in 1976 and 1978) the Slovakian Hungarians’ Folk Song Contest, followed by winning the title of Young Master of Folk Art of Hungary in 1980, whereas in 1981 she came first in the most important folk song contest of that era: Röpülj Páva. She continued her career as a solo singer of Honvéd Folk Ensemble for more than twenty years. Since 1996 she has been a regular folk song teacher at the Vujicsics Tihamér Music School of Szentendre.
Her art was recognized by several awards: Liszt Ferenc Award (2000), Kodály Zoltán Award (2002), and Bartók Béla Memorial Award (2007). She is also an Honorary Citizen of the town of Fülek and of the village of Pinc (both in Slovakia).

She has published twenty-five thematically arranged albums. Children’s songs interpreted by her have been a source of folk music for generations of little ones. She has done an excellent work revealing common roots of folk music in the Carpathian Basin by recording musically authentic treasures of the region. She also sings poetry with music, and her collections of religious folk songs are unique of the kind. Eight of her CD’s bear witness to the common riches of Central European peoples’ folk music in 12 languages.

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 Visit her page read some and dl some more : )
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We need more artists like her and far less shareholders ; )

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