50′ minutes selection from the Buzaiak és az Eszterlánc MC:
Tracks:
01. A kalapom fekete 02. De szeÌpen szoÌl a buzai nagyharang 03. Kimegyek a zöld erdoÌ‹be 04. Mikor eÌn legeÌny voltam 05. Ha felmegyek KolozsvaÌrra 06. IÌgy volt a mi idoÌ‹nkben 07. Fekete felhoÌ‹boÌ‹l esik az esoÌ‹ 08. HallgatoÌ 09. NoÌta eÌs dzsessz 10. TöredeÌkek
Singers from Buza:
Mária Eke Anna Takács József Simon Sándor Balla "Dogány" Péter Eke "Vrécsi" Márton Simon Erzsi Takács Attila Takács "Bandikó" Ilona Takács Musicians:
Alexandru Ripa "Miku" (violin) Miklós Molnár (violin) Császár Attila (viola) Sándor Bankó (bass)
Eszterlánc is a collaboration between traditional singers and a lead violinist from Buza, a settlement in Mezőség, the Transylvanian Heath, and a group of experienced folk musicians from the Budapest area.
Together they perform the music of Mezőség, ancient songs and tunes presented in time-honoured style using authentic playing techniques. The band use reshaped classical music instruments retaining the characteristic tuning of the region and Alexandru Ripa, the first violinist possesses a unique and inimitable playing technique. The pure style of the singers is characterised by penetrating force and tasteful ornamentation.
Visually the performance is enhanced by the colourful traditional costumes worn by both the singers and the dancers who present the virtuoso and dynamic dances of Buza, including solo men's dances and couple dances. In one part of the programme the female singers demonstrate the ancient spinning technique of using the distaff while singing.
01. Vykhid v polonynu (trembita) 02. Muzyka polonyny (kalatala ta dzvinochky koriv) 03. Zabavna melodija (fujarka, kalatala ta dzvinochky koriv) 04. Nahravannja na drymbi 05. Kolys‘ roky dobri buly... (fujarka, spiv) 06. Davnja polonyns‘ka melodija (dovha fujarka z hudinnjam) 07. Syhnal do polonyns‘koho khodu (volovyy rih) 08. Hirs‘ka melodija (fujarka, spiv ptakhiv) 09. Polonyns‘ka melodija (dzholomiha) 10. Hra na trembiti 11. Davnja polonyns‘ka melodija (korotka fujarka z hudinnjam) 12. Hovkannja pastukhiv v polonyni (hovkannja, kalatala ta dzvinochky koriv) 13. Z vysokoji polonynky buynyy viter vije... (fujarka, spiv) 14. Brumbyna polonyns‘ka melodija (dzholomiha) 15. Nahravannja na drymbi 16. Smerekova melodija (fujarka, kalatala ta dzvinochky koriv, spiv ptakhiv) 17. Z vysokoji polonynky potichok churkoche (zvuky potichka) 18. Dovha polonyns‘ka melodija (dovha fujarka) 19. Nahravannja na telentsi 20. Polonyns‘ka melodija (fujarka, kalatala ta dzvinochky koriv, spiv ptakhiv) 21. Hra na dentsivtsi 22. Playova melodija (fujarka, spiv ptakhiv) 23. Oy pidu ja v Zavojely (fujarka) 24. Muzyka polonyny (kalatala ta dzvinochky koriv) 25. Nahravannja na drymbi 26. Karpats‘ka melodija (fujarka, kalatala ta dzvinochky koriv, spiv ptakhiv) 27. Polonyns‘ka melodija (fujarka) 28. Muzyka polonyny (kalatala ta dzvinochky koriv) 29. Oy ja pidu v polonynku (spiv, kalatala ta dzvinochky koriv)
Artists:
(1,7,10,15, 27) Nicholas Slovak: trembita, ox-like horn, jaw harp, fuyarka (3, 8, 16, 20, 22, 26) Vladimir Hromeychuk: fuyarka (4, 9, 14, 19, 21) Bogdan Kostiuk: guimbarde, telenka, dzholomiha, dentsivka (5, 13) Basil Siredzhuk: fuyarka, fuyarka with buzzing, singing (6, 11, 18) Nicholas Vartsab'yuk: fuyarka, fuyarka with hum (23) Peter Mohnatchuk: fuyarka (25) Nicholas Mosoruk: drymba (29) Basil Gaborak: singing
The
recording was made in the Carpathian region in the meadow "Cram"
(Verhovinsky district, Ivano-Frankivsk region) in the meadow "Ledeskul
Kosmatsky" villages Kosmach and Shepit (Kosovo district, Ivano-Frankivsk
region).
This album – as well as, actually, the album "Wedding at Kosmach", which has been released simultaneously with it – is the result of wanders and labor of Gennady Melnyk, better known as Hector Mukomol. But Hector Mukomol means music in the styles of ambient and new age, and in this case the issue is a bit different. However, some characteristic features have been preserved – but not that much in sounding as in the attitude towards the sounding. What do we mean? The name of this disc should be perceived absolutely literally – and it is for this reason that the disc differs from other recording of this sort. Due to his previous explorations and experiments with music of spaces and states, Gennady Melnyk is able to look at the sound picture at a somewhat different angle. His eyes aim not at cutting off the superfluous, but, the other way round, at absorbing everything that sounds – and to intertwine it into the general canvas. That is why most recordings were made right under the open-skies, not in the special studio conditions. That is why it is possible to hear here such unusual things, for example, as sounding of cows’ bells ringing – and do not be surprised when you hear real music in that. It is there indeed – though not as obvious as in the joint singing of fuyarka and forest birds, or in the dialog of human singing and cows’ bells, to say nothing about ancient Huzul melodies. But – and that is the common feature for creativity by Hector Mukomol – in order to hear and feel this music, it is necessary to forget about music. One needs the position of contemplation and immersion, non-evaluation. The one who will manage to listen so will be able to discover a new living space – the space of Carpathian boundlessness. To discover – and to enter...
Attentive listeners will certainly feel that the music of the Carpathian shepherds - the music of contemplation, which is essentially like meditative music east. This is not surprising, as the source of inspiration for the shepherd is the sky, the sun, endless expanses and the surrounding mountains. Therefore, the origins of this music has its origins in the invisible worlds. Shepherd plays fuyarka that can not play because, in the words of one of the shepherds, "polonynka without fuyarka not Fine."
Suffice it to listen as similar to each other is fuyarka melodies and singing birds, to feel that this "conversation of lovers." Sounds weird musical instrument infused with chirping birds and bells ringing chimes that hang around the neck cattle to determine the sound its seat. All of this together creates a charming and distinctive music valleys.
read it all here - you might have to translate it like I did... : )
Folklore Ensemble Železiar Šej haj zašpeval mi vtaček Songs of Košíce surroundings
1996
Tracks:
01. Oraľi volečki - Dal mi mili sira 02. A gdova ja gdova - Šej haj zašpeval mi vtaček 03. Už ja vecej taki beťar ňebudzem_ Šag ja sam uznam 04. Ja parobek z Mikoházu_ Hej naco ši naco ši 05. Hej ňet krajšeho mestečka jak ked Košice 06. Chodzel ši kolo nas 07. Hej poslala me švekra - Tancovala bi ja 08. Ked ja sebe z hori dolu zajdzem - V jednin dvore 09. Kamaratko moja 10. Ľudová hudba 11. Dva holubki vodu piju_ Ej či ja ňe dzevečka 12. Sama ši mi dzverečka otvorela ... 13. Stracela ja stracela - Ňever parobkovi 14. Kes ja sebe šedňem - Ja na koňa ňešedňem 15. Uzki pešňik pomedzi uhori 16. Biela košuľenka 17. Hej už idu regruci - Idze verbunk idze 18. Viter veje a dišč ľeje 19. A jaka to preveľika psota 20. Mila moja ňezamikaj dzveri - Oraľi volečki
The folklore ensemble Železiar has been active at the
Slovak folklore scene since1964. In its work, the ensemble mostly
focuses on interpreting traditional art of the Eastern Slovak regions of
Abov, Zemplín, Šariš and Spiš. The ensemble is well-known for its
outstanding interpretation of traditional dances, as well as for its
excellent orchestra and women’s vocal group. Železiar is one of the
finest, most recognised and best-known folklore ensembles in Slovakia.
Železiar
was named after a steel-producing company which was constructed in
Košice area in the 1960´s and offered job opportunities to many young
people from Eastern Slovakia. They brought along their favourite songs,
dances and traditions from the regions of Zemplín, Šariš and Spiš. They
also brought their enthusiasm to show this cultural heritage to others.
Thanks
to artistic directors, the spontaneity and enthusiasm were shortly
complemented by a thorough ballet and dance technique preparation. The
ensemble soon rose to a professional level. Its successes can be
attributed to its artistic directors and choreographers: Imrich Macko,
Jozef Janák, brothers Imrich a Jozef Mészáros, Pavol Širák, Jozef
Bakšay, Ján Buranovský, Vladimír Urban. Their work has been recognised
by many awards at domestic folklore festivals as well as abroad.
Železiar was highly honoured also at the most famous folklore festivals –
in Dijon (France) and Middlesbrough (United Kingdom). Back home,
Železiar has repeatedly won prizes for the best interpretation of
folklore dances, competitions of individual choreographies and suites of
choreographies. Members of Železiar have become frequent winners at
national competitions of soloists- singers, musicians and dancers. The
ensemble has presented Slovak traditional culture in more then 30
countries in Europe, Asia, Africa and the Americas. It also holds a
Slovak record for the longest folklore performance on stage. The Dance
and Song Marathon in autumn of 1997 lasted for 3.5 hours. Thirty
danseuses, 25 dancers, 7 musicians and 5 singers presented 43
choreographies.
Throughout its existence, Železiar has presented
to its audience a balanced proportion of music, dance and songs. Among a
number of performers forming this homogeneous group, the most prominent
representatives are its best soloists- dancers, musicians as well as
singers. However, it is not just the remarkable interpretation that
makes this ensemble so extraordinary. Železiar excels for its fresh
dramaturgy, experimental choreography and the capacity to offer
unconventional intertwinement of different styles. Wide range of
traditional musical instruments is often being used. Železiar presents
authentic and genuine-style choreographies comprising original
traditional cultural expressions of Eastern Slovakia. Moreover, Železiar
is not afraid to use humorous stage stylisations, which stay out from
what is conventional and familiar. Železiar knows how to amaze,
surprise, raise controversy as well as poetic mood, amuse as well as
provoke some tears.
The audience eagerly awaits Železiar´s shows
because they always bring something new. But, the bottom line stays the
same – a thorough exploration of the most genuine form of traditional
culture, its protection, nourishing and dissemination of what is left.
Our city: Welcome to Košice, the metropolis of Eastern Slovakia. The
most important piece of heritage and pride of the city is the Catedral
of St. Elizabeth. While walking along the Main Street take a look at the
"Singing" fountain in front of the teathre building. Visit the
Botanical Gardens (keep approximately 4000 species of natural and
specially-bred plants) and the Zoological Gardens of Kavečany (spreading
over 278,3 hectares is the largest in Central Europe). The close
environs of Košice offer many opportunties for spending leisure time on
sport, relaxation or entertainment - at Alpinka (an attraction is
children train), Kavečany (the dry toboggan run, well-tended downhill
ski slopes and crosscountry ski track), the beach bathing area Nad
Jazerom (offers the chance to do water-skiing on the ski-tow) and many
more.
Lubomir Paricka is a fujara player. He is also a manufacturer of authentic Slovak folk music instruments.
Fujara
is a typical Slovak folk music instrument. Its origin is in the
Podpolanie region. It is an awesome overtone flute of four to seven feet
in length made from wood. Fujara is among the 43 new masterpieces
designated as UNESCO heritage items on November 2005.
Ľubomír
Párička (1954) je hráč na fujaru a na iné ľudové nástroje, a tiež je ich
výrobca. Pochádza z Martina. Pri nahrávke CD spoluúčinkovali: Roman
Bielik (1958) a Miroslav Párička (1978).
"I remember my old conversation with uncle Paciga, respected
Fujara craftsmen. I entreated him to show me how to mark out the holes
on the Fujara flute. We agreed and one day I brought to him a worked out
timber for Fujara flute. First he made a fipple flute sound device and
then he started to mark out the holes. I wondered that he marked on the
timber even six holes - like on a whistle. So I urged him: "Mister
Paciga, but I want to know how to make the holes into the Fujara flute,
not whistle". He smiled and said: "you know my boy, before the Fujara
flute a whistle was and that is why I mark out the Fujara flute like a 6
hole shepherd pipe, and then I drill just the three lower holes". At
that time I did not realise that the man had a big truth."
Basically, Fujara flute is a gothic three-hole bass whistle.
The three hole whistles were in the 12. - 13. century Europe very famous
and wide spread. They used to be played in a musical configuration
together with a tambour (small hand drum):
Because
these bass whistles were shorter and had only 3 holes, it was possible
to play them with just one hand. The musician often accompanied himself
playing tambour on his own: playing the three hole whistle in one hand
and the other hand beat the tambour.
Substantial expansion of these instruments in Slovakia confirm
the period papers, for example a picture of a flutist with tambour
under the Ostry castle, or two three-holes whistles from the 13.century
acquired lately by Phdr. Hanuliak during excavation in the Pusty castle
near Zvolen.
During the renaissance, flutes and whistles with three tactual
holes were retreating. However, later on, following an example of the
string instruments family /fiddle - alto position, violin - canto,
violoncello - tenor, contrabass - bass position/, also the wind
instruments families were formed spontaneously /16.century/. This
documents the flutes in a german enviroment, where coexisted alto, tenor
and bass flutes with side air flow channel of similar construction as
the side air pipe of Fujara flute.
Also by the three-holes whistles there was an effort to create
a family and renew repertoire. Musical scientist from the 15. - 16.
century Michael Pretorius /from Sliezko/, documents an existence of such
three hole whistle family in his work "Teatrum instrumentarum" from the
year 1619. Though, he remarks that this configuration of three hole
flutes had never been played together: because of the limitation of this
3 hole flute's scale range achieved by overblowing, the harmony
inbetween the alto, tenor and bass three-hole flutes just was not
reached. Simply, it did not tuned. He states, that there were three
basic dimensions of the three holes-whistles: " a 20 inch "melodic
whistle", a 26 inch "tenor whistle" and a 35 inch "bass whistle".
Similarly, but independently from Praetorius, French musicologist Mersen
writes about this issue in his work from the year 1632.
The three hole bass whistles from this period were about 91 to
130 cm long, with two lower tactual holes located in the front and the
upper one located in the back of the flute's pipe.
In Brussel's music museum collection of very old musical instruments
occurs also a three-holes bass whistle approximately 98 cm long, with
the side air flow channel and three fingering holes /two in the front
part and one in the back part of the flute's main pipe/. The instrument
has a north italian origin and its construction is extremely similar to
the Fujara flute in former times occuring in the surroundings of
Priechod, Hiadel, Strelniky, Podkonice and likewise, named by Slovak
ethnomusicologists "Priechod's Fujara flute" ("Priechodska Fujara").
Because of the above listed reasons is the so called "Priechod´s Fujara
flute" regarded as the most archaic form of the Fujara flute.
In this context Dr. Macak tracks the place of a Fujara's flute
origin into the area northerly from Banska Bystrica (middle Slovakia),
to the actual Slovenska Lupca environment and to above listed
communities. He assumes that the three-hole bass whistle has got to this
territory during the turkish wars, where a regiment of soldiers from
western Europe and Italy was stationed adjacent to today's Slovenska
Lupca.
Fujara flute gradually reached and penetrated into the Slovak
environment, "conserved" there and persisted until today as a rarity.
Fujara's flute movement into the Detva area and its surroundings is
considered as a secondary matter, where also the design reform is
evident - the lenghtening of the Fujara main pipe to almost double size
achieving much lower, deeper bass possitions and resulting placement of
the top fingering hole into the front part of the main Fujara flute's
pipe.
From the turkish wars period persisted in musical culture of this
region a style of melody enhancements by baroque ornamentation. Even
nowadays it is still present in ciphers of bandmasters, flutists'
melodies, as well as in some melody ornaments present in traditional
interpretation of the fujarists from Podpolanie region.
01. A ved sme my bratia 02. A ja smutný, zarmútený 03. Chlapec som ja, chlapec 04. A ked bolo trištvrte na jednu 05. Starosvetské 06. Viem ja jeden kopecek 07. Jeden, dva, tri, štyri, pät, šest 08. Jánošíkovské 09. Prednické nôty z Terchovej 10. A veru Terchová 11. Cierne oci 12. Na tej lúce 13. Co to diefca hovorí 14. Na salaši Podžiarom 15. Ludia sa cudujú 16. Bol som v meste Žiline 17. Zasadel som cerešienku 18. Mládenecké 19. Žartovné 20. Svadobné 21. Keby moje rúcky
Personnel:
František Mucha (vocals, viola, accordion), Alojz Mucha (vocals, violin, flute), Václav Mucha (vocals, violin), Peter Mucha (violin, vocals), Štefan Mucha (viola, flute, vocals), František Mucha Jr. (double bass, vocals), Rudolf Patrnciak (cowbell, end-blown flutes).
Hailing from the town of Terchová in northern Slovakia, the Muchov Brothers perform the stirring highland folk music of this region. Featuring violins, accordion and double bass as well as various flutes and cow-bells, this is music that has one foot in Central Europe and another in the folk traditions of Transylvania and beyond. Underpinning everything are the strong and resonant vocals, delivered either solo or in unison. It's a potent mix and a great advert for the music traditions of the Tatra region and beyond.
Many of the twenty-one selections included here feature the whole band performing together, multiple violins accompanied rhythmically by double bass, accordion and end-blown flutes. Generally, an instrumental introduction is followed by the vocal refrain, introduced by a solo singer before being joined by other singers. The pieces move forward in a similar fashion, vocal interludes alternating with instrumental passages. The voices are strong and proud, the vocal phrases short on embellishment but nevertheless impressive, particularly when the whole group joins together in song. The music lacks the sense of abandon that you find in Transylvanian folk music for example but is lively and dignified throughout.
Of the many pieces that follow the vocal/instrumental pattern outlined above, perhaps "A ked bolo trištvrte na jednu" is the best example. It would have been nice to see these gifted instrumentalists extend themselves a little more; the one track that does feature an extended introduction ("Prednické nôty z Terchovej") is a contender for the standout track on the album, building up a hypnotic rhythm before the singers burst in towards the climax in triumphant fashion. There are also two delightful songs featuring solo accordion and vocals ("Chlapec som ja, chlapec" and the title track). Both possess an intimacy and delicate beauty that differs from the rest of the collection. A couple of instrumental pieces featuring accompanying cow-bells and koncovka flute are less successful, appearing a little too orchestrated to my ears.
Slovakian folk music does not generally enjoy the kind of profile that some other Eastern European folk traditions hold with Western audiences. However, the more I hear the more I am persuaded that this is to the detriment of the wider music fraternity. Whilst it is no doubt difficult to get hold of, this excellent album would be a worthy addition to any collection of Central and Eastern European folk music.
Terchova is a small village located at the entrance to the famous Vratna Valley and its rock formations of which the most famous is the Mnich-Monk and near by mounts of Rozsutec, Chleb and Velky Krivan. This is the village that the legendary Janosik, the hero of all Slovaks was born some 350 years ago.
The village is a home of the Mucha Brothers one of the most famous character's musicians of Slovakia.
A dulcimer band typical of eastern Moravia and Slovakia
Slovak and Moravian String Music
Belonging to the same continuum of small string ensemble music that stretches from Romanian Transylvania through Hungary, the Czech Republic and up to the Zakopane region of Southern Poland, the string band music of Slovakia and Moravia is unique and there are many treasures. I first came upon recordings of this music in the early 80s. I wanted to hear more and to learn more. I even began a study of the Slovak language. When I visited Slovakia in the mid 80s, still firmly under socialism, I learned that if I were permitted to enter Slovakia for research, I would most likely not be permitted to leave the city of Bratislava. This was not my idea of doing field work. My research in Romania in the late 70s was difficult for many reason, but as an officially invited foreign scholar I was permitted to travel. In Slovakia it was to be a different matter and I gave up. Later when things changed after the fall of the Berlin Wall, too many things changed. That same Socialist government that had so strongly supported folklore was now gone and with it the support. Folklore continued but no longer had the special status it did before, and what was considered folk music changed rapidly.
It is for this reason that I am putting up these recordings of that music. I think the recordings in any form are no longer available and they reflect that unique and purer style of Slovak and Moravian folk music. Without the strong governmental support that existed in the bad old days, I doubt that they should become available again for quite a while.
Jan Berky-Mrenica (Slovak) Popular and well recorded towards the end of the Socialist period, well rooted in folklore but with an arresting and contemporary interpretation of the Slovakian folklore
Ján Berky Mrenica
Primášov sen 1999 Tracks:
01. Zajali, zajali 02. Prišli mi noviny, Z vrbiny cigáni 03. Keby moje nôžky, Poďme chlapci domov, Skliarovská, V Očovskom poli 04. Horou, chlapci horou 05. Hájiček, háj 06. Škovránok 07. Horela lipka 08. Svietila zornička, Kade idem, tade trniem 09. Sen primáša 10. Alebo ma vydávajte 11. Majerky, Čože ja, ako ja 12. Cigánska vášeň 13. Kolíbka deravá, Hore Detvou idem 14. Vrchárski sršni 15. Monti čardáš 16. Čardáše 17. Očová, Očová 18. Očovský tanec
"Slovaks have always been difficult to study, but the music, folklore and links of our ancestors raised the people of our country regardless of whether it was a Ruthenian, Slovak, Roma. It is important to realize that every person is equal. Because we are here on this earth for only a short visit. "
education
1956 - 1958 Vocational School, Department lzámočník Partizánske 1958 - 1962 time training at the State Conservatory in Bratislava violin with Professor Albína Vrteľa
biography
Ján Berky was born as the third of five children. Since he could find wherever the water, especially like catching fish in the river, got Mrenica attribute. In an early age to become a motherless child. Just before the end of the war his mother was killed, after which he inherited musical talent. His first performances with spoons complement beautiful, tuneful singing was her.
Music from a young age saw as a gift. Even as a seven year old playing in the various kinds of jobs under the windows of the rich farmer in his hometown. The first came from a real violin poor vdovice with postscripts: "Janko on, here's violin from my late husband, play them and spomínaj on me for good."
In addition to heavy and joyless childhood dreamed a dream - to study violin because music is the meaning of life for him and helped him to forget the daily torment. Sen he met up later poor conditions at home because he was forced to go into teaching, which would have received free room and board. So he got into teaching in vocational schools in Partizánske. It just he was a master of training, which he liked. He knew that he longs for musical education, but mainly he wants to play the violin. Whenever I could, it relieve the grinder at work and vice, to conserve his clever fingers. He understood that those skilled huslistických fingers would be a shame.
The school started a music group, with whom he played at parties and performances for other schools. When music - as often said - touching heaven. As an exceptional talent tests done at the Bratislava Conservatory, which was later completed remotely. Love the music would not let him to stop his dream dream. Even when he returned home, where no one expected it, and in a modest house where 8 people lived.
Severe while it strengthened and consolidated it resolve, if that will ever have a family, his children may never feel this experience and will be returning home board. That his wish fulfilled.together with his wife Eva brought up three children, have been successfully applied in life. Anka oldest graduated from the Faculty of Arts with honors in currently working in the civil service. Music did not want to pay, said the family had enough musicians. Janko son is a violinist, plays violin in the orchestra Devil, founded by his father. The youngest daughter Evka ended conservatory and works in Vienna, where she married. A good and caring wife and mother, lived with him entire musical life.
Family, who was with her in the first place, sacrificed his music career. The desire to pursue opera singing folk songs and remained unfulfilled. Although successfully made the singer to audition SĽUK, but six months after marriage she became pregnant. So I did medical school and twenty-five years worked as a nurse in the crèche.
Excellent musician famous for his native Očová whole country and in 52 countries around the world a unique interpretations of popular songs. Served as concert master in Slovak Folk Art Ensemble 32 years and 100 days. He was always at every joke, but soon turned serious when it came to music. The trials did not recognize any humor, I perfectly prepared musician to a professional job and paid back to the music and put their heart.
Through his art got to know the artistic performances with instruments of musick faithful humanity in the world. In each country tried to visit especially school. He wondered what attention is paid to the education of children through culture that connects regardless of nationality and religion. Did not avoid any cultural institutions, all of your money - "diet" offered for active participation in cultural activities. Discovering unknown cultures and enriched it the wealth of feelings and memories still alive. On a concert tour in the country hocktorej tried to know the city itself and the people who will play, and the draw strength from their mood, city, country.
I recalled a concert tour of India in 1975, which passed SĽUK and folk music under his leadership. This country was for him to wonder of the world. In program were implemented in folk songs and classical music: eg. Solveginu song čardáš Monti, known by Dinicu larks in its treatment, Sabre Dance by A. Khachaturian, Pizzicato Polka by J. Strauss and many other songs. In the newspaper the next day after the show came out spectacular article that gave excellent SĽUK artistic performance in singing and dance component, but is particularly high esteem artist Indians - John Berky-Mrenica. In addition, there he met his longtime dream - playing on Stradivari. Lent him their primarius English Royal Quartet. This point was particularly happy.
Experienced more joyful moments. He fulfilled more dreams. During a concert tour snipe in 1970 had the opportunity to get to know the rich culture of the Soviet Union, which greatly acknowledged. Also the way the pole to America in 1964, then again in the same year, 1970, 1974, 1978, 1983, 1986 - but it with its folk music, led meant fulfilling his one big dream. During re-visit in 1970, received the violin from USA pastor, who will they donated with the words: "Janko, these instruments of musick waiting for the right player. It's you. Violins are the one who knows them rozcitlivieť, and you're my violin wizard. Are my father's violin. I have long cherished, but now you are. "Today it cherishes as one of the most precious gifts son John Berky-Mrenica ml. With this country, he also combines another very powerful experience - a duet with the legendary trumpeter Louis Armstrong's Jazz Club on Broadway.
The year 1964 was a turning point in his life and artistic activities. After a tour in the U.S. bought a flat and get rid of financial debt. At 80-years concert featured the opening Slovakian restaurant in the Philippines. The offer came then ambassador to Czechoslovakia Philippines Miloš Krivda. The then Culture Minister Miroslav Valek recommended just SLUK folk music led John Berky-Mrenica.
The culmination of his creative genius was to create a top ensemble - violin orchestra Devil, with whom performed on stages at home and abroad and for which hitherto regulated composes a musical composition. It is the main creator of the folk repertoire of the orchestra. Although in 1997 due to health problems devilish violin fell silent in his administration, it warms the heart when the son took over after scepter. His speech is indeed different, what is natural is musically own vision, your own music before, but Gypsy song and music continue to spread. Devil violin musical ensemble is a top performer songs of various genres, and their repertoire is reflected in Slovak, Hungarian, Russian, Romanian, Jewish and Gypsy folklore, as evidenced by the firsts on Festival d'Europa Concordia Internazionale del Folklore Festival in Agrigento, Sicily, and the second International Festival of Polish Ciechocinek '98, gold record in 1999 for the album Gypsy Dance, 3x Grammy Award from the Slovak Academy of Music for Best Orchestra, Best Album and Best Artist. The orchestra has performed almost all over Europe, USA, Canada, Australia, Japan, China, Taiwan, Jordan, Egypt and Morocco. Works with renowned singers and instrumentalists, such as L. White, D. Hulka, I. Csáková, S. Sklovská, P. Haber, K. Hasprová, brothers Dvorsky, M. Babjak, J. Fogašová, J. Burian, J. Bartos and under., In cooperation with the publishing house of Monitor-EMI released 8 albums. Recent "XXL Music" is the third solo achievement.
Despite the success and admiration in every aspect not taken even the most attractive offer to live in another country. He remained faithful to his country, his city, which is still lives in his native village Očová, in which the love back, because there is at home. Očová it is a matter of heart. Beloved and loving village made famous everywhere he went. He loved the common people, who always drew from the wisdom, honesty, lovely and warm relationship with folk songs. He knew that the people have Ocova innate sense of culture and can differentiate earned value...
read it all here (you might need the help of a translator)
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