Košíce and surroundings

  

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

  

 ♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ.

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆

  

About us

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.

source

 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.

 ~♥~

Fujara

  

Ľubomír Párička
Spoved Fujary
Fujara Confession
2003

Tracks:

01. Oj, pomaly, ovečky - 5:12
02. Oj, boli by ma zabili - 1:46
03. Oj, pusť ma, bača - 5:36
04. Gajdošské z Kokavy - 1:50
05. Oj, a ja tak, a ja tak - 2:16
06. Hej, gajdoško s gajdami - 3:13
07. Hej, nebudem orať, ani siať - 2:27
08. Rýchlo na dvojačke - 1:43
09. Ja bača starý - 3:28
10. Oj, bohdaj skazu vzala - 2:08
11. Išiel Janík - Nechcela mi chleba dať - 3:55
12. Oj, fujera, fujera - 2:38
13. Ovsenisko, jačmenisko - 2:26
14. Terchovské melódie - 2:36
15. Gajdoško s gajdami - 4:43
16. Oj, môj otec bol dobrý pytliak - 4:36
17. Oj, na holi, na holi - 2:00
18. Handrárske signály - 1:20
19. Ovečka, kozička - 1:25
20. Išiel gajdoš do dediny - 2:40
21. Pil som, pil som, ľumpoval som - 1:14

Účinkujúci:

Ľubomír Párička (1954) - spev (1-3,5-7,9-13,16,17,20,21);
fujara (1,3,5,7,9,12,16,20); pastierska píšťalka (2,6,11,); dvojačka (8); rífová píšťalka (13,17);
koncovka (14); handrárska píšťalka (18); gajdy (10,15,19); drumbľa (4,21)

Spoluúčinkujú:

Roman Bienik (1958) - fujara (1); gajdy (4); pastierska píšťalka (13,14)
Miroslav Párička (1978) - fujara (1); drumbľa (14); spev (15,19)

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ.

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

 

 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).

 

 Fotos of Ľubomír Párička at work © Miro Pokorn 

 ~♫~

 

Fujara Flute History

- the full story - 

"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.

Author: Karol Kocik, all rights reserved ©.

source

wiki

more Fujara

 ~♫~

In the highlands again...

 

Bratia Muchovci

A veru Terchova
1991

Tracks:

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).

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ.

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

  

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.

source

Terchová

 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.

read it all here

some more

Slovak Folk Songs and Bartók Béla

~♥~

Music for strings

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.

Robert Garfias

source + music

just the music

 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

  

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ.

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

   

  

 Ján Berky Mrenica
husľový virtuóz, skladateľ

* 11.05.1939 Očová
† 12.10.2008

motto

"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)

wiki

read some more

~♥~

Parakaló!

   

Songs of Aegean

ΤΡΑΓΟΥΔΙΑ ΤΟΥ ΑΙΓΑΙΟΥ
ΗΧΟΓΡΑΦΗΣΕΙΣ 1939 - 1955
ΕΛΛΗΝΙΚΟΣ ΦΩΝΟΓΡΑΦΟΣ

Tracks:

01. ΤΑ ΜΑΤΙΑ ΣΟΥ ΦΩΤΙΖΟΥΝ [ΜΠΑΛΛΟΣ Σ ΠΑΣΣΑΛΑΡΗ Σ ΠΕΡΠΙΝΙΑΔΗΣ]
02. ΝΗΣΑΚΙΑ ΜΟΥ ΠΕΡΙΦΑΝΑ [ΑΝΝΑ ΑΙΜΙΛΙΑ ΧΑΤΖΙΔΑΚΗ]
03. ΜΠΑΛΛΟΣ ΣΜΥΡΝΑΙΙΚΟΣ [ΟΡΧΗΣΤΡΑ Σ ΠΕΡΙΣΤΕΡΗ]
04. ΕΓΩ'ΜΑΙ ΕΝΟΣ ΨΑΡΑ ΠΑΙΔΙ [ΣΥΡΤΟ Δ ΣΑΜΙΟΥ Ν ΚΑΠΡΗ]
05. Η ΞΕΝΗΤΙΑ ΕΙΝΑΙ ΦΩΤΙΑ [ΣΥΡΤΟΣ Σ ΠΑΣΣΑΛΑΡΗ Σ ΠΕΡΠΙΝΙΑΔΗΣ]
06. ΤΖΙΤΖΙΝΕΣ [ΤΟΥΠΑΠΑΚΟΣΜΑ Δ ΠΑΠΑΕΜΜΑΝΟΥΗΛ]
07. ΜΕΣ'ΤΟΥ ΑΙΓΑΙΟΥ ΤΑ ΝΗΣΙΑ [ΣΥΡΤΟ ΑΝΝΑ ΑΙΜΙΛΙΑ ΧΑΤΖΙΔΑΚΗ]
08. ΣΤΗ ΨΑΡΟΠΟΥΛΑ ΤΗ ΧΡΥΣΗ [ΣΥΡΤΟ Γ ΠΑΠΑΣΙΔΕΡΗΣ]
09. Η ΚΡΥΣΤΑΛΛΩ [ΣΥΡΤΟΣ Σ ΠΑΣΣΑΛΑΡΗ]
10. Ο ΜΗΧΑΝΙΚΟΣ [ΣΥΡΤΟ ΑΝΝΑ ΑΙΜΙΛΙΑ ΧΑΤΖΙΔΑΚΗ]
11. ΧΙΩΤΙΚΟ ΠΥΡΓΟΥΤΣΙΚΟ [Δ ΚΑΝΕΛΛΟΥ]
12. ΣΟΥΣΤΑ ΡΟΔΟΥ 
13. ΑΓΙΕ ΜΟΥ ΓΙΩΡΓΗ ΣΚΥΡΙΑΝΕ [Γ ΓΙΑΝΝΟΥΛΗ]
14. ΒΑΣΑΝΑ ΠΟΥ ΕΧΕΙ Η ΖΩΗ [ΜΠΑΛΛΟΣ Δ ΣΑΜΙΟΥ Ν ΚΑΠΡΗ]
15. ΣΥΡΤΟΣ ΞΕΡΟΚΑΜΠΙΤΙΚΟΣ [ΑΝΝΑ ΑΙΜΙΛΙΑ ΧΑΤΖΙΔΑΚΗ]
16. ΘΑΛΑΣΣΟΠΟΥΛΙ [ΣΥΡΤΟΣ Σ ΠΑΣΣΑΛΑΡΗ]
17. ΝΗΣΙΩΤΙΚΟΣ ΣΥΡΤΟΣ [ΟΡΧΗΣΤΡΑ Σ ΠΕΡΙΣΤΕΡΗ]
18. ΤΟ ΧΡΑΜΑΚΙ [ΣΥΡΤΟΣ]  

  

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ.

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫
  

  

 Nisiotika are light songs, with a gentle rhythm, without the dramatic element of the Cretan or Pontic Music. The simple dance and the catchy tone made them popular with the wider public, despite the fact that they were created and played mostly in the islands of Cyclades and the Dodecanese.

Nisiotika Songs and Greek Music

The nisiotika songs somehow found their way to rebetika, thus, major composers of rebetika songs included traditional songs of the islands into their repertoire. However, as the political and social developments and changes influenced every aspect of life and art, nisiotika songs were not that popular during the 50s and 60s.
Towards late 70s, Nisiotika managed to find again their way to the Greek Society, since many singers and composers decided to back this genre – as they did with rebetika and laika songs, or any genre that was neglected or underrated by a sudden urbanization of music in Greece.
Mariza Koch was one of the main singers of Nisiotika during that time, while numerous folk composers and musicians presented traditional songs from the islands to a larger public in the cities. Konitopoulos family of musicians from Naxos and Nikos Economides worked on revivals and re – recordings of the folk songs.
One of the most distinctive moments for Nisiotika songs and the music from the island was at mid 80s, when Giannis Parios, one of the most important Greek singers, an islander himself from the Cycladic Island of Paros, released an album singing the most popular songs from the Cyclades in an album called “The Nisiotika”.
The personal charm and tenderness of the singer himself and the warm hearted rhythm of the songs made this genre one of the most popular types of Greek music. Being from the islands of the Aegean, which are – for the Greeks – the heart of the country, it is not surprising that they managed to mesmerize and captivate the hearts of the Greeks once spread throughout the country. Nisiotika represent the blue of the sea, the azure blue of the Greek sky and the free spirit of the islands and their residents.
The truth is though, that since the islands feature an idiomatic language which is quite evident in these songs, one can appreciate fully the nisiotika only if he has a basic understanding of the language. Nisiotika employ a carefully wrought language, which sounds more like playful poetry; the language manages to sentimentalize the life, customs and habits of the islanders, expressing their fears and hopes.

Nisiotika Rhythm and Musical Instruments

Although in Greece instrumentalists and composers play their music in different combinations of ensembles, the music of the islands is somewhat particular. In Crete for instance, the lyra, the lute and the bagpipe are the predominant pairs, while for the Nisiotika, the common pair is lute (laouto in Greek) and the violin. The rhythm associated with these instruments and the nisiotika songs have an overall character, becoming among the most emotionally affecting songs in the Greek Music. The common dance associated with nisiotika songs is ballos, one type of syrtos dance.
Nisiotika songs have become an indispensable part of the Greek glenti (feasts and celebrations), played in local festivals in the Islands of the Aegean Sea, attracting young people who appreciate the lyricism, tenderness and musicality of these songs. Listening to this warm hearted, overwhelming and the sophisticated and emotionally intense poetic language, it is not hard to picture and reckon the hospitality and good heartiness of the islanders.

   

source

  

~♥~

A Moonlit Night...

Dmytro Hnatiuk

A Moonlit Night

Tracks:

 

01. Ніч така місячна
02. У сусіда хата біла
03. Ой, зійди, зійди, ти, зіронько, та вечірняя
04. Їхав козак за Дунай
05. Якби мені не тиночки
06. Гандзя
07. Ой, ти, дівчино, зарученая
08. Мав я раз дівчиноньку
09. Ой, зелена полонина
10. З сиром пироги
11. Ой, знати, знати
12. Сховалося сонце за горою
13. Пою коні при Дунаю
14. Заграй ми, цигане старий
15. Ой не шуми, луже
16. Чом дуб не зелений
17. Гаю, гаю, зелен розмаю
18. Така її доля
19. Ой, ішов я вулицею раз
20. Гомін, гомін по діброві
21. Пожену я сірі воли
22. Ой, кряче, кряче

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ.

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

 Excellent collection of folk songs performed by the great Ukrainian singer Dmitry Hnatiuk. Most songs contain bandura accompaniment.

Recordings from the archives of the Ukrainian Radio.

  

   

It has somehow turned out to be that since childhood I have liked the song “The Moonlit Night” (track 01) very much. That’s why I prefer it to be performed in the best possible way. In this particular case Dmytro Hnatyuk performs it really in the best way. Personally I like it very much. Still one may say the same about this album in general – I like the songs recorded at it, as well as the way they sound, though generally I listen to somewhat different music. May be the music itself, that is, the choice of musical instruments, is not the main thing here. I think, the main thing here is the voice of Dmytro Hnatyuk. There is something in it, some transparent depth, which does not leave you indifferent, so that you feel that the song is performed not formally, as it happens sometimes, but it comes from inside. That’s the reason why it sounds somehow intimately – as if this person himself once composed this song and still remembers why and how it happened. Though, if you take comic songs, here it is quite the other way round. They are sliding somewhere by themselves. This is the impression I’ve got from this disc. At least, for tonight. May be, it is because of the evening, which is quiet and transparent tonight.

Anton Jozhik Lejba (Hedgehog)

  

Dmytro Hnatyuk

  (Ukrainian: Дмитро́ Миха́йлович Гнатю́к) (born 28 March 1925) is a famous Ukrainian baritone opera singer, and a member of The Supreme Council of Ukraine.

Biography

Dmytro Hnatyuk was born on March 28, 1925 in the village of Mamayivtsi, Chernivtsi Oblast (province), Ukraine. He graduated from the Kiev Conservatory in 1951 as an opera and chamber singer.

He was a singer at the Kiev opera and ballet theatre appearing as a soloist in many songs. In 1979, Hnatyuk graduated from the State Institute and of Theatrical Arts as a Director (rezhyser). From 1951 to 1988, he worked as an opera singer and from 1975 also as a director of the State Academic Theatre of Opera and Ballet as well working as a trainer of the National Academic Theatre. In 1988, he became the director of the State Academic Theatre of Opera and Ballet. Dmytro sang in many operas by Ukrainian and worldwide composers.

Dmytro was also a member of the Ukrainian Parliament from 1998 to 2002. He had been a member of the Supreme Soviet of the Soviet Union (8th–10th sessions, 1972–1984). Dmytro Hnatyuk was elected the head of the Musical Society of Ukraine, as the head of the Kiyvan Theatrical Society, as a member of the Committee of State Shevchenko Prizes, the Committee of Defense and Peace and others. Member of the Board of the All Ukrainian Fund of Recreating Memorials of the Historical-Architectural Heritage in the name of O. Honchar, a member of the Board of the Fund of Influence of Development of Arts; the Committee “Ukraine-Europe”.

Awards

Hnatyuk is a Peoples' Artist of Ukraine, was a People's Artist of the Ukrainian SSR, an "Academic" of the Academy of Arts of Ukraine, and a professor of the Tchaikovsky Music Academy. Most recently, he was awarded with the Hero of Ukraine, the highest decoration of the Ukrainian state.

wiki

  

~♥~

Un, Dos, Tres...

   

Serenata

Trios Cubanos y Grandes Boleros
1992

Tracks:

01. Trío Taicuba - No que Dejes que la Luna Pueda Verte Llorar
02. Trío Voces De Oro - Para que No te Vayas
03. Trío Los Embajadores - Mil Razones
04. Trío Los Tres Compañeros - Alli
05. Trío Los Bohemios - Sue o Perdido
06. Trío Los Audaces - Propuesta de Amor
07. Trío Ensueño - Todo lo Tengo Ya
08. Trío Taicuba - Y no Est s Conmigo
09. Trío Voces De Oro - Nunca Olvidaras
10. Trío Los Embajadores - El Caso Mio
11. Trío Voces Del Recuerdo - Solo un Sueno
12. Trío Los Audaces - Besame Mucho
13. Trío Ensueño - Ser tu Dueno
14. Trío Los Embajadores - Casi Todo Acabo
15. Trío Taicuba - Cada Vez que me Acuerdo de Ti
16. Trío Voces De Oro - Hasta la Vista Corazon

  

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ.

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

  

 Un, dos, tres,

y una vez,

mas boleros,

para ti & me

: )

Trío Taicuba

♥

 

Don't mess with my toot toot ...

picture source

 

 Best Of Louisiana Cajun Classics 

Vol. 2

  

Tracks:

 

 01. Doug Kershaw & Hank Williams, Jr - Cajun Baby
02. Boozoo Chavis - Zydeco Hee Haw
03. Burkwhaet Zydeco - I Need Your Lovin Everyday
04. Rockin' Dopsie - I'm In The Mood Baby
05. Doug Kershaw & Fats Domino - Toot-Toot
06. Boozoo Chavis - Zydeco Homebrew
07. Clifton Chenier - Je Me Fu Pas Mal
08. Rockin' Sidney - Zydeco Til The Rooster Crow
09. Rockin' Dopsie - Why You Do The Things You Do
10. Rockin' Sidney - King Zydeco
11. Zachary Richard - Ma Louisiane
12. Zachary Richard - Travailler C'est Trop Dur

  

  ♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ.

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

...just wanted to tell you...

otherwise have fun in the sun...

in case you need more

you can say hello 

to this

one

: )

 

Summer, Samba, Felicidade...

  

Samba & Pagode 
  

Vol. 8

Tracks:

01. Zeca Pagodinho - O Dono da Dor
02. Exaltasamba - Amor E Amizade
03. Grupo 100% - Hoje Vou Pagodear
04. Raça Negra - Preciso Dar Um Tempo
05. Os Morenos - Tô Dentro Tô Fora
06. Jorge Aragão - Loucuras de Uma Paixão
07. Fundo de Quintal - Verdadeira Chama
08. As Brasileirinhas - Quando O Amor Acaba
09. Jair Rodrigues - O Pequeno Burguês
10. Só Pra Contrariar - Mineirinho
11. Grupo Nabuzanfa - Mulher de Borracha
12. Grupo Soweto - Mundo de Oz
13. Dicró - Colinho Do Pai
14. Vera Lima - Louca Por Amor

  

  ♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ.

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

Samba 

Pagode 

   

 (Portuguese pronunciation: [pa'gɔdʒi]) is a Brazilian style of music which originated in Salvador, Brazil, and quickly went down to Rio de Janeiro region, as a subgenre of Samba. Pagode originally meant a celebration with lots of food, music, dance and party. In 1978, singer Beth Carvalho was introduced to this music, in the same time appeared the Gera Samba after É o Tchan!, liked it from the beginning and recorded tracks by Zeca Pagodinho and others. Apparently, as time has gone by, the term "Pagode" has been degraded by many commercial groups who have played a version of the music full of clichés, and there is now a sense in which the term Pagode means very commercial pop, a negative term (see Pagode Romântico).

Original Pagode developed in the start of the 1980s, with the advent of the band Fundo de Quintal and the introduction of new instruments in the classical samba formation. Pagode lyricism also represented a kind of evolution towards the tradition of malicious and ironic samba lyrics, with a much heavier use of slang and underground terms.

The 4-string banjo, whose introduction is mostly credited to Almir Guineto, has a different and louder sound than the cavaco; that loudness was an advantage in acoustic environments (samba circle), where there are lots of percussion instruments and people singing along. The 4-string banjo is one of the most characteristic instruments of the pagode sound.

The tan-tan, whose introduction is credited to Sereno, is a more dynamic type of surdo, used to keep the main beat of the samba, the `heart of the samba', and played with the hands.

The hand-repique, whose introduction is credited to Ubirany, is a percussive instrument used specially for rhythmic turnarounds.

  

...

  

summer

sun

samba

   

... 

  

♥

 

don't worry be happy : )

Bouzouki and Greece

  

Vaggelis Korakakis
Where the wind goes out
1996

Tracks:

01. Memory and Sorrow (Vaggelis Korakakis) Ανάμνηση και πίκρα
02. Where the wind goes out (Gerasimos Andreatos)
03. The fate takes in early (Hara Pomoni)
04. The streets the doors (Gerasimos Andreatos)
05. Dawn me nights (Vaggelis Korakakis)
06. Tilt my eyes on earth (Hara Pomoni)
07. The Palioskaro (Vaggelis Korakakis)
08. Tangled confused (Hara Pomoni)
09. A glass drugs (Gerasimos Andreatos)
10. Who will extinguish the fire (Hara Pomoni)
11. You wont (Gerasimos Andreatos)
12. Night at my house To 'Rtheis (Niki Tsaireli)

Lyrics & Music: 

Vaggelis Korakakis

Singers:

Vaggelis Korakakis
Hara Pomoni
Gerasimos Andreatos
Niki Tsaireli

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ.

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

Vaggelis Korakakis born in 1961 in Kaisariani.

His first contact with the bouzouki came at age 9 years old, across from where his family lived was a carpenter who was making and musical instruments. As characterized and says he: "I fell in love with a young child from the optical bouzouki! And the only thing I saw ... It was a great desire to get my bouzouki. Eventually my father got a Bouzouki from Omonia. After a Over the years, I learned on this bouzouki. "
The first bouzouki, stringed, was acquired at the age of 11 years.
The first album of Vaggelis Korakakis coming in 1985. This is the result of his meeting with lyricist Samartzi Tasos, who took the initiative and went to the Apostle Kaldara to get recommendations. So with the encouragement of the lyrics was released by the company LYRA, the album "In camps and ships", in which the Korakakis put music to 3 songs of Tassos Samartzi. The total of 12 songs on the album ermnineftikan by Kostas Antonopoulos. In 1988, on a proposal from the producer of LYRA, Aggelos Sfakianakis actually his first solo album titled, "The Lords".
In 1992 comes the "bouzouki with compass," and in 1993 the "Laurion" by the independent company LYRA, and they were the first step to becoming a Korakakis "considerable power", declared the producers Alex and Dimitri Vaki.

Βαγγέλης Κορακάκης - wiki

Oikeia sounds from the music scene of postwar folk song is the first impression associatively bring his songs V. Korakaki. Basismena the archetypal structures of Greek folk song without findings or innovations, the songs of this disc extending to the present day producing a musical style that has been abandoned by most composers before a couple decades. In this aesthetic effect, except for the melodies, orchestration helps the consistent and interpretative dimension Andreatou and Pomonis, and his voice is reminiscent due Korakaki timbres of M.Bamvakari on executions. Without having to present something special or extraordinary, this version keeps a level and I think fans will like kind. The CD accompanied by 16/selido elegant inlay-cover booklet with lyrics and reporting in rates.

Reviewed by: Nikos Dionysopoulos

Ανάμνηση και πίκρα

Φάληρο και Ελευσίνα/Πέραμα Σκαραμαγκά
επηγαίναμε για μπάνιο/όταν είμαστε παιδιά.
Τρώγαμε το μαριδάκι/απ' τα καθαρά νερά
δεν υπήρχανε φουγάρα/υπονόμοι και λοιπά.

Τώρα Αθήνα όλοι σε βρίζουν
δε σ' αγαπάνε και σε μισούν
γίνονται ανάμνηση οι ομορφιές σου
που τις γκρεμίζουν και ξεψυχούν

Το μικρό μπακαλικάκι/η ταβέρνα στη γωνιά
κι ο μανάβης με τη σούστα/γύριζε στη γειτονιά.
Τα βραδάκια οι μεγάλοι/τάβλι και κουτσομπολιά
κι εμείς τρέχαμε σαν ταύροι/μες στην τόση ξεγνοιασιά

Τώρα Αθήνα όλοι σε βρίζουν
δε σ' αγαπάνε και σε μισούν
γίνονται ανάμνηση οι ομορφιές σου
που τις γκρεμίζουν και ξεψυχούν

Τώρα ανάμνηση και πίκρα/νοσταλγία και οργή
όμως πουθενά δε βρήκα/της Αθήνας τη ζωή
Κρύβει τόσο μεγαλείο/κι αν πληγώνεται γελά
έχει ακόμα τόσες χάρες/και τον κόσμο κυβερνά

Memory and sorrow

Faliro and Eleusis, Perama Scaramanga (seashore outskirts of Athens)
we were going for swimming / when we are children.
and ate little smelts / from those clean waters
there were no stacks /or sewers and so on.

Now everyone  swears Athens
they don't love you anymore-they hate you
your  beauties  are just  remembrances
that they drag down and they die out .

The small shop / tavern on the corner
And the grocer with the clasp / going around the neighborhood.
in the evenings the older ones /with  backgammon and gossip
and we ran like bulls / so carefree

Now everyone  swears  Athens
they don't love you anymore-they hate you
your  beauties  are just  remembrances
that they drag down and they die out .

Now memories and bitterness / nostalgia and anger
but I didn't find anywhere / that life of Athens
that hides such a greatness  / even laughs  when it  hurts
with so many favors still / rules the world.

translation: Vasilis 

 ♥

source

translations otherwise: gooogle : (

♫ Ζήτω η  Ελλάδα ... long live Greece ... ♫

 ~♥~

E lucevan le stelle

  

BENIAMINO GIGLI

Historical Recordings (1927-1951)

Tracks:

01. Giuseppe Verdi - Rigoletto, opera: Bella figlia dell'amore
02. Georges Bizet - Les Pêcheurs de perles, opera in 3 acts
03. George Frederick Handel - Serse (Xerxes), opera, HWV 40: Ronde tenere...Ombra mai fu
04. Gaetano Donizetti - L'Elisir d'amore, opera: Una furtiva lagrima
05. Ruggero Leoncavallo - I Pagliacci, opera: No, Pagliaccio non son!
06. Pietro Mascagni - Cavalleria rusticana, opera in 1 act: Mamma quel vino è generoso
07. Umberto Giordano - Andrea Chénier, opera: Sì fui soldato
08. Giacomo Puccini - Tosca, opera: E lucevan le stelle
09. Georges Bizet - Carmen, opéra-comique in 4 acts: Il fior che avevi a me
10. Giuseppe Verdi - Aida, opera: Se quel querrier...Celeste Aïda
11. Giacomo Puccini - La bohème, opera: O soave fanciulla
12. Wolfgang Amadeus Mozart - Don Giovanni, opera, K. 527: Il mio tesoro intanto
13. Giuseppe Verdi - Il Trovatore, opera: Di quella pira
14. Giuseppe Verdi - La forza del destino, opera: La vita è inferno all'infinito
15. Giuseppe Verdi - La forza del destino, opera: O tu che in seno agli angeli
16. Umberto Giordano - Andrea Chénier, opera: Come un bel dì maggio
17. Fromental Halévy - La Juive, opera: Rachel, quand du seigneur
18. Jules Massenet - Werther, opera: Ah! Non mi ridestar

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ.

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

BENIAMINO GIGLI (1890-1957)   

In a certain way, Beniamino Gigli became a victim of La forza del destino (The force of destiny), or perhaps one ought to say: of his ambitions. After his brilliant American debut at the Metropolitan Opera in New York, he had sung there for twelve consecutive seasons in 28 different roles. As a result of the economic crisis however, the 'Met' was forced in 1932 to reduce all salaries and Gigli decided to return to his homeland Italy.

There he became a favourite of dictator Benito Mussolini. When World War II was over, the singer was criticized by a number of people in Italy and abroad for not having taken a stand against el duce. He was nevertheless allowed to sing in a Roman production of Tosca in 1945 and in La boh&me at Covent Garden. In London he came, he saw and he conquered, perhaps also as a result of the unusual casting: whereas Gigli himself played the Rodolfo part, that of Mimi was sung by his nineteen year old daughter Rina.

Beniamino Gigli was born on 20 March 1890 in Recanati as the son of a shoemaker. Like many Italian singers he began his career singing in the church choir; being seven years of age he entered the choir of the Recanati Cathedral where his father was also the sacristan. The young Gigli was taught initially by the local teacher, Quirino Lazzarini, and later by Antonio Cotogni and Enrico Rosati. He made his debut in 1914 with Ponchielli's La gioconda, after he had won an international competition in Parma. The jury seems to have been quite impressed, as can be read in a report by one of its members, the famous tenor Alessandro Bonci. In addition to the usual information regarding the candidate's age, appearance ('good'), intensity of voice ('strong, tenor, lirico-spinto'l, timbre ('appealing, warm'), intonation ('optimal') and interpretation ('warm expressive, very effective'), Bonci added the remark: 'Finally we have found a tenor'.

After several engagements in Italian theatres, Gigli performed in Spain, France and Germany, before he made his debut at the Milanese Scala in 1918. The next two years saw his first successes in South-America and his debut at the 'Met'. There he was considered to be the heir to Caruso, who at that time had stopped performing; Gigli sang several roles, but excelled in the veristic opera and in the French tragedy lirique. As is stated above, he shifted his attention to Europe after 1932, although he incidentally returned to the 'Met', namely in 1938 and 1939.

Throughout his life, Gigli toured the world and he appeared in operas as late as 1953. He gave his last concert two years later and retired to the country, near his native Recanati. There he could look back, not only on his operatic career, but also on the several movies he had appeared in. In addition to his dramatic activities, the great tenor also wrote two autobiographies, titled Confidenze (1943) and Memorie (1957). Beniamino Gigli died on 30 November 1957 in Rome.

A lot of Gigli's career is documented in the numerous gramophone recordings he made: especially his recording of arias from Les pecheurs de perles, L'elisir d'amore, Andrea Chenier and La forza del destino have been praised by many. Several critics considered him to be the golden voice of the twentieth century.

Frits de Haen

  

listen... just listen...

wiki
  

~♥~