Land Of Singing Cranes (1)

 

Abdulla Sultanov

National Singer

Tracks:

01.  Army - Арме
02.  Buranbay - Буранбай
03.  Eskadron - Эскадрон
04.  Ilyas - Ильяс
05.  Kakkukkay - Какуккай
06.  Kara At - Кара ат
07.  Shaura - Шаура
08.  Sibay - Сибай
09.  Taftilyau - Тафтилау
10.  Toman - Томан
11.  Uiyl - Уйыл
12.  Ural - Урал
13.  Yamantau - Ямантау
14.  Zulhiza - Золхиза

 

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NATIONAL  SINGER  ABDULLA  SULTANOV

  The Bashkir folk songs classic include a number of poetical monuments which reflect the history of the Bashkir people. The events of their century-old struggle for freedom, for native land are shown through these songs. But it is only when a song is performed at a high artistic level. The spread of a song among people, its becoming classical is undoubtedly connected with the autor's level of excellence and the performer's skill. The Bashkir people keep in their memory the names of famous singers, musicians. It is known for example that the outstanding singer-improvisator Buranbai was called the nightingale of the Urals. Having the range of over 2 octaves, full of dramatic qualities the song "Buranbai" is performed by only few singers. The song is the striking illustration of its autor-Buranbai. The national singer Abdulla Sultanov is one of the best performers of the song. No wonder that contemporaries call him Buranbai of our days.

    Аbdulla Afzalovich Sultanov was born in 1930, in the village of Kubagush, Uchalinsky region, Bashkortostan. His father died in the Great Patriotic War. From his childhood Abdulla experienced herdsmen hard work. 

    Нe liked singing in pastures. Perhaps the magestic nature of the Ural Mountains made Abdulla sing drawling sad folk songs. We can say with confidence the following: Abdulla Sultanov's vocal school goes from the Bashkir folk songs classics. He never changed his type.

    That's why people love him, that's why people consider him a true national singer.
    For valuable service in art of song Abdulla Sultanov was awarded the honorary title "Honoured Culture Worker of Bashkortostan" and The Salavat Ulaev State Prise.

source

  

   

Sultanov, Abdullah Afzalovich

Abdullah Afzalovich Sultanov (September 25, 1928, the village Kubagushevo, Tamyan-Kataysky BASSR Canton (now - Uchalinsky District) - Bashkir singer kuraist. Voice over a large range of two octaves. "High notes Abdullah Sultanov takes breast cavity, and yet even professional singers rarely This is achieved. microphones He does not like - he did not have anything to strengthen. "(Regina Utyashova.) became famous as a singer Bashkir folk songs (especially in the genre of ozone-kui.), People's Artist of Bashkortostan (1996), Honored Worker of Culture BASSR (1986). winner of the 1992 Republican Award Salavat Yulayev "for outstanding performance skills and a great contribution to the promotion of songwriting."

Abdullah Sultanov - amazing man of destiny. Before entering the professional scene during perestroika, followed by concerts in Moscow and St. Petersburg, Samara, Yekaterinburg, Bulgaria and Romania, in Japan, he worked for 40 years in his native village shepherd and herdsman [1], speaking in his native area " almost every country club and field camps Uchalinskoe District "(Bagumanov, Faizova, S. 198). For the first time on stage led him Abdullah Sultanov school teacher Maftuha Sufyanovna when he heard seven Abdullah. Art and knowledge of folk songs seven year old boy adopted from a simple large peasant family. "Busy household, taciturn mother - Mahiyamal talked to loved child language soulful songs" (Nelly Ahmetzhanova), Afzal's father, his brother and their uncle were strong kuraistami. From his father Abdullah Sultanov adopted kuraista skill and knowledge of classical singing songs "ozone-kui" - "Ural", "volume" ("Fog"), "Buranbay." In his native land - Bashkir Urals - Abdullah Sultanov took the traditions of old, like his compatriot, who became professional singers - Nazhiya Allayarova, Flyura Kildiyarova, Nazif Kadyrov. On the big stage of amateur fell in 1955. Moscow is hosting the Decade Bashkir literature and art, where the final concert kuraist A. Sultanov accompanied young talented singer Bashkir folk songs, a native of the area Uchalinskoe N. Allayarovoy. Enrolled in the dance group "Yuldash" (later "Leysan"), Sultanov has participated in various shows of amateur performances that took place in the Soviet Union, went on tour in Germany, Portugal, Poland. In 1977 the I All-Union Festival winners amateur A. Sultanov accompanied by an ensemble kuraistov Zianchurinskogo district performed with great success on the stage of the Kremlin Palace of Congresses famous Bashkir folk song "Ural". In 1993, Abdullah Sultanov lost his sight after an accident, which got going after rehearsal gala concert of opera.

Abdullah performed the most famous composition Afzalovichem Sultanov - ozone-kui (long song) "Buranbay." TS Saifullin, founder of the Bashkir choir, said: "He" Buranbay "sang so I'm just speechless! Kind of singing I've ever heard! This is such a voice! There is also internal depth, and a stunning range, easy voice goes up and goes down easy ... "[2]" Sultanovsky option "Buranbaya" - is another facet of the inexhaustible rich dramatic way "(Bagumanov, Faizova, S. 199) .

Recital Abdullah Sultanov, nominated for the prize of Salavat Yulayev was held in April 1992 in the Great Hall Bashgosfilarmonii. Bashkir A.A.Sultanov performed songs ozone-kui, among them - "Yamalekay-tau", "Sibal", "Zyulhizya" as well as the ones that took over a small boy from his father - "Ural", "The Fog," " Buranbay. "

 

( all tran'ations: google)

wiki

Uchalinsky District

 

 Since 1939, after the end of primary school, eleven-year-old Abdullah became state farm cattle shepherd. He worked as a shepherd until retirement. Every morning, Abdullah correctly deduced the herd on pasture. The rural nature prompted him to improvise, on cane kurai, wooden kubyz, on whistles made ​​from the leaves of trees and grass. In the village Kubagushevo, the home of the singer, one can hear different stories and legends about the shepherd - singer and kurai player from elderly people. One of them reads: "Ahead comes kuraist (Abdullah) and under melodic kurai sounds  the cows are returning from the pasture"

source

Stories From Bashkortostan

one more link

 ~♥~

Azat Aitkul, Kurai, Ufa

  
Azat Ayytkolov

Kurai

Tracks:

01. Kart bayyk
02. Tsialkovskiy
03. Yergeyyesh
04. Synrau torna
05. Buranbay
06. Fort Perovskiy
07. Yomaguzha-Mesetle
08. Afgan keye
09. Teftileu
10. Keyelde
11. Yeyeule Mekhmut
12. Khisam khem beyyeu keyzere
13. Khandugas
14. Kakhym ture
   

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Azat Aitkul (Kura, Ufa)

Azat Minnigaleevich Aitkul - the world famous virtuoso instrumentalist in Bashkir folk wind instrument kurai (national type of reed flute). He is an Honored Artist of the Russian Federation and the People's Artist of Belarus, winner of III All-Russian competition of folk music (1986, Tula).

In one of the most beautiful parts of the republic - the Ural mountain village Yuldybaevo Zilair district famous musician was born. In these places, the plant kurai grows, predetermined his fate. He became interested in music while studying at the Ufa secondary boarding school here N1.Imenno musician met Kurai and began to comprehend the basics of playing. The growth of professional skills was continued in the class known Bashkir kursista GZ Suleymanov, who taught at the Ufa College of Art (1977), hereinafter musician graduated from the Faculty of Philology of the Bashkir Bashkir State University.

Concert activity - the meaning of life. With a lot of tours AM Aitkul traveled all over the Soviet Union as a solo instrumentalist and Gosconcert Rosconcert. Through the Department of Defense participated in concert tours in Germany, Mongolia, worked on the frontline concert brigades in Afghanistan. Foreign tour musician cover geography almost every continent of the globe. The countries of Western and Central Europe (Austria, Italy, Spain, Belgium, Holland, Denmark, Finland, Switzerland, Portugal), Middle East (Turkey), North (USA, Canada) and South America (Peru), South-East Asia ( Singapore, New Zealand), Australia applauded art musician.

Subtle understanding of the Bashkir folklore, impeccable sense of style make it different performing style. Equally deeply and completely fulfills kuraist Bashkir folk tunes instrumental nature, rooted in an epic-narrative tunes-kubairov, broaching, lyrical improvisational type ozone-kui forming a layer of folk art and recreate the spiritual search and presentation of the Bashkirs, marching songs by about historical events took place, telling about famous historical figures, heroes of the Bashkir people. Incendiary, song and dance tunes Kiska-kui (short songs) affect his performance genuine optimism, humor and cunning. Fluent technique of uzlyau ("throat-kurai") reflecting the desire of the musician to maintain and develop ne of the most difficult forms of popular music-making.

The repertoire of AM Aitkul is extensive and includes all the currently known musical patterns of national folklore. Kuraist virtuoso emerged as a sensitive assamblist constantly performing with famous Bashkir singers - People's Artist of Belarus FA Kildiyarovoy, Honored Artist of the Republic of Belarus, the winner of the International Competition B. Hyzyrovym and others to date functioning syncretic folk forms and genres, led musician organize a national group "Ural".

AM Aitkul created the technique of learning to play an instrument, allowing you to quickly master the basics of mastery. He is constantly expanding his students, developing not only solo, but ensemble and any form of execution of the Kurai.

(Trans'ation with little help from google)

source 
  

Kurai 

more to read : )

*♥*

And now ... Olavi Virta ...

  

Olavi Virta
20 suosikkia / Hopeinen kuu

Tracks:

01. Armi - Olavi Virta - 2:49
02. Unelmatango -Tango du reven- - Olavi Virta - 3:04
03. Carmen Sylva - Olavi Virta - 3:04
04. La Cumparsita - Olavi Virta ja Metro-Tytöt - 2:36
05. Hymy -Smile- - Olavi Virta - 2:42
06. Täysikuu - Olavi Virta - 3:04
07. Syysunelmia - Olavi Virta ja Harmony Sisters - 3:01
08. Kylmä rakkaus - Olavi Virta - 2:26
09. Assuncion - Olavi Virta - 3:21
10. Saavuthan jälleen Roomaan - Olavi Virta - 3:18
11. Tango Desirée - Olavi Virta - 3:13
12. Mustalaisruhtinatar - Olavi Virta - 3:30
13. Hurmio (Ecstacy) - Olavi Virta - 3:00
14. Lazzarella - Olavi Virta - 3:28
15. Hopeinen kuu -Guarda che luna- - Olavi Virta - 3:21
16. Kuinka saatoitkaan -Oh, What You Do To Me- - Olavi Virta - 2:41
17. Johnny, mua muistathan -Johnny, Remember Me- - Olavi Virta - 2:36
18. Kun ilta ehtii - Olavi Virta - 2:36
19. Yö kerran unhoa annoit - Olavi Virta - 2:34
20. Sateinen ilta -Soir de pluie- - Olavi Virta - 3:06

  

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 Olavi Virta (originally to 1926 Oskari Olavi Ilmen) (27 February 1915, Sysmä, Finland – 14 July 1972, Tampere, Finland) was a Finnish singer, acclaimed as the king of Finnish tango. Between 1939 and 1966 he recorded almost 600 songs, many of which are classics of Finnish popular music, and appeared in many films and theatrical productions. Of his most acclaimed tangos are Punatukkaiselle tytölleni (For my red haired girl), Ennen kuolemaa (Before death) (Avant de mourir) and Täysikuu (Full moon), while standouts from his other popular music are Poika varjoisalta kujalta (Boy from a shady alley) (Guaglione), Hopeinen kuu (Silver moon) (Guarda Che Luna), Eva and Kultainen nuoruus (The golden youth). He was also the second tenor of the quartet Kipparikvartetti in the early 1950s. At the beginning of his career he received three gold records for the songs Ennen kuolemaa, Tulisuudelma (El Choclo) and La Cumparsita. Olavi Virta's career was cut short by a scandalous arrest for drunken driving in 1962, after which the press mockingly called him "The Singing Meatball." Ten years later he succumbed to alcoholism, living his final years in poverty.

wiki

  

In the 1950's and 1960's many classic covers were born and one of them is Fred Buscaglione's Guarda che luna that Olavi Virta, one of the most loved Finnish singers ever, recorded as Hopeinen kuu. Ever since this song has been part of most every tango singers repertoire and his been recorded dozens if not hundreds of times by various singers. A real classic and evergreen in Finland.

source

♥

thanks to na'uma for the wink : )

~o~

From the Transylvanian Plain...

Eszterlánc
Buzaiak és az Eszterlánc (MC-1999)

50′ minutes selection from the Buzaiak és az Eszterlánc MC:

Tracks:

01.  A kalapom fekete
02.  De szépen szól a buzai nagyharang
03.  Kimegyek a zöld erdoÌ‹be
04.  Mikor én legény voltam
05.  Ha felmegyek Kolozsvárra
06.  Így volt a mi idoÌ‹nkben
07.  Fekete felhoÌ‹boÌ‹l esik az esoÌ‹
08.  Hallgató
09.  Nóta és dzsessz
10.  Töredékek

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)

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source : )

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.

 

source

 

source

 
~♥~

Music of the meadows...

   

Melodies of Carpathian Valleys

Traditional Music of Carpathian Shepherds
2008

Tracks:

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).

  

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 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...

source

   

 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... : )

and here

and also here 

  

 *♥*♥*♥*

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

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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

  

~♥~