Tambor de cuerdas y flauta de tres agujeros

   

La Tradicion Musical En España Vol. 15
El Tambor De Cuerdas De Los Prineos

1999

Tracks:

BIELLO ARAGÓN:

01. Paloteau de Lanuza
02. Paloteau de Jaca
03. Pedro Gil
04. El ciervo
05. Dance de Sinués
06. Dance de Aragües del Puerto
07. Dance de Embrún

NAVARRA ORIENTAL:

08. Ttun-ttun de Isaba
09. Ttun-ttun de Uztarroz
10. Pasacalles de Burguete

BIGORRA:

11. Danza del Ben-Yar

OSSAU y BEARN:

12. Maudit sia l´amor
13. Bèra Vinagrèra
14. Madamisèla deu Bornau
15. De la mes charmante anesqueta
16. Au verdurèr
17. Branlo Ayrejan
18. Moutchicou

XIBERO:

19. Hegi
20. Bralea
21. Martxa (Godalet Dantza)
22. Ahuntza
23. Barrikada Haustea
24. Buhameak

NAVARRA NOR-OCCIDENTAL:

25. Mando Zaharrarena
26. Mutil-Dantza (Soka Dantza)

Personnel:

Enrique Tello (tambor de cuerdas y flauta de tres agujeros), Javier Lacasta, Marcel Gastellu, Luis Salesa, Faustino Villacampa, Álvaro de la Torre (tambor de cuerdas y flauta de tres agujeros)...

 

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This volume is of particular interest since it scans an instrumental tradition known on both sides of the Pyrenees, that of the three-holed flute played with the drum string. This instrumental ensemble (played by a single musician) has come down to us in the Spanish provinces of Navarre and Aragon and, for our part in Béarn (Ossau valley), Bigorre and Soule. This disc is therefore appealing to musicians from the various regions (including Marcel Gastellu Etchegorri, musician, researcher of long standing, is efficient as discreet), some pretty old and younger but all playing traditional and mostly solo . This gives us an interesting overview of the instrument in which the double flute melody runs while the drum string serves as the basic rhythm and stubborn bumblebee (vibration deliberately created by the curvature of the bridge contribute to in addition to these strings look more stamps to drum string zither). If the instrument is definitely designed for the dance (rich in high harmonics of the flute, the presence of the drone, rhythmic function of the drum), he can also give a haunting aspect to slow airs. Whether to retain something of these recordings is that the Pyrenees constitute an administrative barrier: eyes closed so try to assign each piece to its region unless you are an expert you will give your language quickly cat and if recent exchanges may have taken place, the unit organological and music that emerges here is undeniable.

source (google translation)

  

Tambor de cuerdas

A psalterium /sɒlˈtɪəriəm/, or tambourin à cordes, is a stringed musical instrument, the name of which means the same thing as the one of psaltery. In specific usage, this name denotes a form of long psaltery that is tuned to provide drone chords. Sometimes called a string drum, it is usually used as rhythm accompaniment with a form of tabor pipe. It is also known as tambourin de Béarn in French, ttun-ttun (/cun'cun/, named after the sound emitted) in Basque or chicotén in Aragonese.

Some authors have called into question the inclusion of the Pyrenean stringed drum under the name of psalterium.

Method

It is slung on the arm or over the shoulder of a player who uses the same hand to play the pipe, while striking the strings with a linen covered stick held in the other hand. The 6 strings (3 sets) are most often tuned in octaves that match the keynote of the Tabor pipe, such as Cc Cc Cc or Dd Dd Dd etc. This musical percussion is quite pleasant and can be played pianisimo as well as forte'.
Extent and uses

The instrument is currently widespread in the western Pyrenees, and it bears the hallmark of the territory. Apparently invented in the 15th century, it came into use in the Pyrenees, where it took hold. It is popular in the easternmost Basque province of Soule (Zuberoa), where it provides along with the three hole flute (xirula) the necessary musical background for traditional dance performances and the carnival set of performances called maskarada, which takes place on a yearly basis in different villages of the former viscounty.

After losing ground during the 20th century in western and central Pyrenees, namely Bigorre, Béarn and Soule, the practice of the three hole flute and tambourin came almost to a halt after World War II, except for the Ossau Valley in Béarn. Evidence has been gathered also that with different names (such as salterio) it was played along with the flute early in the 20th century in small areas of High Aragon. From the 1970's on, the instrument has shown renewed vitality.

wiki

  

some more to read - you better learn Spanish :)

  

  

thanks for the music : )

♥

Mas Trabalhar...

   

Menos Samba E Mas Trabalhar

Tracks:

01. Bossacucanova Featuring Carlos Lyra - Maria Moita
02. Moreno + 2 - Imbalanca
03. Fernanda Porto - De Costas Pro Mundo
04. Patricia Marx - La Do Mar
05. Anderson Soares - Nu Vida
06. Domenico + 2 - Alegria Vai La
07. Bebel Gilberto (remixed By Peter Kruder) - Tanto Tempo
08. Otto - Bob (edu K Remix)
09. Suba - Voce Gosta (phil Asher Mix)
10. Zuco 103 - Zabumba No Mar
11. Tom Zé - Toc
12. Totonho & Os Cabras - Nhem Nhem Nhem
13. Max De Castro - A Historia Da Morena Nua Que Abalou As Estruturas Do Esplendor Do Carnaval
14. Nacao Zumbi - Blunt O Fjudah

  

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mais samba y menos trabalhar... !

 
mas y menos
 

mi

 
♫

Three villages...

  

Wisła, Istebna, Jabłonków

Muzyka Beskidów

Cz II
2008

Tracks:

01. Mamko Moja
02. Pytel Mąki
03. Improwizacja Cz.1
04. Poleju, Poleju
05. Boże Mój, Boże Mój,...
06. W Jaworowym Lesie
07. Tryptyk
08. Hop Dana, Dana
09. Doliny, Doliny
10. Improwizacja Cz.2
11. Wyjeżdżej Furmanku
12. Janicziek Trowym Sieczie
13. Leszćiniańsko Polka
14. W Nidzieliczikym Do Kościoła
15. Szumi Dolina
16. Ciymno Nocka
17. Improwizacja Cz.3
18. Hej Ochodzito!
19. Hore Koniakowym
20. Węgierska Suita

  

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Kapela Wałasi i goście

...music from the Silesian Beskids mountain range, near to the borders with the Czech Republic and Slovakia, in the historical region of Cieszyn Silesia.

Where is this place?

You could say: Far, far away behind the mountains, behind the endless woods, behind seven rivers - and you would not be wrong because this country truly lies behind hills and forests in the heart of The Beskid Sląski.

Here, on the slopes of "Złoty Groń", "Ochodzita" and "Wawrzaczowy Groń", in the valleys between these beautiful hills are placed Istebna, Koniaków and Jaworzynka called often "The Triple Village".

  

Istebna, Koniakow and Jaworzynka are summit - placed villages of The Beskid Slaski situated in the south of Cieszyn Silesia. Their common name usually used is The Beskidy Triple Village.

Istebna - the home to local authority - lies around picturesque sunny hill of Złoty Gron in the Olza river - basin.
Koniakow - the highest placed of the three - has its kingdom on the slopes of Ochodzita, the highest hill in this part of the range stretching out east of the community.
Jaworzynka - south - western corner of the Beskid Slaski - is set in the valleys of the rivers Czadeczka and Kreżelka.

Thanks to the climate and rich culture Triple Village have been one of the most attractive  tourist mountain regions of Poland. Istebna and Jaworzynka are the oldest of the three. First mentions are from 1577 (Istebna) and 1649 (Jaworzynka) whereas the village of Koniakow was found in 1712.

Historical researches say, that all three villages were associated with The Duchy of Cieszyn in the times of Silesian Piast Dynasty ruling (up to 1625). Then in 1653 Habsburg dynasty took control over the region to create out of it their profitable property called "Komora Cieszynska".

The process of settling down the region which started in XVth century had two main streams. One from northern flat land of Cieszyn Silesia and the other, much more important, from the south - east Wolosi, nomad shepherds coming from the east of Romania. They used to move west searching new grazing fields reaching eventually green meadows of The Beskidy. Over the years their population mixed with local people and their way of wearing, working and worshiping affected the region life a lot.

The very first settlement in the area was Jasnowice, which name was derived from the religious sect called "Jasnowidze" (clair - voyants) settled down there after escape from religious persecution. The main activity of the citizens then was shepherding which was more profitable than traditional farming. 

 

source

 

did you count more then three... you were right :)

♥

Maria Prymachenko

Maria Prymachenko

Maria Prymachenko (Ukrainian: Примаченко Марія Оксентіївна) (1908–1997) was a renowned Ukrainian village folk art painter, representative of naïve art. The artist was involved with drawing, embroidery and painting оn ceramics.

  

Maria was a peasant woman. She was born and spent all her life in the village of Bolotnya in the Kiev Oblast, situated only 30 km (19 mi) from Chernobyl.

Іn her childhood Maria was taken ill with polio, and this painful disease influenced the girl's life. By reports of her relatives, Maria grew а thoughtful and considerate person, having compassion for nature and every living thing.

Her way in art began, by her own words, like this: "Once, as a young girl, I was tending a gaggle of geese. When I got with them to a sandy beach, on the bank of the river, after crossing a field dotted with wild flowers, I began to draw real and imaginary flowers with a stick on the sand… Later, I decided to paint the walls of my house using natural pigments. After that I’ve never stopped drawing and painting."

Creative works

Mysterious and emotionally charged, the works of Maria Prymachenko, a folk master of Ukrainian decorative painting, seem to absorb the age-old traditions of many generations of Ukrainian master-craftsmen who, from the depths of the centuries, have brought forth their understanding of good and evil, of ugliness and beauty.

Images often had арреаred to the artist in dreams and later materialized in her compositions. Maria Prymachenko's art works depict fabulous mythological beasts and take their roots іn folk legends and fairy-tales, nourished bу real life and culture of the Ukrainian реорlе.

The works of Prymachenko can be subdivided into thematic, symbolic and ornamental pieces. All compositions are characterized by a subtle and fluent rhythmical arrangement. There is a maxim: "Style makes man." As for Prymachenko, one can state this in reverse: man makes style, for Maria Prymachenko has developed a style of her own. In this evolution one can discern traces of constructivism (1930s); the victory of harmony (1960s- 1970s); and the decorative approach (1980s). Her latest works impress one by their daring decorativeness of form. Prymachenko gravitates to the world of fairy-tale and mystery: her birds, beasts and plants interact on her pictures just as harmoniously and easily as they do in natural surroundings. Philosophy of the good animates the content of her works. The good embodied in the images of 'kind' beasts and birds (lions, bears, hares, storks, swallows) is juxtaposed against the evil, this mighty force which is sometimes difficult to identify with certain living things. The artist often resorts to her favoured device of personification: she depicts fabulous animals with large eyes surrounded with a trim of eye-lashes.

Thematic compositions occupy a special place in Prymachenko's creative legacy as far as the complexity of compositional arrangement and harmonious balance are concerned. Raw actuality and fairy-tale become blended in her compositions into one single whole, triumphantly demonstrating the unity of Nature. People depicted in these compositions are composed and full of dignity and self-respect. Her early compositions were executed against a white background, associated with the whitewashed walls of peasant cottages. But in the 1970s-1980s the artist turned to coloured backgrounds. It seems that colour itself creates the effect of colour-bearing space. There are no professional secrets in her arsenal: she paints on Whatman paper with factory-manufactured brushes and uses gouache and water colours. She prefers gouache which gives a bright and thick decorative base with graphic contours. Apart from searches in colour scheme, the artist strives to achieve expressive outlines and an effective rhythmical arrangement. Another salient feature of Prymachenko's art is a keen sense of composition, which is especially evident in her choice of format. Horizontal formats are most suitable for topical and multifigured compositions depicting subsequent scenes of the narration, while the vertical format is used for representative decorative compositions.

wiki 
  

  

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so, now you know where the new header comes from : )

♥

Hutsul music from the village of Kosmach

  

The Kosmach Musicians

2004 

Tracks:

MOUNTAIN MEADOW SONGS

1 Signal of the ascent into the mountain meadows on trembita and horn Play
2 Shepherd melodies on the jaw harp
3 "Arkan", dance of the shepherds and the opryshky, or mountain bandits, on trembita
4 "Arkan" on tsymbali, fiddle, double flute and drum. Play
5 Entrance into the mountain meadows on trembita with fanfare
6 "Oh i will go up into Mountain Meadows", a rhyming song
7 Shepherd melodies on telenka
8 Shepherd melodies on double flute
9 Mountain meadow melody
10 Medley of Hutsul melodies

WEDDING SONGS

11 Beginning of the wedding
a. On the way to the house
b. The parents come out of the house c. The Welcoming of the musicians
d. Accompaniment for singing
e. The musicians for singing
f. "Oh, Lord may This Be a Good Time"
12 "The Hutsul Girl", a fast dance tune
13 "Oh, the Green Evergreens", a wedding incantation by the matchmakers
14 "Oh, Lord May This Be a Good Time" as a march for the bridal couple Play
15 "At the table" music for singing
16 a. Fiddle and double flute duet
b. Tsymbaly and double flute duet
17 Accompaniment to wedding incantation
18 Fiddle solo
19 "Hopak", a dance tune
20 "The Blue Cornflower", a dance tune
21 Dance Medley
22 Accompaniment for the bridal couple
23 Wedding drinking song
24 "The Dove", a dance tune
25 "Mykyta"

WINTER SONGS

26 "The Winter Song Singers Are Coming" on trembita and horn
27 "Behind the Pen in the Yard", a winter song Play
28 Well-wishing
29 Trembita as the winter song singers leave

  

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Kosmach - is the heart of Hutsul. Perhaps the greatest and real pearl of the village not only Region, but also in Ukraine.
32 priselke with poetic names: Mel, Dil, deterioration, Rushir, Preluki, Pochosy, Zavoyely - like sunlight adorn the mountains to the village center.
Kosmach - "Sun Valley", "Sun Bowl" - here a special cosmos, cosmic forces, sunny colors of the Carpathian nature kindled in the hearts of God kosmachan that spark that has for centuries burning unquenchable creative flame. Here in every house living artists: weave, embroider, rizblyat, painted Easter eggs of rare beauty, maystruyut musical instruments played.
Kosmatsky traditional clothing and embroidery win all the colors of the sun. Space characters sky, sun, stars - at Kosmatsky pysanka. Vohnystyy temperament Kosmatsky musicians bare beauty of the natural environment ... When a rocky Gregor which make the thunder, the mountains ring with turbulent flows and violent wind wins fir their eternal melody, while the giant meadow Chuhayster gets in his mad dance - this time born in Kosmachi music.
Some magnetic force attracted to Kosmach many Ukrainian poets, writers, musicians, artists: Alex Nowakowski, Michael Frost, Gregory Smolsky, Filaret and Mykola Kolessa, Stanislaus Lyudkevych, Ostap Lysenko, Irene Wilde, Lina Kostenko, Ivan Svitlychny, John Mykolaychuka Ivasiuk ... You can name many more famous names of those who sought to Kosmachi inspiration. Kosmachany as a precious treasure, retain their ancient customs and musical tradition. Glory of Kosmatsky folk music has long moved beyond the Carpathians and the Ukraine. In the village by this time there are many instrumental wedding chapel. Folklore from ancient recorded and exploring musical authenticity Kosmach, here in the last 150 years found more than 100 musicians, wedding chapel. Even in times of Austro-Hungary showed Kosmatsky wedding in Vienna, Lviv. Hutsul Chapel with the U.S. running Dmitry Tkachuk performed many songs and wedding music from Kosmach. In the television movie "Carpathian Resources", "Kosmach" fixed tradition Kosmatsky wedding ceremony.
In 2001 one of the choirs were invited to the Third World Theatrical Olympiad. Chapel, organized cymbalist virtuoso Michael Rybchuk, performed with great success in the program which was music of the mountains and valleys - from the Carpathians to Tibet, and on Moscow television.
In this CD can be divided into 3 cycles of ritual music that accompany the rite of spring - "Get On the mountain," the summer - "Wedding" and winter - "Koliada."
We hope that students of this disc will discover an interesting page original culture of Hutsul.
Lesia Turianska

 

translation as usual: google 

   

  

 

Kosmach is village in the heart of the Hutsul region of the Carpathian Mountains. it is one of the largest and most enchanting villages in Ukraine. Very talented people have preserved the traditional rituals, customs, crafts and music here. It seems that every house has its own musicians that play on traditional instruments made by Kosmach master craftsmen. Fiddles, tsymbali (hammer dulcimers), and flutes make up the traditional wedding band. The trembita, or mountain horn, accompanies the winter song singers at Christmastime, and also calls mourners to funerals, and shepherds to the mountain meadows in the spring.

 

  

There exist Tibetan monks in this world who travel, relate, show – and perform their Tibetan music. By any chance, have you ever heard them performing? If you have, probably you will be surprised with this recording, since the distance between the Tibet and the Carpathian Mountains is so big, but still the music of these regions has something in common, even something allied. The question is – where from? Yet, on the other hand, both are mountains, and it means that they are closer to the sky. As you know, in the sky the roots grow and communicate according to their own laws, which are not at all earthly. That is why all that is not surprising. Quite different things should be surprising – why people can seldom find a common language. Immediately one of the answers appears – since when you communicate with the help of words, practically always there is something fallacious and incomplete present in this communication. It happens because every person has his or her personal thesaurus in his or her head. And one of the decisions may be heard right now – because music is nearly the most universal language among all human and non-human languages. This is not even a theorem; it is simply a fact, and frankly speaking, a joyful fact. Its joy lies not in the hope for a possible harmonious communication, but in the fact that this communication exists now and keeps on existing. You should only see it. Or, to be exact, to hear. To feel.

Anton Jozhik Lejba (Hedgehog)

 

       

  

Trembita (see track 01)

  

wiki 

  

Actually, in the Carpathian Mountains trembita is still used in a practical way. As in many places highly in mountains there is no phone connection than different melodies of this instrument can tell all the important massages that can be heard at a distance of 10 km. Traditionally trembita is used by mountain dwellers. With the help of this instrument is given a signal about the biggest spring holiday in Hutsul Land, when the shepherds are going to the mountain meadows, and, of cause, when they go back in autumn. Besides, the sounds of trembita can tell about danger or about somebody’s death. There is an old tradition to meet guests with the sounds of trembita.

 

read some more : )

 

♥

Muzyka góralska

  

Kapela Góralska 

TORKA

Szyroko daleko...
2005

Tracks:

01. Zagrajcie gajdziczki
02. Hanka czorne oczka
03. Jak jo Pode na muzyke
04. Za dźwierzami
05. A w tym naszym zomku
06. Elektryczka
07. Górskie klimaty
08. Szyroko daleko...
09. Za Jabłonkowem
10. Stoi lipka
11. Uż sie mi ławeczka
12. Kukułeczka
13. Furmanek
14. A mom se jo w masztali
15. Zwoleńska dolina
16. O Macieju
17. Węgierska nuta
18. Torka
19. A dzie idziesz Helenko
20. Ulubiony

Personnel:

Kazo "Nędza" Urbaś: prym, okaryna, dzwonki, śpiew
Józef Kawulok: gajdy, śpiew
Piotr Kukuczka: sekund altowy, śpiew
Ryszard Gąska: sekund skrzypcowy, śpiew
Lubomira Tumova (Słowacja): cymbały, śpiew
Małgorzata Gerat: śpiew
Marzena Zając: śpiew

słowa: Kazo Urbaś

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Kazo "Nędza" Urbaś założyciel i lider kapeli TORKA, rozpoczął swoją muzyczną działalność już w latach 60. Początki każdego muzyka są cięzkie, lecz "Kazo" przedarł się przez nie bardzo szybko. Każda osoba która zobaczyła, a co ważniejsze usłyszała, tego wybitnego muzyka zamierała w zachwycie. Każdy jego występ to powrót do przeszłości gdzie uliczni grajkowie rozpowiadali okoliczne wieści. Sukces takiego trubadura zależał od zdolności przekazywania. "Kazo" posiada tą zdolnośc i jeszcze ją rozszerza, zaraża nią ludzi, podczas gdy jego muzyka płynie zostaje ona przekazywana przez słuchających dalej. Jest to jeden z powodów dla którego kapela Torka nie mogła się opędzić od propozycji wyjazdów za granicę co w owych czasach nie było rzeczą najłatwiejszą. Udało im się jednak pokonać te wszystkie przeciwności, gdyż jego sława szybko się rozchodziła, co umożliwiło mu zagoszczenie w jeszcze większej ilości ludzkich dusz. Przez cały czas swej egzystencji TORKA podtrzymywała tradycje swego regionu i zajmowała się jej propagowaniem także podczas serii koncertów charytatywnych na których ze łzą w oku można było zauważyć radość dzieci, bawiących się do każdej melodi.

source

one more were you might be able to get the cd.

GÓRALSKI

Essay by Maja Trochimczyk

HISTORY

The góralski is one of the two basic dances of the Skalne Podhale region (Rocky Foothills of the Tatra Mountains in southern Poland). The góralski and zbójnicki do not occur in the neighboring mountains of Pieniny and Beskidy, and the districts of Orawa and Spisz. The góralski is a general name of the solo dance of one couple who perform a series of dances (3-8). In each segment of the dance, the male dancer sings a selected tune (nuta) in a freely structured rhythm. The ensemble of musicians picks up this tune and performs it for the couple to dance to.
       
The góralski varies in content and style from one village to another and from one dancer to another. Although the góralski is a couple dance, the partners touch only during the final turning together figure, called "zwyrtanie" (according to Ada Dziewanowska, Polish Folk Songs and Dances, p. 267). The man plays the leading role and performs the most intricate steps. The woman has only two or three different patterns to perform and mostly responds to the actions of the man.

There were few transcriptions of górale music in the first half of the 19th century and none earlier; an explosive growth in the outsiders' interest began in the late 19th century. At that time, Dr. Tytus Chałubiński organized many excursions into the Tatras accompanied by groups of górale musicians. Despite the presence of górale themes in 19th-century Polish opera (Karol Kurpiński's Zabobon, czyli krakowiacy i górale; Stanisław Moniuszko's Halka), a serious interest in the stylistic traits of the Podhale folklore was expressed only in the 20th century, starting with Karol Szymanowski (his Mazurkas, ballet Harnasie), and continuing with Artur Malawski (symphonic poem Tatry), Henryk Górecki (two string quartets), and Wojciech Kilar (Krzesany for symphony orchestra).

MUSIC

Podhale is the only area of Poland where the folk culture is still alive as it is present in the daily activities of the górale. They wear their costumes, speak the local dialect, and sing and play the traditional melodies. The music of this region strongly differs from Polish folk music of its northern regions, especially because of its predominantly duple meters (triple meter is the most popular on the Mazovian plains). However, Timothy Cooley discovered that the 19th century collectors, especially Oskar Kolberg, found numerous triple-meter melodies in the Tatras; the change of the repertoire may be attributed to the influence of outsiders, the tourism promoters and ethnographers, who emphasized the differences between the music of the górale and that originating from the rest of the country (Cooley 1998, 2000).

Several types of melodies are used for the dance: nuta ozwodna, krzesana, drobna, and zielona. The man sings one couplet in a high and tense falsetto voice and a quasi-improvisatory manner. The band (called kapela or muzyka), led by a violinist, responds with repeats of the ornamented melody (performed by lead violinist). The strongly accented rhythmic foundation is provided by the accompanying violins and the basy (see the entry on zbójnicki for a description of the band and the instruments).

read the whole thing (and more) here.

  

♥

Tatra brigands

  

Kapela Harnasie

Hej tam spod Tater

2002   

   

Tracks:

01. Kupiym se korole Nie pódym jo z tela

02. Malorz   

03. Niedaleko Lewocy   

04. W Bernie   

05. Hej ta spod Tater

06. Szalała   

07. Hej Janicku siwy włos    

08. Corne ocy

09. Mioł nos łociec    

♥ 10. Idzie dysc

11. Hej horolecka    

12. Mamo moja

13. Jo za wodom    

14. Orawa    

15. Tocy się mi tocy

16. U kowala    

17. Syćkok ci godała   

18. Góralu czy ci nie żal

  

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Harnaś - Tatra and Carpathian brigand. Famous Harnasie  were: Juraj Janosik, Ondraszek, Tomas Uhorčík... (see Robin Hood)

Sabała the legendary Góral bard and musican, used to say:

To hang on the gibbet is an honourary thing!
They don't just hang anybody, but real men!

Could not find much info about the music.

and that's all that wiki tells us:

   

While folk music has largely died out in Poland, especially in urban areas, the tourist destination of Podhale has retained its traditions. The regional capital, Zakopane, has been a center for art since the late 19th century, when people like composer Karol Szymanowski, who discovered Goral* folk music there, made the area chic among Europe's intellectuals. Though a part of Poland, Podhale's musical life is more closely related to that found in the Carpathian mountains of Ukraine, Slovakia, Moravia in Czech Republic and Transsylvania. The people in the Tatra mountains of Poland and Slovakia are descendants of Vlach shepherds who settled there from 14th to 17th century.

Local ensembles use string instruments like violins and a cello to play a distinctive scale called the Lydian mode. The distinctive singing style used in this scale is called lidyzowanie. The lead violin (prym) are accompanied by several second violins (sekund) and a three-stringed cello (bazy). Duple-time dances like the krzesany, zbójnicki (Brigand's Dances) and ozwodna are popular. The ozwodna has a five bar melodic structure which is quite unusual. The krzesany is an extremely swift dance, while the zbójnicki is well-known and is perceived as being most "typical" of Podhale and Northern Slovakia. Folk songs typically focus on heroes like Janosik.

*Goral (mountaineer)

  

source: Music of Poland

    

 

   

  

source

   

The music of the Górale folk tradition is usually performed by a small string ensemble, resembling the make-up of a string quartet: a lead violin performing ornamental melodies, two accompanying violins, and a three-stringed basy, providing the harmonic basis for the chords. The basy is smaller than the double-bass, roughly the size of a cello. The second violin and the basy play rhythmic quarter-notes in duple meter with strong accents, providing the rhythmic framework for the music. In the nuta zbójnicka (the zbójnicki tune), the rhythm is upbeat and lilting; in Timothy Cooley's words "the accompanying violins bow downward on each beat with the basy and add an up-bow in-between each beat (1&2&1&2&1&2), effectively playing twice as fast as the basy." (from Fire in the Mountains CD, Yazoo 7013; 1997, p. 8-9). Another common instrument used in the area was a simple carved string instrument resembling a basic fiddle, called "złóbcoki." ...

read some more here

 

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Üdvözöljük a Técsői Banda!

  

Técsői Banda

Ruszin Népzene
Rusin Folk Music from the upper Tisza region
2002

Tracks:

01. A vofelybot diszitese... (1'52")
02. A fiuk kiprobaljak... (4'00")
03. Mars (4'06")
04. Roman dallamok... (2'59")
05. Menet a lakodalmas... (1'17")
06. Kalácstánc a lakodalmas... (2'13")
07. Kárpáti kolomejkák (2'49")
08. Bucsu a legenysegtol (2'12")
09. Kolomejka... (10'13")
10. Menyasszonytanc (3'25")
11. Vendegbucsu (2'52")
12. Asztalozo (0'39")
13. Asztalozo... (1'34")
14. Szkarani (román ugrós) (1'56")
15. Roman ciganytanc (1'27")
16. Ciganycsardas (2'20")
17. 'Baj van, baj van...' (2'33")
18. Havasi kurt utanzasa hegedun (2'13")
19. Huculka (2'01")
20. Regi olah tanc (1'19")
21. Nyila (1'31")
22. Koljatka - koszonto (2'18")
23. Roman tancok (4'22")
24. Hucul tanc (7'43")

Duration (70'52")

Técsői Banda:

Joszip Csernavec Georgijovics „Jóska” (1945) – bajan
Mihailo Csernavec Jurijovics „Misu” (1947) – little cimbalom
Jurij Csernavec Olexandrovics „Júra” (1951) – drum, plonka, Jew’s harp, voice
Ivan Popovics Mikolajovics „Iván” (1958) – violin
Petro Babics Sztyepanovics (1952) – violin, voice

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"The Técső Band – playing the traditional Ukrainian-Rusin music of the Máramarosians – is one of the best-known bands of the crown town, which lies on the upper part of the river Tisza. The accordionist Jóska Csernavec and his brothers are the descendants of a reputed gypsy dynasty, but the band’s violinists are not family members. Somehow playing violin was not inherited within the family. All of them learnt the musical style from their ancestors. Their diverse repertoire – because of the strong interethnic influence – features local Romanian, Gypsy, Jewish, Russian and Hungarian songs. I made my first recordings with them at the beginning of the 70’s. At that time, the legendary father Jura Csernavec “Manyo” played the violin.

Unfortunately, his virtuoso performance survived only on a single cassette in bad quality. The band often performs on weddings, on funerals, on Christmas and on the fest of “Misána” (sheep clipping). Their instrument kit includes violin, neckwear cimbalom, bajan (that is an accordion with buttons) and drum equipped with cymbal. The drummer uses a plastic sheet called plonka. He operates this by pressing it between his lower denture and his gum, playing tunes or sometimes playing only to enhance the rhythm of the dance.

Present recordings were made on two occasions with two different primates. On the first part of the album, we can hear wedding music on the second part dance music. During the editorial work, my ambition was to have the band record the most interesting pieces in our studio. I was hoping that many others would love the music of the “unknown land” as much as I love them."

says recording editor Ferenc Kiss.

 

Coming from the village of Tyachiv  (Técső in Hungarian) in the far western Ukraine, the Técső Band is one of the last full time professional traditional ensembles which makes its living playing for village weddings and events in the Hutsul region of the Carpathian mountains. This is an area with a very mixed ethnic composition, and to be successful a band needs to master the specific repertoires of a multitude of ethnic groups.  Accordionist Yoshka Cherniavets are the son, and drummer Yuryy arethe cousinof the late Manyo Cherniavets, a renowned fiddler and band leader who was the Gypsy musician called to play for Jewish weddings in the region. Along with tsymbaly player Misha Cherniavets, the Técső Band continued the tradition of playing a rich multiethnic repertoire encompassing Hutsul Ukrainian, Romanian, Jewish Klezmer, Gypsy, Slovak, Russian, and
Hungarian music in a single performance. Fiddler Ivan Popovych took over as lead fiddler with the death of Manyo. Sadly, tsymbaly player Misha died in 2006. His replacement,the virtuosic Vassilyy Hudak, is the music teacher at the localschool. Since 2010, tsymbaly player of the band is the young Mikhaylo Magula, has a superb understanding and feeling for the musical style of this mountainous region.

 

 

Técsői Banda: The Last Kolomejka

I've know the guys from the Técsői Band for almost a decade, ever since Kiss Feri from Etnofone Records started bringing this amazing Hutsul band to Hungary for festivals. One of the last functioning traditional bands in the region - in the sense that playing their traditional repetoire in their community as a full time job - the Técsői Banda hail from the western Ukraine, just across the border from Hungary in the multi-ethnic village of Tjaciv, known in Hungarian as Técső (there is a large Hungarian speaking minority, and most of the band can speak Hungarian alongside Ruthenian, Ukrainian, Russian, and Romani.) Truly a band of brothers (with one in-law, Ivan) the Técsői band are the sons of Manyo Csernovec, a Gypsy fiddler and and leader who was reknowned in the western Ukraine as the preferred musician for local Jewish and Hungarian events, alongside Hutsul music. A couple of years ago some Hungarian film makers started working with them on a documentary, and this week the end result saw its premier at the Urania Film Museum in Budapest: The Last Kolomeyke. The filmakers followed the band around in Budapest as well as in their home village of Tjaciv, focusing on the friendships that grew between Imre Keszthelyi - their local host and manager - Sue Foy (our own amcsi friend and dance ethnographer of central European dance styles) and me - I recorded a few cuts with Técső for our forthcoming new CD, and the studio session is included in the film. As is usual with these projects, the documenting went on and on and on... but then in 2006 the tsymbaly player, Misha Csernovec, suddenly passed away.

Posted by dumneazu

 

link 

 

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Opera in Ukraine

  

Ukrainian Opera Singing
Masterpieces of Ukrainian Music
2006

  

Tracks:

01. Quietly over the river (AP Batiuk, S. Cherkasenko) - Elena Slobodyanik, Alexander Taranets
02. Four oxen pass I (b., excl. Anatolskyi-Kos) - Evgeniya Miroshnichenko
03. Oksana and Andrew Duet from the opera "Zaporozhets beyond the Danube" (S.Gulak-Artemovsky) - Zoya Hayday, Ivan Kozlovsky
04. Black Eyebrows (D. Bonkovskyy, arr. Nadenenka F. - K. Dumytrashko) - Valery Bujmister
05. Duet Odarka and Kars from the opera "Zaporozhets beyond the Danube" (S.Gulak-Artemovsky) - Maria Litvinenko-Volgemut, John Patorzhinskogo
06. Jihav Cossack beyond the Danube (Born, LV Beethoven arr) - Valery Bujmister
07. Why do I black eyebrows (born, arr J. Borkowski - T. Shevchenko) - Diana Petrynenko
08. You - my love (G. Zhukovsky - A. Novitsky) - Nikolay Kondratyuk, Vladimir Timokhina
09. Odarka Song from the opera "Zaporozhets beyond the Danube" (S.Gulak-Artemovsky) - Maria Litvinenko-Volgemut
10. Floating boat (Mykola Lysenko - SL. B..) - Mikhail Rakov, Alexander Taranets
11. Nightingale (music and lyrics. M. ML) - Bela Rudenko
12. Zore vechorova (S. Kozak - A. Malyshko) - Alexander Taranets, Vladimir Zarkov
13. Sun nyzen'ko (music and lyrics. Lysenko) - Konstantin Joiner
14. Oh, I will limit Mountains (Kos-Anatolskyi) - Irina Zyabchenko

 

translation by google pls help with the mistakes...

  

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The first collection, as you can see, is focused to opera singing. The choice of exactly this theme as the first one may seem rather strange – but only at the first look. For the thing in question here is masterpieces, thus we have to admit: first truly world-wide glory to Ukrainian singing was brought exactly by opera singers, wasn't it? Do not forget that their repertoire was never limited to classic arias only – all of them performed Ukrainian folk songs as well, and caused no less fascination with them. Or even more...
 
  

  

   

Music of Ukraine 

  

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