Hrvatska tradicijska glazba Nizinska i središnja hrvatska Croatian traditional music Lowland and central Croatia
Tracks:
Lowland Croatia
01. Stari glas, Babina Greda (Županja)
02. Ceranac, Drenovci (Županja)
03. Drumarac, Drenovci
04. Svatovac, Tovarnik (Vukovar)
05. Zeleni se livada, Rokovci (Vinkovci)
06. Šokačko kolo, Rokovci
07. Todore, Baranjsko Petrovo Selo (Beli Manastir)
08. Pjesma s prela, Ladimirevci (Valpovo)
09. Drmendaš, Rakitovica (Donji Miholjac)
10. Zavrzana, Rakitovica
11. Voljeli se Ivica i Mara, Donja Motičina (Našice)
12. Becarac, Forkuševci (Đakovo)
13. Ljelje (ulomak), Stari Perkovci (Slavonski Brod)
14. Povracanac, Donji Andrijevci (Slavonski Brod)
15. S onu stranu Save vode, Donja Bebrina (Slavonski Brod)
16. Svinjarsko kolo, Donja Bebrina
17. Svatovac, Vranovci i Bukovlje (Slavonski Brod)
18. Pjesma s pripjevima, Vranovci i Bukovlje
19. Gospin plac, Klakar (Slavonski Brod)
20. Drumarac, Prekopakra (Pakrac)
Central Croatia
21. Maro, Maro, Marica, Sv. Marija (Čakovec)
22. Pismo nam je došlo od svetlog cesara, Vratisinec (Čakovec)
23. Pet je kumi v jedni kleti, Donji Vidovec (Čakovec)
24. Raspa, Prugovac (Djurdjevac)
25. Črleno cvetje i modro, Pitomača i Prugovac (Đurđevac)
26. Prolistala bukovina, Veliko Trojstvo (Bjelovar)
27. Trojke (drmeš), Miklouš (Čazma)
28. Medna roso, gdje si zimovala, Kutinsko Selo - Kutina
29. Svirka (Još Hrvatska ni propala), Pregrada (Krapina)
30. Anđelek poje, Kupljenovo (Zaprešić)
31. Fletna polka, Kupljenovo
32. Polka, Jesenovec i Adamovec (Sesvete)
33. Lepo ti je rano uraniti, Siljakovina (Velika Gorica)
34. Drmeš (šestica), Glina
35. Rozganje, Velika Jelsa (Karlovac)
36. Majka Maru preko vode zvala, Vučjak (Karlovac)
37. Đikalica, Vučjak
38. Škrinjar drmeš uz rozganje, Turanj (Karlovac)
39. Potresujka, setepas, tanac po hrvacki, Jelenje (Rijeka)
Recorded in the field, in Zagreb, and in Metkovic during 1997-2000.
Vocal and instrumental Croatian traditional music.
Program notes
by Naila Ceribašić in Croatian and English and notes on individual
tracks (150 p. : ill.) bound in container.
Project editor Zorica Vitez ; support from the Ministry of Culture of the Republic of Croatia.
*
Zvučni
su zapisi na ovim kompaktnim diskovima nastali u okviru širega projekta
dokumentiranja suvremenog stanja hrvatske tradicijske kulture.
Pozornost je bila usmjerena na stvaranje fonda tehnički vrsnih snimki
starinskog, lokalno specifičnoga repertoara, koji još uvijek čini dio
glazbene i plesne prakse lokalnih - mahom seoskih - zajednica u svim
dijelovima Hrvatske. Glavni su nositelji takvih sadržaja folklorne
skupine koje djeluju u okviru kulturno-umjetničkih društava. Odabrane su
skupine i pojedinačni glazbenici koji nastoje očuvati i/ili
vjerodostojno obnoviti starinski repertoar i stilove izvođenja tipične
za svoju užu sredinu, koji se ističu glazbenotehničkom vrsnoćom svojih
izvedbi, skupine i pojedinci koji njeguju, individualno i/ili grupno,
specifičan odnos prema predlošcima iz prošlosti, te time donekle
napuštaju uhodane okvire javnoga predstavljanja.
Taking traditional music from Iran to new collaborative heights
Interview by Madanmohan Rao
Mohsen
Sharifian is a musician and composer from Iran, and heads the troupe
Lian Band. He has spent the last two decades immersing himself in the
musical traditions of the Bushehr region, writing several books and
collecting songs and dance-tunes and composing new works inspired by
them. He is a virtuoso performer on the two ancient, emblematic
instruments of the Persian Gulf region, the Nay-Anban (bagpipe) and the
Nay-Jofti (double-pipe reed flute). The Lian Band, formed in 1993, has
released nine albums and performed around the world. Mohsen joins us in
this exclusive interview on the highlights and challenges of his musical
journey.
Q: How was your band formed?
My
goal is to preserve and promote the folklore music of my region inside
and outside of Iran. The band’s name is Lian and this is the ancient
name of my city Boushehr. This name is about 3,000 years old and the
meaning is ‘shining sun.’ The history of ancient Boushehr and its
culture are deep and continuous sources of learning for us.
Q: Who would you say are the leading influences in your music, in terms of culture and family?
Music
is in our family but remember however they were not willing for me to
play music, because of the humiliating views by many in our society to
folk musicians. But now I am happy, it’s honourable for the family, and
they have never forbidden me.
Music across the world has been a
part of society, and you can easily see the footprint of Indian music
and songs, which I have seen in my trips to India and among the Indian
workers in Boushehr. It’s amazing to see that the name of one of
Boushehr’s parishes is Kuti; this is an Indian name meaning mansion. The
spices in our food and the hotness in them is also because of Indians!
Q: Tell us about the more unusual instruments you have in your ensemble.
The
bagpipe by the native name Ney-Anban is a special one, which has the
identity of boushehri music. But we can see it all over the world. Even
in India, but the bagpipes have their own accent.
This instrument
is very unique and one of the aspects that makes it special is that the
playing of this instrument at Bushehr is facing opposition, and this is
unnecessarily radical and goes under a supposed religious facade.
Q: What is the profile of some of the artists in your band?
This
band has working for about 20 years, and our relations began with
activities during our student years, which eventually became a solid
band going by the name of Lian.
Q: How would you describe your musical journey and its messages?
I
believe that our work shows our birthplace of music and highlights our
role as representatives for our music. The message that I want the world
to hear is joy and peace, I’m glad that I did it with art and out of
politics. Our albums like other artists of the world will change over
the years, and sometimes may have effects on the world!
In my new
album (to be released by Taraneh Sharghi), I have performed fusion
music and tried a music speech to tell that our people were shaped by
interaction and dialogue. So I composed a mixture of boushehri music
with flamenco, Indian and modern music. It’s good to know I used an
Indian musician by the name of Darchen Anand. He played tabla and sings a
song with me. I would really love Indians to hear this album and
explore opportunities to collaborate!
Q: How would you describe your composition process?
Most
of the songs are composed by me; however I also get comments from
musician of the band and audience reactions. Our folk music itself is
composed from the combination of different music, including African,
India and Arab. So essentially I believe in the combination forces of
music, and over the years music of the world has intentionally or
unintentionally absorbed other influences. How and to what extent it can
be incorporated to introduce original music deserves reflection.
The music of Bouchehr draws its distinct sounds from the diverse
communities that settled in the region over many generations. This
includes: the traditional music of several eras of Iranian history; the
religious music of the Islamic, Zoroastrian and Christian communities of
the region; fishing songs from coastal communities; influences from
Chinese, Indian, Somali and Tanzanian merchants; and perhaps most
importantly, the musical traditions of east African slaves who escaped
and settled in Bouchehr.
Bandari music of southern Iran was first made famous by Aghassi some three decades ago with his now classic song "Ameneh". These days we often hear of the group "Sandy" and their hit "Dokhtar Ahvazi" which is probably played more often at parties than any other dance tune.
But the Bandari tunes played in the small towns and villages of Khuzestan, Bushehr and Hormozgan sound very different. What the locals sing is not as polished and not always easy to dance to if you are, say, at a wedding in Tehran or Tehrangeles.
Nevertheless Bandari is one of the most upbeat Iranian musical styles.
Bandari is
often referred to as "Persian Bellydance". Bandari dance is a chain
dance that often involves multiple people dancing and often perform this
at parties, traveling around in a circle and sometimes stepping into
the center for a solo with encouragement from other dancers, the only
variations are in the arm movements. It's a Persian dance that prevails
in the South of Iran next to Persian Gulf and has been influenced by the
African and Arabic music and dance. It is a combination of rhythmic
movements in various directions according to the beat of the song. The
distinct feature of this dance is the way performers wave their hands in
a unique manner that resembles the cooperation of a group of fishermen
at the sea...
One of Setar's specialities, since old days till present, is its potential to comply the expectation of its own audience and of the one who plays it. Various tunes of sound and the sufficiency of being played with different techniques bring novelty and grace to both players and listeners with various tastes and desires, this is, one might say, why Setar's of different players have not much in common; a quality which is not found in every musical instrument.
The tranquillity, delicacy and peace which lie in the sound of the Setar quench the needs of the contemporary human in this high tension style of life nowadays.
Ali Hafezi, a Bakhtiyari ney player who uses the teeth style of playing the ney.
He has been playing with Masoud Bakhtyari (Bahman Alaeedin).
Now he only plays Bakhtiyari music.
The ney is the most common instrument in traditional societies. It is a very ancient instrument which has been played for several thousands of years. Due to the existence of various ethnicities in Iran, there are more than 30 kinds of ney in Iran with their own specific characteristic. Most regional neys are played by lip. The player puts his lip on the edge of the ney and blows into the pipe. But, in the urban style of playing the ney, the instrument is hold between the teeth of the player. Since the old times, the ney-e labi has been played by shepherds and because of this it is sometimes called the shepherd ney. Sometimes, the ney player inserts his voice into the pipe as well; therefore the ney produces a kind of mixed sound. The ney-e labi is played almost in all parts of Iran. In the recent years, some of the folk musicians have tried to use the urban musical techniques to present a new musical utterance for their old traditions. For example, a new kind of the ney playing style has emerged among the Bakhtiyari ethnicity which is influenced by the urban techniques of playing of the ney, which keeps the ney between the teeth. As a result, the new produced sound has both the folk and Persian urban music flavors.
Accordion, Hurdy Gurdy, Vocals, Jew's Harp, Arranged By – Jacek Hałas (tracks: 3, 7, 12-17) Drum – Alicja Choromańska-Hałas Edited By, Accordion, Mastered By – Witold Roy Zalewski Fiddle, suka – Krzysztof Butryn (tracks: 1, 5, 12) Fiddle, Text By – Ewa Grochowska (tracks: 3, 7, 12, 14-15) Graphics, Typography – Joanna Jarco Photography – Mateusz Borny Recorded By, Mixed By – Michał Kowalski Text By – Remigiusz Hanaj Vocals – zespół dziecięcy Wisienki
Guests:
Zbigniew Butryn (bas) Mateusz Borny (suka, kornet) Edward Pachuta (kornet) Iza Gąbka (saksofon) Jakub Dycha (trumpet) Olena Yeremenko (violin) Piotr Deptuła (fiddle)
Prezentujemy Państwu najnowszą płytę zespołu "Jarzębina". Płyta została
wydana przez Starostwo Powiatowe. Jak pisała szefowa zespołu, Irena
Krawiec na płycie zostały umieszczone pieśni tradycyjne, zaśpiewane w
tradycyjnej kocudzkiej gwarze. Płyta prezentuje 18 utworów i piosenek
wykonanych przez "Jarzębinę" z towarzyszeniem muzyków grających na
skrzypcach, drumli, basach suce biłgorajskiej, harmonii i bębnach. W
nagraniach usłyszymy orkiestrę dętą, zespół wspomogły też dzieci z
zespołu "Wisienki".
The
music ensemble Jarzębina is amongst the most known singing groups in
Poland. It was established in 1990, in the Community Culture Center in
Kocudza, a village in the Janowski district, on the Roztocze hill range,
one of the most interesting ethnographic regions in the Lublin area.
Jarzębina
is a traditional, multi-generational female group led by Irena Krawiec.
It is one of the most active in the Janowski area, recognized with many
awards and honorary mentions. It consists of a singing group and
ceremonial group. The music ensemble represents a rich and diverse genre
repertoire of monophonic ceremonial and common songs. The repertoire is
rooted in the oral tradition, based mainly on songs handed down from
generation to generation in the families as well as numerous songbooks:
folk carols, pastorals, Advent, Lenten and Easter psalms. The psalms and
dialogues are performed in the Kocudzki dialect, with great attention
to detail, such as the original tempo, volume and artistic style.
It
is important to point out the unique funeral and Lenten psalms that
brought Jarzębina its place amongst the leading music ensembles. Within
its numerous activities, the group pays special attention to devising
and preparing shows. They remind us of the life once led in the
villages, according to the natural calendar and also cultivate old
customs and traditions. In Jarzebina’s repertoire there is: Wesele
kocudzkie (A Kocudza Wedding), Ocepiny (Capping ceremony), Prasowocki
(Ironers), Miedlorki i pocirocki (Linen-Working), Łostatni rózeniec (The
Last Rosary), Świecok (Food-Blessing), Mielenie w żarnach (Quern-Stone
Grinding), Pośnik kocudzki (Kocudza Christmas Celebrations) and Herody
kocudzkie (The Kocudza Christmas Pageant).
The group finds
fulfillment playing concerts and theatrical productions of old
ceremonies and traditions, performing abroad, in addition to touring the
whole country, as well as being an active participant in the social and
cultural life of their village, community, district and region. In
2012, Jarzębina gained popularity due to the song “Ko-ko Euro spoko”,
although it has been appreciated for many years before that for its
stylish and very expressive way of performing traditional repertoire.
The constant invitations to festivals, solo concerts as well as a group
of followers all across the country is more than enough proof of that.
Jarzębina
has performed at musical reviews and festivals in: Kazimierz (an
honorary mention in 1991, a guest performance with the show
Linen-Working in 1993, the first prize - 2001, 2007, 2011); in Tarnogród
(1991-1995); in Baranów Sandomierski (The Polish Festival of Orphan
Tales and Songs 1992-1999); in Tychy (Theatrical Meetings 1996-1998); in
Nadrzecze (The House Serving the Polish Art of Word, Music and Image
1997-2000); in Jarosław (The International Festival Early Music
1998-2000); in Kawkowo (The International Meetings Drama and Liturgy
1995-2002); in Zebrzydowice (The International Musical Review of
Regional Groups 2002); in Modliborzyce (The Interdistrict Musical Review
of Traditional Carols and Pastorals 1999-2003).
The group
devotes much attention to ensuring the continuity of traditional culture
in the local community. Jarzębina learns songs and gives concerts
together with their “younger daughters” – the children’s group Wisienki.
Jarzebina’s members have been teaching the Kocudzki style of singing
for years, also outside of their community, for example in the Węgajty
Theatre Schola, Gregoriana Silesiensis Schola or occasionally at special
workshops (mainly led by Beata Oleszek). In 2006, the group was the
co-organizer of the Tabor in Kocudza – a weekend summer camp that
teaches the Lubelski school musical tradition.
The musical ensemble Jarzębina with all
its members: the back row from the left Lucyna Jargiło, Bronisława
Dyjach, Janina Oleszek, Władysława Dycha i Genowefa Góra, in the front
row from the left Monika Jargiło, Beata Oleszek, Irena Krawiec,
photograph by Remek Mazur-Hanaj, Kocudza in 1999.
A
turning point for Jarzebina turned out to be the show “The Last Rosary”
(łOstatni rózeniec), that had its premiere in 1995 and gained a
prominent place in the history of folk ceremonial theatre. At that time,
the group began their collaboration with in crudo music centers,
especially the Warsaw Dance House Association (concerts as part of the
Stage Roots as well as the series Let me sing Your Passion and There is a
Ladder to Heaven 1995-2003). Since 1998 with the Węgajty Theatre
Schola, the group participated in international theatrical and musical
projects and a young singer from Kocudza Beata Oleszek, became an
actress and a singer in the Schola for many many years. At the Songs of
Our Roots Festival in Jarosław, Jarzębina sang at a memorable concert
along with the Italian Micrologus. They also participated in a series of
Lenten concerts, mainly the Dominican Order Lenten Singing in Lublin,
Lenten concerts at the Poznań School of Dance or the Wrocław Gregorian
Silesiensis Schola. Henryk Mikołaj Górecki highly valued Jarzebina’s
singing. The group’s performance can be found in the most important
archives; academic, radio and many private archives. Some of which have
been published in anthologies of traditional music – publishers In Crudo
(three CDs) and Muzyka Odnaleziona. The group has taken part in
numerous radio and television programmes, there are three documentaries
dedicated to the musical ensemble done by TVP 2; the singers were also
capable of finding their way so to speak in modern art (a project by
Anna Molska, “The Weepers”). Finally, there have been several Bachelor
and Master’s thesis’s written about Jarzebina.
01. Mazurek. Mikroregion Rzeczycy 1980/Kazimierz Meto (ur. 1922) skrzypce, Józef Meto (ur. 1939) basy, śpiew 02. Oberek. Mikroregion Rzeczycy 1987/Jan Lewandowski (ur. 1919) skrzypce, Stanisław Lewandowski (ur. 1927) basy, Stanisław Kaczmarek (ur. 1924) bębenek 03. Oberek. Mikroregion Rzeczycy 1987/Michał Rydz (ur. 1924) skrzypce, Stanisław Goska (ur. 1925) basy, Władysław Piątkowski (ur. 1932) bębenek 04. Oberek Śpiewak. Mikroregion Rzeczycy 1987/Stanisław Skiba (ur. 1932) skrzypce, Jan Osiński (ur. 1927) basy trzystrunowe, Stefan Chudy (ur. 1938) bębenek 05. Oberek. Rawskie 1987/Aleksander Nowakowski (ur. 1905) skrzypce, Władysław Kośka (ur. 1935) basy, Stefan Nowakowski (ur. 1930) baraban 06. Oberek Śpiewak. Radomskie 1981/Bolesław Zarębski (ur. 1913) skrzypce, Edward Fogt (ur. 1930) śpiew 07. Oberek Ciągły. Radomskie 1987/Jan Rogoliński (ur. 1907) skrzypce, Józef Lament (ur. 1911) bębenek 08. Oberek Ciągły. Radomskie 1981/Marian Lipiec (ur. 1937) harmonia, Piotr Strzałkowski (ur. 1926) skrzypce, Marian Lipiec (ur. 1958) werbel 09. Oberek Rdzuchowiak. Mikroregion Kajoków 1983/Józef Kędzierski (ur. 1913) skrzypce, Stefan Kędzierski (ur. 1921) basy, śpiew, Józef Kędzierski (ur. 1939) bębenek 10. Oberek Śpiewak. Mikroregion Kajoków 1988/Józef Piecyk (ur. 1932) skrzypce, Jan Kietla (ur. 1913) bębenek, śpiew 11. Oberek Śpiewak. Mikroregion Kajoków 1983/Walenty Mirecki (ur. 1911) skrzypce, Józef Janowiecki (ur. 1910) basy, Jan Sadowski (ur. 1925) bębenek, śpiew, Helena Wojtunik śpiew 12. Oberek Kazimierkowy. Mikroregion Kajoków 1997/Stanisław Ciarkowski (ur 1931) skrzypce, Józef Ciarkowski (ur. 1926) bębenek, Leokadia Ciarkowska śpiew 13. Oberek Pobiedziński. Dolina Pilicy 1988/Jan Michalski (ur. 1916) harmonia, Wacław Rek (ur. 1928) skrzypce, Józef Michalski (ur. 1939) baraban 14. Oberek Rytka. Mikroregion Kraśnicy 1984/Józef Fiderek (ur. 1909) skrzypce, Franciszek Wolowski (ur. 1919) basy, Tadeusz Fiderek (ur. 1940) baraban 15. Oberek. Mikroregion Kraśnicy 1984/Michał Wijata (ur. 1920) skrzypce, Adam Goska (ur. 1909) basy, Stefan Tomasik (ur. 1910) bębenek 16. Oberek. Opoczyńskie 1984/Tadeusz Podwysocki (ur. 1926) skrzypce, Stanisław Wilk (ur. 1914) bębenek 17. Oberek. Łowickie 1981/Leopold Talarowski (ur. 1904) harmonia dwurzędowa, Stanisław Domański (ur. 1926) baraban 18. Mazur. Mikroregion Księżaków 1992/Jan Szewczyk (ur. 1925) skrzypce, Józef Szewczyk (ur. 1966) baraban 19. Mazurek. Rawskie 1990/Jan Dziąg (ur. 1922) skrzypce, Jan Dziąg (ur. 1950) baraban 20. Oberek. Pogranicze Rawsko-Księżackie 1994/Stanisław Lewandowski (ur. 1934) skrzypce, Józef Szymczak (ur. 1927) baraban 21. Mazurek. Radomskie 1986/Władysław Cieślik (ur. 1919) skrzypce, Józef Bębenek (ur. 1919) harmonia pedałowa, Stanisław Cieloch (ur. 1924) bębenek, śpiew 22. Światówka. Radomskie 1981/Antoni Wyrwiński (ur. 1921) harmonia pedałowa, Adam Wyrwiński (ur. 1924) skrzypce, Jan Karczewski (ur. 1944) baraban 23. Mazurek Lesiacki. Radomskie 1992/Antoni Wrzesień (ur. 1914) skrzypce, Józef Wrzesień (ur. 1911) skrzypce, Stefan Kaczmarek (ur. 1922) bębenek 24. Oberek Kajocki Bąk. Radomskie 1984/Franciszek Reguła (ur. 1916) organki 25. Oberek ciągły. Radomskie 1982/Stanisław Motyl (ur. 1904) skrzypce, Jan Przybyszewski (ur. 1917) skrzypce, Stanisław Przybyszewski (ur. 1951) akordeon, Stanisław Wiatkowski (ur. 1941) bębenek 26. Oberek Bielińskie olszynki. Radomskie 1986/Jan Karaś (ur. 1917) skrzypce, Jan Babis (ur. 1914) basy, Stanisław Rogulski (ur. 1919) bębenek, śpiew
This recording is an extraordinary document. It was recorded in Central Poland between 1980 and 2000 in the homes of rural musicians who had not played together in years. The emotions which ensued are clearly audible in the recording ? this atmosphere is impossible to replicate in a recording studio.
As time passes, it will become increasingly impossible to produce a recording like this. A chance to listen to rural folk bands playing in the same style as their predecessors of over 150 years before, and to hear the basses and accordions of village musicians at weddings in the 1980s.
Andrzej Bieńkowski
Andrzej Bieńkowski recording.
*
About Music Lost/Found Series
Poland, 1980, and Communism is facing collapse. Petrol is being rationed, the shops are empty. I begin my journey through the countryside to record music. It’s strange, because there are a great many folk bands, but their services are no longer required in the villages or towns. Musicians stop playing and sell off their instruments; slowly but surely they are forgotten. The first difficulty we faced was finding them replacement instruments. I met musicians who hadn’t seen each other in years, having once played weddings together regularly; this was the last generation of village musicians. Then came the dawn of the pop era. We filmed and made unique music recordings in the musicians’ homes, which were natural, stress-free environments. We searched throughout Poland, Ukraine and Belarus and found 1500 musicians, as well as singers, and from this number we reconstructed eighty bands. Our archive contains recordings of some of the oldest village bands, as well as contemporary wedding music. We have thousands of field photographs. However, the real jewels in our collection are undoubtedly the photographs taken by the original village photographers, who faithfully captured weddings, parties, funerals and daily life.
Małgorzata Bieńkowska
Małgorzata Bieńkowska is a graphic designer, and book illustrator. Since 1986, she and her husband Andrzej Bieńkowski, worked on documenting Polish and Ukrainian village life. In November of 2007 she opened "Muzyka Odnaleziona" - a publishing firm devoted to documenting ethnic music and photo archives from Eastern Europe. She is engaged in publishing, graphic books development, concert productions, exhibitions and public relations.
Andrzej Bienkowski
Andrzej Bienkowski is a painter, ethnographer, writer and professor at the Warsaw Academy of Fine Arts. For the last thirty years he has traversed rural Poland to document and record the music of village fiddlers, accordionists and singers. He has produced many books and films about rural Polish music, including the Music Lost & Found series. He owns the largest private collection of rural music in Poland.
01. Lipa
02. Zbójnicki Mountain Song
03. Magic Of Suka And Sarangi
04. Chmiel
05. Oberek
06. Raag Jaijaiwanti
07. Suwany
08. Chorea Polonica
09. Kia Haal Sunawan Dil Da
10. Służyłem Ja Tobie
Maria Pomianowska (Poland): Vocals, BilgoraySuka, Plock Fiddle
Marta SołekMłynarska (Poland): BilgoraySuka, Plock Fiddle, Folk Bass
Taimur Khan (Pakistan): Sarangi
Ustad Muhammad Ajmal (Pakistan): Tabla
Muhammad Azam Khan (Pakistan): Vocals
This music cd was produced by the Institute for the preservation of Art and Culture (IPAC) in collaboration of the Embassy of the Republic of Poland in Islamabad.
Poland-Pakistan: bridging cultures
The power vested within a single musical note is undeniable; it can transcend political boundaries and overcome social barriers. This project aimed to bring musicians from Poland and Pakistan closer and help strengthen cultural ties between the countries. This exchange program fostered an exchange of ideas, information, values, traditions, beliefs, and other aspects of culture, and nurtured mutual understanding of the cultures of both Poland and Pakistan.
*
Maria Pomianowska
Maria Pomianowska is a graduate of the Chopin Academy of Music, a professor of the Academy of Music in Cracow, a multi-instrumentalist, a vocalist and an exceptionally talented composer. She is also the artistic director of the Cross Culture Festival in Warsaw. In recognition of her outstanding achievements she has been awarded the Chopin’s Passport, the Medal for Merit to Culture, the Marshal of the Mazovia Prize, the Woman of success in Mazovia award and the Silver Cross of Merit.
Since 1984 she has been studying unique techniques of playing Asian instruments, while travelling to India, China, Korea, Mongolia, Japan and Middle East. Her comparative studies and multicultural experiences allowed her to reconstruct two forgotten traditional Polish instruments: Suka from Bilgoraj and Fiddle from Plock. In 2010 she opened the first Ethnic Music Department at the Academy of Music in Cracow in Poland and also created the first Suka & Fiddle orchestra in the world.
Marta Sołek
Marta Sołek is a graduate from Academy of Music in Cracow and is the only student in Poland with diploma from division of ethnic music. She is a very talented multi-instrumentalist and plays the cello, polish folk bass, BiłgorajskaSuka, MielecSuka, Plock Fiddle, Gadułka and Greek Lyre. She is one of the leading students of Maria Pomianowska and has mastered some of the rare traditional instruments of Poland such as the Suka, Plock Fiddle and Polish Folk Bass.
Marta took part in many projects around the world, ranging from concerts of classical music while playing with symphony orchestras, jazz concerts, theatrical performances and ethnic music festivals. She is permanently associated with the music group “ArcusPoloniae” – the first in the world knee fiddle orchestra. She is also associated a revolutionary women’s folk formation music band “Same Suki”.
Taimur Khan (Sarangi)
Taimur Khan is a prominent Sarangi player and a leading disciple of Ustad Allah Rakha – the last great living Sarangi maestro of Pakistan. Taimur’s interaction with music started with a guitar when he was a teenager. He eventually fell in love with Classical Music and started his experiments with Rabab, Sitar, Violin and finally Sarangi. Having played the Sarangi for 15 years, Taimur is little known for being a Medical Doctor. He learned under the teaching of UstadMubarik Ali, UstadMehfoozKhokhar and eventually Ustad Allah Rakha. At the same time, he gained invaluable knowledge from the recordings, texts and commentaries of RajanParrikar.
Taimur has performed in many local and international art platforms such as Radio Pakistan, the All Pakistan Music Conference, the Institute for Preservation of Art and Culture, and The Islamabad Music Society. He has also represented Pakistan in the Pakistan-Norway cultural exchange program.
Muhammad Ajmal Khan (Tabla)
Muhammad Ajmal Khan is a leading Tabla player of Punjab Gharana and a pupil of the late Tabla maestro MiyanShaukat Hussain. He was born and raised in a musician family with 4 generations of artists and started playing the Tabla at a very early age.
He has been playing the Tabla since the last 40 years and accompanied some of the leading Pakistani singers of classical, semi-classical and folk music such as NusratFateh Ali Khan, Mehdi Hassan, UstadSalamat Ali Khan, UstadAmanat Ali Fateh Ali Khan, TufailNiazi, Madam Noor Jahan, Farida Khaanam, IqbalBano, UstadShaggan Khan, RoshanAara Begum, AbidaParveen and ArifLohar. Intentionally he has performed in more than 60 countries with international artists from all sorts of genres. In recognition of his outstanding achievements in music he has been awarded the prestigious President Pride of Performance Award by the Government of Pakistan.
Muhammad Azam Khan (Vocals)
Azam Khan hails from a traditional music family. He is the son of the legendry BakshiSalamatQawwal. He has been exposed to Classical Music since an early age and learned under the supervision of his father and uncle. He was also a student of the late NusratFateh Ali Khan.
As a vocalist, he belongs to the QawwalGharana but has mastered Classical, Semi Classical, Ghazal and Sufi forms of vocal music also. He has been performing for more than 45 years. He has performed at various international festivals such as London Mela, Womad festival in France, Spain and U.K, Manchester Mega Mela, Streets of Brighton and Manchester’s Garden of Delights.
*
I.Lipa – 5:07
Lipa is a Lime or Linden tree in Polish language; in this song it symbolizes a young maiden who is losing her carefree days of youth. The flowers of the tree are very sweet smelling of which the bees are making honey, as sweet and delicate as a young innocent girl. The context of the song is sad, when the maiden is left alone waiting for her beloved.
II.Zbójnicki Mountain song – 5:07
Zbójnicki in polish language means the dance of robbers. This song is music for the folk dance from Podhale, the mountainous region of Poland. It is a collective name for a number of steps and dances performed for centuries at Podhale. This highland dancing is traditionally performed by a group of men who very often use axes as an accessory.
III.Magic of the Suka and Sarangi – 5:58
The BilgoraySuka was brought back to life by Maria Pomianowska after her inspiration from playing the Sarangi. Therefore in many ways the modern day Suka owes its existence to the Sarangi. This instrumental piece is a brilliant fusion bringing both these instruments together like the intimate reunion of lovers apart.
IV.Chmiel – 4:51
Chmiel is the polish name for the Humulus or Hop plant. This song is the oldest known ceremonial wedding song. The song probably comes from pagan times, and was traditionally sung at midnight, at the wedding ritual of removing the bride’s veil. The song associates the relationship of the young couple to that of the hop plant and the poles that hold it up.
V.Oberek dance music– 3:01
Oberek is a lively dance and is one of the national dances of Poland. “Oberek” is derived from “obracaćsię” which in Polish means “to spin”. This dance consists of many lifts and jumps and is the fastest of the Five National Dances of Poland. The beauty of the Oberek depends on each individual dancer’s talent of spinning at the fast tempo of the Oberek music.
VI.RaagJaijaiwanti – 8:55
This piece is the rendition of RaagJaijaiwanti on the Sarangi. A Raag means “colour” or “passion” in Sanskrit, in the classical music of South Asia it is a melodic framework for improvisation and composition. This is an exceptionally tender Raag, which traditionally depicts the sadness of a woman who pines for her lover. This majestic and highly arresting Raag is assigned to the night hours.
VII.Suwany dance music – 2:53
Suwany means to shuffle; this is music for a dance routine which is based on slowly shuffling of legs. This form of Polish folk dance is popular in rural areas in many Polish regions, especially in Mazovia and Radomszczyzna. This very slow dance music is based on the triple rhythm which is the signature of all Polish dances.
VIII.Chorea Polonica – 8:07
Chorea Polonica literally means “Polish dance”. This music is associated to dance that was extremely popular in Poland during the 16th century mainly at royal and noble’s courts. This form of dance has now disappeared in Poland but can be found in the traditional orchestra of Spain, France and Scandinavia.
IX.Ki haalsunawandil da – 5:46
This is a devotional song comprising of poetry by Sufi poet and mystic Khwaja Ghulam Farid. It is in Seraiki language of the south Punjab region of Pakistan. This style of semi classical Sufi music is called Kafi. The song portrays the feelings of a divine lover who can’t find a sympathizer to share his feelings as he groans alone in the ecstasy of love for his beloved, the creator.
X.StużyłemjaTobie –5:52
This song is the instrumental version of a 16th century traditional polish melody. The literal meaning of StużyłemjaTobie are, “I was your servant”. The song tells a tragic love story, where a man loves a woman who doesn’t love him back. In despair the man is going to leave his home and undertake a journey from which he shall never return.
Quite
some time ago, while in India, I understood that music, in its
entirety, has already been composed long ago, and resides in a place
that is beyond space and time. In creating it, we artists are
essentially just discovering something that already exists, much like an
explorer uncovers new territories. We simply extract it from
potentiality, and materialize it.
Silk Stringed Instruments
01. Fishing Music
02. Walking Along a Street
03. Purple Bamboo
Music From The Silk Route
04. Arduxi. Uighur Dance Music
05. Traditional Folk Song on Love from Turpan
06. Lailin Gul. Uighur Folk Song
07. Bahar de Bulbul. the Nightingale in Spring
08. Uighur Song About Nomadic Life
Music And Dance Of The Children Of China
09. Dance Music
10. Peacocks Playing in the Water
11. Laughing Buddha
Music And Dance Of The Minority Communities
12. Dance by Eight San-yi Minority Couples
13. Kon-di (flute) of the Miao Minority People
During 1983 and 1984, I had the privilege of traveling extensively through China, first from Northeast to Southeast and then from Northwest to Southwest. Each year, beginning with scouting and research and then accompanied by the film crew, I spent approximately five months, recording, filming and photographing the varied world of the performing arts of China. Our work extended from instrumental music to the Chinese Opera, to story-telling with instrumental accompaniment in the countryside and the music of the minority communities including that of the Uighurs of the Silk Route. Our research and recording also included musical training and performance by children.The history of the performing arts of China which legitimately claim 4000 years of background, has been concerned with three clearly defined types of expression: ceremonial music, opera and folk music. Ceremonial music was always an essential feature of the religious rites in the temples and of the secular rituals at Royal courts. Although developed under court patronage, the second most popular type of the performing arts has usually been associated with the theatre because of its appeal to the general public. The orchestral music and the presentation of the Chinese opera today belong to this category. The traditional folk music of the Chinese villages, as elsewhere in the world, represents the local cultural and linguistic habits of the region and is simple and rhythmic, unlike the disciplined, mathematically organised music that developed under the patronage of the court and the temples.Chinese traditional music follows a pentatonic scale, although at about 600 BC two semitones were added to the original five tonal steps. Primarily melodic in its form, Chinese music is closely connected to the speech-tone which guide the art of melody. During the long history of Chinese music, some rulers established orchestras with special characteristics as, for example, an all-women orchestra. In the long rule of the Chou dynasty, 1122 to 256 BC, there was a Minister of Music responsible for supplying highly cultivated ceremonial music during secular rituals at the imperial court. The I-ching, written before the age of Confucius, the great sage who lived during the 6th century BC, tells us that “There is nothing better than music in reforming people’s manners and customs.” The emperors and rulers in China endorsed this wisdom. Music was given an important place in the royal courts and in the affairs of the State. It was treated as an integral part of the educational system, in theology as well as in secular studies. This tradition is kept alive and fully utilised for the cause of Communism in China today.
- Deben Bhattacharya
***
Deben Bhattacharya (1921–2001) was a Bengali radio producer, record producer, ethno musicologist, anthropologist, documentary filmmaker, photographer, translator, poet, writer, broadcaster, lecturer, and folk music
consultant. He produced over 100 records, 23 films and published more
than a dozen books in his lifetime and much of his work was carried out
under the auspices of UNESCO
+Front.jpg)
