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- Murat Aydemir & Salih Bilgin - NevâThe Mystery of Nevâ:
Sound, like a ship passing through the mysterious, is a bridge between the ocean unfathomable and the world in which we live. Since time immemorial, every lover of music who journeys on the musical sea has crossed this bridge. For us, Nevâ serves as our bridge to that mystical, veiled ocean. Nevâ has always been a keystone of our music – never failing to reveal new doors, horizons, and worlds to all who pass through. Nevâ offers a strong foundation, not just when presented as a sound or tone, but also as a mode, harmony and melody. To honor this, we open this recording with Nevâ Pesrevi by Tanburî Cemil Bey who has been a flame inspiring all tanbur players since his time. We also wished to name the final album Nevâ. In this recording, we tried to carry the torch of Nevâ, handed down through the ages from musician to musician, as far as our power, heart and love would allow us to, bowing only to musical concerns. We did our best not to compromise this pure style that has been flowing throughout history.
We present Nevâ to the listener, asking for forgiveness for our mistakes, if you should hear any. We'd like to express our gratitude: first of all to our teachers who made it possible for us to collaborate; to Cengiz Onural who opened the doors of not only his studio, but also his heart, and who catalyzed our creation of this work; to Hüseyin Tuncel who played the rhythm section during the recordings and was always by our side in spirit; and to Kaf Music Company. Every breath taken, every plectrum moved to bring about this humble creation is dedicated to its reason forbeing.
With thanks --
the musicians,
Murat Aydemir (tanbur) and Salih Bilgin (ney).
Salih Bilgin was born in Istanbul in 1960. His family roots are from Bolvadin, Afyon in Western Turkey. In 1980, Bilgin entered the Turkish Music Government Conservatory at Istanbul Technical University. His teachers included Niyazi Sayin (ney), Özdal Orhon (theory, solfeggio, & repertoire), Hursit Ungay (rhythm), Ahmet Kabakli (literature), and Cafer Açin (organology). In 1984, he graduated from Nefesli Sazlar (Reed Instruments) Ney section and joined the Istanbul Government Classic Music Chorus. Bilgin was among the founders of Izmit Municipal Conservatory and served this instititution for four years.
In 1996, he performed in a series of concerts called Parthenon to IstanbuI with U.S.-based Romeiko Ensemble. The ensemble appeared at Nashville's Parthenon, Boston's Meliotis Center, Princeton University and New York Hunter College. Music from this project was released in the U.S. in 1999. In 2003, Bilgin once again joined Romeiko Ensemble for concerts in St. Berlioz Church in New York, and in Washington D.C. Also in 1996, Bilgin performed in concert with Turkish musicians Sehvar Besiroglu, Serhan Ayhan, Derya Türkan and Feridun Özgeren in Boston as part of MIT Aga Han project. This group of musicians participated in a seminar organized by Harvard University's Middle East Studies Music Group and Musicology Department.
In 1997, as a member of Istanbul Tasavvuf Music and Sema Ensemble, Bilgin performed a Mevlevi ritual in Sarejova's International Bascarsija (Basçarsi) Festival. In addition, he has been a performer with the Turkish Government's Classical Music Chorus both in Turkey and abroad.
In 1999, Bilgin participated in a project presenting the works from Ali Ufki & Kantemir Edvars. (An edvar is a book about musical rules). In this project, fellow musicians were Sehvar Besiroglu, Murat Aydemir, Hüseyin Tuncel and Derya Türkan. Later, with the addition of Cengiz Onural to this group, the Cantemir Ensemble was formed. This group produced two albums that accompanied Professor Yalçin Tura's extensive work Kantemiroglu Edvari. Later, Bilgin recorded with Hüseyin Tuncel, Murat Aydemir, Taner Sayacioglu and Derya Türkan two more albums to accompany Docent Fikret Kutlug's book Türk Musikisinde Makamlar (The Makams of Turkish Music).
Some of Bilgin's other recording works include the "Bir sarkidir Yasamak (Living is a Song)" music series and "Ussak Fasli," by Dogan Dikmen. Bilgin is also the ney player on several recordings produced by the Turkish Music Foundation including recordings by famed vocalists Alâaeddin Yavasça, Inci Çayirli and Melihat Gülses. In addition, Bilgin wrote the chapter on ney for Çetin Körükçü's Türk Musikisi (Turkish Music).
Between 1989 and September 2001, Bilgin was an instructor at his alma mater. Currently, he is a member of Government Conservatory. He continues to study ney and mouthpiece making, marbling (ebru), and prayer beads (tesbih) under the guidance of his teacher, Niyazi Sayin. Bilgin is married and has a daughter. Salih Bilgin made the ney used in this recording.
Murat Aydemir was born in Hanover, Germany in 1971. Aydemir studied at the Istanbul Technical University National Turkish Music Conservatory, beginning in 1982. He graduated from the Instrument Education Department of the Conservatory as an exceptionally outstanding student, and was accepted to the Master's program of the Conservatory without further examination. His tanbur teacher from his entry until his graduation was Tanbûri Necip Gülses, who has influenced Aydemir in playing techniques and art as well as the direction.
After listening to Tanbûri Cemil Bey's performances on 78 RPM discs, he believed Tanbûri Cemil Bey's art is the ideal to be reached. Tanbûri Cemil Bey's influence on Aydemir's art life persisted during his education and in his professional life. In 1988, when he was only 16 years old, he was invited to perform with the prestigious Culture Ministry Istanbul Government Turkish Music Ensemble, formed and directed by tanbur master Prof. Dr. Necdet Yasar. In 1989, Aydemir was a guest tanbur player of this ensemble. During this period, the opportunities to play with the best musicians of this genre opened new horizons for him. Most importantly, Aydemir studied with Necdet Yasar, who represents the link from Tanbûri Cemil Bey and his son Mesud Cemil in terms of school and sound. This instruction included style (üslup), technique, timbre (tone colour), makam, taksim (improvisation), composing within improvisation, agility, and other topics.
Murat Aydemir has performed with such prestigious musicians as vocalists Bekir Sidki Sezgin and Alâaeddin Yavasça, kanun player Erol Deran, kemençe player Ihsan Özgen, and oud player Cinuçen Tanrikorur. He performed solo, and in duets and trios for various television performances and concerts.
Since 1990, Aydemir has been a member of the Istanbul Ministry of Culture's Classical Turkish Music Chorus and has participated in countless concerts in Turkey and abroad.
Aydemir recorded Ahenk, a duo album with Derya Türkan (kemençe) released by Golden Horn Records in 1997. In that same year, Aydemir, Derya Türkan and Cengiz Onural formed Incesaz, which has released the albums "Eski Nisan (Aged April)", "Ikinci Bahar (Second Spring)", and "Eylül Sarkilari (September Songs)." Incesaz performs many of Onural's and Aydemir's compositions in these recordings. In addition to tanbur, Aydemir plays lavta.
Murat Aydemir's goals are to maintain the traditional way of performing, yet to expand and introduce new ideas. He is dedicated to preserving the performance practice of the tanbur, traditionally a unique Turkish instrument, for new generations.
The tanbur used by Murat Aydemir in this recording was made by master Sacit Gürel.
01. Nevâ Peşrevi / Tanbûrî Cemil Bey -- 3'50"
02. Müşterek Taksim -- 4'40"
03. Uşşak Sazsemâîsi / Neyzen Aziz Dede -- 3'25"
04. Fihrist Taksim (Rast Ailesi) -- 10'11"
05. Pençgâh Peşrevi / Kantemiroğlu -- 3'50"
06. Ferahfezâ Peşrevi / Tanbûrî Cemil Bey -- 3'18"
07. Müşterek Taksim ve Sultânîyegâh Sazsemâîsi / Nedim Ağa -- 8'45"
08. Şehnâz Peşrevi / Kemânî Ali Ağa -- 4'30"
09. Müşterek Taksim -- 5'00"
10. Hicaz Sazsemâîsi / Veli Dede -- 3'50"
KAF Music | MP3 AVR 256 kbps | 95 MB
HERE
Переслать - Syriacs - Religious Music & Folk Music
Syriacs - Religious Music & Folk Music (Complied by Melih Duygulu), 2002
Our first studies about the music culture of Syriacs dates back to the years with 1980s. The first ideas for the creation of the album that you hold developed in year 1996. Although the album was included in the publication program of Kalan Miizik, unfortunately, the necessary preparations could not be completed and thus the album could not reach you. As a result of the difficult and tiresome works that we have been carrying out for about a year, the Album of Syriac Music comprising of two CDs and a booklet was created.
The contents of the booklet of the album were prepared in two main sections: The history of Syriacs and the Syriac culture. We tried to give only a summary of the main features of the history of Syriacs to the readers and the listeners that are not familiar with the subject. In fact it would be more correct to name it as "a kind of brief historical account". Because, it is not possible to cover the history of a society whose history is expressed in thousands of years in a few pages.
The brief "historical account" that is given here covers especially the Syriac identity of the period of Christianity. This information will be insufficient for the reader wishing to learn the subject from aspects of prehistory We provided information about the era of Christianity and modern times to allow the listener to penetrate to the Syriac culture to some extent. Those wishing to get more detailed information can make an introduction to the subject through the studies given in the bibliography.
We tried to analyze the effects of Christianity, the cultural factors that developed after Christianity and the contemporary Syriac culture in this booklet. The main parameters giving shape to the culture were included. Language, literature and - the subject of music since they were related with our field - were covered separately. The information in the section of language and literature could only be given with their main features in order to establish a general idea. Of course it is very difficult to give all the Syriac sound characteristics in limited pages as a booklet of a CD; in fact it is impossible. The information that we provide here is a brief summary of the study that we are preparing, named Syriac music.
The samples of melodies that we included in the album were selected from among musical melodies that were sent to us from various personal archives and collections and from the musical material that we collected during our special studies. It is obvious that the Syriacs, who were spread to all parts of the world were affected from the sounds of the regions that they were present. Although the liturgies principles were generally subject to little modification, the sound (music) was subject to regional modifications. Therefore, it is a natural outcome that the music tastes of the Syriacs in India, Iran, Lebanon, Germany, Sweden or Brazil are different from each other and face modifications. Besides, if we consider the Syriacs according to their various religious, social, cultural diversification dimensions such as Keldani, Nastuo, Maruni, Protestant, Catholic etc, it can be better understood how difficult it is to determine the musical identity of each one of them. We wanted to present an anthology that the listener reader could analyze in a clear manner and listen with good taste and we also tried to give mainly samples that were in conformity with the liturgies principles applied in the Antioch Church and Tur Abdin Church. When the musical diversification of the Syriac music, the structure of its makams, the special makams used in special days/rites and the independent musical styles of the churches are taken into account it is obvious that we are faced with a very wide repertory. We deemed it more appropriate to give examples of various psalms, makams, choruses and solo sounds and different styles of singing rather than giving all the examples present in the course of a whole rite in the 1st CD that incorporates the examples of religious music.
We tried to incorporate another implementation similar to the one explained above for the 2nd CD. For instance, factors such as the authentic examples performed by local singers from regions where the eastern and western dialects are widespread, choral examples constituted by the sounds of men and women, local styles- use of different instruments, examples of free and rhythmic melodies etc were used during the preparation of the CD. Thus, it will be possible to be able to introduce the Syriac culture in a more effective manner for a listener that is not from the culture itself.
In fact, it is not possible to present the examples of the Syriac music in two albums. However, we consider that a study like this can be sufficient at the introductory level for those who wonder about the Syriac music and the sound culture of the Syriacs.
We hope that any mistake that could have been made in the anthology section of this study or in the booklet will be tolerated - due to the fact that this is a first in its field and we would like to thank all our friends who provided us with information about the subject, directed and encouraged us and provided materials to us. by ~Melih Duygulu~
01. Kurole Allaho
02. Haleluya
03. Yuhanen Mazeg Mayo
04. Kuryeleyso
05. Mişiho Dephase
06. Kerso
07. Eno no Lahmo Haye
08. Mo Şibi Hat Aito
09. Aal Tar Ayte Aito
10. Aal Airo Sberte Dabo
11. Sluhoğ Aemen
12. Yavro Tlitho
13. Nahzen Geg Navi
14. Avdo le Aito
15. Yamu Drahmek
16. Moran Etrahame Aen
17. Şubho Litabo
18. Nevşote o Dahte
19. Kanya Makan
20. Arsal Allah
21. Fawka es Salib
22. Kuddus Kuddus
23. Bedrine
24. Maştayli Paşke B'femeğ
25. Azzen Azzen
26. Hano Qritho
27. Edlıova D'khooba
28. D'liIyo Lilyo
29. Şamomar
30. Hzıli Şavka Bşkuka
31. Aleymey
32. Ana u Khliti
33. Haşumşe Tara Bedri
34. Greşla İdi, Greşla İdi
35. Şiama Lekke
36. Kumu D'rukdina Şeyhani
37. Merdinli
38. Mahbubi
Kalan Music | MP3 AVG 256 kbps | 235 MB
Part One
Part Two
Переслать - Rabbi Isaac Algazi - Singing Ottoman - Turkish and Ottoman - Jewish musicThe recordings by Isaac Algazi (b. İzmir / Turkey 1889, d. Montevideo / Uruguay 1950) presented here are a precious testimony to Sephardi musical traditions in the last decades of the Ottoman period. Beginning in the 1920s there was not a single Jewish home in Turkey with a gramophone that did not possess Algazi's records, and by the late 1930s he was known throughout Turkey and beyond as ne'im zemirot Israel (Sweet Singer of Israel; an expression originally used to refer to King David). Algazi was admired not only by Jews but also by Turks – who considered him one of their greatest musicians, honoring him with the titles of Efendi and Hoca (hodja = Master).
Algazi descended from a noble family tracing its origins back to Rabbi Salomon ben Abraham Algazi (İzmir, ca. 1610 – 1683). He was the third in a line of chazzanim (cantors) starting with his grandfather, Chayyim Menachem Algazi, and continuing with his father, Salomon "Bulbülî" (Nightingale) Algazi. Algazi was educated in a vibrant atmosphere characterized by the conflict between traditional religious norms and modern thought within the Jewish community of İzmir. He recieved a European-oriented education as well as orthodox religious instruction in talmud torah (elementary school) and at yeshivah (secondary school).
Algazi studied Jewish liturgical music under his father and Turkish classical music with the great Ottoman Jewish composer, Shem Tov Chikar (1840–1920). Besides Turkish music, Algazi was well acquainted with European music through the musicians, opera companies and music-hall troupes that often toured İzmir. In 1908 Algazi was appointed chazzan of the central synagogue of İzmir. In the aftermath of the turmoil caused by World War I and the Greek occupation of İzmir, Algazi left in 1923 for Istanbul, where he served as chazzan and musical director at the "Italian" synagogue. During his stay in Istanbul, Algazi was active in the field of Jewish education and in fostering the relations between the Jewish community and the Turkish republic. Algazi was a supporter of the modernization efforts of the Republic's founder and leader, Mustafa Kemal Atatürk. He belonged to the young Turkish intellectuals with whom Atatürk used to confer for long hours, and he performed for Atatürk and lectured before him on the history of Turkish art music. He was one of the leading Jewish intellectuals in Turkey, and quoted liberally from Spinoza, Moses Mendelssohn, and Heinrich Heine in his writings. Algazi left Turkey in 1933, apparently as a reaction to obstacles created by Atatürk's policy favoring Turks over members of ethnic minorities. He relocated briefly to Paris, where he served as chazzan in a Sephardi synagogue and completed his rabbinical education. From 1935 until his death, Algazi served as the spiritual leader of the Sephardi community in Montevideo, Uruguay, where many members were emigrés from İzmir.
The Sephardi Ottoman music tradition
The chief characteristic of Ottoman Jewish music is its reliance on the makam system characteristic of Turkish art music. Makamlar are the modal frameworks which govern the melodic organisation of the compositions. Various parts of the Jewish liturgy are chanted according to specific makamlar. Moreover, some makamlar are associated with particular Jewish holidays. Within the makam tradition there are pieces in free rhythm while others have fixed meter. The organization of time in metered compositions follows the usûl, a repeated rhythmic cycle consisting of a fixed series of low and high pitched (drum) beats. The performance of Sephardi paraliturgical chants follows the structure of the fasıl, a suite of pieces in Turkish art music based upon the same makam which are the performed in a prescribed order. Within the fasıl, each piece has a fixed form and a different usûl which increases in speed from piece to piece.
The most important early creator of the tradition of combining religious Hebrew texts with Turkish art music was Rabbi Israel Najara (ca. 1555-1625), the greatest Eastern Sephardi poet of the post-Iberian period. In his song collections, Najara's poem are accompanied by the names of the makamlar and melodies to which they were meant to be sung. Between the seventeenth and nineteenth centuries, the involvement of Jewish poets in the Turkish art music tradition increased considerably, and they adapted their texts to the most intricate compositions by contemporary Ottoman composers. Algazi, too, wrote religious Hebrew poetry in a similar structure and style to those of his predecessors and set it to Turkish art music. He is thus one of the last links in a long line of Sephardi poet musicians in Turkey, who created an amalgam of Turkish music and Hebrew poetry.
Because of the importance of makam to Ottoman Jewish prayer, the reputation of a chazzan depended largely on his mastery of this musical system. The singing style of Turkish makam, as evidenced in Algazi's recording, is characterized by a nasal voice quality, a preference for high registers and falsetto, breathtaking lingerings on single tones, a heavy vibrato, and virtuosic, rapid shifts between registers.
In addition to the chanting of the synagogue liturgy and paraliturgical events such as the singing of the Maftirim choir, other contexts for the performance of song within Ottoman Jewish life included life-cycle events as well as the social celebrations and gatherings which took place in the cafés which flourished in the Jewish quarters of large Ottoman cities by the end of the nineteenth century.
Algazi's recordings
Isaac Algazi's recording career spanned the period from ca. 1909 through 1929. He recorded numerous discs mainly for the Turkish branch of the Biritish label Columbia as well as for Odeon, both of which were among the largest and most active in the Middle East during the first decades of the twentieth century. Most of his recordings presented here were made from 1925 through 1929 using the electrical recording process. Some of the discs included were Odeon test records lent by members of the Algazi family and may not have been released commercially. On most of the recordings Algazi is accompanied by an oud ('ud = lute), and on a few others by a kanun (zither). Track 14 features oud and violin, and the Zionist song, "Hatikhav", which is not on this CD, the oud and piano. The names of the accompanists are not mentioned on the record labels.
Algazi's Jewish recordings can be divided into four main categories: liturgical music, paraliturgical songs from the repertoire of the Maftirim choir, religious songs in Judeo-Spanish and Judeo-Spanish folk songs. In addition, Algazi made a number of recordings of Turkish classical music. Because of the limited length of the 78 rpm recording format, Algazi sings in most cases only selected verses and stanzas from the various texts. Typical of the Eastern Sephardi tradition, the same melody might be used to accompany more than one Hebrew poem, prayer, or Judeo-Spanish text. Conversely, each individual prayer text or poem may have had many melodies associated with it.
01. Hicaz gazel
02. Hicaz ağır aksak şarkı
03. Hicaz ağır aksak şarkı
04. Bayati gazel: "Sana Dil Verdimse..."
05. Bayati ağır aksak şarkı
06. Hüseyni ağır aksak şarkı
07. Muhayyer gazel: "Aman Nazre-i Taban-ı Çeşmanı..."
08. Hicaz sengin semai şarkı
09. Şevkefza gazel: "Ah, Ey Gönül Allah İçin..."
10. Şevkefza aksak şarkı
11. Acemaşiran devrikebir beste
12. Hicaz esvat şarkı
13. Kidduslı le-Shavu'ot
14. Yslach mi-shamayyim
15. Avinu malkenu (Bababım, Hükümdarımız)
16. Adonay sham'ati shim'akha yareti (Ey Tanrım, söylediklerini duydum, korktum)
17. Ochilla la-el
18. Ha-yom barat' olam (dünyanın yaratıldığı gündür bugün)
19. Es razon da alabar
20. Yetsav ha - el (Tanrı'nın emri)
21. Ay mancebo, ay mancebo
22. Quien conocio mi mancevez (kim bilir benim gençliğimi)
23. Cantiga de ajugar (gelin kızın çeyiz şarkısı)
24. Reina de la gracia (güzellik kraliçesi)
Kalan Music | MP3 AVG 192 kbps | 90 MB
HERE
Переслать - Hande Özyürek - Saygun'la Yüz Yüze (Face to Face with Saygun)Turkish international violinist Hande Özyürek, 15 Won first place in the International Violin Competition in Vienna. 2007 In September, the remaining music label released "Saygun with Face to Face" album, with the praise-winning artists, our competition a year beyond the screening process, the first prize with a completed and as such brings many rewards also won. Honor among members Argerich, Ashkenazy, and Baumgartner, such as classical music world, many of the leading names, including world-famous contest between an important place in the Vienna Music Competition, especially the first it has created in his solo concerts, facilities and CD recordings with the famous...
Our violinist was born in 1976 in Istanbul, Mimar Sinan University State Prof Konservatuarı'ndaki education. Crocus with a first class graduated in benign and won a scholarship from the Turkish Education Foundation and Detmold, graduate of the Music Academy in Berlin and Saarbrücken and the top soloists successfully completed training in classrooms. Europe's major music centers, concerts, and continues the artist, Sadat-Güzin Gurel Achievement Award 1996, International Italy Palma d'Oro and the Rovere d'Oro in 2003, the Year of the Young Musician Competition - British Council in 2000, Junior Chamber International 2003 Turkey Cultural Achievement Award, Germany Young commentators Achievement Award in 1999 and again in 2007 at the Frankfurt International Violin Competition Music Days has won numerous awards.
So far, most of Europe, in the city performing the Etiology in the coming months will be performed South American tour with the "Saygun with Face to Face" album in Ahmed Adnan Saygun, Özkan Manav and Babur Tongur's work to identify and also the first kemancılık this year from the re-assumed Emsland Quartet in concert with the International Festival will continue. Etiology is still live in the city of Munich, Germany.
Hande Özyürek'in violinist living in Germany for his first solo album "Face to Face with Saygun", the famous composer Ahmet Adnan Saygun's 100th to commemorate the birth year was released by Kalan Music. Album, Saygun's violin and piano, written for the "Suites / Demet" and "Sonata," the FAQ, as well as composer Özkan Manav's Saygun's famous "customary Music" from the work set out the violin for his "Saygun with the Face to Face," his work Mughal and composer Tongür "Sonata for Solo Violin," his work takes place. Uwe Brandt German pianist, will accompany the album Özyürek.
01. Prelüde
02. Horon
03. Zeybek
04. Kastomonian
05. Andante
06. Molto Vivo
07. Largo
08. Allegro
09. Lento
10. Allegretto Moderato
11. Vivo
12. Espessivo
13. Vivo
14. Preludio
15. Chacona
Kalan Music | MP3 AVR 320 kbps | 135 MB
HERE
Переслать - Archie Shepp & Siegfried Kessler - First TakePaired with German pianist Siegfried Kessler, Archie Shepp finds himself in an evocative mood on First Take. Recorded live in France, they perform an intimate and at times haunting set of six tunes. The disc begins with the 22-minute sojourn of "Les Matin de Noirs" ("The Morning of the Blacks"). A surprisingly smooth ride, considering its length, the opening number goes a long way to ease and convince the listener of the album's gentle vibe. Shepp never pushes and Kessler never insists, resulting in an intricate, musical dance of subtleties and niceties.
Versions of Billy Strayhorn's "Lush Life," Duke Ellington's "Don't Get Around Much Anymore," and Shepp's most recognizable composition, "Steam," are done with melodic care and structural freedom. The progressions of these songs rely greatly on the mood and feel of the duo and, many times, they wonderfully depart from commonly known versions. The "Misterioso/California Blues" medley, in particular, sways nicely to the suggestive winds of sorrow and hope. The closing number, Shepp's "Ujaama," deviates from the album's other songs by actually preserving its inherent, tight, straightahead groove. Even here, though, Shepp and Kessler's symbiotic relationship is what best defines the music.
An impressive, worthwhile album, First Take is being released on Archie Shepp's new label, his own Archie Ball Records. - Germein Linares
1. Le matin de moirs
2. Lush life
3. Don't get around much anymore
4. Steam
5. California blues
6. Vjaama
Archie Shepp - tenor saxophone, vocals
Siegfried Kessler - piano
320 kbps mp3, including full booklet scans
Part One
Part Two
Переслать - Alia Musica (cond. Miguel Sánchez) - Puerta de Veluntad. Liturgy and Mystics in the Judeo-Spanish Music
Alia Musica (cond. Miguel Sánchez)
Puerta de Veluntad. Liturgy and Mystics in the Judeo-Spanish Music, 2001
Recorded at Monasterio de Santa Maria de la Cruz (Cubas de la Sagra), November 2000
This CD contains liturgical and sephardic mystical music from the judeo-spanish tradition: Canticum canticorum of King Solomon and medieval judeo-spanish poetry.
01. Yah sem' ebioneja
02. Eleja
03. Yesav haEl
04. Uri safón
05. Yasen al teradam
06. Sezufat semes lesoni bonanta
07. Vaya 'abor adonay
08. Sir hasirim
09. Quéter
10. Yede rasim nejelasim
11. Lejá dodá nesé
12. Adón 'Olam
13. Az yasir mosé
14. Yonati bejagve
15. El atán, el atado y el ara
16. Vesamerú
17. 'Anenu Elohé Abraham
Miguel Sánchez - dir., voice, ud
Angel Iznaola - voice
Albina Cuadrado - voice
Carolina del Solar - voice
Jose Antonio Carril - voice
Jose Manuel Abeleira - voice
Carlos Garcia - voice, kemanya
Carlos Ghiringhelli - voice, nay, kaval, ud
Guests:
Dan Macías - sofar
Aziz Samsaoui - kanun
Pedro Estevan - derbuka
ape, including full booklet scans
Part 1 | Part 2 | Part 3
Переслать - Abayudaya. Music from the Jewish People of Uganda
Abayudaya. Music from the Jewish People of Uganda, 2003
One of the classics of Jewish literature ("The Kuzari," by Yehuda Ha-Levi) speaks of the debate between representatives of the Jews, Christians, and Moslems that led to the conversion of the Khazars to Judaism. In recent years we have become aware of a modern version of the story, in which a tribal leader in what is now Uganda, in reaction to colonialism and Protestant missionaries, decides to convert to Judaism. But there aren't any Jews in that part of Africa, so first the tribes evolve their own version of Judaism from the TaNaKh. Then, as they encounter Jews in nearby areas, they learn Hebrew and Hebrew prayers, Jewish customs such as kashruth. At times, as under Idi Amin, and then again under Milton Obote, they are persecuted for their faith, but most remain steadfast. In the 1980s, a younger generation becomes more militant in holding onto the faith and in writing new songs. Since the 1990s there has been increasing traffic with the Jewish community, including two residencies by Lubavitch. Now, Tufts University Hillel Director, Rabbi Jeffrey Summit, has made these recordings for Smithsonian Folkways. To everybody's surprise, these recordings have even been nominated for a Grammy—an award they richly merit.
What Rabbi Summit has captured is beautiful music. Although most of the melodies are African, in styles that sometimes bear resemblance to Ladyship Black Mambazo, other times to other non-pop African melodies, the words are a fascinating mix of local African languages, Hebrew, and even English. Included are not only liturgical songs, but lullabies and folk songs, the better to get a picture of the Abuyadaya's traditions including, but not limited to Judaism. (Think of a recording of Yiddish or Sephardic folksong limited only to prayer!)
Still, it is absolutely mind-boggling to hear the adaptation of "I am a soldier" to include the Hebrew text, "I am a soldier in the army of the Lord!" sung here by children in the community's Hadassah Nursery School. Equally new and wonderful is the "Twagala Torah" (We love the Torah) which includes the Hebrew familiar to Jews around the world, "Blessed [is He] who has given the Torah to His people Israel in His holiness". Likewise, the wonderful polyphonic "Adon Olam" (or the similar "Lekha Dodi"). That's one that may start appearing in synagogues outside Uganda as quickly as people hear it. And then, it is equally surprising, if less so upon reflection, to hear the Kiddush sung to the very traditional mainstream Jewish melody with which I grew up!
The CD is accompanied by excellent notes on the history of the Abuyadaya (in fascinating accord with custom throughout the world for Yidn, Yehudim, and Jews of all languages, "Abuyadaya" is local language for "the Jews") and excellent notes on the songs and on making the recordings. Most of the recordings are a capella, although sometimes there is drum or even a small combo (keyboard, guitar, drums) as on "We are Happy"—a song that includes an English refrain and Hebrew ("Shiru, Shiru, hallelujah"), or on "Ali omu yekka".
The Abuyadaya have chosen Judaism, and even as they have grown closer to mainstream Jewish traditions and Halacha (Jewish law), they have also brought to Judaism their own customs and music. Like Jewish communities throughout the world, they have also faced antisemitism and oppression, yet persevered and continued to raise their voices in song. We are all the richer for it. Many kudos, also, to Rabbi Summit for recording their voices and bringing them to the rest of us. Now, everyone who reads this and knows someone on the Grammys committee, let your voice be raised so that this recording gets the recognition it deserves.
No one's ever going to accuse Smithsonian Folkways of not practicing niche marketing with Abayudaya: Music From The Jewish People Of Uganda. Currently a community of 600 people, the Abayudaya developed their faith in relative isolation since converting to Judaism in 1919 under the guidance of Semei Kakungulu, a military leader who fought Muslims and Catholics for control of Uganda. Consequently, these 24 songs are distinctly African, often with polyphonic vocal harmonies (of men, women, and children) that joyfully soar in Hebrew, English, and several Ugandan languages. There are also touches of celebratory Afro-pop with rudimentary electric keyboard and guitar and a handful of more personal solo vocal performances. While some of this was recorded in a makeshift studio, the field recordings are what capture this unique culture's essence, as crickets (and once even a goat) providing ambient coloring. One of the most interesting international and religious albums of the year, this music transcends its ambition of being Jewish music by and for Jews. --Tad Hendrickson
Abayudaya: The Music of the Jews of Uganda presents a unique collection of African-Jewish music in which the rhythms and harmonies of Africa blend with Jewish celebration and traditional Hebrew prayer. This compelling repertoire is rooted in local Ugandan music and infused with rich choral singing, Afro-pop, and traditional drumming. The repertoire includes lullabies, political and children's song, religious rituals, hymns, and celebratory music, with song texts in Hebrew, English, and several Ugandan languages. This singular community of African people living committed Jewish lives has survived persecution and isolation and asserts, "We have been saved by our music."
01. Psalm 136 3:24
02. Katonda oyo nalimana—God is all-knowing 4:09
03. Hiwumbe awumba—God creates and then destroys 2:31
04. Mwana talitambula—The child will never walk 1:18
05. Mwana, ngolera—Baby, keep quiet 0:49
06. Tulo, tulo—Sleep, sleep 0:52
07. I am a soldier 0:46
08. Mi khamokhah—Who is like you [, O God]? 0:18
09. Kabbila—The patch of forest 3:49
10. Twagala Torah—We love the Torah 1:33
11. We are happy 3:25
12. Adon Olam—Master of the world 1:53
13. Lekhah, Dodi—Come, my beloved 5:21
14. Psalm 92 4:59
15. Psalm 93 2:44
16. Kiddush and motzi—Sabbath blessing over wine and bread 1:11
17. Psalm 121 1:31
18. Maimuna 2:13
19. Hinei ma tov—Behold how good [it is for brothers to dwell together] 1:23
20. Ali omu yekka—My only one 4:45
21. Psalm 150 3:33
22. Deuteronomy 32:8, Song two (selection) 0:35
23. Deuteronomy 32:39-43, song eight 3:35
24. Psalm 130 1:52
320 kbps mp3, including full booklet
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Asfur
Las estrellas, 2005
The Ensemble Asfur
The Ensemble Asfur (arab. = "bird") was founded in the autumn of 2000 with the aim of investigating the relationships between oriental and European music, a task which was to reveal itself as complex and multi-faceted. The starting point for the musical interpretations is medieval Spain. Occupied by Moorish conquerors for over 700 years, it represented a melting pot of the three great world religions of Christianity, Judaism and Islam almost throughout the Middle Ages.
The kings of Aragon and Navarra employed a large number of scientists and artists at their courts, and these came from all the countries of Europe. They not only brought their own experiences with them but also carried a large part of Moorish culture back to their home countries. The development of European instruments, in particular, was decisively influenced by originals from oriental countries. But, in the other direction, french culture also enjoyed growing popularity at the courts of the caliphs. This melting together can still be seen today in the secular and and spiritual music of Judaism, from the Balkans to the Eastern European countries.
The interpretation of the pieces selected for this CD aims not so much at correct historical reconstruction as at conveying to the 21st century listener a lasting impression of the variety of the cultural exchange between the Orient and Occident in earlier centuries and the deep emotional power of the music of this period. A time in which travel was something to devote one's life to, and in which the traveller could become aware of every single port of call on his journey in a very intense way.
In Spain in the 13th century, the famous Cantigas de Santa Maria were created, a collection of more than four hundred miracle reports and songs of praise to the Blessed Virgin Mary, kept at the court of King Alfons X (1224-1281). These Cantigas (songs) represent an unique example of creativity overlapping cultures in Moorish influenced Spain.
Their stores are told in the melodically fine language of Galician. Because King Alfons employed some of the most famous artists and scientists of the Christian, Jewish and Moorish origin at his court, the melodies (all for one voice) are of Arabic and Hebrew origin, as well as being indebted to the repertoire of folk songs and hymns. It was the French troubadour Gautier de Coincy, however, who was one of the first to set lyrics in honour of the Virgin Mary, written by himself, to reworked folk melodies, thus indirectly providing the impetus for Spain's enthusiasm for the worship of Mary.
Of the four Cantigas represented on this CD, three are performed in revised instrumental versions. "Dized, ai trobadores","Queen a virgen benservir", and "U alguen a Jhesu Cristo" combine the Ud, a fretless, bent necked lute instrument, and the Nay need pipe which are to be found in All Arabic countries, with instruments typical of the late Middle Ages in Europe such as the shawm, mandora, hurdy-gurdy and fiddle.
"En todo tempo faz ben" is a vivid portrayal of the miracles worked by the Blessed Virgin Mary, whose gentleness and forgiveness saves a sinful monk from certain death by drowning.
In an atmosphere of relative tolerance and lively cultural exchange between artists of different nations, which lasted until into the 15th century, the musical tradition of the Sephardim - the Spanish Jews - also arose.
This music is all the more interesting when it is understood in connection with the history of the Sephardim. For several countries, Moorish-occupied Spain was regarded as a place of refuge for Jewish artists and scholars, who were employed in the courts of the rulers there in great numbers. After the "Reconquista", the re-conquering of the country by the Europeans, the entire Jewish population was expelled from the country in 1492. Many of them found a new home in Northern Africa and the area of the then mighty Ottoman Empire, but also in the south of France and in Italy.
They took their language, identity and music with them.
For a long time these songs were largely passed on by oral tradition and therefore now exist in an abundance of variations.
The arrangements for "Abre tu puerta serrada" and "El rey de muncho madruga" stem from versions that have been handed down in the region of modern Turkey. Their melodies are based on the Turkish modal system (makam - or in Jewish Spanish parlance: a la turca).
Both are love songs with tragic ending and backgrounds. Love and pain are closely related, and in both songs death serves as an escape and as proof of love.
"Las estrellas de los cielos" was originally also a love song, but can also be understood against the background of centuries of life in exile:
"The stars i te Heavens,
One and one make a pair,
There is nothing stronger in the world
Than the bond between we two"
"Vesameru" comes from the Sephardic-Jewish liturgy. It is a text that is sung in the evening prayer (arbit) of the holy days Rosch Haschana and Yom Kippur.
Rosch Haschana is the name of the Jewish New Year festival on the 1st and second day of Tischri, the first month in the Jewish calender year.
Traditionally, this is followed by 9 days of contemplation, reflection and fasting in preparation for Yom Kippur. This day is the most important of all Jewish holy and is for reconnection with Gock and one's fellow men and for requesting the forgiveness of sins.
"Matar" (arab. = "rain"), composed by Tom John Wolff, portrays the paradoxical image of a shower of rain in the desert. Rain is a gift from heaven in areas where water is scarce. The piece is not indebted any particular traditional style, just as does not distinguish between different people.
The nauba or nuba is a kind of song suite introduced by an instrumental prelude. this form of composition first spread through the courts of the Moorish conquerors in what is now Andalusia (arab. al-andalus). Among others, the French troubadours employed in the Moorish courts adopted the nuba over the course of history, adapted structures and changes in melody and brought them back to their home country. However, of the more than 300 nuba works once known in Andalusia, only a few have survived to the present day.
The introduction to the nuba "Wasla al-asba'ayn" to be heard on this CD is based upon a modern interpretation of the nuba form. It uses a very common structure, the change between 10/4 and 6/8 time, called "Sama'i".
The love song "Quant foi la flour boutener" of the French troubadour Grace Brule (approx. 1159-after 1213), here present in an instrumental version, comes from the tradition of medieval courtly love lyrics, as also practiced by the french troubadours and German minnesingers. this chivalrous ideal of love, expressed above all in abstention from physical closeness and in which love is understood on a mental and /or spiritual level, is also reflected in the style arising in the 14th century which Philipe de Vitry called ars nova - a style that differs from everything prior to it in its nation and rhythmic division. This also includes the rondo by Guillaume de Machaut (ca. 1300-1377) "Puis qu'en oubli sui de vous", also performed on this CD. The lyrics speak of an unfulfilled longing for worldly love, which searches for an escape in a life dedicated to the love of God. Renunciation of worldly love serves as proof of love.
The incomparable beauty of the Alhambra, one of the most impressive oriental building in the Wolff and Thomas Flemming.
Silvia Needon
En todo tempo faz ben
This is how an ordained priest who
served Holy Mary died in the river
which runs through Paris, and on the
third day Holy Mary revived him and
brought him out of the river.
The Virgin who keeps us at all
times does merciful deeds.
She has no appointed time
to go the aid of the afflicted
nor to pardon the guilty
but responds whenever need arises.
The Virgin...
Concerning this, I shall now recount
for you a precious miracle
which She who is full of wisdom
performed for an ordained priest.
The Virgin...
The miscreant was authorized
to say mass, but, to his undoing,
he was so given to lust
that he cared for nothing else.
The Virgin...
However, he gladly and devoutly
prayed the holy hours
of the One from whom God was born
for our sake in Bethlehem.
The Virgin...
But, he did not reach the shore,
for the boat was overturned,
and he was drowned in the water
before he could land on the other side.
The Virgin...
He had lain submerged
in the river for four days
but then was taken out
by the One who always
has her salvation ready
to aid the unfortunate.
The Virgin...
El rey de muncho madruga
Very early in the morning
the King went to the Queen's quarters.
He found the Queen
Combing her hair
Praising the High One
For having created her to be so
beautiful
"I have two sons by you
And two by the King - altogether four.
the king's sons wear silk
and yours wear gold and pearl
embroidery"
When she turned her face
She found the king standing by her side
"Pardon me, pardon me, my lord
I was dreaming"
"At the break of dawn
i will dress you with new clothes
New clothes with a red collar"
Abre tu puerta serrada
Open your closed door
There is a bright light on your
balcony.
but you have my love, my beautiful one,
Let us go away together.
If it pleases you
I would give my blood to see you.
If my blood does not convince you,
I am gladly willing to die.
your beauty
is a gift from God
No one but I
Am worthy of your pure beauty.
Walking down the streets
you will be illuminated by my shadow
and you will sight many sights
remembering me.
Puis qu'en oubli sui de vous
since oblivious you are of me,
sweet friend
Amorous life and joy to God I comment.
To my misfortune was I born,
since love put me in you
Since oblivious you are of me,
sweet friend.
But I will keep,
What i have promised to you
That is, I will never have another lover.
Since oblivious you are of me
Sweet friend,
Amorous life and joy to God I comment.
01. Alfonso X el Sabio - CSM 111: En todo tempo faz ben
02. Anon. - El rey de muncho madruga (Sephardic)
03. Sama'i, Nuba «Wasla al-asba'ayn» (Tunisia)
04. T.J. Wolff - M?tar
05. Anon. - Abre tu puerta serrada (Sephardic)
06. Anon. - Vesamer? (Sephardic)
07. Anon. - Las estrellas de los cielos (Sephardic)
08. Guillaume de Machaut - Puisqu'en oubli sui de vous
09. Gace Brulé - Quant foi la flour boutener
10. Alfonso X el Sabio - CSM 260: Dized, ai trobadores (instr.)
11. Alfonso X el Sabio - CSM 59: Quen a virgen ben servir (instr.)
12. Alfonso X el Sabio - CSM 281: U alguen a Jhesu Cristo (instr.)
13. T. Fleming, T.J. Wolff - Alhambra
Tom John Wolff - voice, flute, nay, shawm, santoor
Thomas Fleming - voice, oud, lute, harp
Jule Bauer - voice, keyed fiddle
Silvia Needon - riq, darbouka, fiddle, frame drums
Peter Kuhnsch - riq, zarb, darbouka, frame drums, voice
Guest:
Robert Schuchardt - hurdy-gurdy, mandora
320 kbps including full scans
Part 1
Part 2
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