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- Lilly Tchiumba / Zé Estrela / Mizé - Angola. Africa Today Vol.1
Lilly Tchiumba / Zé Estrela / Mizé
Angola. Africa Today Vol.1, 1997
01. Lilly Tchiumba - N'zambi 5:11
02. Zé Estrela - Brincadeira De Sobe E Desce 5:44
03. Mizé - Querida Patria 5:02
04. Lilly Tchiumba - N'gongo Giami 3:21
05. Zé Estrela - A Kitandeira 5:51
06. Lilly Tchiumba - Muato Muá N'gola 2:35
07. Mizé - Poder Di Amor 5:20
08. Zé Estrela - O Kota Jójó 3:45
09. Lilly Tchiumba - Manazinha 3:24
10. Zé Estrela - Rapaz De Luanda - O Laú 3:53
11. Mizé - Fazem Xinti 4:56
12. Lilly Tchiumba - Madié Diá Muxima 4:12
320 kbps including full scans
Part One
Part Two
Переслать - Luciano Biondini - Prima del Cuore
Luciano Biondini
Prima del Cuore, 2007
Born in Spoleto in 1971, Luciano Biondini started studying the accordion seriously at age 10. He has been awarded many prizes for classical accordion, e.g. Trophée Mondial de l'Accordéon and Premio Internazionale di Castelfidardo. Since his turning to jazz in 1994, Biondini has played with the likes of Rabih Abou-Khalil, Dave Bargeron, Javier Girotto, Michel Godard, Battista Lena, Gabriele Mirabassi, Enrico Rava, Tony Scott and many others. A true master of his instrument and a soloist with an overwhelming dramaticism, he always adds something beautiful and original to any context he works in. His versatile accordion playing can be heard on the following albums (among others): "Morton's Foot" (Rabih Abou-Khalil), "Latakia Blend" (Gabriele Mirabassi), "TubaTuba" & "TubaTubaTu" (Michel Godard & Dave Bargeron). For "Terra Madre", his 2005 duo album with Argentinian sax player Javier Girotto, Biondini received enthusiastic reviews: "What he does is breathtaking, extremely virtuosic and fresh, a sensual/artificial parforce trip. Intense, impulsive and dramatic" (Jazz thing).
As an unaccompanied soloist, Biondini is free to show the complete range of his talent and his instrument's possibilities. Says Biondini: "On the accordion you can play music written for organ or even harpsichord. The accordion offers you a lot of chances, you can combine it with many different instruments. Artistically it may be not correct to play harpsichord music on the accordion but it is the best thing you can do in order to master the accordion technically. It is important to learn a big repertoire; for this is how you can get away from the usual sound of the accordion and into a sound that is a little different. The accordion can be like a whole orchestra. You can use it in so many different ways, even in a percussive way. It is a great stimulation for me to keep on exploring new possibilities on the instrument. This I do very naturally: on the stage."
Recorded at the Teatro Caio Melisso in his home town Spoleto, "dramatist" Biondini and his "Victoria" instrument present a program that comes straight out of his heart. A heroic mixture of classical and improvised elements, tango rhythms and Italian melodicism, Mediterranean and Latin moods, "Prima Del Cuore" is the essence of Biondini's artistry: emotional, virtuosic, sensitive, tragical and tender.
Nach einer klassischen Ausbildung auf dem Akkordeon begann Luciano Biondini sich 1994 dem Jazz zuzuwenden. Seit dem kann er auf zahlreiche Projekte verweisen, z. B. mit Rabih Abou-Khalil, Dave Bargeron, Javier Girotto oder Michel Godard. Auf diesem Album nun spielt Biondini solo - zudem mehrheitlich eigene Kompositionen, die seinen ganz eigenen musikalischen Stil und sein technisches Können eindrucksvoll wiedergeben. Im Fokus stehen sowohl Tango- als auch Jazzelemente, virtuoser Melodienreichtum und polyrhythmische Raffinesse. „Es ist wichtig, ein großes Repertoire zu erlernen, denn so kannst du dich vom gewohnten Sound des Akkordeons lösen und einen anderen entwickeln", sagt Biondini. Dazu gehört auch Orgel- und Cembalomusik. Verbindungen sind in seinen Werken zu vernehmen: so im Umgang mit Orgelpunkt oder Mehrstimmigkeit.
Bei der Mischung aus festen und improvisierten Elementen ist es nicht verwunderlich, dass die Titel „A Don Atahualpa" und „Prendere O Lasciare" in zwei verschiedenen Versionen eingespielt wurden. Aus der melancholischen Melodie von „A Don Atahualpa" entwickeln sich leichte, umspielte Melodiebögen, die phrasenhaft an barocke Satzweisen erinnern, im nächsten Moment aber schon in eine leichte Musette geführt werden. „Prima Del Cuore" beginnt mit einem geraden tänzerischen Anfangsmotiv in Sequenzen, letztlich entwickelt sich aber ein dichter werdender Klangkörper mit groovendem Bass, prägnanter und akzentreicher Melodie. Vom Tango „besessen" erklingt impulsiv und dramatisch der zweite Titel des Albums. Biondini bringt Jazz und Tango zum Verschmelzen. Doch genau das macht den Reiz seiner Musik aus: die gelungene Verbindung verschiedener Stile in Jazz und Improvisation, wodurch ein neuer Sound kreiert wird. Der abschließende Titel zeigt einmal mehr Biondinis Spielfreude. „Choroso" wirkt nahezu ironisch und bietet ein bestechendes Finale „direkt vom Herzen". - Kristin Bergmann
1. A Don Atahualpa
2. Tangomania
3. Volver
4. Prendere O Lasciare
5. Appassionata
6. Prima Del Cuore
7. A Don Atahualpa (second take)
8. Prendere O Lasciare (second take)
9. Choroso
Luciano Biondini - accordion
320 kbps including full scans
Part One
Part Two
Переслать - Tango Dancing Music
Track List
01. I kiss Your Little Hand,Madame
02. Blauer Himmel
03. Tango Delle Rose
04. Perlenfischer Tango
05. Amagura
06. Rosita
07. Two Guitars
08. Memory
09. Mona Lisa
10. The Way We Were
11. Hymne A L'amour
12. Blue Tango
13. Tango Erotique
14. Adios, Pampa Mia
15. You Are My Destiny
16. Sherry
17. Like I Do.
18. Zwei Gitarren
19. Hernando's Hidea Way
20. Jalousie
Download HERE
Переслать - James Last - 20 Classic Recording
Track List
01.Soul March
02.I Can't Move No Mountains
03.Theme From Prisoner Of Second Avenue
04.Evie
05.One Fine Morning
06.It's Going To Take Some Time
07.Was Ich Dir Sagen Will
08.Face In A Crowd
09.For Better, For Worse
10.Pavane
11.Andanca
12.Where Do I Go
13.Lover's Dream
14.Inner City Blues
15.Fahrt Ans Meer
16.MacArthur Park
17.Becky Und Peter
18.Photographs
19.Happy Heart
20.Babalu
Download HERE
Переслать - Julian & Roman Wasserfuhr - Upgraded in Gothenburg
Julian & Roman Wasserfuhr
Upgraded in Gothenburg, 2009
You could imagine you were listening to the long-evaporated trumpet sound of Chet Baker, occasionally the more full-bodied lyricism of the British brass players Henry Lowther or Ian Carr, even the boppish energy of an Art Blakey band. Then comes the Balkan dance on one track and you realise this is a contemporary set, albeit with very strong straight-jazz roots. The Wasserfuhrs are two young German brothers, 20-year-old trumpeter Julian and 22-year-old pianist Roman, who balance past and present here with their mentor Nils Landgren (the ACT label's celebrated Swedish trombonist), bass virtuoso Lars Danielsson, singer Ida Sand and other German and Scandinavian luminaries. Julian Wasserfuhr's warm sound curls over his brother's understated chording early on, and the Blue Note horn choruses on Geno the Shoeshine sustain the straight-jazzy mood. But the wraithlike trumpet and Landgren's trombone bring a fragile eloquence to Traveller's Defense, and Julian Wasserfuhr even seems to have lent an ear to the abstract exhalations of Arve Henriksen on Song for E. It's all beautifully played, though in the end the declared preoccupation with an elusive distillation of purity perhaps dampens its spirit. - John Fordham
Twenty year old trumpet prodigy Julian Wasserfuhr is considered to be one of the brightest young stars on the German jazz scene. In 2006 the then teenage Julian and his pianist brother Roman (now twenty two) produced an acclaimed début CD for ACT "Remember Chet", a homage to the late, great Chet Baker. The album attracted considerable critical acclaim and also came to the attention of ACT stalwart Nils Landgren. The Swedish trombonist invited them to record with him at his studio in Gothenburg and also arranged for the music to again be released on ACT thus bringing the talented brothers to the attention of the international jazz audience.
For the project producer Landgren called on some of the leading figures in European jazz, several of them members of the ACT roster. Forming a core quartet with the brothers are bassist/cellist Lars Danielsson and drummer Anders Kjellberg. Guest appearances come from Landgren himself on trombone, Magnus Lindgren on tenor sax and flute plus two vocal contributions from singer Ida Sand. The music is mainly comprised of material composed by the musicians involved alongside a couple of jazz standards plus a song by Austrian singer/songwriter Herbert Gronemeyer. It's an interesting mix combining the traditional jazz virtues of Julian's hero Baker with more contemporary and folk influences.
The album begins with the core quartet on the brothers' "Fade A Little". It's pretty in Baker-ish fashion and features the warmly burnished tones of Julian's trumpet, Danielsson's rich bass undertow and Kjellberg's delicately understated drumming. Roman is mainly content to remain in the background but reveals his talent with a lyrical piano solo in the middle of the piece.
Also by the brothers "Geno The Shoeshine" at a little under three minutes is like a truncated slice of an old Blue Note record. Here Julian sounds more like Freddie Hubbard and Roman responds in kind with some swinging piano. It's all tantalisingly brief and it would have been nice to have heard more of the brothers in this mode. However this would sit at odds with the stated aim of the album to "purge the music and reveal the inner purity at it's core" or "richness through reduction" as it has been described. Next time for the hard bop record perhaps?
However nowhere is this "less is more" approach better demonstrated than on Danielsson's beautiful melody "Traveller's Defense", a piece that originally appeared on the bassist's masterful solo album "Tarantella" (also ACT), a recording reviewed elsewhere on this site. This version rivals the original for beauty and features delightfully controlled performances from the core quartet plus Landgren on amazingly lyrical trombone.
Gronemeyer's "Airplains In My Head" is a powerful song, given a soulful reading by vocalist Ida Sand. The main jazz input here is Julian's breathy, idiosyncratic trumpet reminiscent now perhaps of another artist sometimes associated with ACT, the Norwegian Mathias Eick. The younger Wasserfuhr seems to have absorbed virtually every development of the jazz trumpet from bebop to the present.
"Ninni's Dance" by the brothers has an attractive melody and features the Wasserfuhrs dovetailing beautifully. There's also warm tenor sax from Lindgren making his first appearance.
Lindgren is also prominent, this time on flute, on his own tune "Dalodrum". The piece has a folk tinge, reminiscent perhaps of the Middle East or the Balkans. Lindgren is the main instrumentalist here but there are lyrical contributions from both brothers.
The folk influence continues into the brothers' "Dusan", another piece with a Balkan feel. Danielsson unveils his quiet virtuosity here on an exquisitely articulated bass solo. Julian's trumpet lines are nimble but understated, the whole thing underpinned by Kjellberg's sympathetic hand drumming.
Sand's "Not Strong Enough" is the second vocal item, a pretty, yearning pop song addressing the theme of lost love. It's pleasantly sung by Sand and Julian takes a sparing, haunting solo using the mute. It's all impeccably sung and played but ultimately rather slight.
The Wasserfuhrs' "Trainwalk" is a return to the territory hinted at in "Geno" with both brothers taking powerful solos on one of the album's more exuberant pieces.
"Love", written by the brothers is the kind of pretty ballad the title suggests with Julian again sounding quite Baker-ish. Roman contributes one of his most lyrical solos of the set sympathetically supported by Danielsson and Kjellberg. The drummer's playing is a model of taste and restraint throughout the album. His delicacy of touch is a major factor in the recording achieving it's stated objectives. Danielsson, is of course, superb as usual and adds a typically tasteful solo here.
Danielsson's "Song for E" pushes into more minimalistic territory with Julian again sounding a little like Eick (Danielsson's collaborator on "Tarantella") or even Arve Henriksen.
An unusual version of Jerome Kern's "Smoke Gets In Your Eyes" is taken at an exaggeratedly slow tempo and features beautifully mournful horns from Julian on trumpet and Nils Landgren on trombone. It's superbly executed and ultimately wholly enjoyable.
The closing "Toccata" by Lalo Schifrin ends the album on an energetic note. All three horns are featured with Lindgren appearing on both tenor and flute. Roman's insistent piano vamp underpins the piece and he also gets to solo alongside the horns.
"Upgraded In Gothenburg" covers an impressive range of musical territory although it's very diversity leaves it sounding a little unfocussed at times. It's all beautifully played and produced and there's no doubting the potential of the Wasserfuhr brothers, particularly Julian who has the ability to become one of Europe's leading trumpeters. The brothers from Huckeswagen near Cologne will have learnt much from working with experienced musicians such as Landgren and Danielsson. There is surely much more excellent music to come from them but this profile raising offering will do them no harm at all. - Ian Mann
Die Geschichte von Julian und Roman Wasserfuhr gleicht einem Märchen: Wird nach den talentiertesten jungen Musikern im ganzen Land gefragt, dann schallt es oft aus der Provinz Hückeswagen bei Köln zurück: Hinter den Bergen umrahmt von Wald im Niemandsland, da leben zwei Jazz-Brüder, die spielen „verblüffend ungewöhnlich" (Die Zeit), „vom Feinsten" (Jazzpodium) und mit einem „magischen Ton" (Süddeutsche Zeitung). Mit Remember Chet (ACT 9654-2), einer Hommage an Chet Baker, feierten sie 2006 ein „umwerfendes Debüt" (Süddeutsche Zeitung).
Das Können der jungen Musiker ist auch Nils Landgren im fernen Schweden zu Ohren gekommen. Kurzerhand entschied er sich, die beiden Shooting Stars zu produzieren und lud die Wasserfuhrs in das Göteborger Nilento Studio ein - in jene berühmte Soundküche, wo seine erfolgreichen Alben entstehen. Für Landgren eine Herzensangelegenheit: „Julians Talent ist unglaublich. Und mit seinem Bruder Roman ergänzt er sich nahtlos." Da der weltberühmte Posaunist keine halben Sachen macht, bat er noch handverlesene schwedische Musiker zur Session: Lars Danielsson, Anders Kjellberg, Magnus Lindgren und Ida Sand. „Wir haben Julian und Roman aber keine neue Spielweise beigebracht, sondern nur entlockt, was bereits in ihnen steckte", beschreibt Landgren die schwedische Entwicklungshilfe. Bei einigen Stücken greift er sogar selbst zur Posaune. Sein butterweicher, lyrischer Ton und außerordentlicher Spürsinn für den richtigen musikalischen Moment gibt Upgraded in Gothenburg den letzten Schliff.
01. Fade A Little - 04:24 (Wasserfuhr, Julian / Wasserfuhr, Roman)
02. Geno The Shoeshine - 02:49 (Wasserfuhr, Julian / Wasserfuhr, Roman)
03. Traveller's Defense - 04:13 (Danielsson, Lars)
04. Airplanes In My Head - 04:12 (Grönemeyer, Herbert)
05. Ninni's Dance - 03:21 (Wasserfuhr, Julian / Wasserfuhr, Roman)
06. Dalodrum - 03:39 (Lindgren, Magnus)
07. Dusan - 03:58 (Wasserfuhr, Julian / Wasserfuhr, Roman)
08. Not Strong Enough - 03:45 (Sand, Ida / Sand, Ida)
09. Trainwalk - 03:10 (Wasserfuhr, Julian / Wasserfuhr, Roman)
10. Love - 04:44 (Wasserfuhr, Julian / Wasserfuhr, Roman)
11. Song For E. - 04:42 (Danielsson, Lars)
12. Smoke Gets In Your Eyes - 05:56 (Kern, Jerome)
13. Toccata - 04:29 (Schifrin, Lalo)
Julian Wasserfuhr – trumpet
Roman Wasserfuhr – piano
Lars Danielsson - bass, cello
Anders Kjellberg - drums
Special Guests:
Magnus Lindgren - tenor sax (5,13), flute (6,13)
Ida Sand - vocals (4,8)
Nils Landgren - trombone (3,11,12,13)
320 kbps including full scans
Part One
Part Two
Переслать - Khreshchaty Yar - Traditional Songs from the Ukraine, Vol.2
Khreshchaty Yar
Traditional Songs from the Ukraine, Vol.2, 2002
Volodymyr Budz (leader) - voice, bandura (type of psaltery), accordion, sopilka (Ukrainian duct flute, 30-40 cm long, with 6 fingerholes), tylynka (large end-blown flute without fingerholes made of a 60-80 cm long metal tube), frilka (small duct flute with 6 fingerholes made of a 20-50 cm long metal tube), sosulya (vessel flute, uses to imitate bird calls such as that of the cuckoo), little bell
Volodymyr Biletsky - voice, soloist, drum, buben (frame drum)
Valentyna Bogdanova - voice, soloist
Ivan Volynets - voice, soloist
Valery Golub - folk fiddle
Vasil Palanjuk - voice, tsymbaly = cimbalom (hammered dulcimer), sopilka (Ukrainian duct flute), tylynka (large end-blown flute without fingerholes made of a 60-80 cm long metal tube), dvodenzivka (double duct flute), rebro (pan pipe), sosulya (vessel flute or cuckoo), drymba (jew's harp), bukhalo (drum), spoons, bottles and washboard
Anatoliy Kurylo - voice, soloist, drum, "hupalo" ("hooter")
Yuri Berbenyuk - double bass
Guest:
Ivan Tkalenko - bandura
1. Vesilnyi marsh - Wedding march from the Bukovina region
- Valery Golub: folk fiddle, Vasil Palanjuk: tsymbaly, drum, Volodymyr Budz: sopilka, Yuri Berbenyuk: double bass
This march is being played when the wedding guests arrive.
2. Arkan - Hutsul dance of the men – Carpathian region
- Valery Golub: folk fiddle, Vasil Palanjuk: tsymbaly, drum, Volodymyr Budz: frilka, Yuri Berbenyuk: double bass
Arkan is a ritual dance that goes back to pagan times. Before the hunters set out, they performed this magical dance for a successful hunt.
3. Staryj hutsul - the old Hutsul – Carpathian region
- Valery Golub: folk fiddle, Vasil Palanjuk: tsymbaly, drum, Volodymyr Budz: frilka, Yuri Berbenyuk: double bass
This dance was performed by old men. The musicians compelled the dancers to dance faster and faster.
4. Chaban - Chaban means shepherd – A dance from the Bukovina region
(Bukovina = land of beeches)
- Valery Golub: folk fiddle, Vasil Palanjuk: tsymbaly, drum, Volodymyr Budz: sopilka, Yuri Berbenyuk: double bass
- (Buk = beeches, the land with the many beeches – the centre is the town Chernivtsi) Bukovina once was part of the Mongolian Principality and the Walachy, later on it was integrated into the Habsburg Monarchy. The Southern part is nowadays called Moldavia, in the West there is situated Maramuresch = Marmatia in today's Romania, bordering in the West Transylvania and in the North the Carpathian region.
5. Vesilny melodiy - Hutsul wedding melody from the Carpathian region
- Vasil Palanjuk: tsymbaly (solo)
6. Hutsulsky melodiy - Hutsul melody – Carpathian region
- Valery Golub: folk fiddle, Vasil Palanjuk: tsymbaly, drum, Volodymyr Budz: frilka, Yuri Berbenyuk: double bass
Jaremca is situated in the Hutsul region, South-West of Ivano-Frankovsk at the foot of Mount Hoverla, where the river Prut springs. This is the homeland of the legendary hero "Dovbusa", a kind of Ukrainian Robin Hood. If you want more information on the history of this mountainous population, you should have a look at the legends and stories telling about them. As in older times, mythology is still alive: For example, the fantastic bird-like "Huhuretz" telling fortunes by means of whistling lamenting when you sit at home in front of the open fire. The inhabitants of these wild forests high up in the Carpathian mountains were called "Hutsul". Nowadays, their typical wooden architecture is well known worldwide, especially their churches, which were built in the 17th and 18th centuries in this particular Hutsul style.
"Hutsuls" was the name of a community who lived "high up" in the Transcarpathian mountains and spoke an Ukrainian dialect. After World War I, this region became part of the Austro-Hungarian Empire (after the Constitutional Compromise between Austria and Hungary in 1867) and was divided into a Polish, a Czech and a Romanian dominated affiliation. Those living in the Carpathian foreland of the Ivano-Frankovsk region on both sides of the river Dniestr were called "Boiks". They were also called mountaineers or valley people. They preserved their culture like wedding rites, costumes (shirts, head coverings, long cloaks etc.) and their architecture (two-rooms-houses and churches made from wood). They cultivated land and especially processed corn. Boiks and Hutsuls speaking different Ukrainian dialects (this form of Rusyn-Ukrainia) and belonging to the Greek-Orthodox Church, are actually part of the East-Slavonic population group and of the Romans (also called Ruthenians) who had moved from the Walachy (today's Romania) into the Transcarpathian region in order to establish there a new form of civilization. Later on Germans and also the so-called "Old-Believers" were to follow.
- The race of small horses originating in the Carpathians are called "Hutsulei". They are strong and very good in carrying heavy loads along the difficult mountain paths. A stud farm in Lucina in the today Romanian part of the Bukovina region was already reknown for its breed in the 19th century under Habsburg Monarchy.
7. Vesilny pryspivky - Wedding tune from the Kiev region
- Valentyna Bogdanova: voice (solo)
This song is sung while the wedding guests are being served at the table (table song).
8. Podils'ka polka - dance melody from the Podolia region
- Valery Golub: folk fiddle, Vasil Palanjuk: tsymbaly, Volodymyr Budz: sopilka, Volodymyr Biletsky: buben (frame drum), Yuri Berbenyuk: double bass
9. Oie ne khody da rozkudryavchyk - love song from the Cherkasy region
- Valery Golub: folk fiddle, Vasil Palanjuk: tsymbaly, Volodymyr Budz: accordion, Anatoliy Kurylo: voice (soloist), Volodymyr Biletsky: buben (frame drum), Yuri Berbenyuk: double bass, Valentyna Bogdanova: voice (soloist)
The young girl loves a Cossack and asks her mother for the permission to marry him.
10. Polis'ka polka - dance melody from the Polissya region
- Valery Golub: folk fiddle, Vasil Palanjuk: tsymbaly, Volodymyr Budz: sopilka, Volodymyr Biletsky: buben (frame drum), Yuri Berbenyuk: double bass
11. Vinochok tantsyouvalnykh melodiy - dance melody from Central Ukraine
- Valery Golub: folk fiddle, Vasil Palanjuk: tsymbaly, Volodymyr Budz: sopilka, Volodymyr Biletsky: buben (frame drum), Yuri Berbenyuk: double bass
12. Oie hay, hay zelenen'ky - love song from Central Ukraine
- Valery Golub: folk fiddle, Vasil Palanjuk: tsymbaly, Volodymyr Budz: sopilka, Volodymyr Biletsky: buben (frame drum), Yuri Berbenyuk: double bass, Valentyna Bogdanova: voice (soloist)
A young girl says: "I am pretty and grown-up and want to get married. My husband shall be young and handsome, diligent and willing to work. He shall smother me with caresses.
13. Pleskach - folk dance from Central Ukraine
- Valery Golub: folk fiddle, Vasil Palanjuk: tsymbaly, Volodymyr Budz: sopilka, Volodymyr Biletsky: buben (frame drum), Yuri Berbenyuk: double bass
The word "pleskach" derives from "pleskaty" and means "to clap ones hands".
14. Yak sluzhyv ya v pana - joking song from Central Ukraine
- Valery Golub: folk fiddle, Vasil Palanjuk: tsymbaly, Volodymyr Budz: accordion, Anatoliy Kurylo: voice (soloist), Volodymyr Biletsky: voice, buben (frame drum), Yuri Berbenyuk: double bass, Valentyna Bogdanova: voice (soloist)
I was a farmer's servant. For the first year the farmer payed me with a hen, for the second year with a duck, for the third year with a goose, for the fourth year with a turkey, for the fifth year with a mutton, for the sixth year with a calf and for the seventh year with a girl.
15. Hrechanyky - folk dance from Central Ukraine
- Valery Golub: folk fiddle, Vasil Palanjuk: tsymbaly, Volodymyr Budz: sopilka, Volodymyr Biletsky: buben (frame drum), Yuri Berbenyuk: double bass
Hrechanyky is the name of a small pie made of buckwheat.
16. Hopak - folk dance from Central Ukraine
- Valery Golub: folk fiddle, Vasil Palanjuk: tsymbaly, Volodymyr Budz: sopilka, Volodymyr Biletsky: buben (frame drum), Anatoliy Kurylo: drums, Yuri Berbenyuk: double bass
An improvised men's dance and also a contest for the single dancers. Who is able to combine the most varied figures (knee bend, jump, rotation, etc.; this dance was also performed with the sabre).
17. Da kosyv bat'ko - table song from the Poltava region
- Valentyna Bogdanova: voice (soloist), Anatoliy Kurylo, Volodymyr Biletsky, Ivan Volynets, Volodymyr Budz: voice
- Accompaniment: Vasil Palanjuk (spoons, bottles and washboard)
A girl loves a young man and says, "Come to see me on Sunday, and I will give you a nice embroidered shirt. Come to see me on Monday, and we will go together to look for the periwinkle (vinca minor, evergreen plant). Come to see me on Tuesday, and we will bind the sheaf.
- When a girl gives a shirt to a man, she agrees to marry him. The periwinkle is used to embellish the wedding dress.
18. Ivanku, ivanku - love song from Western Ukraine (Carpathian)
- Valery Golub: folk fiddle, Vasil Palanjuk: tsymbaly, drum, Volodymyr Budz: sopilka, Anatoliy Kurylo: voice (soloist), Yuri Berbenyuk: double bass, Valentyna Bogdanova: voice (soloist)
A girls is says to a man, "Come to see me today. I'll give you a sign, when my parents are away."
19. Kosarska - from the Carpathian region
- Volodymyr Budz: frilka (solo)
"Kosarska" means hay melody. It is a melody sung during hay making.
20. Do ney iduchy - from the Carpathian region
- Volodymyr Budz: frilka (solo)
"Do nei iduchy" means "going or walking to her".
21. Vid ney iduchy - from the Carpathian region
- Volodymyr Budz: frilka (solo)
"Vid nei iduchy" means "going or walking away from her".
22. Hutsuls'kiy nahrash (drymba) - from the Carpathian region
- Vasil Palanjuk: drymba - jew's harp (solo)
23. Velykodna melodiya - Easter melody from the Carpathian region
- Vasil Palanjuk: tylynka (solo)
24. Tantsyouvalna melodiya - dance melody from Central Ukraine
- Valery Golub: folk fiddle, Vasil Palanjuk: tsymbaly, Volodymyr Budz: sosulya (solo), Yuri Berbenyuk: double bass
25. Lemkivsky kolomiyky - dance melody from the Lemko region (Carpathian)
- Valery Golub: folk fiddle, Vasil Palanjuk: dvodenzivka (solo), drum, Volodymyr Budz: accordion, Yuri Berbenyuk: double bass
- The region in Southeastern Poland, where the Rusyn (Ruthenians) lived, was known as Lemko (today: Beskid Niski region). This mountain population, also called Rusyn and Ruthenians, speaks an Ukrainian dialect and belongs to the Greek-Orthodox Church, like the Boiks and Hutsuls. In their liturgical works they used the Cyrillic alphabet. After World War II they were resettled. Some of them returned to their old homeland. This region belonged to the Polish Kingdom of Galicia until the mid-14th century. From 1340 until 1772 it was completely annexed to Poland. After that until 1918, it belonged to Austria (hence the denomination "Ruthenians" for "Ukrainian") and then to the Austro-Hungarian Empire. Today it is again part of Poland.
*Ruthenians: a branch of East-Slavonic and Romanian people who migrated from the Walachy into the Carpathian region and spoke an Ukrainian dialect.
- Kolomyiky (kolomejka) means melody (also couplets* - wild dance of the men).
The name is deduced from the former city of Kolomya in the Ivano-Frankovsk region near Chernivtsi (Bukovina region). In this city, who formerly belonged to the Habsburg Monarchy, Ukrainians, Jews, Poles, and Germans were peacefully living together. There was spoken an Ukrainian dialect with loanwords from the Polish and German language.
*Couplet singing: historical songs, psalms (performed with an instrumental ensemble and the kobza (luth-like instrument)) or lyric songs with a strophic structure, kolyadky (praise songs), marches and other ritual folk-tunes in the form of the singing-dancing.
26. Viye viter - ballad from Central Ukraine
- Volodymyr Biletsky (solo), Ivan Volynets, Anatoliy Kurylo, Volodymyr Budz: voice
Guest: Ivan Tkalenko: bandura
A Cossack addresses the wind, "Tell me, wind, where is the Cossack's fate and his hope, where is the Cossack's glory and his freedom?"
27. Oie pozvol pan khazyan - praise song from Central Ukraine (koladka)
- Anatoliy Kurylo (solo), Valentyna Bogdanova, Volodymyr Biletsky, Ivan Volynets, Volodymyr Budz: voiceThis is a praise song for a man.
28. Ishla divon'ka - praise song from Central Ukraine (koladka)
- Valentyna Bogdanova (solo), Anatoliy Kurylo, Volodymyr Biletsky, Ivan Volynets, Volodymyr Budz: voice
- Volodymyr Budz: little bell
A young girl met three hay-makers and said, „You, my dear hay-makers, cut the grass and make hay for me. The first will get from me silk-grass, the second a golden ring, and the third will get me as his bride."
29. Nebo y zemlya - Christian song from Central Ukraine (koladka)
- Valentyna Bogdanova , Anatoliy Kurylo: (solo), Volodymyr Biletsky, Ivan Volynets, Volodymyr Budz: voice
Heaven and Earth celebrate today the birth of Christ.
30. Oie na richtsy na Yordany - Christian song from the Cherkasy region (koladka)
- Valentyna Bogdanova, Anatoliy Kurylo: (solo), Volodymyr Biletsky, Ivan Volynets, Volodymyr Budz: voice
The mother gave birth to her son at the river Jordan. Her son says to her, "Don't be frightened, you will be called mother of the whole world".
Das Repertoire des Ensembles umfasst traditionelle Lieder und Instrumentalwerke aus der Zentral- und Westukraine, d.h. mündlich überlieferte Volkslieder, die vom täglichen Leben erzählen, oder Lieder, die einen fixen Bestandteil der ganz typischen ukrainischen Zeremonien oder Feierlichkeiten darstellen, oder historische Lieder, Lieder der Kosaken und Balladen. Die Darbietung dieser Lieder erfolgt entweder polyphon oder als Solostück mit Instrumentalbegleitung.
Die Musiker spielen die folgenden traditionellen Instrumente: Sopilka (Schnabelflöte), Dvodenzivka (Doppel-Längsflöte), Tylynka (grosse Längsflöte aus Metall), Frilka (kleine Längsflöte aus Metall), Rrebro (Panflöte), Sosulya (Gefässflöte oder Kuckuck), tsymbaly (Hackbrett), Volksgeige, chromatisches Akkordeon, Drymba (Maultrommel), Bukhalo (Trommel), Buben (Rahmentrommel), Glöckchen, Löffel, Flaschen und Waschbrett.
Die Künstler von Khreshchaty Yar tragen für ihre Darbietungen lokale Kostüme, und in ihren Programmen finden sich Tänze, welche die lebendigen Traditionen sowie die grosse Vielfalt der ukrainischen Folklore widerspiegeln.
Obwohl viele verschiedene Völker durch den geographischen Raum der Ukraine gezogen sind, dort gelebt oder sogar geherrscht haben, gehört die Volksmusik der Ukraine zur slawischen Tradition. Die Vokalmusik ist hauptsächlich heterophon: Zwar ist der Gesang oft mehrstimmig, doch ist immer eine Stimme führend. Das reiche Repertoire umfasst viele berühmte Kosakenlieder und traditionelle Tänze. Diese Musik hat ihre Wurzeln in einer Jahrhunderte alten, oralen Tradition von Bylinen (Epen, erzählende Gedichte) und Duma, das sind lange, lyrische Balladen, in welchen die Heldentaten der Kosaken gerühmt werden.
Die Texte nehmen Bezug auf Geschichte, Landschaften, Charaktere und Eigenschaften der Bevölkerung. Auch Moral und Regeln des Zusammenlebens kommen zur Sprache. Sie stellen einen wahren Schatz dar, der bis zum heutigen Tage erhalten und konserviert wurde.
Die instrumentale ukrainische Volksmusik hat verschiedene Formen. Einerseits gibt es den Solovortrag auf der Sackpfeife, der Geige oder der Bandura usw., andererseits das Zusammenspiel etwa im traditionellen Trio, der so genannten "troista muzyka", welches hauptsächlich zum Tanz oder bei Umzügen aufspielt.
Charakteristisch für die traditionellen Tanzmusik-Gattungen ist ihre ethnische Zugehörigkeit und damit die klare Unterscheidung von regionalen oder lokalen Tanzformen: Kolomiyka (Ukrainische Karpaten und benachbarte Regionen), Hopak und Kossatschok (ganze Ukraine), Polka und volkstümliche Walzer (slawische und nicht slawische Traditionen des europäischen Gebiets). Die Einwirkung polnischer, tschechischer, slowakischer und ungarischer Folklore in den westlichen Gebieten (Karpaten) offenbart sich in der Rhythmik mit ihren stabilen Taktarten, während in den östlichen Regionen eine asymmetrische Rhythmik und asymmetrische Versmasse vorherrschen. In der südwestlichen Gegend der Karpaten (Region Bukowina) findet man Ähnlichkeiten mit moldawischer und rumänischer Instrumentalmusik.
Zur Instrumentalmusik, die nicht zum Tanz aufgespielt wird, gehört die improvisierte Musik der Hirten auf der Geige, der Sopilka (Längsflöte), auf der Trembita (etwa 3 Meter lange Form des Alphorns; eigentlich ein Signalinstrument der Hirten der Bergregionen, das auch bei Hochzeiten oder Begräbnissen Anwendung fand, zu Weihnachten wurden darauf auch Kolyadky, Weihnachtslieder, gespielt) oder auf der Drymba (Maultrommel). Grundlage der Improvisation bildeten meist Lieder.
01. Vesilnyi marsh, Bukovina region - 1:38
02. Arkan, Carpathian - 2:34
03. Staryi hutsul, Carpathian - 3:07
04. Chaban, Bukovina region - 2:52
05. Vesilny melodiy, Carpathian - 1:45
06. Hutsulsky melodiy, Carpathian - 3:20
07. Vesilni pryspivky, Kiev region - 1:50
08. Podils'ka polka, Podolia region - 2:14
09. Oie ne khody da rozkudryavchyk, Cherkasy region - 1:35
10. Polis'ka polka, Polissya region - 1:49
11. Vinochok tantsyouvalnykh melodiy, Central Ukraine - 2:19
12. Oie hay, hay zelenen'ky, Central Ukraine - 1:36
13. Pleskach, Central Ukraine - 1:17
14. Yak sluzhyv ya v pana, Central Ukraine - 3:09
15. Hrechanyky, Central Ukraine - 1:45
16. Hopak, Central Ukraine - 2:48
17. Da kosyv bat'ko, Poltava region - 2:29
18. Ivanku, Ivanku, Western Ukraine (Carpathian) - 1:59
19. Kosarska, Carpathian - 1:02
20. Do ney iduchy, Carpathian - 0:58
21. Vid ney iduchy, Carpathian - 1:11
22. Hutsuls'kiy nahrash, Carpathian - 0:58
23. Velykodna melodiya, Carpathian - 2:40
24. Tantsyouvalna melodiya, Central Ukraine - 1:20
25. Lemkivsky kolomiyky, Lemko region (Carpathian) - 2:00
26. Viye viter, Central Ukraine - 3:48
27. Oie pozvol pan khazyan, Central Ukraine - 1:12
28. Ishla divon'ka, Central Ukraine - 2:08
29. Nebo y zemlya, Central Ukraine - 1:49
30. Oie na richtsy na Yordany, Cherkasy region - 1:08
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