The fiddle belongs to the most popular instruments around the world. It is especially manifold and of outstanding
Yüklə 351,07 Kb.
|
- Bu səhifədəki naviqasiya:
- 3-11 Grup Topeng Betawi Panca Mekar (Indonesia): Tetalu Topeng 10:03
- 3-12 U Hla Htun (Myanmar): Shwe ozi 3:37
- 3-13 Raushan Orazbaeva (
- 3-14 Ah Bing (China): Er Quan Ying Yue 6:35
- 3 The Sounds of 100 Strings
- 3-2 Mustafa Ali Jat (India): Umer Aandhi Maarvi 4:35
- 3-3 Unknown street musician in Mandore Gardens (India): Raga Bhairavi 3:07
- 3-4 Sakara Seng (Cambodia): Robam Bach Pkar 3:12
- 3-7 Yu Lefu’s Guangdong Wujiatou (China): Lianhua kou 3:59
- 3-8 Mohammed Reza Shajarian Ensemble Shahnaz (Iran): Tasnif-e Sobhdam (im Dastgah-e Segah) 35:48
- 3-9 Lalgudi G Jarayaman (India): Tillana 8:09
- 3-10 Sa Ju-hyun (Korea): Haegeŭm Sanjo 8:02
- 3-11 Ahoar (Iraq|Belgium|Germany): My Grandmother 6:54
- 3-12 Rudra Band (Nepal): Nepali Fusion Music 8:59 3-13 Violons barbares (Mongolia|Bulgaria|France): Purple Haze 4:39
- 3-15 Trah Project (Indonesia): Tarawangsa and Contemporary Dance 8:50
The diltar (verbally: instrument of the heart) is an invention of the Uyghur musician Abdulla Majnun: a double instrument of a (plucked) tanbur and a (bowed) satar. It has 28 metal sympathetic strings and sounds a bit sweeter than the satar. Abdulla Majnun waa a member of the Muqam Research Group that re-constructed the twelve classical muqam suites of the Uyghurs. This piece is the instrumental version of the usually sung introduction (muqqadima) to muqam no 2, Chebiyat (or Qabbayat). recorded and produced in June and December 2010 in Beijing City Science and Education Recording Studio #1 by Theodore Levin, Wu Man and Fairouz R. Nishanova from Wu Man and Master Musicians from the Silk Road: Borderland – Music of Central Asia Vol. 10 (Smithsonian Folkways SFW CD 40529) © Smithsonian Folkways 2011; www.folkways.si.edu licensed from Smithsonian Folkways
(trad.) Maswah, rebab | Warsun, Kendang, gede | Madun, Makim, kentung | Lusim, kecrek | Kuyang, gong, kempul | Mardi, kenong | Pa Itok, director Topeng is a dance theatre genre that is to be found in various forms all over Java and Bali. In Bekasi which is located right at the (south-)eastern outskirts of Jakarta―Betawi is the local name for Batavia, the birth name of today’s capital – the pieces deal mainly with the communal life in colonial times; they are performed at weddings, circumcisions, and also at village or harvest feasts. The rebab and the female voice (sinden) are accompanied by a variety of percussion instruments. The instrumentation and also the language are remarkably not of local descent but inherited from the Sundanese, a Malayan population on Java. Tetalu Topeng is the main section of the overture to a Topeng Betawi performance. recorded by Philip Yampolsky on 10 August, 1990 in Kabupaten Bekasi from Betawi & Sundanese Music of the North Coast of Java (Music of Indonesia 5; Smithsonian Folkways SFW CD 40421) © Smithsonian Folkways 1994; www.si.edu/folkways licensed from Smithsonian Folkways
(Shwe Pyi Aye) U Hla Htun, violin | U Tin, slide guitar About a century ago the western violin came to Burma and quickly replaced the traditional two-stringed fiddle tayaw and the graw, the three-stringed fiddle of the Mon ethnic group. At the time of this recording, Hla Htan was 58 years old and worked for the navy, beside accompanying musicians live and in the studio. Shwe ozi is a song from the 1960s about the many skilfull ways to play the ozi drums. recorded at Khin Sabe Oo Studio, Rangoon, Myanmar, January 2000 from Green tea leaf salad (Pan 2083) © Paradox 2000 licensed from Pan Records
(trad.) Raushan Orazbaeva, kyl-qobyz | Nohon Shumarov, vocals Raushan Orazbaeva was born (1973) and raised in a family of kuishi-zhyrau, dombra players and storytellers in Southwest Kazakhstan; her father was a poet and instrument-maker. She studied at the National Kazakh Kurmangazi Conservatory – where she teaches today – and is considered the greatest living exponent on the qyl-qobyz. And although staying true to the tradition, and acknowledging (sometimes even nourishing) the instrument’s spiritual and shamanistic value, she also performs in concerts of New Music, for example. This recording is a spontaneous improvisation given as an encore of an evening with music from Central Asia in Krems, Austria. http://raushan-orazbaeva.com recorded live at glatt + verkehrt, Krems, Sandgrube 13, on 28 July, 2005 by Martin Leitner for ORF © Raushan Orazbaeva and ORF 2005 licensed from Raushan Orazbaeva and ORF previously unreleased
(Huan Yanjun) The most famous piece of Chinese erhu folk music. Huan Yanjun was better known as (Blind) Ah Bing (1893-1950). He claimed to only have been the arranger but at a time when the interpreter was the only true artist, he may have been too humble to claim composership. Even the title is somewhat mysterious: When Proff Yang Yinliu and Cao Anhe recorded the piece in 1950, they asked him what he was thinking of while playing. Ah Bing answered, ‘the lake in my native Wuxi’. But despite of the geographical reference the piece is commonly regarded as a musical autobiography of Ah Bing’s troublesome life: For Japanese conductor Seiji Ozawa no other composition expresses so congenially the melancholy of a broken heart.
In 2002 TFF Rudolstadt had decided on the knee fiddles for its annual instrument special and invited eight virtuosos from Asia, Australia and Europe.
tarhu (1,3,6,9,10) In the 1990s renowned Australian instrument maker Peter Biffin developed the tarhu (cf p 46f) that found fans all over the world. In 2001 he met Ross Daly who ordered ‘a lyra version of the tarhu which I delivered 2002 at the Rudolstadt Festival. The lyra tarhu was a joint development of Ross’ and me, just like the tarhu’s kamancheh version is one by me with Kayhan Kalhor. To have been with these two musicians at that festival is until today a highlight in the history of the tarhu.’ (fRoots; September 2004) www.spikefiddle.com
lyra (6), rabab (1,7,10), saz (8), tarhu (9) The pear-shaped and three-stringed Cretan lyra (κρητική λύρα) is the most popular surviver of the ancient Byzantine lyra which is regarded as the predecessor of most European bowed instruments; it is closely related to the Bulgarian gadulka and the classical kemençe of Turkey. Ross Daly was born in England yet of Irish blood. He soon started to travel the world―a journey that ultimately led him to Greece. In 1982 he founded in the village Houdetsi―20 km south of the Cretan capital Iraklio―the Labyrinth Musical Workshop to play with various musicians “contemporary modal music”.’ www.rossdaly.gr
sarangi (1,4,6,7,9,10) With creativity, virtuose control of the instrument, own technical improvements and an unstoppable curisoity for other musics between East and West, Dhruba Ghosh, son of famous percussionist and teacher Pandit Nikhil Ghosh, belongs to the leading sarangi players of a generation that succeeds the legendary innovators Ram Narayan and Sultan Khan.
www.dhrubaghosh.com
viola da gamba (1,3,6,9,10) Susanne Heinrich is a classical viola da gamba player from Bavaria. She studied in Nuremberg, The Hague (under Wieland Kuijken) and Francfort; in 1993 she settled in Oxford where she soon formed the ensemble Charivari Agréable and became a member of the Palladian Ensemble. www.susanneheinrich.co.uk
kamancheh (1,2,4,6,8-10) Kayhan Kalhor, born 1963 in Tehran, is the best known master on the Iranian kamancheh. The prodigy started his studies at seven, was invited to play with the State Radio and Television Orchestra aged 13, studied folk, classical Persian and western music and has performed with the greatest artists, from Shujaat Husain Khan and the Kronos Quartet to Yo-Yo Ma. www.kayhankalhor.net
gadulka (1,2,6,8-10) In Bulgaria, the gadulka is mostly played for dancing. Its name is derived from a root that means something like to produce sounds, hum or buzz. It usually has three strings (sometimes four) and up to ten sympathetic strings. Only the melody strings are touched by the player but they are never pressed down to the neck. Georgi Petrov (* 1962) won his first gold medal at seven and studied at the Conservatory in Pleven when 13. In 1990 he became concertmaster of the Orchestra of the Bulgarian Radio; afterwards leader of the group Traki, the instrumental counterpart to the radio’s vocal ensemble. For six years he was also the gadulka soloist in Riverdance.
jouhikko (1,5,6,9,10), vocals (5,6,9) The jouhikko is a two- or three-string bowed lyre from Finland and Karelia. The strings are usually from horsehair and are pressed from behind with the back of the fingers. A hundred years ago the instrument was regarded as being extinct; today there are again a great number of players. One of them is Outi Pulkkinen. She composes, sings, plays electronic music and teaches at the Sibelius Academy in Helsinki. Outi Pulkkinen plays an instrument she has developed herself based on ancient museum pieces and photographs. www.myspace.com/outipulkkinen Kelly Thoma lyra (1,6-10) Kelly Thoma was born in Piräus in 1978. Since 1995, she has been studying the lyra with Ross Daly; besides, she graduated from the English Literature department of the Athens University as well as from the Rallou Manou Dance School. She came to Rudolstadt in 2002 as Ross Daly’s master student; today she is a lyra-master of her own right, performing solo and with many international greats between traditional music, jazz and classical music. www.kellythoma.com
erhu (1,6,9,10), sheng (10)
Wu Wei was born in Jiangsu, China, in 1970. His main instrument is the mouth organ sheng but he began his musical life aged five with the erhu. While still in Shanghai he started to experiment with jazz and New Music, an interest he intensified after having moved to Berlin in 1995. www.wuweimusic.com
+
Tunji Beier woodblocks (9), tambourin (7), tavil (1,2,4,6,10) Partha Sarathi Mukherjee tabla (1,2,4,6,7,9,10) Roselyne Simpelaere tanpura (4,7,10) Pedram Khaver Zamini dombak (1,2,4,6,8-10)
project leader: Wolfgang Meyering recorded live by Martin Frobeen (WDR) at TFF Rudolstadt, Landestheater, 6 July 2002 © WDR, MDR, TFF Rudolstadt, and the musicians 2002-2013 licensed by WDR, MDR, TFF Rudolstadt and the musicians previously unreleased
1 Magie im Spiel 59:08 The magic instrument project at TFF Rudolstadt 2002
The Svaneti in the mountains of Georgia like to accompany their songs with a fiddle. It is called chianuri in the East where it has two strings and a round belly, and chuniri in the west where it has three strings and a sieve- or boat- shaped body made of fir or pine that is covered with leather. The neck is of birch or oak. The chuniri reacts so sensitively to changes in temperature or moistuire that Svaneti and Racha people used their instruments to forecast the weather. Although also played for dancing, the Svaneti say: “Chianuri is for sorrow.” Soso Stura has produced this documentary on the production of this traditional fiddle.
(Line-ups and recording dates are at the end of each piece on the DVD.)
A song about remembering old friends and the attempts to get in touch with them. For this the singer speaks to his car and prompts its motor to run warm and never get cold.
The Jat are a Muslim brotherhood that wandered east from Iran and settled amongst other places also in Kutch in western India. Just like his brethren Mustafa Ali Jat is a herdsman; the Jat mainly live from trading with dairy products. The surando player Osman Jat’s main profession is truck driving, though. The songs are almost all taken from Shah Jo Risalo, a collection of Sufi texts from the 18 th century full of mystical ideas and wonderful love stories. And also tragic ones: Maarvi is a village beauty who was caoxed by the powerful king Umar Soomro to move into his palace as his wife. But there she only feels as being his object of sexual desires and is longing for her home and the simple folks in her village.
The ravanhatta (Ravana hasta veena) has a coconut resonator covered with goatskin. Of the two melody strings one is made of steel and the other from horsehair; in addition there are several sympathetic strings. Noticeable are several small bells at the bow that underline the rhythmic accompaniment. Ravana – for some a myth, for others a historical figure that really ruled Sri Lanka from 1554-1517 before our time―is considered a well-read scholar, apt ruler and musical master. He is said to have played the ravanhatta in honour of Shiva. After the war between Rama and Ravana – displayed in Ramayana in great detail – Hanuman, the Indian monkey god of scholarship and protective deity of the villages, took the fiddle as prey to northern India where it became especially popular in Rajasthan and Gujarat: It was the first instrument young princes had to learn. From Rajasthan it finally wandered west and came as ravanastrom in the 9th century to Europe. There it was modified and ultimately returned as Violin to India―this at least the settled conviction of Indian bowed lute players.
‘Tro’ denotes all fiddles in Cambodia; details are expressed via an appendix. We know of at least five different types of tro: The tro Khmer with three silk strings has―just like the two-string tro u―a coconut body. The high tro che is covered with snakeskin and has two strings, as have the two hardwood fiddles tro sau toch and tro sau thom. Bach Phkar means spreading of flowers. This dance is usually played at the beginning although sometimes also at the end of a performance to wish the visitors (or special guests) luck. With a movement as when sowing the dancers spread flowers, blossoms or buds.
The yaylı tanbur is an invention of the Turkish violin legend Tanburi Cemil Bey (1873-1916). A hundred years ago he started to bow his long-neck lute instead of plucking it. After Zeynel Abidin hat developed the banjo-offshoot cümbüs around 1930, many violinists took to the cümbüs’ round metal resonator and used it for their yaylı tanbur. The instrument is related to the Central Asian sato and satar.
About one hundred years ago a new musical form took shape in the big cities of southern China linke Canton (today: Guangzhou) and Hong Kong in which traditional music from their northern neighbours in Jiangnan and Minnan intermingled with urban styles: opera, film music, jazz imports, teahouse music. Even today this music has its friends and protagonists. In the quintet around Yu Lefu hard rocker, jazzers and classical musicians meet. But unlike their westernised colleagues they play all the traditional pieces by heart – and respect the original, non-tempered Chinese tunings. Lianhua Kou means chains because the subsequent sections of this piece – each shorter and more virtuosic than the one before―are interconnected like segments in a chain.
Persian fiddle music of the first half of the 20 th century knows two outstanding artists: violinist Ostâd Abolhasan Sabâ and kamancheh virtuoso Ostâd Ali Asghar Bahari. Bahari, born in 1905 into a family of poets and music lovers learned both, kamancheh and western violin. He worked as kamancheh player and teacher but had to take to the fashionable violin in the 1940s when the kamancheh was almost banned. In 1953 he became employed by Iranian Radio and suceeded in making the kamancheh socially acceptable again. He taught the instrument at the university and played music until his death on 10 June, 1995.
‘My Grand-grandfather was the first violinist in the family. His father was a singer who had learned directly from Thyagaraja – Saint Thyagaraja is for our Carnatic music what Beethoven is for western music’, recalls Lalgudi GJR Krishnan, son of Tamil violin legend Lalgudi Gopala Iyer Jayaraman (17 September, 1930 – 22 April, 2013). The latter was one of the most important south Indian violinists of the last century, overheaped with honours and celebrated around the world. His stupendous and innovative technique entered Carnatic Violin playing as “Lalgudi Bani”; in addition he was a prolific composer especially praised for his (longer) varnams and (shorter) tillanas that are both based on dance rhythms.
Sanjo is the most important genre of Korean solo instrumental music. Earlier on the pievces were improvisations on melodies of Pansori songs or shamanistic ritual music; today many musicians play along the terms of reference of their masters and teachers. Sa Ju-hyun, born in Seoul in 1975, is one of the best haegŭm players of the school of maestro Ji Yeong-hee (1901-1980). This particular haegŭm sanjo was composed around 1974; it reflects the simplicity and softness of Gyeonggi province. The original piece has five rhythmic parts and lasts for approximately 25 minutes; Sa Ju-hyun here performs a shortened version without the last-but-one Gutgeori cycle. The four parts are Jinyang (2:56), Jungmori (1:31), Jungjungmori (1:25) and Jajinmori (2:03).
Ahoar, the name being a reference to the marsh country in southern Iraq is a quartet formed by two Iraqi classical- traditional concert musicians, a Belgian jazz pianist and a jazz double bassist from Germany; the Iraqi fiddle (d)joze is at the centre of Ahoar’s sound. Djoze is Arabic for nut – the instrument is made from a coconut half. The open side is closed by fish skin or the membrane of a cow heart. Bassem Hawar has applied a number of innovations to the djoze, extending the playing possibilities and the sound spectrum of the instrument.
3-13 Violons barbares (Mongolia|Bulgaria|France): Purple Haze 4:39 Enkhjargal Dandarvaanchig who is simply called ‘Epi’ by each and everybody is a firmly established Mongolian morin khuur player and overtone singer. Violons barbares is only one of half a dozen projects he is involved in. Thrilling dialogues based on traditional music from Bulgaria or Mongolia are endorsed by other wild excursions, also into the world of Jimi Hendrix. http://epi_de.beepworld.de/ 3-14 Huun-Huur-Tu (Tuva) & AntiMalerija (Russia|Germany): Song Of The Caravan Drivers 6:59 Should we want to be correct we had to write the name of the world-famous Tuvinian quartet as Khün Khürtü – which means the vertical division of light rays that are often to be observed over Tuva’s grassland shortly after dawn or before sunset. But the musicians themselves decided for Huun-Huur-Tu. AntiMalerija is a project of Russian electronic-groove guru Ilya Khmyz alias XMZ that had performance only once (at TFF Rudolstadt 2009).
3-15 Trah Project (Indonesia): Tarawangsa and Contemporary Dance 8:50 3-16 Siu Pak-Yung & Taipei Chinese Orchestra (Taiwan): Moonlit Night 7:47 Moonlit Night is regarded as the most representative composition that the great erhu innovator Liu Tianhua has written for the instrument. Three simple yet elegant parts create a melancholy mood of reminscences under the broad moonlight.
A commissioned work by Marcel Khalife for the inauguration of the Doha Opera House on Qatar’s National Day on 17 December, 2010.
Credits
My big thanks to all artists and otherwise involved parties for providing the videos for the DVD free of charge. A heartfelt thank you goes to Sambhav Bhorav | Chung Shefong | Wolf Dietrich | Ulrich Doberenz | Ken Hunt | Kim Sun-Kuk | Bernard Kleikamp | Wolfgang Meyering | Thomas Neumann | Tiago de Oliveira Pinto | Kala Ramnath | Heinz-Dieter Reese | TFF Rudolstadt | Ulrike Zöller | Sophia Vashalomidze
Lay-Out: Thomas Neumann, Berlin CD mastering: Dietrich Petzold, tonuc arcus, Berlin
DVD authoring: Ulrich Doberenz, Leipzig Website: Thomas A. Merk, München
Compilation, booklet and production: Bernhard Hanneken Despite all efforts there are some cases where the right owners could not bee contacted. They are kindly requested to get in touch with the editor.
Yüklə 351,07 Kb. Dostları ilə paylaş:
|