Uj Patria vol 1,2&3 - Village music from transylvania

Váralmás - Almaşu. Váralmási Pici Aladár and his Gypsy band. Village music from Kalotaszeg “Final Hour” Program: Traditional Village Music from Transylvania. “Új Pátria” series 1 Budapest, Fonó | 1998 | FA-101-2 | MP3 320kbps | 165 MB | booklet JPG Track list: 1. Slow and quick couple dances for carnival 2. Dawn song, slow and quick dance for the Romanians 3. St. Stephen’s day greeting from Felszeg 4. Verbunk (recruiting dance) music 5. Dawn song, slow and fast Gypsy couple dances 6. Recruiting dance, legényes, quick couple dance from Váralmás 7. Christmas carols 8. Lament, dawn song, slow and quick couple dances from Felszeg 9. Romanian couple dances 10. Dawn songs 11. Jewish tango 12. Lament, dawn song, slow and quick couple dances Musicians: ZÁGOR Aladár “Pici” (1932-1997, Váralmás) violin CILIKA Gyula (1958, Bogártelke) violin LŐRINCZ Albert “Ötvös Berci” (1927, Váralmás) viola ÖTVÖS Sándor (1936, Váralmás) double bass Recorded at the Studio of Fonó Music Hall in 1997 Budatelke (Budeşti) – Szászszentgyörgy (Sângeorzu Nou). Village music from the Transylvanian Plain (Mezőség) “Final Hour” Program: Traditional Village Music from Transylvania. “Új Pátria” series 2 Budapest, Fonó | 1998 | FA-101-2 | MP3 320kbps | booklet JPG 1. Ungureşte rar 2. De ungurime 3. Ţigăneşte şi hărţag 4. Jocul mireşii 5. Cigány halotti keservesek 6. Româneşte-n botă, ungureşte rar, ungureşte des, bărbunc, târnăveană 7. Când ciobanul şi-a pierdut oile (Mikor a pásztor elvesztette a juhait) 8. De ungurime 9. Lăsai puşca ruginită (cântare) 10. Katonakísérők 11. Szász Himnusz, Ländler 12. Jocul steagului (de chiuit la nuntă) 13. De-a lungu, ţigăneşte, hărţag 14. De chiuit la nuntă Performers Hârleţ Ioan “Nucu” (1944) violin Boldi Ferdinánd (1942) violin Becski Ion (1948) 3 stringed viola Becski Radu (1966) double bass Mândrean Ioan “Leon” (1945) voice, flute Báré (Bărăi) – Magyarpalatka (Palatca). The Mácsingó Family. Village music from the Transylvanian Heath (Belső-Mezőség) “Final Hour” Program: Traditional Village Music from Transylvania. “Új Pátria” series 3 Budapest, Fonó | 1998 | FA-103-2 | MP3 VBR | 140 MB | booklet JPG 1. De-a lungu, slow and fast csárdás 2. Foursome and two men’s dance from Keszü 3. If the big steam engine starts to leave, let it go… (soldier’s song from Keszü) 4. Music for sending off the soldiers and slow csárdás 5. I’d like to be a tree in the forest 6. Funeral music for Romanians, de-a lungu 7. Music for end of the wheat harvest (Romanian) 8. Gypsy wake song and slow Gypsy dance 9. Hungarian dance and fast dance from Keszü 10. Gypsy lament and Gypsy couple dance 11. The crane flies far overhead 12. Slow Gypsy dance, slow and fast csárdás Musicians: MÁCSINGÓ György “Gyurkuca” (1937) - violin MÁCSINGÓ Péter (1944) - violin MÁCSINGÓ Sándor (1939) - 3 stringed viola MÁCSINGÓ Náci (1965) - 3 stringed viola KODOBA Károly “Ica” (1924) - double bass HORVÁTH Anikó (1939) - voice TÓBIÁS Dániel (1928) - voice Notes/quotes: The Final Hour Program and the “Új Pátria” Series Since the governmental changes in Romania in 1990, the ease of crossing of the borders, increased possibility of working abroad, influx of consumerism and the cultural and sub-cultural effects caused by new of availability music cassettes have all contributed to more rapid changes in the folk traditions in Transylvania, even in the remotest villages. That is why the Fonó Budai Zeneház set to work to provide the financial background and facilities necessary to do this comprehensive collection of Transylvanian village music. The Final Hour project is supported by the Institute of Musiscology at the Hungarian Academy of Sciences. Starting in September 1997, there have been regular recording sessions with bands from Transylvanian villages who still play the local traditional music. Each band is at our disposal for five days during which time it is possible to make archival recordings of not only each band’s repertoire of melodies which serves the entertainment needs of more than one ethnic group, but also to document information regarding customs surrounding the traditional music and dance life. Singers and one or two couples of good dancers arrive to Budapest for these recording sessions with each band, helping to maintain the vocal and dance function of the instrumental music. Part of the program is devoted to documentation of the existing Transylvanian traditional flute music. The CD archive resulting from work of the Final Hour program offers a vast amount of material on the musical traditions of Hungarians, Romanians, Gypsies, Saxons and Jews in Transylvania for research studies as well as a wealth of authentic material and background information for those involved in popular folk music movements. The complete collection will be available for scientific research in the archive of the Institute of Musicology of the Hungarian Academy of Sciences. The Fonó Records has started this series of CDs under the title “New Pátria,” presenting selections of the most representative material from the collection. This series is the spiritual descendant of the “Pátria” series from the end of the 1930’s by Béla Bartók, Zoltán Kodály and László Lajtha in cooperation with the Hungarian Radio and the Museum of Ethnography. vol1: Aladár Zágor, 1932-1997, Kalotaszeg. One of Transylvania’s most famous and earliest studied historical-ethnographical regions lies west of Kolozsvár (Cluj), surrounded by the Gyalu, Vigyázó and Mézes ranges. In this otherwise relatively uniform area of folk culture, villages which lie on the borders with the neighboring ethnographical regions of Szilágyság, Mezőség, Aranyosszék, are communities that have their own characteristic features mixed in with the cultures of those respective areas. There are between 40 and 50 communities which ethnographical researchers consider as defining this area. Regarding the dances of Kalotaszeg, the first references are from the end of the 19th century. In earlier times there were musician dynasties existing in many villages, who not only took care of the musical needs of their own villages, but of the entire region as well. With the spread of popular music, interest in and need for traditional music in the villages of Kalotaszeg has decreased, thus in more recent years the number of Gypsy musicians has considerably decreased, or the musicians have retrained themselves to meet new musical needs. Playing on this recording is one of the last representatives of the old style Kalotaszeg string bands. The traditional life in Kalotaszeg includes many dance events, some of which are centered around life’s rites of passage, some around the yearly seasonal holidays. Of the Hungarian men’s dances, the “legényes” was the most widespread, whereas the “verbunk” (the so-called men’s recruiting dance) wasn’t so well known. The Kalotaszeg legényes is the most archaic, most virtuose and most developed among the fast men’s dances in Transylvania. In the past, the dance cycle began with this dance, they danced it one at a time, often competitively, while the girls joined into a circle somewhere in the background and turned, doing what is called in Hungarian “siftelés”, while yelling out short verses in rhythm with the music called “csujogatás”. The dance cycle continued with a couple dance in which they did a double “csárdás” step and had variations of motifs which included an upbeat turn in a closed position, in turn with stamps, the woman turning under her own arm, both the man and the woman turning away from each other. The faster music, known as “szapora” is danced similarly, though adjusting for the considerably quicker tempo. During either the slow or fast versions, the man may let go of his partner while he does solo figures which may include some of the legényes figures. The music for the legényes is very rich with respect to Transylvanian music, having more than thirty melodies. There are even more csárdás and szapora melodies due to the fact that in addition to old style melodies, new style Hungarian folk melodies and even 19th-century city csárdás music have been assimilated into this style. In the breaks between dances, two important types of tunes are sung in a party situation: the “keserves” (lament) with completely unspecific rhythm, and the “hajnali” (dawn song) having slow rocking rhythm. There are also specific songs which belong to specific holidays such as the name day greetings and Christmas carols. The Hungarian, Romanian and Gypsy music is in many ways very intertwined, while still having some specific characteristics. All three ethnic groups dance the csárdás and szapora, sometimes referring to the latter by a different name. Only the Romanians dance variations of the slow and quick “forgatós” (a turnin dance) which is called invirtita rura si iute. Jews also lived in the area, who in addition to taking on the music of the Hungarians, in some places preserved their own melodic material as well. In their memory, the Váralmás band plays a tango, which was a part of the well known Jewish repertoire. The material on this recording was recorded between October 6-10, 1997. Shortly after returning home, the prímás, Pici Aladár, passed away. He was the last representative of the Váralmás musician dynasty. This recording serves as a reminder of his vast repertoire, more of which can be heard on the 15 archival CDs which were also recorded at that time as a part of the Utolsó Óra (Final Hour) Program. vol2: Budatelke (Budeşti) – Szászszentgyörgy (Sângeorzu Nou): Northeastern corner of the Transylvanian Plain (Mezőség): Szászszentgyörgy (in Romanian earlier called Sângeorgiu săsesc, now Sângeorzu Nou, in German Sankt-Görgen or Sankt Georgen) appears in the records since 1317. For centuries it belonged to Beszterce-Naszód county which does not cover the same territory as the present day county. It is in the Besenyő district which in the 19th century was still ethnically Saxon. The first groups of the ethnic group which later became known as “Saxon” were brought in from the middle Rhine area, Luxemburg and the Mosel area by the Hungarian king Géza in the middle of the 12th century to the sparsely populated areas of the southern Transylvanian landowners. After the Mongol invasions King Béla IV invited Saxons to beef up the depleted population. Under Ceauşescu’s Communist regime, most of the Transylvanian Germans emigrated to Germany. Their music is preserved within the repertoire of village Gypsy musicians who had played for them, one of which is Ferdinánd Boldi of Szászszentgyörgy. Budatelke (in Romanian earlier Budatelec, later Budeşti) lies in the old Kolozs county, in the predominantly Romanian Mezőörményes district (the name of which refers to yet another ethnic group, örmény = Armenian). A large number of Gypsies live in the area and in earlier times smaller Jewish communities existed. Exactly this type of ethnically mixed area is always inviting for researchers: where dance and music is always in bllom as the various ethnic groups continuously fertilize one another’s culture. With the disintegration of the traditional folk life, the dance traditions are also gradually sliding into the background throughout Transylvania. First the men’s dances are left out of the dance repertoire, the musicians, on the other hand, still preserve them for awhile as a part of their melodic repertoire. In this area a relatively large amount of this material has remained, in the dance as well, perhaps because in earlier times a particularly rich repertoire of men’s dances existed here. The two old style “legényes”, called “ritka” and “sűrű magyar” are both danced in the valley west of Budatelke by both the Hungarians and Romanians (the Romanians call it ungureşte rar şi des). The “verbunk” (bărbunc) and “târnăveana” are all danced by both ethnic groups. The verbunk is considered to be a new style of dance. The târnăveana, as its name suggests, is a relative of the Romanian “forgatós” (învărtita) from the region along the Küküllő River. According to earlier tradition, the men’s dances were danced one directly following the other, as on the sixth track of this recording. The “lassú csárdás” (a Hungarian slow couple dance) is part of the common Hungarian, Romanian, Gypsy dance repertoire, but only the Hungarians in eastern Mezőség call it by this name. In western Mezőség they call it “lassú cigánytánc”. In Romanian the same dance is called “ţigăneşte rar,” while in the east it is also called “leneşa”. The fast version of this dance is called “sűrű csárdás”, and in Romanian “hărţag” or “bătuta”, while in the Gypsy language “hutaďi”. The Gypsies dance both of these dances as couple dance though the couple does not touch each other; they call it “cingerďi”. Some of the melodies on this recording are connected to the wedding repertoire. In every area the part of the wedding ritual of putting the bride’s hair into a bun (kontyolás) is danced at the city weddings after the bride has changed clothes. At this time the guests at the wedding request a tune which is played for a few seconds while that guest dances with the bride: these short dances with the bride must be payed for. In this area, the very old custom in which the dance with the bride (jocul miresii) has specific tunes, has been preserved. There are unique instrumental melodies which are specifically connected to the wedding, to which the appropriate rhymed texts must be shouted (de chiuit la muntă), and they have also been preserved in this area. Included in this recording are Romanian songs in both flute and sung versions which aren’t connected to any particular holiday or rite of passage. These may be played or sung anytime (Lasăi pusca ruginită). These non-specific metered songs are called “keserves” (laments) in Hungarian and “cântare, cântec de jale, horitură” in Romanian. Some of these songs were also sung when young men of a village were going into the army (track number 10). Some of the old funeral melodies have been preserved amongst the Gypsies. The band plays them during the wake and at the graveside (track number 5). Today they are played only here and there, by either Romanians or Hungarians (gázsálás), some variations with Hungarian words have turned up during various field work collections. The “primás” (lead fiddler) from Budatelke knows the “shepherd looking for his sheep” instrumental story, a genre which during a party or celebration is usually requested by shepherds. This type of tune exists in different districts with varied melodies. In a written form it was remembered by the Saxon consulate Andreas Frank who recalled this tune in the 17th century, on the celebrated occasion of György Rákóczi II’s inductment on September 22, 1659 in Marosvásárhely. There was a previous reference to this particular genre in the 16th century in a verse by Bálint Balassi. In Transylvania the Seklers, the Saxons, like the Hungarians or the Germans all have their own national hymns, which in this case are specific to the identity of those ethnic groups. These are composed works, for which the music has been folklorized, given that both the Sekler and the Saxon hymns were often requested from the Gypsy musicians at the various events or holiday celebrations. During the Communist period it was prohibited to either sing or play them. Many musicians have told stories to researchers about the police harrasment which they suffered for playing these national hymns. On track number 11 of this CD the Saxon music is preserved by the hymn and ländler music. György Martin wrote: “The old style, rich and highly developed dance and music tradition of Mezőség can be attributed to the combined effects of several things. Transylvanian renaissance and Baroque heritage have been preserved the most in this large area of central Transylvania. This in turn developed into a unique new Transylvanian dance and music style. The later new style of music and dance from Hungary and other foreign, aristocratic influences arrived here only later, and they were very selectively taken on. The intermingling of Hungarian, Romanian, Gypsy and Saxon cultures and their influences upon one another raised the Transylvanian dance and music treasury to the highest level. The result of the constant borrowing that went on was that the characteristic borders between the Romanian and Hungarian dances and dance melodies completely melted away, allowing a bilingualism of the music and dance to form in the Mezőség.”" Vol3: Báré (Bărăi) – Magyarpalatka (Palatca). The Mácsingó Family: This recording of the Final Hour collection presents instrumental music from central Mezőség, an area of Transylvania which, thanks to the work of Zoltán Kallós and György Martin, is relatively well known and popular. The Mezőség (meaning more or less “area of fields”) in contrast to what its name implies, is an area of relatively high (4-500 m), at one time wooded hills which follow the course of short streams, lying between the Szamos, Sajó, Aranyos, and Maros Rivers northeast of the Transylvanian city of Kolozsvár (Cluj). It is a region of mixed ethnic population that was settled by Hungarians between the tenth and eleventh centuries, and has been depopulated many times by wars, making it necessary to bring in other groups of people such as Saxons, Swabians and Romanians. Nowadays Romanians make up the majority of the population, the Saxons and similarly the Jews have left Transylvania en masse due to events of the last fifty years. Gypsies came to Transylvania in the sixteenth century, and by the beginning of the eighteenth century had almost entirely taken over the musical entertainment profession. The Gypsy musicians are generally Transylvanian Hungarian Gypsies, with names Hungarian or of Hungarian origin, who observe the predominant religion of the village where they live. Depending of the ethnic majority of the village, they speak either Hungarian or Romanian and they are likewise either Calvinist, Catholic, Evangelist or Orthodox. The musicians on this recording are originally from Magyarpalatka (Palatca) and are Calvinist, “Hungarian” Gypsies. The instrument which carries the melody in a band from Mezőség is the violin, while a specially tuned (g - d’ - a), 3 stringed viola and a 2 or 3 stringed double bass provide the harmony and rhythm. In Palatka in the fifties and sixties it became common to have two violins and two violas playing; this is the formation playing on this recording as well. The violin’s playing style is very dynamic, richly ornamented, strongly rhythmic, and it controls the rhythm and tempo of the accompaniment. A Gypsy prímás from Mezőség learns and plays the melodies which are used in that area without discrimination, adjusting them according to his own preference, varying for example rhythm or tempo. For them there is no ideologic point of view when considering the origin of a melody. The name of a dance generally has no relationship to a melody’s origin. For example, in the “lassú cigánytánc” (slow Gypsy dance) or in songs sung at Gypsy wakes no actual Gypsy melodies are heard. Or, Romanians, Hungarians, and Gypsies alike feel the same tunes accompanying boys into the army (called “katonakísérő” in Hungarian) like their own. Or, we hear obviously Hungarian melodies sung in Gypsy or in Romanian (or even in de-a lungu rhythm.) The Gypsy prímás in most cases does not know the text of the melodies. This is why they often – particularly with new style melodies with a dome-like structure – change the melodies, which results in a different structural basis: for example simply starting in the middle of a tune, causing the dome-like, arch-shaped structure to change to a descending one. The violas play the accompaniment, building major chords from the main notes of the melody, strenghtening it here and there with the dominant-tonic at the end of the phrase. The accompaniment style that is built upon the main notes with its mixtura, being more obvious in the melodies with slower tempo; just as the asymmetrical rhythm becomes more even and symmetrical as the tempo quickens. The songs in parlando, aside from their free accompaniment style, use basically two styles of bowing: called in Hungarian “duva” or “dűvő” (wherein two quarter notes are produced by one stroke of the bow, with a marked stress on each of them) and the so-called “esztám” (wherein staccato syncopated eighth notes are played). For dance tunes, the bass (called “gordună” or “gordon” in Romanian) always plays on the main beat (on “one”). To the well intentioned Western ear, many times the notes don’t sound clean or like even the right note. Rhythmically speaking however, they are precise, given that this is the main function. On this recording we present the music for many kinds of dances from this area. The “Hungarian” dances generally are called “ungureşte” (meaning Hungarian in Romanian), and are requested from the musicians as such. At the various events where marches are played – escorting the bride, gathering the guest for a work party, bringing the wheat in from the fields following the harvest – melodies with “szökős” rhythms are played, as in Palatka. When the procession stops from time to time, these can not only be danced to, but because of their tempo they are also perfect for “rikótozás” (rhythmic shouts). In the Mezőség area, the dance and music traditions of the ethnic groups mentioned here, have become the most uniform in all Transylvania. The couple dances starting with the “ritka csárdás” (also called “cigánytánc” or “ţigăneşte”) are common to all ethnic groups: the “szökős” (in Romanian, “bătută”) and “sűrű csárdás” (haţegană) make up the dance cycle and are done by the Hungarians, Romanians and Gypsies alike. The Romanians replace the archaic “lassú cigány tánc” (“împiedicata”) which the Hungarians do, with “de-a lungu”; these are descendants of the old European processional type dances. According to our informants from these villages, some time ago the dance cycle consisted of the “lassú cigánytánc – ritka csárdás – szökős (bătută)” progression of dances. It also seems archaic that to the music of the “Hungarian” dances, they danced de-a lungu in couples or that the men danced it separately. During the last decades, it has become the fashion to put the “târnâveana” at the end of the dance cycle; because it is similar in rhythm and tempo they also use its dance melodies for the foursome dance (négyes), for example in Mezőkeszü. The two kinds of men’s legényes dances, the ritka and sűrű magyar are included amongst the so-called Hungarian dances, but the négyes is also “Hungarian”. The asymmetrical Romanian men’s dances, the slow “româneşte în botă,” the “ponturi” or “rara” are the Romanian versions of the Hungarian “ritka magyar”, like the “bărbunc” is the Romanian version of the “sűrű magyar”. The Gypsies also dance the “bărbunc”, their slapping sequences being for the most part similar to the “sűrű csárdás” though in a Gypsy version, used in the “csingerdi”. The cycle of couple dances in Mezőség lasts 30-40 minutes, is generally danced from beginning to end with the same partner and has resting steps inserted. For the last cut on this recording, we have chosen a progression of music which is longer than usual, which nicely shows how the traditional intermezzo (“floricele” meaning “little flowers”) are used, and also works well for dancing at home or learning the dances. When this recording was made, there were good dancers present from the village of Mezőkeszü, thus the recording includes some songs from that village as well.

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MrBighat (2010-05-28)

Wow, dude, million thanks. I might buy this in original but don't like to buy without listening. :)
Also thanks for the great seeding. Just a pity my crappy adsl upload doesn't really let me return the favor properly, will leave it for a while tho.