Uj Patria vol 4&5 - Village music from transylvania

Gyimesbükk - Hidegség (Ghimeş). Original Village music from the Eastern Carpathians of Transylvania “Final Hour” Program: Traditional Village Music from Transylvania. “Új Pátria” series 4 Budapest, Fonó | 1998 | FA-104-2 | MP3 320 | 150 MB | booklet JPG 1. Lament 2. Slow Hungarian 3. Slow and fast Hungarian 4. Slow Hungarian and slow csárdás 5. Lament (of Lázár Karácsony) 6. Slow Hungarian and “héjsza” 7. Line dances (“Héjsza”) – Rendes 8. – Régi 9. – Tiszti 10. – Csúfos 11. – Legényes 12. – Korobjászka 13. – Kerekes 14. Laments 15. Slow Hungarian 16. Lament 17. Men’s dances 18. Melodic outing, playing horn 19. Couple dances of bourgeoise origin 20. Couple dances 21. Fast csárdás Szilágynagyfalu (Nusfalău) – Szilágybagos (Boghiş). Original Village music from the Szilágyság (Sălaj) “Final Hour” Program: Traditional Village Music from Transylvania. “Új Pátria” series 5 Budapest, Fonó | 1998 | FA-105-2 | MP3 320 | 172 MB | booklet JPG 1. Lament, csárdás and fast couple dance 2. If Gábor Dobos goes into the forest… 3. Two Christmas songs (Romanian and Hungarian) 4. Dinanintea raiului… 5. Gypsy laments 6. Couple dances: old slow csárdás’s, csárdás, fast 7. Two men’s dances 8. Shepherd’s tune and couple dance 9. Romanian dance cycle 10. Slovakian wedding march and tune played in front of the church 11. Hungarian wedding march and Rákóczi march 12. There is straw in the shed… 13. Old slow csárdás, csárdás, fast 14. Mother where is the sweet milk… 15. Tune for celebrating the harvest wreath 16. “Belts” 17. The ribbon on my hat… 18. Gypsy dance cycle: old slow csárdás, csárdás, fast Gypsy dance 19. The Gypsies went out to hoe… Performers: CSORBA János “Lulu” (1932) violin, voice CSENGETTYűS Sándor “Bunyu” (1927) violin, voice BODA Vilmos “Dándáló” (1927) viola VARGA László “Raj” (1954) 3 stringed viola VARGA Sándor “Pengő” (1929) double bass BIRTALAN József (1955) voice, whistle 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. Vol4: Gyimesbükk - Hidegség (Ghimeş). Original Village music from the Eastern Carpathians of Transylvania: Gyimes (in Romanian, Ghimeş) is located on the border of Hargita and Bákó counties, northeast of the town of Csíkszereda (Miercurea Ciuc). It lies beyond the Carpathian watershed, in the easternmost reaches of what, according to Hungarian history, was known as Csík County. In the high mountainous terrain, agriculture can only play a secondary role, that's why there, living off the land means primarily animal husbandry and forestry. The Gyimes man is famous for his knowledge of wood, he is a fantastic carpenter, and knows everything about animals and shepherding. And amongst shepherds there are always a lot of good flute players. The people of Gyimes love to have a good time, they know a lot of tunes and their whole culture, thus the music as well, is full of elements from Central Asia or the Middle Ages. The music and dance culture of the Csángó people of Gyimes, despite the ethnic variations, is quite uniform. Most of their vocabulary of melodies can be considered rather archaic, unique variations of Csík Székely melodies. The people of the nearby Felcsík area, often say “that’s a Csángó tune” about an old melody, which is no longer fashionable there, but which is still popular amongst the traditional faithful Gyimes people. Most of the melodies are old Hungarian vocal and instrumental melodies which accompany the old couple dances and solo men’s dances – lassú and sebes magyaros (slow and fast Hungarian), csárdás, kettős jártatója a nd sirüleje, and men’s dances; féloláhos and verbunk. The book by Zoltán Kallós and György Martin, “Tegnap a Gyimesbe jártam…” presents an invaluable selection of their lament type songs. The Gyimes vocabulary of dances is filled out with line dances (the “hejszák”) and couple dances of bourgeoise origin locally referred to as “aprók”. The line dances are accompanied by melodies more of Balkan or Romanian origin with fewer tunes of Hungarian origin, whereas the “aprók” are accompanied by melodies of German or city style composed melodic origin. They do a dance imitating bears at wedding which is called “medvés” (the bear dance). Their singing and instrumental style of performance exhibit a characteristically strong tendency for ornamentation and variations. The richly shaped instrumental melody is not accompanied by harmony, rather by a sound from the gardon – a folk cello – in richly varied rhythms. The first written reference to this stringed instrument which used as a rhythm instrument by hitting the strings with a wooden stick, is from the time of the principality of Transylvania (that is the 16th and 17th centuries). Today this style has largely died out in the Székely areas of Transylvania, but in Gyimes there are quite a few excellent gardon players still playing. One of the best amongst them, is the musician playing on this recording, János Tímár. Next to the gardon, the most important traditional instruments of the Gyimes people are the violin and two types of flutes: a typical six holed flute and the so-called two necked flute or double flute. The singers, two sisters from Gyimesbükk were always known as being good singers. They are Éva Karácsony and Mária Kócsár or “the Kutas girls” as they were called when they were young. “The Kutas girls could always be heard from far away, if they were in the forest, they were always singing.” This comment was heard by the writer of these lines in 1998 in the Pika Bar in Bálványospatak, from very a serious man who never would have had the occasion to have the same route through the forest as the Kutas girls… The life of a person from Gyimes offers endless possibilities for singing. A person can sing while walking alone in the forest, or while doing chores around the house, they can sing in the pub, at the spinning bee, at a wedding, at a ball, at a christening, at the farewell dinner for boys going into the army, at a pig butchering; they can sing on the way home on top of the hay wagon, when there’s something the matter or when they’re happy about something, when they’re afraid and when they’re bored. The life of a person from Gyimes, like anyone who still lives the traditional lifestyle is permeated with music. The language system built on the songs is taught to the children like the language itself. They hear it constantly, and learn it without even realizing it, thus making the music one with their mother tongue. When they sing together it is particularly easy to feel how similarly, naturally and easily, they express the ornamentation, the rhythms and the seemingly complicated system. This can mean, a symmetrical csárdás melody, the ‘limping’ rhythm of the lassú magyaros, or perhaps the free talking rhythm of the lament tunes. In the musical life of the Gyimes people, the flute played a big role. Viktor Tímár has told me, that like the rest of the children, by the time they were 5 or 6 years old they were already spending the whole summer with their grandfather at the pasture up in the mountains where the Gyimes people keep their animals from the spring through the fall. That’s when he was given his first flute. It was the general practice to give little boys their first flute upon reaching the age of five or six. And when they all went upo to the summer lodging, they all took their flutes. So it’s no wonder there were so many good flute players – ones who could make a tune “bloom”, could “play out the melody’s ornamentation too” and “play it into the feet”. Vol5: Szilágynagyfalu (Nusfalău) – Szilágybagos (Boghiş). Original Village music from the Szilágyság (Sălaj): The Szilágyság is located in the northwestern corner of today’s Transylvania. For us who consider the region primarily from the traditional instrumental folk music standpoint, Szilágyság clearly belongs to the Transylvanian dialect with indications of transitional characteristics from Szatmár, Bihar and the Great Plain areas. The “traditional band” in this case is not only composed of the usual lead fiddle-viola-double bass. Rather the model here was the more learned sound of the city Gypsy band, the “double” band (meaning 2 fiddles, 2 violas), whose second “first” violin – or second prímás – often plays the third. Amongst the violas, the “prím” is the three stringed viola that plays fast dűvő style bowing (wherein two quarter notes are produced by one stroke of the bow, with a marked stress on each of them) for the fast dance tunes called “ugrálós”, while the other viola is a classically tuned, four stringed viola that plays “esztám” (“off-beat”) accompaniment. On field recordings wherein the band includes an accordion as well, the accordion plays the part of the “prím” viola. The dance music played here also reflects the transitional condition. At Hungarian events, the musicians play slow, “öreges” csárdás, and without pause, even in the middle of a melody, they change over into csárdás, then they may also include the previous melody in a much faster version in the fast section (which our informants referred to as “ugrálós”). In addition to the couple dances, two variations of men’s dance are found; one known from the Szatmár region and a type of Transylvanian legényes with a fast dűvő bowed accompaniment called verbunk or figurázó; but these have fallen out of the everyday repertoire of dances. For the Romanians, they play the latter under the name of Fecioreşte, or Bărbunc. Our informants knew the words to an amazing number of csárdás tunes, a mixture of composed and folk songs, evidence of the celebrated appetite for singing of the people of this area. Some of the Hungarian melodies, as a result of centuries of living together, are used without concern for their origin, by Gypsies or Romanians in their own language. It might be a strange feeling for a Hungarian, when a well known Hungarian song is sung and presented as an example of a hundred years old Romanian or Gypsy folk song in the respective language of informants from those ethnic groups. In the course of our field work we have recorded many old Hungarian melodies that were no longer known or used in the Hungarian communities, but have been preserved by other ethnic groups who think of these melodies as their own.

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