LEBANON – LIBAN Soeur Marie Keyrouz – Chant Byzantin – Passion et Résurrection – Harmonia Mundi

LEBANON – LIBAN

Soeur Marie Keyrouz SBC et la Chorale de l'Église Saint-Julien-le-Pauvre

 – Chant Byzantin – Passion et Résurrection – Harmonia Mundi HMC 401 315, 1989 (Cassette)

Sister Marie Keyrouz (ماري كيروز‎;) born in Deir el Ahmar, Lebanon, in 1963, and raised in the Christian Maronite tradition, first discovered the power of her voice at the age of five while singing with her mother on Good Friday. She later took her vows and joined the congregation of the Basilian Chouerite Sisters, an order of the Melkite Greek Catholic Church. Sister Keyrouz is also an accomplished scholar, who studied religion, Byzantine and Western music (notably Gregorian chants) in Lebanon and Greece. She later earned PhDs in both religious anthropology and musicology at the Sorbonne, Paris. She is also active in charity work with Enfance pour la Paix, an organization she founded.

 

Sister Marie Keyrouz quickly established herself as one of the greatest champions of Oriental sacred music, with her dozen remarkable recordings and spellbinding performances around the world which transcend cultural and religious barriers.  

 

We present her impressive 1989 debut album, The Passion and the Resurrection of Christ, Melkite Byzantine chants sung in Arabic and Greek over the Easter Holy Week.  

 

Sister Keyrouz’s performance here, accompanied by the haunting drone-like Choir of the Melkite Church of Saint-Julien-le-Pauvre in Paris, captures the dazzling mastery of her powerfully voluptuous voice, which conveys timeless sentiments of fervor, serenity, introspection and grace.

Sister Keyrouz regards her concerts as shared moments of prayer and says she sings because, as Saint Basil the Great (329-379), one of early Church Fathers, once said, "When you sing during prayer, you pray twice."

Sœur Marie Keyrouz (ماري كيروز;) née à Deir el Ahmar au Liban, en 1963, et élevée dans la tradition chrétienne maronite, découvre le pouvoir de sa voix à l'âge de cinq ans en chantant avec sa mère un Vendredi saint. Plus tard, elle s’engage dans la congrégation des Sœurs Basiliennes Chouérites, un ordre de l'Église catholique grecque melkite. Sœur Keyrouz est également une grande érudite qui étudie la religion, la musique byzantine et occidentale (notamment les chants grégoriens) au Liban et en Grèce. Elle obtient ensuite des doctorats en anthropologie religieuse et en musicologie à la Sorbonne à Paris. Elle réalise également un important travail caritatif à travers son association Enfance pour la Paix.

 

Fort d’une dizaine d'enregistrements remarquables et des performances envoûtantes à travers le monde qui transcendent les barrières culturelles et religieuses, Sœur Marie Keyrouz s'impose comme l'un des plus grands chantres de la musique sacrée orientale.

 

Nous partageons ici son magnifique premier album de 1989, La Passion et la Résurrection du Christ, des chants byzantins melkites chantés en arabe et en grec pendant la semaine sainte de Pâques.

 

Le chant de Sœur Keyrouz, accompagnée ici par des chants intenses semblables à des bourdons du Chœur de l’église melkite de Saint-Julien-le-Pauvre à Paris, présente l’impressionnante virtuosité de sa voix puissante et voluptueuse qui inspire des sentiments intemporels de ferveur, de sérénité, de grâce et d’introspection.

 

Sœur Keyrouz considère ses concerts comme des moments de prière partagés et affirme chanter parce que, comme l’a dit saint Basile le Grand (329-379), l'un des premiers Pères de l'Église : « On prie deux fois lorsque l’on prie en chantant ».

https://journals.openedition.org/ethnomusicologie/1598

http://www.keyrouz.com/

Sister Marie Keyrouz and the Choir of the Church of Saint-Julien-le-Pauvre, Paris:  

 

A1 – Hallelujah (3 times). Troparion for the Coming of the Bridegroom (Holy Monday): "Ha-Houwadha-lAruç" ... (Arabic)  

 

A2 – Exapostilarion from the Holy Tuesday mass: "Innani'Uchachidu khidraka" ... (Arabic- Greek- Arabic)  

 

A3 – The Apostikhon from the Holy Wednesday mass (Prayer of Mary Magdalene) "Ya rabbi" ... (Arabic)  

 

A4 – Kinonikon (Song of Communion) from the Liturgy of Holy Thursday (Arabic)  

 

A5 – Troparion from the Matins of Holy Saturday: "Inna Yousof" (Greek-Arabic)  

 

B1 – Antiphon of the Good Friday mass (Arabic)  

 

B2 – Excerpt from the Canon of Holy Saturday "Tagaridh" - First stanza (Arabic-Greek)  

 

B3 – Second and third stanzas (Arabic-Greek)  

 

B4 – Hymn to the Blessed Virgin, from the Liturgy of Saint Basil (Arabic)  

 

B5 – "Christos Anesti" .., from the Easter service (Greek-Arabic-Greek)  

 

B6 – "Antoumoul-ladhin" ... Song which replaces the Trisaghion (Three times Saint) in the Easter Sunday Liturgy (Greek-Arabic-Greek)  

 

B7 – "Inna-l-Malak" ... Ninth Ode of the Canon from Easter Sunday service (Arabic)  

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Listen to Sister Keyrouz's singing in the Maronite tradition accompanied by 

oriental instruments: ney flute, ud lute and quanun zither.

Photographs below from vintage postcards:

Christian Bedouin newlyweds, Lebanon:

Maronite Patriarch of Antioch Elias Peter Hoayek (1843-1931) with his entourage on an official visit to Paris, home of Our Lady of Lebanon, a Maronite Cathedral built in 1894:

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INDONESIA – THAILAND – CAMBODIA – CHINA – JAPAN – KOREA – Musik in Asien II – BM 30 SL 5107

INDONESIA – THAILAND – CAMBODIA – CHINA – JAPAN – KOREA
Musik in Asien II – Südost- & Ostasien – BM 30 SL 5107 compiled by Helmut Schaffrath (LP)

This unique LP on the legendary German label Bärenreiter-Musicaphon presents an appealing sonic excursion of Southeast and East Asian traditional and folk music, with short tracks and excerpts of Indonesian, Thai, Cambodian, Chinese, Japanese, and Korean musics, including rare tracks from private and historical heritage recordings.

Cet album unique sur le légendaire label allemand Bärenreiter-Musicaphon présente un séduisant voyage sonore à travers la musique traditionnelle et folklorique de l'Asie du Sud-Est et Orientale, avec des courts morceaux et des extraits de musiques indonésiennes, thaïlandaises, cambodgiennes, chinoises, japonaises et coréennes, comprenant notamment des morceaux rares issus d’enregistrements privés et historiques.

INDONESIA

A1 – Javanese Gamelan – Gending Gambir Sawit a) Saron & Slentem b) Gambang c) Rebab & Kendang d) Tutti with singing. 

Private recording by Josef Kuckertz 

 

A2 – Balinese Gamelan – Gatangkangin a) Trompong & Jegogan b) Trompong & Jublag c) Trompong & Gangsa Giying d) Trompong & Gangsa-Group e) Tutti. 

Private recording by Josef Kuckertz 

 

A3 – Gamelan – Gender Barung, Gambang Kayu, Kempul, Gong Ageng. 
Private recording by Rudiger Schumacher

 

A4 – Javanese Gamelan – Lancaran Jangkrik Genggong. 

Lokananta Cassette ACD-025 

 

A5 – Javanese shadow puppet theatre – Suluk Patet Kedu.

Private recording by Rudiger Schumacher

 

A6 – Javanese shadow puppet theatre – Suluk Ada Ada Greget Saut Palaran.
Private recording by Rudiger Schumacher

 

A7 – Balinese Trance dance by Singers of Peliatan – Tjak.

Bali Folk Music EMI-Odeon 3C 064-17858 

 

THAILAND

 

A8 – Thai Piphat Hō a) Khong Wong Yai b) Ranät Ek c) Khong Wong Lek d) Ranat Thum e) Khlui f) Ching, Song Na & Klong Khaek g) Tutti.

Private recording by Josef Kuckertz

 

CAMBODIA

 

A9 – Cambodian Ensemble – Distribution of Gifts at a Marriage. 
Cambodia – Bärenreiter-Musicaphon BM 30 L 2002
 

CHINA

 

B1 – Chinese Instrumental Music by Wu Wen-Guang – Chiu-K'uang (Wine Madness).
Central Conservatory of Music, Beijing 

 

B2 – Music for Ch’in by Liang Ming Yueh – Chiu-K'uang (Wine Madness).
Museums Collection Berlin MC 7 

B3 – Chinese Folk song – Thirty-Mile Village.

Historic recording, Shanghai Conservatory of Music 

 

B4 – Chinese Folk song – Embroidered Bag.

Historic recording, Shanghai Conservatory of Music 

B5 – Chinese Folk Music Orchestra – Moonlit Night with Spring Flowers on the River.

Concert recorded in Beijing, 1978. 

 

B6 – Chinese Opera: The Ruse of the Empty City (excerpt). 

Folkways Records FW 8882 

JAPAN

 

B7 – Gagaku Imperial Court Music: Etenraku.

Lyrichord LLST 7126 

B8 – Sakura folk music for two kotos.

Disques Festival FLDX 526 

B9 – Shakuhachi flute music – Shika No Tōne.
A Warner Communications Company N° 558518

B10 – Jouri - Music of the Great Japanese Bunraku Puppet Theater – Waraigusuri.

Lyrichord LLST 7197

KOREA

 

B11 – Orchestra of the National Music Institute, Seoul – Stone Chimes & Bronze Bells.
Lyrichord LL 7206

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Photographs below are from The Oriental World by Jeannine Auboyer and Roger Goepper, Paul Hamlyn, 1967; The World of Masks by Erich Herold, Hamlyn, 1992; and Die Symbole der Menschheit by Natale Spineto, Patmos, 2003. 

Japanese Biwa lute, wood with inlay of mother-of-pearl, amber, and tortoise shell, 113 cm, 

Nara Period, 8th century:

Mask of a supernatural being of the Barong play, painted wood, Bali, Indonesia:

"Mandarin square," an embroidered rank badge worn by senior officials on their court mantles. The crane here symbolizes longevity and wisdom. Qing Dynasty, late 17th-early 18th century, China.

Please help me purchase important traditional records to pursue my global 
curation project and share the best finds with you on this blog:

INDIA Nikhil Banerjee – Raga Soheni & Raga Megh – HMV – EASD 1377

INDIA – INDE
Nikhil Banerjee – Raga Soheni & Raga Megh – His Master's Voice – EASD 1377, released 1972 (LP)

We now share another brilliant album by Maihar gharana sitarist Nikhil Banerjee (1931-1986), who found his own powerful expression alongside superstars Vilayat Khan and Ravi Shankar. The great Baba Allauddin Khan (1862-1972) quickly recognized his prodigious talent after meeting the teenager in 1947 and accepted him as his disciple. The venerable guru’s son, sarod master Ali Akbar Khan (1922-2009), would later continue Banerjee’s training.

This LP, featuring Swapan Chaudhury, or Chowdhury, (b. 1947) on tabla, exemplifies his extraordinary mastery of melody and rhythm combined with free-flowing emotion, depth, nuance and vitality.

Nous partageons ici un nouvel album du brillant sitariste Nikhil Banerjee (1931-1986) qui a imposé son propre style aux côtés des superstars Vilayat Khan et Ravi Shankar. Après avoir rencontré l'adolescent en 1947, le grand Baba Allauddin Khan (1862-1972) a rapidement reconnu son talent prodigieux et l'a accepté comme disciple. Le fils du vénérable guru, le maître du sarod Ali Akbar Khan (1922-2009), poursuivra ensuite l’éducation de Nikhil Banerjee.

Cet album, avec Swapan Chaudhury, ou Chowdhury, (b. 1947) aux tablas, illustre parfaitement son extraordinaire maîtrise de la mélodie et du rythme, alliée à une émotion fluide, une profondeur subtile et une remarquable vitalité.

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Our other sitar LP shares:
Nikhil Banerjee – HMV EASD 1378, 1973 here

Nikhil Banerjee – HMV EASD 1342, 1969 here
Vilayat Khan - HMV EALP 1259, 1961 here
Enayat Khan - Megaphone EJNG, 1930s here

Imrat Khan - HMV EALP 1345, 1969 here

Mohammad Sharif Khan Poonch Wala - Bärenreiter/Musicaphon BM 30 L 2029 here
Budhaditya Mukherjee - Melodiya C80-18043-4, 1979 here

Photograph below is from Yoga – The Art of Transformation edited by Debra Diamond, Freer / Sackler, Smithsonian, 2013.

The Cosmic Body: Vishnu Vishvarupa, Rajasthan c. 1800-1820:

Please help me purchase important traditional records to pursue my global 
curation project and share the best finds with you on this blog:

SOLOMON ISLANDS 'Are 'Are – Flutes de Pan Mélanésiennes – Malaita - Vol. 1 – Vogue - LDM 30 104

SOLOMON ISLANDS
'Are 'Are – Flutes de Pan Mélanésiennes – Malaita - Vol. 1 – Vogue - LDM 30 104, recorded by Hugo Zemp in 1969-1970 (LP)

We now introduce the first volume in a seminal series of three LPs of the music of the 'Are'are people from the island of Malaita in the Solomon Islands east of Papua New Guinea recorded by ethnomusicologist Hugo Zemp between 1969 and 1970. This series, says Zemp “presents a complete inventory of all types of music – recognized as such by the musicians. (...) Although the 'Are'are do make vocal music, their instrumental music attained (...) a remarkable degree of sophistication rarely heard in Oceania.”

The music here is performed by two bamboo pan-pipe ensembles “which perform only for major ritual festivals to celebrate the cult of the ancestors and the prestige of great men,” explains Zemp.

“Each piece follows strict rules and bears a title that summarizes the 'program,' which may evoke a bird’s song, croaking frogs, screeching insects, the cries of mammals, the sound of raindrops on a leaf, the murmur of a river or roar of the sea, tree branches rubbing in the wind… any sound in nature can provide the theme for a composition, as well as human sounds: crying children, the moaning of the sick, snoring, work sounds, etc. Songs can also convey visual movements, such as a spider rocking on a web or people coming and going.”

Ce disque est le premier volume d’une remarquable série de trois albums enregistrés par l’ethnomusicologue Hugo Zemp entre 1969 et 1970 consacrée aux musiques des 'Are'are de l’île de Malaita dans les Solomon Islands situées à l’est de la Papouasie Nouvelle Guinée qui « présentent un inventaire complet de tous les types musicaux — reconnus comme tels par les musiciens, »  selon Hugo Zemp. Même si « les 'Are'are connaissent différents types de chants, c'est en musique instrumentale qu'ils ont atteint (…) un degré de richesse peu commun en Océanie. »

 

Les musiques présentées ici sont jouées par deux « ensembles de flûtes de pan [en bambou] qui apparaissent exclusivement au cours de grandes fêtes rituelles liées au culte des ancêtres et au prestige des grands hommes. » 

 

Une ‘musique à programme’ où « chaque morceau, construit selon des règles rigoureuses, porte un titre qui résume en général le ‘programme’ : chants d'oiseaux, coassements de grenouilles, crissements d'insectes, cris de mammifères, grésillement des gouttes de pluie sur une feuille, murmure de la rivière ou mugissement de la mer, craquement de branches d'arbres se frottant dans le vent ; tout bruit dans la nature fournit le thème dune composition. Les sons produits par I'homme également : pleurs d'enfants, gémissements de malades ou de blessés, ronflements de dormeurs, paroles, bruits de travail, etc. Des morceaux peuvent traduire un mouvement visuel tels que to balancement d'une araignée ou le va-et-vient des gens. »

'Au Tahana Pan-Pipe Ensemble:

A1 – Suru 'Au (opening song)

A2 – Suri (small parrot)

A3 – Riko Kiteitoro (parot)

A4 – Rawauuruuru (swinging of a spider)

A5 – Aanoaanoha (a man tries to crawl into another person’s house at night)

A6 – Uusuusuha (falling raindrops)

A7 – Mani Paru'i'a (song bearing the composer’s name)

A8 – Poo We (a pig grunts)

A9 – Pisi Ni Tootora (sacred ceremonial Pisi bush whose powers bring together many people, large amounts of food and shell currency)

A10 – Kukua (rooster crowing)

A11 – Toto 'Au (closes a series of ten songs).

 

'Au Paina Pan-Pipe Ensemble:

B1 – Paoro (rooster)

B2 – 'Eke (cockatoo)

B3 – Hoehoe Tani Poo (pig’s scream)

B4 – Aaniaanita Na 'Oko'Ohimane (funeral lament of a woman called 'Oko'Ohimane)

B5 – Suasuarora Na Wa'Aikao (snoring man)

B6 – Hakehake Na Kaihirua (Kaihirua groans because of a head ache)

B7 – Hakehake Na Keniupasia (Keniupasia groans because his foot hurts)

B8 – Hakehake Na Keniohia (Keniohia groans because his leg is paralyzed)

B9 – Mara Hana Uurira'o (during a heavy rainfall that lasted several days a woman named Uurira'o declared “we need everything”)

B10 – Ookeooke Aatara Na Kuukuuku (sound of men putting up the beams of Kuukuuku’s house)

B11 – Roko 'Au (closes a series of ten songs)

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Hugo Zemp (b. 1937) is a major ethnomusicologist from Switzerland who made field recordings and films in many countries, including Ivory Coast, the Solomon Islands and Switzerland.

More info on Zemp: https://www.der.org/resources/filmmaker-bios/hugo-zemp/

Our other music shares from Oceania:

The Iatmul of Papua Niugini – BM 30 SL 2701, 1972 here
Music of the Middle Sepik – BM 30 SL 2700, 1962-1972 here
An Introduction to the Music of New Guinea – Prestige INT 25013, 1958 here
Australie – Vogue EXTP 1056, 1950s here

Zemp's film 'Are'are Music, 1974 (excerpts)

Photograph below is from Océanie by Jean Guiart, Gallimard, 1963:

Canoe prow figurehead, New Georgia, Solomon Islands, 

(I also use this image for my MusicRepublic avatar):

Please help me purchase important traditional records to pursue my global 
curation project and share the best finds with you on this blog: