SERBIA – BOSNIA-HERZEGOVINA – CROATIA – MACEDONIA Yugoslavia – Narodna Muzička Tradicija / Traditional Folk Music – PGP RTB – LP 22-2570

SERBIA – BOSNIA-HERZEGOVINA – CROATIA – MACEDONIA

Yugoslavia – Narodna Muzička Tradicija / Traditional Folk Music – PGP RTB – LP 22-2570, production, liner notes and photographs by Dragoslav Dević, recorded in 1978 (LP)

Intense, minimal and abstract, the arresting folk music of the Balkans features dissonant vocals and wails, complex rhythms and quirky instrumentals. This wonderful panorama of the traditional music of Yugoslavia—which broke up in 1991—showcases that distinctive Balkan sound brimming with vitality and emotion from the myriad cultures featured on the LP that are now spread across Serbia (Side A and B7), Bosnia-Herzegovina (B1-B3), Croatia (B4a-B4d) and Macedonia (B5-B6).

 

Recorded at the National Museum of Serbia in Belgrade on October 15, 1978, this anthology of pastoral and rural sounds from time immemorial presents a stunning instrumental palette, with various solo and group female and male vocals (A2, A5, A7, A8a, A8b, A9, A11, A13a, A13b, B2, B5), flutes (A1, A4, A6a, A12, B7), bagpipes (A6b, A10), a rikalo-bušen alphorn (A3), a šargija lute (B1) a baglama or saz long-necked lute (B3), roženice double-reed oboes (B4a, B4c, B4d) and a zurna oboe (B4b).

 

La musique folklorique des Balkans est intense, épurée et abstraite, avec notamment des chants faits de dissonances et de gémissements, des rythmes complexes et des plages instrumentales déroutantes. Ce disque fascinant offre un large panorama de la musique traditionnelle de Yougoslavie – qui a éclaté en 1991 – avec ce son si caractéristique des Balkans débordant de vitalité et d'émotion. Les cultures présentées sur ce 33 tours vivent désormais en Serbie (Face A et B7), en Bosnie-Herzégovine (B1-B3), en Croatie (B4a-B4d), et en Macédoine (B5-B6).

 

Cette anthologie de sonorités pastorales et rurales de la nuit des temps, enregistrée au Musée National de Serbie à Belgrade le 15 octobre 1978, présente une palette instrumentale étonnante, comprenant divers chants féminins et masculins en solo ou en groupe (A2, A5, A7, A8a, A8b, A9, A11, A13a, A13b, B2, B5), des flûtes (A1, A4, A6a, A12, B7), des cornemuses (A6b, A10), un cor des Alpes rikalo-bušen (A3), un luth šargija (B1), un luth baglama ou saz à manche long (B3), des hautbois à anche double roženice (B4a, B4c, B4d) et un hautbois zurna (B4b).

SERBIA

 

A1 – Ora

Flute ensemble from Ždrelo, Homolje, Serbia.

 

A2 – Čobanska Pesma Bez Reči (Wordless Shepherd's Song)

Nasta Stepanović, vocals, from Krepoljin, Homolje, Serbia.

 

A3 – Svirka Na Đurđevdan (Music for St. George's Day)

Ilija Janković, rikalo-bušen alphorn, from Ždrelo, Homolje, Serbia.

 

A4 – Poziv Na Sastanak (Call for Lovers to Meet)

Miladinka Radulović and Milja Barbulović, dudurejš flutes, from Ždrelo, Homolje, Serbia.

 

A5 – Službu Služi Viden Dobar Junak (Viden, the Valiant Youth Serves his Master)

Bosiljka Stepanović, Zorka Milošević and Smederevka Ljubisavljević, vocals, from Jablanica, Crna Reka, Serbia.

 

A6a – Kolo improvisation

Radomir Marjanović, svirala-frula flute, from Jablanica, Crna Reka, Serbia.

 

A6b – Kolo improvisation

Radomir Marjanović, karabe bagpipes, from Jablanica, Crna Reka, Serbia.

 

A7 – Šaljiva Narodna Zdravica (A Comic Toast)

Milojko Marić, voice, from Opaljenik, Ivanjica, Serbia.

 

A8a – Žanjem Žito Pa Ga Lepo Slažem (I'm Reaping Wheat)

Female vocal ensemble from Erčege, Ivanjica, Serbia.

 

A8b – Oj, Golijo, Oj, Jedina (Oh, Golija, Oh, the Only One)

Female vocal ensemble from Erčege, Ivanjica, Serbia.

 

A9 – Kazivanje O Čobanskim Igrama (Shepherd Games) and Bukni, Rikni, Moj Šarine (Burst, Roar, my Šarine)

Milun Jelić, vocals, from Erčege, Ivanjica, Serbia.

 

A10 – Banatsko Kolo (The Banat Kolo)

Mirko Francuski, bagpipes, from Kikinda, AR Vojvodina, Serbia.

 

A11 – Pratila Majka Devojče U Lojze (Mother Sent Her Daughter to Lojze)

Female vocal ensemble from Gornja Studena, Niš, Serbia.

 

A12 – Frulaški Razgovor (Flute Dialogue)

Borisav Nikolić & Vasa Mišić from Gornja Studena, Niš, Serbia.

 

A13a – Sa Planine Vetar Duva (The Wind Blows from the Mountain)

Male vocal ensemble from Korman, Kragujevac, Serbia.

 

A13b – Prozore Sam Otvorila Širom (I Opened my Windows Wide)

Male vocal ensemble from Korman, Kragujevac, Serbia.

 

 

BOSNIA & HERZEGOVINA

 

B1 – Majka Ivu Šalje Na Oranje (Mother Sends Ivo to Plough the Field)

Jakov Babić, šargija lute from Gornji Vukšić, Brčko, Bosnia and Herzegovina.

 

B2 – Ovdje Nam Je Zapjevati Dika (This Is Where We Like to Sing)

Miljenka, Željko and Jovanka Ðogo, vocals, from Obalj, Zelengora, Bosnia and Herzegovina.

 

B3 – Na Bimbaši Na Babića Bašči (At Bimbaša in Babić's Garden)

Igbal Juca, baglama or saz long-necked lute, from Sarajevo, Bosnia and Herzegovina.

 

 

CROATIA

 

B4a – Mantinjada

Romano Živić And Blaž Bančić, roženice double reed oboe, from Cere, Rovinj, Croatia.

 

B4b – Po Čobanski (Shepherds' Way)

Blaž Bančić, zurna oboe, from Cere, Rovinj, Croatia.

 

B4c – Ljubav Me Je Dovela Do Groba (Love Took Me to My Grave)

Romano Broskvar & Josip Kalčić, roženice double reed oboes, from Cere, Rovinj, Croatia.

 

B4d – Balun

Romano Živić & Blaž Bančić, roženice double reed oboes, from Cere, Rovinj, Croatia.

 

 

MACEDONIA

 

B5 – Neda Beli Belo Platno (Neda Bleaches Her White Linen)

and Svi Svatovi Na Konja Januvat (All The Wedding Guests Are Riding Horses)

Female vocal ensemble from Injevo, Radoviš, Macedonia.

 

B6 – Oro (Kolo) & Dereviško, Viško Mome (Dereviško, My Comely Maiden)

Slave Petrovski, ćemene, fom Delčevo, Macedonia.

 

 

SERBIA

 

B7 – Vlajna

Flute ensemble from Ždrelo, Homolje, Serbia.

Download:

Flac

MP3

Ethnomusicologist Dragoslav Dević (1925-2017) played a major role in safeguarding these wonderful musics, recordings some 10,000 tracks and collecting over 500 folk musical instruments, now part of the Faculty of Music's collection in Belgrade. 

 

L'ethnomusicologue Dragoslav Dević (1925-2017) a joué un rôle majeur dans la sauvegarde de ces merveilleuses musiques en enregistrant quelque 10.000 morceaux et en recueillant plus de 500 instruments de musique folkloriques qui font maintenant partie de la collection de la Faculté de musique de Belgrade.

Our other Balkan music posts:

Serbia

Srbija Instrumenti - Narodna Muzička Tradicija - PGP RTB 2510030 here
Srbija - Muzika I Tradicija - RTB LPV 192 here

Yugoslavia

Muzika I Tradicija - Vol. 1, Pesme I Igre Naroda Jugoslavije - PGP RTB - LPV 190 here

Southeast Europe

Orient - Okzident – Musik Aus Südost-Europa – Museum Collection Berlin MC3 here

Macedonia

Macedonian Folk Dances Vol. III - Folkraft  Records LP 25 here

Romania

Traditional Folk Music Band: II Bucovina - Electrecord EPE 02164 here
Anthology of Romanian Folk Music Vol. I, record 1 – Electrecord EPD 78 here
Ion Matache – Electrecord EPD 1269 here

Albania
Albanian Folk Music – Disques Vendémiaire - VDE/PAL 114 here
L'Albanie Folklorique – Disques Cellier N° 010 here
Folk Music of Albania – Topic Records – 12T154 here

Bulgaria
Music of Bulgaria – Seven Seas  – GXC-5007 here
Village Music of Bulgaria – Nonesuch H 7234 here
Celebration of the Feast of St. Ivan – Rila Monastery, Bulgaria – Archiv Produktion 2533 487 here

 

Greece
Rebetika History 1925-55 Vol. 4 – Regal here
Musik der Pontos-Griechen – Nordgriechenland – MC5 here

Folk music of Northern Greece – Epirus & Macedonia – VPA 8298 here
Greek Folk Music Volume III – Wedding Songs - PFF 3 here
Greece in Music & Song – Argo ZFB 70 here

Please help me purchase important traditional records to 

pursue my global curation project and share the 

best finds with you on this blog here below:

INDIA – INDE Hirabai Barodekar – Raag Puriya Kalyan / Raag Ahir Bhairav – Columbia – SEDE 3306

INDIA – INDE
Hirabai Barodekar – Raag Puriya Kalyan / Raag Ahir Bhairav – Columbia – SEDE 3306 (Vinyl 7 inch, 45 RPM)

The distinguished Hindustani vocalist of the Kirana Gharana, Hirabai Barodekar (1905-1989), was the eldest daughter of the founder of the Kirana Gharana, Abdul Kareem Khan (1872-1937). Although she received only limited musical instruction from her father, she was first trained by her brother Sureshbabu Mane (1902-1953), and in 1918 she became a disciple of her father’s cousin Abdul Wahid Khan (1871-1949), a great master of the Kirana Gharana.

 

Despite her prestigious lineage and exceptional talent, Barodekar had to fight to assert herself in a male-dominated musical milieu, and rose to become the first female artist to perform in a ticketed auditorium, in 1925. Barodekar had a huge following and helped popularize Hindustani classical music throughout her long career.

This forgotten 45 rpm offers outstanding examples of her soft, elegant voice delivered with poise, subtle virtuosity, restraint and heartfelt emotion. Barodekar is accompanied here by unidentified harmonium, tanpura and tabla players.

La grande chanteuse hindoustani du Kirana Gharana Hirabai Barodekar (1905-1989) était la fille aînée d’Abdul Kareem Khan (1872-1937), le fondateur même de l’école Kirana Gharana. Bien qu'elle n'ait reçu qu'une instruction musicale limitée de la part de son père, elle a d'abord été formée par son frère Sureshbabu Mane (1902-1953) puis est devenue la disciple du cousin de son père, Abdul Wahid Khan (1871-1949), l'une des principales figures du Kirana Gharana.

Malgré son lignage musical prestigieux et de son talent exceptionnel, Hirabai Barodekar dut se battre pour s'affirmer dans un milieu musical dominé par les hommes. En 1925 elle devint la première artiste féminine à se produire dans un auditorium à entrée payante. Tout au long de sa longue carrière Hirabai Barodekar rencontra un immense succès et contribua à populariser la musique classique d’Inde du Nord.

Les deux plages de ce 45 tours oublié illustrent magnifiquement la virtuosité subtile de sa voix suave et élégante, empreinte à la fois de retenue et d’émotion intense. Elle est accompagnée sur cet album par des joueurs d’harmonium, de tablas et de bourdon tanpura non identifiés.

Download:

Flac

MP3 

The cover of this record was designed by South-Indian classical dancer and teacher Amala Devi.

Our other female Hindustani singer posts:

Hirabai Barodekar – HMV 7 EPE 1205 here

Hirabai Barodekar and Saraswati Rane – ECLP 2356 here

Kesarbai Kerkar – HMV 7 ERE 1 here
Kesarbai Kerkar – HMV EALP 1278 here

Siddeswari Devi – HMV EALP 1436 here

Gangubai Hangal – HMV 7 EPE 1239 here

Sulochana Brahaspati – Concert Series by Midas here

The Great Tradition – Masters of Music – HMV EALP 1453/1452 here

Photographs below are from Miniatures & Peintures Indiennes by Roselyne Hurel, published by Bibliothèque Nationale De France, 2010, and the Metropolitan Museum of Art’s online collection (www.metmuseum.org):

 

Female musician with a tanpura, Mughal painting, 1760:

A lady playing the tanpura, Kishangarh, Rajasthan, circa 1735:

Please help me purchase important traditional records to 

pursue my global curation project and share the 

best finds with you on this blog here below: