ALGERIA – LIBYA – Musique Classique Arabe - 1er Festival Algérien de la Musique Andalouse 1967 / Disque 1 Mehradjane

ALGERIA – LIBYA 
Musique Classique Arabe – 1er Festival Algérien de la Musique Andalouse 1967 / Disc 1 – Mehradjane (LP)

After gaining independence in 1962, the Algerian government wanted to highlight Algeria’s and the Maghreb’s time-honored Arab-Andalusian musical heritage by organizing the first Festival of Arab-Andalusian music at Algiers’ Théâtre National in 1967. 

 

This superb album of live recordings made during the festival (the first volume in a six-LP box set on the Mehradjane label) presents an enticing program of Algerian Nuba – also called Arab-Andalusian classical music – performed by ensembles from the country’s three major Nuba stylistic centers, the cities of Constantine (A1) Algiers (B1-B2) and Tlemcen (B3), plus a rare recording of Nuba performed by a Libyan orchestra (A2). Two more editions of the Festival of Arab-Andalusian music were held in Algiers in 1969 and 1972, with the subsequent release of two additional 10-LP and 12-LP box sets. Here, four orchestras – with lead singers, choruses and instruments including violins, flutes, rebab bowed lutes, ud lutes, quanun zithers, darbuka drums and bendir frame drums – weave poetic, contemplative and spirited ambiances.

 

The sophisticated civilization that arose in Spain while under Muslim rule embraced and advanced many domains, from science, religion and metaphysics to poetry, music, architecture and the arts, at a time when cities like Cordoba, Seville and Granada were home to Moorish, Arabic, Hispanic, Christian and Jewish cultures in a spirit of openness and tolerance.

 

Following the Reconquest of the Iberian Peninsula in the 15th century, this musical heritage of a golden age migrated to North Africa, where it continued to thrive and in time became an intrinsic part of the Maghreb’s identity.

 

Après l’indépendance de l’Algérie en 1962, le gouvernement algérien chercha à mettre en valeur le patrimoine musical arabo-andalou d’Algérie et du Maghreb en organisant un Festival de musique arabo-andalouse en 1967 au Théâtre National d’Alger.

 

Ce superbe album de concerts enregistrés pendant le festival (le 1er volume d'un coffret de six disques publiés sur le label Mehradjane) propose un séduisant programme de Nouba algérienne – également appelée musique classique arabo-andalouse – interprétée par des orchestres issus des trois grands centres stylistiques de la Nouba en Algérie, à savoir de Constantine (A1), d’Alger (B1-B2) et de Tlemcen (B3), ainsi qu’un enregistrement rare de Nouba interprétée par un orchestre libyen (A2). Deux nouvelles éditions du Festival de musique arabo-andalouse seront également organisées à Alger en 1969 et 1972 suivi de la sortie de deux coffrets de disques supplémentaires. Ici, les quatre orchestres – comprenant des chanteurs, des chœurs et des instruments notamment des violons, des flûtes, des luths à archet rebab, des luths oud, des cithares quanun, des tambours darbuka et des tambours sur cadre bendir – tissent des ambiances poétiques, contemplatives et dynamiques. 

 

La civilisation sophistiquée née pendant la domination musulmane de Espagne excellait dans de nombreux domaines, allant des sciences à la religion, la métaphysique, la poésie, la musique, l'architecture et les arts, à une époque où des villes comme Cordoue, Séville et Grenade accueillaient et s’enrichissaient des cultures maure, arabe, hispanique, chrétienne et juive dans un esprit d'ouverture et de tolérance.

 

Suite à la reconquête de la péninsule ibérique au XVe siècle, ce patrimoine musical issu d'un âge d'or migre alors vers l'Afrique du Nord où il continue de prospérer et devient même peu à peu une partie intégrante de l'identité maghrébine.

A1 – Excerpt of a Nuba in Rasd Mode – Istikhbar Moual / Dharani El Haoua / Dharani El Haoua;

L'Orchestre de Constantine Directed by Abdelkader Toumi (1906-2005) / Vocals by Abdelmoumène Bentobal (1928-2004);

ALGERIA

 

A2 – Excerpts of a Nuba Malouf – Men Iaachaq El Ghozlane;

L'Orchestre de Libye Directed by Hassen El Aribi;

LIBYA

 

B1 – Excerpts of Neklab Sika – Ana Elladi Bia;

L'Orchestre de la Société des Concerts du Conservatoire d'Alger Directed by Abderrezak Fekhardji (1911-1984) / Vocals by Mohamed Khaznadji (b. 1929);

ALGERIA

 

B2 – Excerpts of Nesraf Dil – Aii Sabab;

L'Orchestre de la Société des Concerts du Conservatoire d'Alger Directed by Abderrezak Fekhardji / Vocals by Mohamed Khaznadji;

ALGERIA

 

B3 – Excerpt of a Nuba in Sika Mode – Soltane Errabi & Ama Teftaker Îa Ghazali;

L'Orchestre de Tlemcen / Vocals by Mohamed El Ghomeiri;

ALGERIA

 

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Our other Algerian Nuba posts:

Mohamed Tahar Fergani – El Khaima & Ya Mesiene Anabi – Sawt El Menyar 1004 here

Mohamed Khaznadji Musique Classique Algérienne – Noubat Ed Dhil – Les Artistes Arabes Associés 72830 here

Dahmane Ben Achour – Noubat Edd'il & Noubat Elhsine – Les Artistes Arabes Associés 72503 here

Photographs below are from La Musique Classique du Maghreb by Mahmoud Guettat, La Bibliothèque Arabe, Sindbad, 1980:

The Algerian kwitra lute, with eight strings grouped in four courses, is closely connected to the Arab-Andalusian musical heritage:

Bendir player, Libya:

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CONGO – UGANDA – MOZAMBIQUE – SOUTH AFRICA – TANZANIA – MALAWI – ZIMBABWE – RWANDA – Flutes & Horns – Kaleidophone KMA 4

CONGO – UGANDA – MOZAMBIQUE – SOUTH AFRICA – TANZANIA – MALAWI – ZIMBABWE – RWANDA
Music of Africa Series – Musical Instruments 4 – Flutes & Horns – Kaleidophone KMA 4, 1972 reissue of a 1965 Gallotone release, recorded by Hugh Tracey (LP)

I’m delighted to present this fascinating compilation featuring flutes and horns of old recorded by Hugh Tracey in eight southern and central African countries.

 

This gorgeous musical selection is presented in sections, showcasing flutes (A1-A8), panpipes (A9), singing horns (B1-B2), horn ensembles (B3), Makondere horns (B4-B7) and singing gourds (B8) in a variety of formats, with singers, various rattles, drums and percussion to accompany dances, weddings, rituals and ceremonies.

 

These enthralling collective performances exemplify that distinctive fluid and sensuous African polyrhythmic touch and stunning novel sounds, running the gamut from the whimsical to the haunting.

 

Je suis ravi de vous présenter cette fascinante compilation de musiques d'antan comprenant des flûtes et des trompes enregistrée par Hugh Tracey dans huit pays d'Afrique australe et centrale.

 

Cette magnifique sélection musicale présente successivement des flûtes (A1-A8), des flûtes de pan (A9), des trompes chantantes (B1-B2), des ensembles de trompes (B3), des trompes Makondere (B4-B7) ainsi que des calebasses chantantes (B8), accompagnés notamment de chanteurs, divers hochets, tambours et percussions lors de danses, d’un mariage, de cérémonies, etc.

 

Ces formidables performances collectives illustrent bien cette touche polyrythmique fluide et sensuelle toute Africaine et proposent des sons inédits, allant du fantasque au lancinant.

FLUTES

A1 – CHOPI people – Sigowilo duet

Two girls three-hole Sigiwilo ocarina duet, Regulo Nyakutowo’s village, Zavala dictrict,

MOZAMBIQUE

 

A2 – TSWANA/LETE people – Godumaduma Gwa Mosadi

Flute tune by Tswana flute dancers led by Modiseng, Western Transvaal,

SOUTH AFRICA

 

A3 – ZARAMO people – Chansi cha Nzige

Pipe dance with set of 13 Viyanzi vertical flutes, two friction sticks and tin rattles by the Zaramo Boys led by Pembe Selemani, Dar es Salaam,

TANZANIA

 

A4 – SENA/TONGA people – Ai-ye! Nzara Yakabora ("Ai-ye! Famine Has Come")

Gororombe dance with four end-blown pipes, rattles and drums by young Tonga men and women, Mkota district, Mtoko,

ZIMBABWE

 

A5 – SOGA people – Bwomera Envu (When Your Hair Turns Grey, You’re Getting Old)

Ndere flute, two drums and handclapping by a group led by Mulobu Maswa, Bugembe, Kamodi County,

UGANDA

 

A6 – GANDA people – Kikwabanga

Three Ndere end-blown, notched, open flutes, one cylindrical, pinned, footed drum and three laced conical drums by Abalere Ba Kabaka, Buganda province, 

UGANDA

 

A7 – NANDE people – Herdsman's Tune

Nyamulera four-holed, notched flute by Katsuba Mwongolo, Beni District, Kivu,

CONGO (Kinshasa)

 

A8 – NYAKYUSA people – Flute Tune

Ilonge notched, end-blown flute by Balekbosa Kayala, Kiwira Village, Tukuyu District,

TANZANIA

 

PANPIPES

A9 – LUBA/SONGYE people – Mishiba

Pipe ensemble with two weighted, closed, hand-beaten goblet drums and six sets of panpipes played by six Bena Budia men, Kasaï Province,

CONGO (Kinshasa)

 

SINGING HORNS

B1 – GITONGA people – Custodo A Mabile

Makarito dance with five singing horns, a bass steel drum, two small drums and a small bell by Comacado Des Amigos Timoses, Maxixe, Sul do Save Province, 

MOZAMBIQUE

 

B2 – NYANJA/CHEWA people – M'Sodomo

Maganda dance with 12 Malipenga singing horns by Boys of Chief Mwasi's Village, Kasungu,

MALAWI

 

HORN ENSEMBLES

B3 – YOGO (or MAYOGO) people – Mavumbala

Dance song with seven Mbala wooden horns, a Kekese basket rattle, an Mbilli metal wrist bell, two pod drums, two conical laced drum, two small slit drums and double metal bell, Mayogo Mabozo, Paulis,
CONGO (Kinshasa)

 

MAKONDERE HORNS

B4 – NYORO/HAYA people – Nkete

Victory song with Makondere horns, a conical laced drum and a cylindrical footed, open pegged drum by Eliazale Kazinduke, Bukoba District,

TANZANIA

 

B5 – NYORO people – Rwakanembe

Makondere gourd horns by the Abanyabyala Royal Band led by Bulasio Ataya, Kitali. Honia, Bunyaro District, 
UGANDA

 

B6 – TUTSI people – Kyarutema

Tutsi dance song with eight Makondere horns and drums by Chief Biniga’s musicians, Shangugu, Rusizi District, Western Province,
RWANDA

 

B7 – SOGA people – Mulimo Omutanda (The Owner of the House)

Magwala horns, large Kigoma conical, laced drum and a small conical drum by Mulobo Maswa's ensemble, Bugembe, Kamodi County,

UGANDA

SINGING GOURDS

B8 – LUBA/BAKWANGA people – Chombela

Wedding song with three hipeni singing gourds, a basket rattle and handclapping by nine Bena Shimba women, Mbujimayi, Eastern Kasaï, 

CONGO (Kinshasa)

 

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Hugh Tracey (1903-1977) was a major British-born ethnomusicologist who made many thousands of seminal field recordings in Southern, Eastern and Central Africa from the 1920s to the 1970s. In 1921 he traveled to Zimbabwe (then British-ruled Rhodesia) to run a tobacco farm and immediately became fascinated by the Karanga dialect and culture of his Shona workers, particularly their folksongs. “He had a vision,” said his son Andrew Tracey, “and that was to preserve this music for future generations.”*

Hugh Tracey was to become the most important field recorder of African music of the 20th century.

*Read a profile of Hugh Tracey by his son Andrew here

Post with more Hugh Tracey recordings:

British East Africa – Columbia Masterworks Volume X here

 

A great ressource:

Ilam (International Library of African Music) founded by Tracey in 1954 hosted on the Smithsonian/Folkways site to explore some of his many recordings here

 

 

Photographs below are from Art Bakongo – Les Centres de Style by Raoul Lehuard, Arts d'Afrique Noire, 1989, and The Mystic Spiral: Journey of the Soul by Jill Purse, Thames & Hudson, 1980:

 

The Bwende (or Babwende) people craft colossal Niombo fabric reliquary mannequins – hosting the body and relics of the deceased – in the context of the Niombo funeral ancestor cult for chiefs. In this photo, the towering, symbolically shackled Niombo – with his left arm pointing down to earthly life and his right arm pointing up to the heavens – will be carried to the chief’s tomb to accompany him into the realm of the ancestors to the music of a horn and drum ensemble. 

Bwende people, Congo-Kinshasa, early 20th century:

“Fertility, through cosmic harmony, is achieved by the dance in which the young virgins of the Venda people identify with the serpent force. After the rains, during these ceremonial days, elderly women initiate the virgins, conduct the ceremony, and act as the pivot around which the dancers spiral in the rhythmic movements and sinuous coils of the python. Collapsing and reviving, they rest like the forces of nature in the seasonal round of death and rebirth.” 

Deumba python dance, Venda (or Bavenda) people, northeastern South Africa:

 

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INDIA – INDE Kesarbai Kerkar – His Master's Voice – 7 ERE 1 (7 inch, 45 RPM)

INDIA – INDE
Kesarbai Kerkar – His Master's Voice – 7ERE 1 (7 inch, 45 RPM)

The legendary Kesarbai Kerkar, or Kesar Bai Kerkar, (1892–1977) was one of the greatest and most influential Hindustani singers of the 20th century. Born into a family of musicians in the village of Keri in Goa, she embraced music at an early age and was tutored by Abdul Karim Khan (1872-1937) in Kolhapurat. She moved to Mumbai with her family and subsequently trained with various notable teachers, including Bhaskarbuwa Bakhale (1869-1922) and Ramkrishnabuwa Vaze (1871-1945). 

In 1921, Alladiya Khan (1855–1946), the demanding founder of the Jaipur-Atrauli Gharana, accepted her as his disciple. Kerkar began singing professionally in 1930 and achieved fame throughout India. Along with luminaries like Mogubai Kurdikar (1904-2001), Hirabai Barodekar (1905-1989) and Gangubai Hangal (1913-2009), she paved the way for the new generation of female Khayal vocalists.

Kerkar was committed to striving for perfection through hard work, total dedication, and an uncompromising attitude: She declined to sing light classical music and refused to use any amplification or be recorded live. She resolutely shunned the limelight, remaining true to tradition by performing mostly in courts and rarely gave public performances. She retired in 1964, in her seventies, when she realized her voice was deteriorating and left only a few recordings for posterity. Her death in 1977 went almost unnoticed. Despite her indelible influence and the profound respect of her distinguished peers–from Siddheswari Devi (1908-1977) and M.S. Subbalakshmi (1916-2004) to Begum Akhtar (1914-1974) and Bimsen Joshi (1922-2011)–this musician’s musician is little known outside the circle of connoisseurs.

These four tracks on this rare 45 RPM released in the early 1960s exemplify Kerkar’s power, sensuality, clarity, balance and masterful precision. "The yogini of music," as she was affectionately called by her admirers, brilliantly expressed the humanity, reflective intellect, sense of the sacred, and lofty dignity of a bygone era.

La légendaire Kesarbai Kerkar, ou Kesar Bai Kerkar (1892-1977), fut l'une des plus grandes chanteuses Hindustani du XXe siècle. Née dans une famille de musiciens dans le village de Keri à Goa, elle se dévoue dès son plus jeune âge à la musique et reçoit même pendant plusieurs mois des leçons d’Abdul Karim Khan (1872-1937) à Kolhapurat. Elle déménage ensuite à Mumbai avec sa famille et poursuit son apprentissage auprès de divers grands maîtres, notamment Bhaskarbuwa Bakhale (1869-1922) et Ramkrishnabuwa Vaze (1871-1945).

En 1921, l'exigeant Alladiya Khan (1855-1946), le fondateur du Jaipur-Atrauli Gharana, l'accepta comme son disciple. Kerkar commence à chanter professionnellement à partir de 1930 et acquiert peu à peu une grande renommée dans toute l'Inde. Aux côtés d’autres grandes figures du chant telles Mogubai Kurdikar (1904-2001), Hirabai Barodekar (1905-1989) et Gangubai Hangal (1913-2009), elle ouvre la voie à la nouvelle génération de chanteuses de Khayal.

Kesarbai Kerkar recherche perpétuellement la perfection par son travail acharné et un dévouement total sans aucune compromission: elle refusa de chanter de la musique classique légère, d'utiliser de amplification ou d'être enregistrée en direct. Elle n’aime résolument pas être sous les feux de la rampe, et, suivant la tradition, chante principalement dans les cours des maharajas et donne rarement des récitals publiques. Elle prend sa retraite en 1964, lorsqu’elle réalisa que sa voix se détériorait, et n’a laissé qu'un nombre limité d'enregistrements pour la postérité. Sa mort en 1977 est passée presque inaperçue. En dépit de son influence majeure et du profond respect témoigné par ses pairs – de Siddheswari Devi (1908-1977) à M.S. Subbalakshmi (1916-2004), et Begum Akhtar (1914-1974) à Bimsen Joshi (1922-2011) – sa musique reste peu connue en dehors du cercle des initiés.

Ces quatres pistes sur ce 45 tours rare, publié au début des années 1960, illustrent bien la puissance, la sensualité, la clarté, l’équilibre et la précision magistrale de Kerkar. « La yogini de la musique », comme l'appelaient affectueusement ses admirateurs, exprima avec brio l'humanité, la sensibilité, le sens du sacré et la noble plénitude d'une époque révolue.

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The record's front and back cover above were designed by South-Indian classical dancer and teacher Amala Devi.

Our other female Hindustani singer posts:

Kesarbai Kerkar – HMV EALP 1278 here

Siddheswari Devi – HMV EALP 1436 here

Gangubai Hangal – HMV 7 EPE 1239 here

Hirabai Barodekar – HMV 7 EPE 1205 here

Hirabai Barodekar and Saraswati Rane – ECLP 2356 here

Sulochana Brahaspati – Concert Series by Midas here

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

Mirabai (also Mira Bai or Meera Bai) playing the veena, Kangra painting, Himachal Pradesh, c. mid-18th century:

 

Sant Mirabai (1498-1547) was a princess from the Kingdom of Marwar in present day Rajastan, who became a devotee of Lord Krishna and the most famous female poet-saint of the Bhakti movement. Her devotional bhajans are still popular in India and the many tales and legends shrouded in mystery surrounding her life continue to fascinate and inspire to this day.

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GEORGIA – GÉORGIE Georgia in Folk Song (Anthology) – Melodiya 016491-016496 (3 LP)

GEORGIA – GÉORGIE
Georgia in Folk Song (Anthology) – Melodiya 016491-016496 (3 LP)

This reissue of a seminal triple LP box set on the essential Soviet Melodiya label, first released in 1965 (?), presents the 48-track Georgia in Folk Songs anthology essentially showcasing the famed Georgian vocal polyphony – featuring a mere two purely instrumental tracks with a chonguri four stringed unfretted lute (D5) and drums and accordion (F6). And on the remaining 46 vocal tracks, 13 are accompanied by instruments, including stringed instruments like chonguri and panduri lutes and changi harps, and a gudastviri bagpipe (F8).

Vocal polyphony – which predates the advent of Christianity in Georgia during the 4th century – is part of the very fabric of Georgian rural culture, performed during supra feasts, funerals, healings and weddings, occasions in which the entire community participates, plus love songs, work songs and traveling songs. During the Soviet period, until Georgia's independence in 1991, folk music was encouraged and promoted, while certain essential genres, like church music were prohibited.

The music here presents enthralling harmonies, ranging from the melodious to the dissonant and abstract, in an engaging program featuring elements specific to regional styles, from the use of Western Georgian yodeling to haunting drone-like singing with Eastern Georgian influences.

La réedition de ce superbe coffret 3 disques sur le label soviétique Melodiya, initialement édité en 1965 (?), l'anthologie La Géorgie en Chansons Folkloriques, comprenant 48 morceaux, présente essentiellement la remarquable polyphonie vocale géorgienne – avec seulement deux morceaux instrumentaux: un luth chonguri à 4 cordes (D5) et un tambour et un accordéon (F6). De plus, sur les 46 plages vocales, seules 13 sont accompagnées par des instruments, notamment des instruments à corde (luths chonguri et panduri, et harpe changi) et une cornemuse gudastviri (F8).

La polyphonie vocale qui est au coeur même de la culture rurale géorgienne et existait bien avant l'introduction du christianisme en Géorgie au 4ème siècle, est chantée à l’occasion de banquets traditionnels supra, de mariages, de funérailles, ou de rites de guérison, au cours desquels toute la communauté participe, ainsi que dans des chants d'amour, des chants de travail et des chants de voyages. Pendant la période soviétique jusqu'à l'indépendance de la Géorgie en 1991, la musique folklorique fût encouragée, même si certains genres majeurs, comme les chants religieux, furent bannis.

Les musiques ici présentent des harmonies fascinantes, allant du mélodieux au dissonant et à l’abstrait, dans un programme musical varié comprenant des éléments stylistiques régionaux, allant de l’utilisation du yodel en provenance de l’ouest à des bourdons lancinants en provenance de l’est du pays.

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Our other Georgian music post:

The Rustavi Ensemble – Georgian Folk Songs – Melodiya here

Photographs below are from Les Icônes by Kurt Weitzmann, Gaiané Alibegasvili, Aneli Volskaya, Gordana Babic, Manolis Chatzidakis, Mikhaïl Alpatov, Teodora Voinescu, Fernand Nathan publishing, 1982:

Saint Georges, 80 x 58 cm, Mestia, Georgia, 14th-15th century:

Christ Savior, painting, gold and precious stones, 58 x 41 cm, 

Alaverdi, Georgia, 16th century:

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curation project and share the best finds with you on this blog: