Описание CD

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  Исполнитель(и) :
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  Наименование CD :
   Folk Songs



Год издания : 2007

Компания звукозаписи : ECM

Время звучания : 1:01:43

Код CD : ECM New Series 2003

  Комментарий (рецензия) :

CD, стоящие на полке рядом : Pseudo Ethnic      

Recorded February 2007

Propstei St. Gerold

Ballads, Hymns and Lullabies

Traditional songs from Norway arranged for voices and percussion

Det Lisle Banet (The Little Child)

Medieval Ballad, Telemark

So Ro, Godt Barn (Rest Now, Sweet Child)

Vestfold

Villemann Og Magnhild (Villemann And Magnhild)

Medieval Ballad, after Kalenda Maya

Tjovane (The Thieves)

Medieval Ballad, southern Norway

after Kirsten Braten Berg

Nu Solen Gar Ned (The Sun Is Setting)

Telemark, after Sondre Bratland

I Mine Kate Ungdomsdagar (In My Reckless, Youthful Days)

Telemark, after Tiriltunga

Gjendines Badnlat (Gjendine's Lullaby)

Written down by Edvard Grieg,

after Kaia Gjendine Slaalien, Jotunheimen

Rolandskvadet (The Song Of Roland)

Medieval ballad

Solbonn (Sun-Prayer)

Telemark, after Berit Opheim

Eg Veit I Himmerik Ei Borg (I Know A Stronghold In Heaven)

Hallingdal, German text before 1600,

translation by Bernt Stoylen

Nu Vilar Hela Jorden (All The Earth Now Rests In Peace)

Old Swedish Town, Ukraine, after Tone Krohn

Eg Aktar Inkje (I Don't Think Much Of Those Boys)

Telemark, after Tiriltunga

Den Elskte Jerusalem (Beloved Jerusalem)

Vestfold, after Arne B?e, text by Niels Brorson

Till, Till Tove

Vestfold

Lova Line

Vest-Agder, after Kirsten Braten Berg

Danse, Ikke Grate Na (Dance, Do Not Cry Now)

text/mel.: Lillebjorn Nilsen, Oslo

Den Signede Dag (The Day Of Joy)

Vestfold, after Tone Krohn

Folkefrelsar, Til Oss Kom (Saviour Of The Nations, Come)

Melody from Einsiedeln 12th century,

revised 1524 by Martin Luther, words after

Ambrosius (d. 397); "Veni redemptor gentium",

transl. from German by Bernt Stoylen

The Norwegian women's ensemble Trio Mediaeval specializes in early music, but also sings new music, and in this album it branches out to arrangements of folk songs. Folk musician Tone Krohn and group member Linn Andrea Fuglseth made the arrangements, which are magical and lovely. Given the constantly evolving conventions of the folk repertoire, the trio and arrangers are under no constraints to discover and follow an authentic performance practice for the songs, so the arrangements are stylistically and idiomatically varied. They retain the simplicity of a folk song, but the harmonies frequently push the folk style toward a heightened expressivity through the judicious (and highly effective) use of dissonance. One of the most striking characteristics of the arrangements is the textural variety they achieve - it's frequently hard to believe that only three voices are able to create such a rich contrapuntal web. The group sings with great purity and excellent blend, so the tart harmonies really ring, and their rhythmic incisiveness keeps the music lilting. Birger Mistereggen accompanies them on various percussion instruments, drums, and jew's harp. His contributions are discreet, but add immeasurably to the color and atmospheric variety of the music. ECM's sound is characteristically immaculate, with good resonance. The beautifully performed and produced disc should appeal equally to lovers of folk music, women's voices, and contemporary music for small vocal ensembles.

All Music Guide

======

The Trio Mediaeval have included Norwegian folk songs in their concert repertoire from the beginning of their history. Now this material is the subject of an extraordinary new album, the fourth disc from the Norwegian-Swedish trio, augmented here by percussionist Birger Mistereggen. Its intensely melodic programme - of music the singers have known since childhood - incorporates a wide array of spontaneous interaction and the most diverse vocal techniques, colours, moods and atmospheres. The recording of these ballads, hymns and lullabies arranged for voices and percussion is above all a celebration of music that has long inspired them. The disc's release also coincides with the trio's tenth anniversary as a performing group.

Faithful to the musical spirit of the songs and to the storyline of the texts, the Trio's interpretations of these folk pieces are also strikingly original. As might be expected of a group renowned for its challenges to orthodoxy (the early sacred pieces in their repertoire, after all, were not intended to be sung by women), the trio do not make "authenticity" a goal, but approach the music in a very fresh way, making it "wonderfully alive" (as the Washington Post noted of their folk song performances in 2005).

Folk music, of course, is based on oral tradition, and the multitude of contemporary arrangements and interpretations available underlines their continued importance in Norway's musical life. The country's wide and varied heritage of folk music is well documented and researched and, crucially, folk music has remained a living tradition in Norway. It has inspired many musicians from different backgrounds, a phenomenon that can be clearly observed on numerous ECM jazz releases from Jan Garbarek to Frode Haltli and Christian Wallumrod. (In fact one of the tunes recorded by the trio here, the wedding march from Gudbrandsdalen, made its first appearance on an ECM disc 35 years ago, on Garbarek's "Triptykon"). Trio Mediaeval are not improvisers in a 'jazz' sense but their interpretative freedom and spontaneity has caught the attention of jazz musicians (and led to recent live collaborations with Tord Gustavsen, Arve Henriksen, and others).

For their "Folk Songs" project, the trio decided to integrate percussionist Birger Mistereggen, who broadens their sonic spectrum by adding an archaic, and viscerally thrilling, rhythmic counterpoint to the elegant vocal blend. Mistereggen says, "We like to think of the percussion as an earthen element, beneath the ethereal voices up there in the skies." The notion of accompanying songs with percussion is uncommon today but not arbitrary, and the voice/drums blend has a history in Norwegian folk music that can be traced back to at least the 17th century. The importance of the drums to the folk tradition is explained in the performers' note in the CD booklet.

"Folk Songs" is the first of the trio's ECM discs made with the active participation of Manfred Eicher as recording producer (John Potter having supervised recording of the previous discs). Songs selected for the recording made in the generous acoustics of the Austrian monastery of St. Gerold stem from regions such as Vestfold or Telemark and many of them have been sung by the great folk singers of the north. The Trio's record pays tribute to the influential Norwegian folk trio "Tiriltunga" but most of the arrangements here were shaped by Linn Andrea Fugleseth and Tone Krohn, a folksinger from Linn's hometown Sanderfjord in the Vestfold county.

The new album will be presented at a special launch event as part of the Ultima Contemporary Music Festival in Oslo on September 30. The trio follows with further concerts in Norway, then dates in England, Germany and France, and a tour of the United States. In February 2008 they head eastward, stopping in Estonia on their way to the Hong Kong Arts Festival.

www.ecmrecords.com/Background/New_Series/2003.php

========= from the cover ==========

Roots and Branches

A performers' note

Norwegian folk songs and medieval ballads have complemented our repertoire of sacred music and contemporary pieces since we began singing together in 1997. Although none of us in the trio grew up as a folk musician, we were nevertheless surrounded by folk music. These are songs we have known since childhood. Singing them in our native language and adapting them to suit our voices and sound has been an exciting process.

Fascinated by their beautiful melodies, harmonies and rhythmic structures, Linn Andrea arranged some of the songs for the group, inspired by the performances of, among others, Kirsten Braten Berg, Sondre Bratland, Agnes Buen Garnas, Berit Opheim, Unni Lovlid, the all-female vocal trio Tiriltunga, and Tone Krohn. Tone has collected many tunes from her home county of Vestfold in southern Norway (not especially known for its folk music), where Linn Andrea also grew up. We have been fortunate to work closely with Tone, who has arranged many of the folk songs in our repertoire.

One of the sound-worlds that make Norwegian vocal folk music so distinctive is the tradition of singing without words, a style known as tulling, suiting or trailing in which a sequence of consonants is invented or improvised by the singer. In dance music, which is characterised by rhythmic, often rapid, instrumental-sounding passages and uneven beats, singers create their own sounds using plosives and nasal consonants with relatively light vowels. A typical 'trailing' sequence (as in Springdans, Bruremarsj, Eg aktar inkje) might be tra di da di dadi damm di dadndida. This is very similar to the Scottish and Irish tradition known as 'mouth music'. There is also a type of traditional singing known as lokk or laling, short motifs sung to call home cattle at night on mountain farms, and also an effective means of communication over long distances (as in Till, till Tove). With the exception of the styles of singing above, the text is an important element in the vocal folk music tradition.

In the same way that cultures, languages and dialects vary from place to place, so do forms of musical expression. Folk music in Norway has a strong tradition of connecting a certain song or ballad to a specific place, event or even to a specific person. In folk music we don't talk about composers, but we have a custom of acknowledging a performer as the source of a particular song by using the term 'after', meaning 'as sung by'. We mention only the source from which we ourselves have heard and learnt the tune, although it has been handed down orally for generations.

Trio Mediaeval is especially indebted to the group Tiriltunga, who have greatly inspired us through the years. The first time we heard Tiriltunga together was in 2000 during a school concert tour, listening to the car stereo while driving mile after mile through the desolate north-Norwegian landscape. We sang along and tried to figure out the different parts, ornaments and style of 'trailing', and Andrew Smith subsequently transcribed a few of their arrangements for us. It was probably during that tour that we started to think seriously of putting together an all-Norwegian programme, and inviting percussionist Birger Mistereggen, who specialises in traditional Norwegian drumming, to join us. We had worked with Birger on several occasions in the past and were intrigued by the various textures and rhythmic grooves which the drum, jew's harp and other percussion instruments added to our vocal performance. Even though this is an unusual constellation, we like the way these instruments act as a counterweight to our voices.

In Norway the use of rope-tensioned drums probably goes back as far as medieval times. Around 1628, when Norway founded its own independent army, each regiment aspired to have drummers of its own. The military connection meant that the drum became a highly respected instrument, and drummers were frequently engaged to play for weddings, dances and other celebrations. Thus the military drum tradition also became a folk music tradition. At weddings the drummer would play the bridal procession to and from the church; he would announce and welcome the guests as they arrived, and on the second and third days of what was usually a three-day wedding feast he would wake the guests in the morning for a new round of celebrations. These traditions lasted into the 20th century (as late as 1940 in some parts of the country), but slowly disappeared along with the old military system. Had it not been for Johannes Sundvor's transcriptions of Norwegian drum music, written down between 1915 and 1935, very little of it would have survived.

Until the mid-19th century very little folk music had been collected and transcribed. In 1848 Ludvig Mathias Lindeman began compiling music from the rural areas of Norway, at roughly the same time that several prominent fiddlers also set about collecting and transcribing material.

It was a period of fervent searching for a national identity following Norway's independence from Denmark in 1814; composers such as Lindeman, Johan Halvorsen and Edvard Grieg bridged the gap between folk music and art music, incorporating traditional elements in their compositions and bringing folk music to the attention of the urban, educated middle classes. The origins of folk music are doubtless more international than Norway's 19th century nation builders would have liked to admit. The hymn Veni Redemptor Gentium, for instance, from the millennium-old Einsiedeln manuscript, has assumed the guise of a Norwegian religious folk tune in our interpretation (Folkefrelsar, til oss kom).

We would like to see this recording as our contribution to a living, oral tradition; although these songs bear our musical imprint, they are coloured by all those who have performed and passed on the music before us.


  Соисполнители :

Birger Mistereggen (Drums, Percussion)


№ п/п

Наименование трека

Текст

Длительность

Комментарий
   1 Det Lisle Banet         0:04:45 The Little Child
   2 So Ro, Godt Barn         0:03:12 Rest Now, Sweet Child
   3 Villemann Og Magnhild         0:01:53 Villemann And Magnhild - After Maya, Kalenda
   4 Tjovane         0:02:51 The Thieves - After Berg, Kirsten Braten
   5 Nu Sulen Gar Ned         0:04:01 The Sun Is Setting - After Bratland, Sondre
   6 I Mine Kate Ungdomsdager         0:03:41 In My Reckless, Youthful Days - After Tiriltunga
   7 Gjendines Badnlat         0:03:53 Gjendines Lullaby - After Slaalien, Kaia Gjendine
   8 Bruremarsj Fra Gudbrandsdalen         0:03:07 Wedding March From Gudbrandsdalen
   9 Rolandskvadet         0:02:55 The Song Of Roland
   10 Solbonn         0:01:21 After Opheim, Berit
   11 Eg Veit I Himmerik Ei Borg         0:03:01 I Know A Stronghold In Heaven
   12 Nu Vilar Hela Jorden         0:03:33 All The Earth Now Rests In Peace - After Krohn, Tone
   13 Springdans Fra Vesfold         0:01:40 Dance From Vestfold
   14 Eg Aktar Ikje         0:01:36 I Don't Think Much Of Those Boys - After Tiriltunga
   15 Den Elskte Jerusalem         0:03:32 Beloved Jerusalem - After Boe, Arnt
   16 Till, Till Tove         0:04:54  
   17 Lova Line         0:03:49 After Berg, Kirsten Braten
   18 Danse, Ikke Grate Na         0:02:02 Dance, Do Not Cry Now
   19 Den Signede Dag         0:02:56 The Day Of Joy - After Krohn, Tone
   20 Folkefrelsar, Til Oss Kom         0:03:02 Saviour Of The Nations, Come - After Ambrosius, D. 397

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