Magyar Furulyások Erdélyben És Moldvában 

Hungarian flutes players in Transylvania and Moldavia

 Hungaroton, 1993, MK 18221

This is a copy on tape I got from a friend during the nineties. The original is a cassette published in the series called FonoFolk.

A very nice and interesting work under the direction of Juhász Zoltán himself a talented furulya player and piper who played with Muzsikás among others. 

As I don't have neither cover nor booklet here are the credits found on Discogs :

	Bálványosváralja (Unguras)
A1	Topán György	A Juhok Nótája
A2	Réti Imre	Keserű Víz, Nem Hittem, Hogy Édes Légy
A3	Topán György	Máma Péntek, Holnap Szombat
A4	Topán György	Kecskés
A5	Réti Imre, Topán György	Jaj, De Sokat Áztam, Fáztam, Fáradtam
	Magyarbece (Beta)
A6	Szántó Ferenc	Keserves
A7	Szántó Ferenc	Keserves
A8	Szántó Ferenc	Pontozó
A9	Szántó Ferenc	Keserves És Lassú
	Magyarszovát (Suatu)
A10	Csete Árpád	Két Lassú
A11	Csete Árpád	Összerázás
	Szék (Sic)
A12	Székely József	Lassú
A13	Székely József	Csárdás És Magyar
	Klézse (Cleja)
B1	Farkas Demeter	Tilinka-Szózat
B2	László András	Öreg (Lapos) Magyaros
B3	László András	Magyaros
B4	László András	Édes Gergelem Éneke
B5	László István	Édes Gergelem Tánca
B6	Legedi László István	Románca
	Székelyszentmihály (Mihaileni)
B7	András József	Két Keserves
B8	András József	Kétlépésű Csárdás
B9	András József	Egylépésű Csárdás
B10	András József	Marosszéki
	Gyimesbükk (Ghimes Faget), Hidegség (Valea Rece)
B11	Tímár Viktor	Kettős És Sirüleje
B12	Karácsony Gergely, Karácsony Lázár	Csárdás
B13	Tímár Viktor	A Bábáé Recorder – Tímár Viktor Ütőgardon – Tímár János
B14	Karácsony Lázár	Keserves
B15	Tímár Viktor	Lassú És Sebes Magyaros Recorder – Tímár Viktor Ütőgardon – Tímár János

		Collections of Zoltán Juhász, Róbert Kerényi, Iván Nesztor, Ferenc Pásztor, Kálmán Sáringer. The most beautiful melodies of Transylvanian and Moldavian Hungarian flutists - shepherds, farmers - are played on this selection. Good flute playing is not rare in these regions, so it is here that the ornamental, varied and improvisatory formal culture of instrument playing has survived in its richest state. Flute playing has common and regionally different characteristics, just like singing folk music or dialects: the flutists of the Székely, Székely or Moldavian Csángó regions form the melody and handle their instruments differently. The recordings are made in the musicians' homes or out in the fields and pastures, so you can sometimes hear the birds singing, the sheep barking, the shepherds talking, the dancers tapping their feet. All the flute types used by Transylvanian and Moldavian flutists can be heard on the cassette. The most common is the six-holed, plugged flute (the Moldavian Csángó call this instrument 'sültü', or 'whistle', in old Hungarian). It is this tachnika that gives the Transylvanian flute its rich and variable timbre. And the throaty accompaniment adds even more colour to the sound. Today, tilinka is only used by the Moldavian Csángó. Its whistle construction is unique: it has a wind splitting hole, but the musician replaces the plug with his own tongue. (Another type is even simpler: the sound is made by blowing on the sharp edge of the empty tube.) The tilinka has no holes, the sound is made by the overtone of the open and closed whistle. The twin flute is a single instrument consisting of two flutes carved from wood side by side. One branch has six holes, just like the normal flute, while the other has no holes, like the tilinka. Thus the overtone of this second branch provides the notes to accompany the melody. The kaval is 60 to 80 cm long, with five holes and a special series of notes. Its whistle has a plug mechanism exactly like that of the ordinary flute. The kaval is used by the Moldavian Csángó, who probably adopted it under Romanian influence. Zoltán Juhász Note that on my copy tracks A10 and A11 are one track; the same for B1 and B2, B9 and B10
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Poringé

 

PORINGÉ FOLKLORO ANSAMBLIS

Melodiya, 1989, S30 28705 004

This band is part of the Vilnius Educational Institute under the direction of Mrs Marija Baltréniené. All the members were young people mostly singers. As the ''title'' shows this Institute was intended to allow younger generations to know and assimilate what was left of the Lithuanian musical  tradition. There is now another group by the name of Poringés which ''took over'' the old one.
This album is largely dedicated to singing as side B shows. Female group singing (dainuoja mergaitès) is the most important, then male group singing (dainuoja visi) and finally mixed group singing. All these songs come from the area around Varèna.
On side A we can listen to some instrumental music with the skudučiai a set of tubes played individually by several people creating a kind of polyphony. Now one player might have up to three pipes tied together for himself but the playing is still the same.
Another typical instrument is the popular oboe called byrbiné with a single or a double reed once played by shepherds to control their herds.
But maybe the most popular instrument is the kanklès a zither related to the other Baltic zither and Russian gusli.
Some of the instrumental parts sound like European music from the 19th century but some seem pretty much older like sounds to accompany agricultural or forestry rituals. We must remember that the Baltic people were largely pagans as late as the 13th century which led to the invasion of the Teutonic Knights who had come to convert them by force.

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Viracocha

 

VIRACOCHA

LEGENDARY MUSIC OF THE ANDES

Lyrichord,  1974, LLST 7264

This is one of the albums Lyrichord didn't think necessary to include to its download site. This recording was made in the field by J.F. Sheppard in 1972 and 1973 in Peru. The presentation text gives some information about the history of the Incas but very little about the music itself.
It seems that some of the tracks were recorded during cultural events at Cuzco. There are bands of musicians with kena, guitare, violin, mandolin and harp as well as harp solo and an small pipe organ built by a Quechua farmer and tuned to the oldest organ in South America in Cuzco Cathedral.
Track A7 is a bit of a surprise with a Hopi hunting song; nothing is said about the presence of some Northern Indian singers but links between Andean and Native American people were part of a will to highlight the rich culture of the American aborigenes from the Bering Strait  to the Tierra del Fuego. A big feast and show called Inti Raymi is held every year in June to revive the Inca empire with historical reconstruction in the ancient capital of the empire. I suppose that some of the music was recorded there by Sheppard. 

 

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ГΕOPГИ ЧИЛИHГИPOB

 

ГΕOPГИ ЧИЛИHГИPOB И CTEФAH ЗAXMAHOB гaйдa

GEORGI CHILINGIROV and STEFAN ZAHMANOV bagpipe

Balkanton, 1978, VNA 10162

From the Rhodope region a nice duet with singer G. Chilingirov and bagpiper S. Zahmanov. The kabagajda is proper to the area and gives this music a special flavour. Zahmanov was considered as a master  who was part of every important musical events. He plays four solos including his famous ''svornato horo'' that he recorded several times.
Chilingirov has a nice voice  and sings in the traditional manner.
Texts in Bulgarian and English. 

 

Available at : https://www.deezer.com/en/album/273370122

 

Los Incas 71

 

LOS INCAS 71

Festival, 1971, FLDX 517

One of the oldest latino-american bands in Europe, Los Incas was created by Jorge Milchberg aka "El Inca" in 1956 along with fellow Argentinians Ricardo Galeazzi and Carlos Benn-Pott.
They were quite prolific in the sixties and seventies when ''latino'' genre was fashionable in France in particular.
Their approach to South-American music was both locally rooted and reworked. They used some field recordings published by Folkways for example in the forties and fifties but with some arragements, nice ones most of the time. They composed a lot as well. Here each track is attributed to El Inca (except for one to Benn-Pott) but I believe he put his signature as an arranger mostly. Either compositions or traditional all the tunes are quite nice.

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