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C’est la quatrième île du monde.Sa population s’est constituée au fil des derniers siècles par vagues successives venant de l’archipel indonésien, d’Afrique de l’est et du Proche-Orient.Aujourd’hui, dix-huit ethnies distinctes forment une mosaïque unie par une langue nationale mais diversifiée par des coutumes qui leur restent propres.De cette mosaïque d’ethnies, seules deux sont représentées dans cet album : les Antandroy et les Sakalava. Les premiers sont des pasteurs vivant à l’intérieur des terres, les seconds sont des pêcheurs nomades ou pêcheurs-cultivateurs vivant sur les rives du canal de Mozambique. En 1982, ces deux peuples sont les seuls chez qui le séjour de l’auteur aura été assez long pour que de véritables liens d’amitié, de complicité voient le jour. Or, ces liens sont un cadre indispensable pour qu’une musique authentique et spontanée puisse se manifester. C’est à cette condition aussi qu’une certaine émotion peut se transmettre, joyeuse, mélancolique, grave ou séductrice.Les acteurs de ce disque sont ainsi tous saisis dans le cadre, l’instant, l’environnement familial ou amical qu’ils ont eux-mêmes choisis. Ils agissent sans ordre, sans perturbation quelconque, dans le plus grand respect de leur propre volonté.</span><br /></p><span class=Texte><br /></span><span class=Soustitre>Les Antandroy : repère n° 1 à 5. </span><span class=Texte><br /></span><span class=Soustitre>Village de Bebarima.</span><span class=Texte><br /></span><p align=justify><span class=Texte>Longtemps après le coucher du soleil, alors que je suis déjà allongé, un enfant me fait signe de le suivre. Nous marchons jusqu’à l’autre bout du village où il me fait pénétrer dans une case. Une dizaine de personnes bavardent, assises en demi-cercle. A la lueur d’une bougie, je distingue Favi Maarumbaky tournant le dos à tout le monde, littéralement enfoncé dans le coin d’angle de la case. Il maintient son Valiha de bambou coincé entre son buste et ses pieds. Il est comme enroulé sur lui-même tant il est voûté. Sans se retourner une seule fois, sans adresser une parole à l’assistance deux heures durant, il joue en alternant chants accompagnés et pièces uniquement instrumentales. Se retournant à la fin, il me désigne en les nommant toutes les personnes présentes dans la petite assistance.</span><br /></p><span class=Texte><br /></span><span class=Soustitre>Les Antandroy : repères n° 6 à 11. <br />Village de Berenty.</span><span class=Texte><br /></span><p align=justify><span class=Texte>Pour les besoins du tournage d’un film, toute une troupe de villageois et de musiciens semi-professionnels se sont réunis en tenue d’apparat. Ils chantent et dansent depuis plusieurs heures. Les prises de vue sont terminées et, apparemment, la troupe continue emportée par son entrain. Elle interprète différents morceaux propre au Bilo, une cérémonie de désenvoûtement ne se déroulant habituellement que deux ou trois mois plus tard. Plusieurs hommes et femmes dansent d’abord, puis progressivement il ne reste plus que trois femmes et enfin une seule. Cette dernière entre alors progressivement en transe après qu’elle ait bu le sang d’un bouc égorgé sur l’aire de danse. Certaines pièces sont longues (20 à 35 minutes) et ont été volontairement écourtées dans cet album.Valiha, accordéon, violon rustique, tambour et boîte à clous représentent la tota­lité des instruments utilisés.</span><br /></p><span class=Texte><br /></span><span class=Soustitre>Les Sakalava-Vezo : repères n° 12 et 13.</span><span class=Texte><br />Au village de Belo-sur-mer, on retrouve une mère, ses deux filles et Nendrasana Farezy dans une case. Alors que depuis plus de trois heures elle conte des lé­gendes, la mère s’interrompt brutalement pour lancer une phrase musicale. C’est totalement inattendu. Farezy marque alors le rythme sur la caisse de bois qui lui sert de siège puis, tout en chantant, les deux jeunes filles rejoignent la femme. C’est dans cette mélancolie que la soirée se termine, il est très tard dans la nuit.<br /></span><span class=Soustitre>Les Sakalava-Vezo : repères N° 14, 15 et 16.</span><span class=Texte><br /></span><p align=justify><span class=Texte>Nous sommes dans le village d’Ambararata depuis plusieurs jours. Le doyen du village nous a prêté une case. Il est 9 h 00 du matin et rien ne laisse présager de ce qui va arriver. Certaines villageoises embrochent de petits poissons d’eau douce pour les faire sècher au soleil, d’autres pilent des ocres. La plupart des hommes ont quitté le village. Farezy vient nous demander si nous avons du “Tokagacha”, le rhum malgache. Nous lui répondons par l’affirmative. Il disparaît quelques mi­nutes pour revenir avec une dizaine d’adolescents et d’adolescentes qui s’engouffrent dans notre case minuscule. Le rhum n’est qu’un prétexte car notre fiole ne contient pas plus d’un quart de litre. L’ambiance monte très vite. Durant deux heures nous resterons de simples spectateurs jusqu’à ce que nous rentrions à notre tour dans l’action, pressés de danser par toute la petite troupe.</span><br /></p><span class=Texte><br /></span><span class=Soustitre>Les Sakalava-Vezo : repère N° 17.</span><span class=Texte><br /></span><p align=justify><span class=Texte>A Morondava, l’une des principales villes de la côte ouest, le port est envahi par des milliers de personnes : un notable lance le boutre qu’il s’est fait construire, mais le bateau s’est envasé avant la pleine eau.Alors que les hommes peinent, les femmes les encouragent.</span><br /></p><span class=Texte><br /></span><p align=justify><span class=Soustitre>Les Sakalava-Vezo : repère N° 18.</span><br /><span class=Texte>Nous arrivons au village de Mangila alors que la nuit est déjà tombée. Le cabar (présentation) aura lieu demain car il est trop tard. Alors que nous terminons notre installation dans une case, plusieurs jeunes femmes viennent voir les “visiteurs”. Bavardages, babillages, rires étouffés, chants timides puis plus affirmés.De toute évidence, les jeunes femmes cherchent à nous séduire...</span><br /></p><span class=Texte>© 1991 PITHYS © 2005 GROUPE FRÉMEAUX COLOMBINI SAS<br /><em><strong>english notes</strong></em><br /></span><span class=Soustitre2>Traditional music from south-western Madagascar</span><span class=Texte><br /></span><p align=justify><span class=Soustitre>By Pierre Huguet</span><br /><span class=Texte>Along the side of the African continent, between the Mozambique Canal and the Indian Ocean, Madagascar stretches out its 1500 km – the fourth largest island in the world.Over the centuries, its population has ben made up of people from the Indonesian Islands, East Africa, and the Near East.Today, people from 18 different ethnic origins from a mosaic united by one national language, though remain divided by their respective customs.Only two groups from this ethnic mosaic are represented on this album : the Antandroy and the Sakalava. The first group are pastors, living off the land. The second are nomadic fishermen and farmers living on the banks of the Mozambique Canal. It was with the people during author’s holliday in 1982 that a true friendship was formed, a mutual understanding. These links were indispensable for the setting in which an authentic, spontaneous music was made. Under these circumstances, emotions of joy, sadness, sometimes solemn or seductive can be transmitted.The players on the compact disc performed in a setting chosen by themselves, that is friendly and environmen­tally familiar. They played without direction or disturbance, their only rule was their own free-will.</span><br /></p><span class=Texte><br /><strong>THE ANTANDROY : songs 1 to 5</strong><br /><strong>The village of Bebarima</strong><br /></span><p align=justify><span class=Texte>A long time after sunset, when I was already in bed, a child came into my hut, and beckoned me to follow. We walked to the other side of the village, and he had me enter a hut. A dozen or more people sat in a semi-circle talking. By can­dle light, I was able to distinguish FAVI MAARUMBAKY with his back turned, it looked as if he was literally squeezed into the corner of the hut. He played alternately songs and solo pieces of music, not once during the two hours did he turn around or speak. At the end, he introduced me by pointing out and naming all the people present in his little audience.</span><br /></p><span class=Texte><br /><strong>THE ANTANDROY : songs 6 to 11</strong><br /><strong>The village of Berenty</strong><br /></span><p align=justify><span class=Texte>In order for us to film, a group of village people and semi-professional musicians got together in ceremonial dress. They sang and dance floor hours. Even after the pictures were taken, they continued, apparently over-come by excitement. Each person interpreted a different piece of BILO, a dispel ceremony that usually took place two or three months later on. At first several men and women danced, then in progressively decreased to three women, and then only one woman. After drinking the blood of a male goat slaughtered on the dance-floor, she went into a trans.Some of the pieces of music last as lons as 20 or 35 minutes, but have been shortened for the sake of the album. The Valiha, an accordion, an old violin, drums and a box impregnated with nails are the only instruments used.</span><br /></p><span class=Texte><strong><br />THE SAKALAVA-VEZO : songs 12 and 13</strong><br /></span><p align=justify><span class=Texte>In the village of Belo-sur-Mer lives a woman, with her two daughters, and Nendrasana Farezy. For over three hours they recited legends, during which the mother would unexpectedly interrupt with musical phrase, that always came as a surprise.Nendrasana Farezy would mark out the beat on the wooden box that he was sitting on. The two girls would then join their singing mother. It was in this melancholic manner that the evening ended, well into the night.</span><br /></p><span class=Texte><br /><strong>THE SAKALAVA-VEZO : songs 14, 15 and 16</strong><br /></span><p align=justify><span class=Texte>We stayed in the village of Ambararata for several days, where a hut was then lended to us by the senior. At about the 9:00 in the morning the village people go about their work, nothing takes preference over anything else – some catch fresh water fish end leave them to dry in the sun, others crush ochres.Most of the men had left the village when N Faresy came and asked us if we had any “Tokagasha” - Malagazy rum. We answered yes, and he desapeared, returning a few minutes later with about 10 teenagers, boys and girls, who all crowded into our tiny hut. The rum was only an excuse, for our flask only contained half a litre of rum. The atmosphere mounted quickly, and for the next two hours we remained simple spectators, until we were dragged into action when the group forced us to dance.</span><br /></p><span class=Texte><br /><strong>THE SAKALAVA-VEZO : songs 17</strong><br /></span><p align=justify><span class=Texte>In Monodava, one of the main villages on the west coast of the island, the port is invaded by thousands of people : one of the hightly respected men launches the wooden-boat built for him, but the boat got stuck in the mudflat before reaching deep water. As the men worked hard, the women encouraged them.</span><br /></p><span class=Texte><br /><strong>THE SAKALAVA-VEZO : songs 18</strong><br /></span><p align=justify><span class=Texte>We arrived in the village of Mangila at night fall. The cabar (presentations) were to take place the following day, but we were already too late. While we were getting installed in our hut, several young women came to see the “visitors”. They were talkative, they yawed, muffles their laughter, and chanted timidly but still maintained an air of confidence. It was obvious that these young women were seeking to seduce us… </span><br /></p><span class=Texte>© 1991 PITHYS <br />© 2005 GROUPE FRÉMEAUX COLOMBINI SASMADAGASCAR<br /></span><br /><span class=Source>CD Pierre Huguet - Chants et musique traditionnelle du sud-ouest © Frémeaux & Associés (frémeaux, frémaux, frémau, frémaud, frémault, frémo, frémont, fermeaux, fremeaux, fremaux, fremau, fremaud, fremault, fremo, fremont, CD audio, 78 tours, disques anciens, CD à acheter, écouter des vieux enregistrements, albums, rééditions, anthologies ou intégrales sont disponibles sous forme de CD et par téléchargement.)</span>" "dwf_titres" => array:18 [ 0 => array:6 [ "titre" => "THE VILLAGE OF BEBARIMA (1)" "interprete" => " SONS DE LA NATURE" "auteur" => " " "duree" => "00:02:24" "annee" => "1991" "cd" => 1 ] 1 => array:6 [ "titre" => "THE VILLAGE OF BEBARIMA (2)" "interprete" => " SONS DE LA NATURE" "auteur" => " " "duree" => "00:01:45" "annee" => 1991 "cd" => "" ] 2 => array:6 [ "titre" => 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C’est la quatrième île du monde.Sa population s’est constituée au fil des derniers siècles par vagues successives venant de l’archipel indonésien, d’Afrique de l’est et du Proche-Orient.Aujourd’hui, dix-huit ethnies distinctes forment une mosaïque unie par une langue nationale mais diversifiée par des coutumes qui leur restent propres.De cette mosaïque d’ethnies, seules deux sont représentées dans cet album : les Antandroy et les Sakalava. Les premiers sont des pasteurs vivant à l’intérieur des terres, les seconds sont des pêcheurs nomades ou pêcheurs-cultivateurs vivant sur les rives du canal de Mozambique. En 1982, ces deux peuples sont les seuls chez qui le séjour de l’auteur aura été assez long pour que de véritables liens d’amitié, de complicité voient le jour. Or, ces liens sont un cadre indispensable pour qu’une musique authentique et spontanée puisse se manifester. C’est à cette condition aussi qu’une certaine émotion peut se transmettre, joyeuse, mélancolique, grave ou séductrice.Les acteurs de ce disque sont ainsi tous saisis dans le cadre, l’instant, l’environnement familial ou amical qu’ils ont eux-mêmes choisis. Ils agissent sans ordre, sans perturbation quelconque, dans le plus grand respect de leur propre volonté.</span><br /></p><span class=Texte><br /></span><span class=Soustitre>Les Antandroy : repère n° 1 à 5. </span><span class=Texte><br /></span><span class=Soustitre>Village de Bebarima.</span><span class=Texte><br /></span><p align=justify><span class=Texte>Longtemps après le coucher du soleil, alors que je suis déjà allongé, un enfant me fait signe de le suivre. Nous marchons jusqu’à l’autre bout du village où il me fait pénétrer dans une case. Une dizaine de personnes bavardent, assises en demi-cercle. A la lueur d’une bougie, je distingue Favi Maarumbaky tournant le dos à tout le monde, littéralement enfoncé dans le coin d’angle de la case. Il maintient son Valiha de bambou coincé entre son buste et ses pieds. Il est comme enroulé sur lui-même tant il est voûté. Sans se retourner une seule fois, sans adresser une parole à l’assistance deux heures durant, il joue en alternant chants accompagnés et pièces uniquement instrumentales. Se retournant à la fin, il me désigne en les nommant toutes les personnes présentes dans la petite assistance.</span><br /></p><span class=Texte><br /></span><span class=Soustitre>Les Antandroy : repères n° 6 à 11. <br />Village de Berenty.</span><span class=Texte><br /></span><p align=justify><span class=Texte>Pour les besoins du tournage d’un film, toute une troupe de villageois et de musiciens semi-professionnels se sont réunis en tenue d’apparat. Ils chantent et dansent depuis plusieurs heures. Les prises de vue sont terminées et, apparemment, la troupe continue emportée par son entrain. Elle interprète différents morceaux propre au Bilo, une cérémonie de désenvoûtement ne se déroulant habituellement que deux ou trois mois plus tard. Plusieurs hommes et femmes dansent d’abord, puis progressivement il ne reste plus que trois femmes et enfin une seule. Cette dernière entre alors progressivement en transe après qu’elle ait bu le sang d’un bouc égorgé sur l’aire de danse. Certaines pièces sont longues (20 à 35 minutes) et ont été volontairement écourtées dans cet album.Valiha, accordéon, violon rustique, tambour et boîte à clous représentent la tota­lité des instruments utilisés.</span><br /></p><span class=Texte><br /></span><span class=Soustitre>Les Sakalava-Vezo : repères n° 12 et 13.</span><span class=Texte><br />Au village de Belo-sur-mer, on retrouve une mère, ses deux filles et Nendrasana Farezy dans une case. Alors que depuis plus de trois heures elle conte des lé­gendes, la mère s’interrompt brutalement pour lancer une phrase musicale. C’est totalement inattendu. Farezy marque alors le rythme sur la caisse de bois qui lui sert de siège puis, tout en chantant, les deux jeunes filles rejoignent la femme. C’est dans cette mélancolie que la soirée se termine, il est très tard dans la nuit.<br /></span><span class=Soustitre>Les Sakalava-Vezo : repères N° 14, 15 et 16.</span><span class=Texte><br /></span><p align=justify><span class=Texte>Nous sommes dans le village d’Ambararata depuis plusieurs jours. Le doyen du village nous a prêté une case. Il est 9 h 00 du matin et rien ne laisse présager de ce qui va arriver. Certaines villageoises embrochent de petits poissons d’eau douce pour les faire sècher au soleil, d’autres pilent des ocres. La plupart des hommes ont quitté le village. Farezy vient nous demander si nous avons du “Tokagacha”, le rhum malgache. Nous lui répondons par l’affirmative. Il disparaît quelques mi­nutes pour revenir avec une dizaine d’adolescents et d’adolescentes qui s’engouffrent dans notre case minuscule. Le rhum n’est qu’un prétexte car notre fiole ne contient pas plus d’un quart de litre. L’ambiance monte très vite. Durant deux heures nous resterons de simples spectateurs jusqu’à ce que nous rentrions à notre tour dans l’action, pressés de danser par toute la petite troupe.</span><br /></p><span class=Texte><br /></span><span class=Soustitre>Les Sakalava-Vezo : repère N° 17.</span><span class=Texte><br /></span><p align=justify><span class=Texte>A Morondava, l’une des principales villes de la côte ouest, le port est envahi par des milliers de personnes : un notable lance le boutre qu’il s’est fait construire, mais le bateau s’est envasé avant la pleine eau.Alors que les hommes peinent, les femmes les encouragent.</span><br /></p><span class=Texte><br /></span><p align=justify><span class=Soustitre>Les Sakalava-Vezo : repère N° 18.</span><br /><span class=Texte>Nous arrivons au village de Mangila alors que la nuit est déjà tombée. Le cabar (présentation) aura lieu demain car il est trop tard. Alors que nous terminons notre installation dans une case, plusieurs jeunes femmes viennent voir les “visiteurs”. Bavardages, babillages, rires étouffés, chants timides puis plus affirmés.De toute évidence, les jeunes femmes cherchent à nous séduire...</span><br /></p><span class=Texte>© 1991 PITHYS © 2005 GROUPE FRÉMEAUX COLOMBINI SAS<br /><em><strong>english notes</strong></em><br /></span><span class=Soustitre2>Traditional music from south-western Madagascar</span><span class=Texte><br /></span><p align=justify><span class=Soustitre>By Pierre Huguet</span><br /><span class=Texte>Along the side of the African continent, between the Mozambique Canal and the Indian Ocean, Madagascar stretches out its 1500 km – the fourth largest island in the world.Over the centuries, its population has ben made up of people from the Indonesian Islands, East Africa, and the Near East.Today, people from 18 different ethnic origins from a mosaic united by one national language, though remain divided by their respective customs.Only two groups from this ethnic mosaic are represented on this album : the Antandroy and the Sakalava. The first group are pastors, living off the land. The second are nomadic fishermen and farmers living on the banks of the Mozambique Canal. It was with the people during author’s holliday in 1982 that a true friendship was formed, a mutual understanding. These links were indispensable for the setting in which an authentic, spontaneous music was made. Under these circumstances, emotions of joy, sadness, sometimes solemn or seductive can be transmitted.The players on the compact disc performed in a setting chosen by themselves, that is friendly and environmen­tally familiar. They played without direction or disturbance, their only rule was their own free-will.</span><br /></p><span class=Texte><br /><strong>THE ANTANDROY : songs 1 to 5</strong><br /><strong>The village of Bebarima</strong><br /></span><p align=justify><span class=Texte>A long time after sunset, when I was already in bed, a child came into my hut, and beckoned me to follow. We walked to the other side of the village, and he had me enter a hut. A dozen or more people sat in a semi-circle talking. By can­dle light, I was able to distinguish FAVI MAARUMBAKY with his back turned, it looked as if he was literally squeezed into the corner of the hut. He played alternately songs and solo pieces of music, not once during the two hours did he turn around or speak. At the end, he introduced me by pointing out and naming all the people present in his little audience.</span><br /></p><span class=Texte><br /><strong>THE ANTANDROY : songs 6 to 11</strong><br /><strong>The village of Berenty</strong><br /></span><p align=justify><span class=Texte>In order for us to film, a group of village people and semi-professional musicians got together in ceremonial dress. They sang and dance floor hours. Even after the pictures were taken, they continued, apparently over-come by excitement. Each person interpreted a different piece of BILO, a dispel ceremony that usually took place two or three months later on. At first several men and women danced, then in progressively decreased to three women, and then only one woman. After drinking the blood of a male goat slaughtered on the dance-floor, she went into a trans.Some of the pieces of music last as lons as 20 or 35 minutes, but have been shortened for the sake of the album. The Valiha, an accordion, an old violin, drums and a box impregnated with nails are the only instruments used.</span><br /></p><span class=Texte><strong><br />THE SAKALAVA-VEZO : songs 12 and 13</strong><br /></span><p align=justify><span class=Texte>In the village of Belo-sur-Mer lives a woman, with her two daughters, and Nendrasana Farezy. For over three hours they recited legends, during which the mother would unexpectedly interrupt with musical phrase, that always came as a surprise.Nendrasana Farezy would mark out the beat on the wooden box that he was sitting on. The two girls would then join their singing mother. It was in this melancholic manner that the evening ended, well into the night.</span><br /></p><span class=Texte><br /><strong>THE SAKALAVA-VEZO : songs 14, 15 and 16</strong><br /></span><p align=justify><span class=Texte>We stayed in the village of Ambararata for several days, where a hut was then lended to us by the senior. At about the 9:00 in the morning the village people go about their work, nothing takes preference over anything else – some catch fresh water fish end leave them to dry in the sun, others crush ochres.Most of the men had left the village when N Faresy came and asked us if we had any “Tokagasha” - Malagazy rum. We answered yes, and he desapeared, returning a few minutes later with about 10 teenagers, boys and girls, who all crowded into our tiny hut. The rum was only an excuse, for our flask only contained half a litre of rum. The atmosphere mounted quickly, and for the next two hours we remained simple spectators, until we were dragged into action when the group forced us to dance.</span><br /></p><span class=Texte><br /><strong>THE SAKALAVA-VEZO : songs 17</strong><br /></span><p align=justify><span class=Texte>In Monodava, one of the main villages on the west coast of the island, the port is invaded by thousands of people : one of the hightly respected men launches the wooden-boat built for him, but the boat got stuck in the mudflat before reaching deep water. As the men worked hard, the women encouraged them.</span><br /></p><span class=Texte><br /><strong>THE SAKALAVA-VEZO : songs 18</strong><br /></span><p align=justify><span class=Texte>We arrived in the village of Mangila at night fall. The cabar (presentations) were to take place the following day, but we were already too late. While we were getting installed in our hut, several young women came to see the “visitors”. They were talkative, they yawed, muffles their laughter, and chanted timidly but still maintained an air of confidence. 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-productColorsRetriever: ProductColorsRetriever {#668} -translator: TranslatorComponent {#45} #settings: ProductPresentationSettings {#666 +catalog_mode: false +catalog_mode_with_prices: 0 +restricted_country_mode: null +include_taxes: true +allow_add_variant_to_cart_from_listing: 1 +stock_management_enabled: "0" +showPrices: true +lastRemainingItems: "3" } #product: array:127 [ "id_product" => "253" "id_supplier" => "0" "id_manufacturer" => "0" "id_category_default" => "117" "id_shop_default" => "1" "id_tax_rules_group" => "6" "on_sale" => "0" "online_only" => "0" "ean13" => "3700368480878" "isbn" => null "upc" => null "ecotax" => "0.000000" "quantity" => 10000 "minimal_quantity" => "1" "low_stock_threshold" => "0" "low_stock_alert" => "0" "price" => "€24.95" "wholesale_price" => "0.000000" "unity" => null "unit_price_ratio" => "0.000000" "additional_shipping_cost" => "0.00" "reference" => "FA5168" "supplier_reference" => null "location" => null "width" => "0.000000" "height" => "0.000000" "depth" => "0.000000" "weight" => "0.000000" "out_of_stock" => "2" "additional_delivery_times" => "1" "quantity_discount" => "0" "customizable" => "0" "uploadable_files" => "0" "text_fields" => "0" "active" => "1" "redirect_type" => "301-category" "id_type_redirected" => "0" "available_for_order" => "1" "available_date" => null "show_condition" => "0" "condition" => "new" "show_price" => "1" "indexed" => "1" "visibility" => "both" "cache_is_pack" => "0" "cache_has_attachments" => "0" "is_virtual" => "0" "cache_default_attribute" => "85" "date_add" => "2021-10-12 12:05:08" "date_upd" => "2022-06-23 13:55:39" "advanced_stock_management" => "0" "pack_stock_type" => "3" "state" => "1" "price_code" => "215" "id_shop" => "1" "id_lang" => "2" "description" => "<p><h3>ENREGISTREMENT SONORE IN SITU DE FRANCOIS JOUFFA</h3></p><br><br><p>Commended by the Sri Lankan government in order to add to the country’s national archives, these recordings present an art that is disappearing expressed by its last great masters. More than “simply” percussionists, singers and dancers, they are considered as spiritual guides and their exorcism rites appeased the soul and body.The titles featured on the present album are valuable documents as these men had always refused to be recorded, believing that each session is a privileged moment of spirituality and that its transcription would break the magic. Patrick Frémeaux & François Jouffa</p><br><br><p></p>" "description_short" => "<h3>ENREGISTREMENT SONORE IN SITU DE FRANCOIS JOUFFA</h3>" "link_rewrite" => "les-maitres-de-sri-lanka" "meta_description" => null "meta_keywords" => null "meta_title" => null "name" => "LES MAÎTRES DE SRI LANKA" "available_now" => null "available_later" => null "delivery_in_stock" => null "delivery_out_stock" => null "new" => "0" "id_product_attribute" => 85 "product_attribute_minimal_quantity" => "1" "id_image" => "253-18248" "legend" => null "manufacturer_name" => null "category_default" => "Indian Ocean / Madagascar" "orderprice" => 20.79 "allow_oosp" => true "category" => "indian-ocean-madagascar" "category_name" => "Indian Ocean / Madagascar" "link" => "https://preprod.fremeaux.com/index.php?id_product=253&rewrite=les-maitres-de-sri-lanka&controller=product&id_lang=2" "attribute_price" => 0.0 "price_tax_exc" => 20.79 "price_without_reduction" => 29.94 "price_without_reduction_without_tax" => 20.79 "reduction" => 4.992 "reduction_without_tax" => 0.0 "specific_prices" => [] "quantity_all_versions" => 10000 "features" => array:3 [ 0 => array:5 [ …5] 1 => array:5 [ …5] 2 => array:5 [ …5] ] "attachments" => [] "virtual" => 0 "pack" => true "packItems" => [] "nopackprice" => 0 "customization_required" => false "attributes" => array:1 [ 5 => array:8 [ …8] ] "rate" => 20.0 "tax_name" => "TVA FR 20%" "ecotax_rate" => 0.0 "classic_pack_price_tax_exc" => 24.95 "is_ap5_bundle" => true "dwf_parent_product" => "1" "dwf_distinctions" => null "dwf_livret" => "<h3>LES MAITRES DE SRI LANKA</h3><p><p align=justify><p><span class=Texte><strong>LES MAITRES DE SRI LANKA</strong> <br />Enregistrement sonore <em>in situ</em></span></p><p><span class=Texte><strong>MASTERS OF SRI LANKA</strong><br /><em>Live recording of the healer’s “magic drums” & the Indian tradition of Ceylon</em></span></p><br /><p align=justify><span class=Texte><span class=Soustitre>LES MAITRES DE SRI LANKA</span><br /><strong>Avertissement de l’éditeur</strong><br />Ces enregistrements ont été réalisés en février et mars 2002 à la demande du gouvernement sri lankais pour enrichir les Archives nationales du pays ainsi que les phonothèques des grandes universités qui n’avaient pas trace des prouesses de leurs grands maîtres.<br />L’ambassadeur du Sri Lanka en France était, au début de ce siècle, le professeur Senake Bandaranayake, lui-même archéologue spécialiste du site de la forteresse du gigantesque rocher de Sigiriya. Par l’intermédiaire de son ami le réalisateur Nimal de Silva, il avait pris connaissance du travail photographique effectué en Asie depuis plus de trente ans par Sylvie Jouffa, et des nombreuses productions de disques d’ethnomusiques enregistrées sur le terrain par François Jouffa, du Népal à la Corée en passant, entre autres, par la Birmanie ou le Viêt-nam. Le professeur avait notamment écouté les enregistrements de Jouffa lorsqu’il avait réalisé à Ceylan son film “La Bonzesse” en 1973. Plusieurs 33 tours puis CD, extraits de la B.O., avaient immortalisé “ les tambours magiques ” des guérisseurs de l’île de ces années-là. Leur art étant en voie de disparition, le professeur ambassadeur pensait qu’il y avait urgence à fixer les styles et les talents des derniers vieux grands maîtres. Ceux-ci ne sont pas que de simples musiciens percussionnistes, chanteurs et danseurs. Véritables artistes, ils sont non seulement des multi instrumentistes, mais aussi des sculpteurs de masques de divinités, esprits protecteurs ou démons. Ils sont surtout considérés, en milieu rural, comme des guides spirituels dont les rituels d’exorcisme apportent la paix de l’âme et le soulagement physique.<br />Les morceaux présentés ici sont des documents précieux car ces hommes avaient toujours refusé d’être enregistrés, considérant que chaque séance est un moment privilégié religieux et qu’en la fixant, on risque de rompre la magie. Le plus vénéré des maîtres-tambours, Maître Banda, a accepté d’aller à la rencontre de ses confrères pour leur faire comprendre l’intérêt scientifique et universitaire de l’opération. Il n’y avait jamais eu et il n’y aura plus jamais d’enregistrements du tambour et/ou de la voix de Maître Banda. Quelques mois plus tard, ce grand musicien guérisseur a subi une hémiplégie et sa virtuosité est partie avec la maladie et son invalidité. C’est dire la valeur de ces enregistrements effectués par François Jouffa. Maître Banda était l’accompagnateur privilégié de la grande danseuse classique Khema. Cette dernière est l’épouse du mélomane Ajita de Costa, président de Heritage Foundation for the Environment and Arts, qui a bien voulu organiser les séances d’enregistrements dans les villages mêmes des musiciens, parmi leurs patients et disciples. A Paris, Madame Dileeni R. de Alwis Perera (DPDJ International) et, à Colombo, Madame Manisha Gunasekera du Ministère des affaires étrangères concrétisèrent le projet. Enfin Gilles Schneider, avec Radio France International (RFI), apporta une aide technique. Nous les en remercions.<br />Notons que pour honorer ces musiques ancestrales, François Jouffa a choisi de travailler avec de la bonne vieille bande magnétique sur son Nagra IV S. A l’heure du numérique parfait mais froid, ces morceaux traditionnels conservent ainsi leur chaleur, leur couleur et leur rondeur originelles. Les connaisseurs apprécieront.<br />Patrick FRÉMEAUX<br />© 2007 GROUPE FRÉMEAUX COLOMBINI SAS <br />Photos au dos du disque : Maître Banda et rocher de Sigiriya</span></p><br /><p><span class=Texte><span class=Soustitre>PREMIERE PARTIE :</span> <span class=Soustitre>LA TRADITION INDIENNE DE CEYLAN.</span><br /><strong>- Maître Harold Madapatha Rodrigo</strong> est né le 10 octobre 1910 à Badulla, Sri Lanka alors Ceylan. Après avoir étudié la musique orientale, il est devenu professeur de musique à l’Ampitiya School de la ville sacrée de Kandy où il enseigna de 1953 à 1990. Retraité, il continua de donner des cours au Central College de Sigiriya où les élèves le vénèrèrent comme un gourou. Il joue parfois avec ses trois fils qui sont tous musiciens, l’aîné faisant partie des orchestres de la police de Colombo et de Kandy. Maître Rodrigo joue du sitar, du violon et de la mandoline.<br />- <strong>Namal Rodrigo</strong>, le deuxième fils du maître, est né le 26 août 1967 à Kandy. Il joue de tous les instruments, principalement du serpina (harmonium), du violon, de la mandoline, du banjo et des tablas (percussions). Il est aussi le chanteur leader de l’orchestre de son père.<br />- <strong>Chamila Maldeniya</strong> est née le 8 avril 1979 à Sigiriya. Elle a commencé à suivre l’enseignement de Maître Rodrigo en 1994. Deux ans plus tard, elle gagnait la Médaille d’or du concours inter-lycées de Sri Lanka en jouant sur esraj, une sorte de sarangi, instrument du nord de l’Inde. En 1997, elle était classée deuxième d’un concours national des moins de 37 ans, malgré la participation de professeurs de musique. Elle est également une bonne chanteuse.<br />- <strong>Mangala Ratnayake</strong> est né le 18 octobre 1979 à Sigiriya. Il joue du tabla udekki, petit tambour de Sri Lanka, et il chante.<br />- <strong>Palitha Pathmasiri</strong> est né le 24 octobre 1981 à Sigiriya. Il chante et joue du serpina (harmonium), du pantheruwa (tambourin de Sri Lanka), et des talam pata (petites cymbales).<br />- <strong>Sumudu Chaturanga</strong> est né le 25 septembre 1981 à Sigiriya. Il chante et joue du serpina (harmonium).</span></p><br /><p><span class=Texte>Nom de l’orchestre : Satsara Samadhi, ce qui signifie “La méditation des 7 notes” (Satsara : 7 notes, Samadhi : méditation).</span></p><br /><p><span class=Texte>L’enregistrement a eu lieu le mardi 5 mars 2002, après 21 heures, dans la nuit, éclairé aux torches, au sein de la jungle entourant le gigantesque rocher de la forteresse-palais de Sigiriya, et qui abrite entre autres, singes et éléphants sauvages. L’heure a été choisie de telle façon que l’on puisse entendre, mêlés aux instruments, les bruits des animaux de la forêt, notamment les batraciens qui semblent ici rythmer les mélodies. A noter que le dernier morceau, le # 11, qui a été enregistré le lendemain vers les 10 heures (car il s’agit d’un “raga du matin”…), au même endroit, ne bénéficie plus de l’accompagnement animal nocturne.<br />Interprète : Nilantha B. Herath, environnementaliste du village de Sigiriya.</span></p><br /><p><span class=Texte><span class=Soustitre><span class=Texte>Les morceaux :</span><br /></span> 01 – THURANGA WANNAMA (instrumental). 1’29’’ <br /> Le tambour s’accorde aux pas du cheval, selon les mouvements et <br /> la cadence de ses activités.<br /> 02 – NATTIYA (instrumental). 1’55’’ <br /> Cette mélodie est tirée du mélodrame “Maname”, du nom d’un roi. <br /> Celui-ci emmène la reine dans la jungle et lui en explique les <br /> beautés, lui fait admirer les plantes et apprécier le calme.<br /> 03 – PRASHASTHI GIITAYA (instrumental). 2’54’’ <br /> Quand le roi arrive, tout le monde se lève pour l’acclamer et chanter <br /> des louanges.<br /> 04 – KARATHTHE KAVI (instrumental). 3’09’’ <br /> Cet air folklorique décrit la solitude du cultivateur sur son char <br /> à buffle dans les grandes étendues.<br /> 05 – KARATHTHE KAVI (chant). 1’51’’ <br /> Le texte de la chanson est tiré d’un poème très ancien.<br /> 06 – SATAN GEE (chant). 1’44’’ <br /> Ce chant de guerre est destiné à encourager ceux qui partent au <br /> combat.<br /> 07 – PRAMAYEN MANA (chant). 2’23’’ <br /> Tirée également du drame “Maname”, cette chanson d’amour <br /> est interprétée par les personnages du roi et de la reine qui <br /> déclament ensemble les vertus de la nature, des arbres <br /> et des fleurs.<br /> 08 – SIGIRIYA BALA NAGARE (chant). 5’11’’ <br /> “Comme elles sont jolies les filles de Sigiriya ! Où vont-elles ? <br /> Qui sont-elles ?”. Cette chanson fait référence aux peintures des <br /> vestales Apsara peintes au Ve siècle sur le roc de Sigiriya.<br /> 09 – THILAKKAMODHA RAGA (instrumental). 2’09’’ <br /> Raga du soir d’origine indienne.<br /> 10 – PEELU RAGA (instrumental). 3’10’’ <br /> Ce raga peut se jouer à n’importe quelle heure de la journée. <br /> Peelu signifie “à chaque moment” en hindi.<br /> 11 – BRINDABANEE SARANGI. 6’13’’ <br /> Raga du matin. Pour cette raison, ce titre ne pouvait pas être <br /> enregistré la nuit, comme les morceaux précédents.</span></p><br /><p><br /><span class=Texte><span class=Soustitre>DEUXIEME PARTIE : LES TAMBOURS MAGIQUES DE CEYLAN.</span><br /><strong>A – Maître Karunachchar Thompsan Jayapala</strong>, guérisseur, né le 19 février 1954, est le descendant de neuf générations de musiciens de cet art ancestral qui allie les percussions et les chants pour des exorcismes de guérisons. Son “Institute of Amarasa Saranasa” à Meegama, près de Bentota sur la côte ouest de Sri Lanka, est spécialisé dans toutes les incantations et évocations d’esprits, bons ou mauvais, qui apportent les maladies ou, au contraire, soulagent les corps et les âmes. Maître Thompsan (ou Thompson) danse en costume traditionnel, revêt lui-même les masques des démons, chante (notez l’origine du chant gitan chez les maîtres-guérisseurs de Sri Lanka) et joue de la flûte (fabriquée par son grand-père). Sur ces deux enregistrements, il est accompagné par son vieil oncle (du côté maternel), Karunachchari Themari, alors 83 ans, et par S.L. Dayasiri, 48 ans. Tous deux jouent sur des tambours campagnards pahathapata beraya (low-country drums) qui portent aussi les noms de devol, devil, tovil, yack, gam ou puna beraya, pour parler des divinités qu’ils attirent ou repoussent. Au tambour de gauche officie Rathnayake Kaluarachchige Ariyarathne, 48 ans, par ailleurs professeur à l’Université Kelaniya de Colombo, qui nous servira également d’interprète. L’enregistrement des exorcismes a eu lieu le jeudi 21 février 2002 près de Meegama, à environ 8 km de Bentota, devant la maison du père et du grand-père de Thompsan, en présence des villageois en transe.<br /> <br /> 1</span><span class=Texte>2 – NAANUMURAYA. 8’23’’ <br />Cette séance de guérison fait partie du rituel nommé huniyama. On rejoue l’épopée du roi Musamatha, parti à la guerre, et de la reine Manik Pala, sœur du dieu Vishnou, qui repousse les avances d’un homme. Ce dernier se transforme en serpent et, avec du poison de l’enfer, il attaque la reine qui perd sa beauté et devient un singe. Elle sera soignée par un prêtre-dieu, Oddissa, que l’on invoque toujours pour certaines maladies.<br /> 13 – WADIGA PATUNA. 5’52’’ <br />La même légende, qui se passe dans le pays (Patuna) de la région Wadiga en Inde, voit l’intervention du dieu Vishnou, frère de la reine, qui fait venir le guérisseur des démons (Bamuna en cinghalais). Des très belles danses, qui durent toute une nuit, illustrent la maladie de la reine, les prières, la guérison et les bénédictions.</span></p><br /><p><span class=Texte><strong>B – Maître Korale Gedara Herat Banda</strong> est le plus vénéré des guérisseurs-percussionnistes de Sri Lanka. Né le 23 novembre 1944, Banda a malheureusement subi une hémiplégie quelques mois après cet enregistrement du dimanche 24 février 2002 effectué dans la cour de la maison familiale, à Molagoda, à six kilomètres de Pinnawala (en photo au dos du CD). Son frère Korale Gedara Gunaratna Banda, né le 31 mars 1947, a repris le flambeau du style familial kandien que leur père, Maître Korale Gedara Chandana Banda (1909-1981), leur avait légué. Leur nom veut dire la maison (gedara) des Korale, ce qui signifie que leurs ancêtres étaient des notables qui administraient cette région. Ici, les deux frères, percussionnistes de geta bera ou uda rata bera (up-country drums aux flancs courbés), le maître étant gaucher, danseurs (chenailles tintinnabulantes aux pieds) et chanteurs (l’aîné avait une voix exceptionnelle avant son accident cérébral), sont accompagnés par deux danseurs, Sunil Shilpadipathi (qui joue des petites cymbales talam pata) et Sumathipala Shilpadipathi. Anil Ratwatte, diplômé de l’académie des Beaux-arts de Prague, fut notre interprète.<br /> <br /> 14 – KUVENI ASNE. 12’29’’ <br />Dans la cérémonie (magul) des tambours (bera), on évoque les dieux, afin de leur demander de l’aide pour apaiser les souffrances des patients. Ce rituel peut durer trois jours, prières devant l’autel végétal et purifications du lieu comprises. On illustre l’histoire du premier grand roi de Sri Lanka, Vijaya, qui venait d’Inde. Après avoir épousé une modeste fille des tribus de Lanka, Kuveni, il l’a répudiée avec leurs deux enfants parce qu’elle n’était pas de sang royal, et pour épouser une princesse indienne. Les lamentations (asne) de Kuveni se sont transformées en malédictions pour atteindre le roi. Mais, à sa place, c’est le seigneur local qui est tombé malade. Sans doute parce qu’il désapprouvait la mésalliance du roi avec une paysanne. Pour le soigner, on a fait venir des montagnes de Male (en Inde ou à Lanka, on ne sait pas) un <br />prince guérisseur. C’est ainsi que s’est créé le rituel de magul bera.</span></p><br /><p><span class=Texte><strong>C –</strong> Deux des disciples de <strong>Maître Pelikada Manannalage Babalis</strong> (né en 1930) se rencontrent et se défient musicalement en sa présence sur la colline du village Pahala Galathura, à une vingtaine de kilomètres de Rathnapura. Le conseiller technique et musical, ce jeudi 28 février 2002, n’est autre que Maître Herat Banda qui nous y a guidé. Les musiciens ne sont pas des artistes sophistiqués, ils viennent des villages de paysans. Yamanelage Heenpala joue du simple tambour daula et Jamis Malwatte joue du double tambour tammettama avec deux baguettes kirindi wela en treillis de vigne. L’interprète était Wickremasinghe Bandara, professeur à l’Université Kelaniya de Colombo.<br /> <br /> 15 – PUJA HEWISI. 7’38’’ <br />En l’honneur des divinités, pour les vénérer, ils dansent et jouent des percussions. Le mental et le physique ne font qu’un pour implorer d’obtenir des richesses, sachant que la plus importante est le bonheur. La combinaison des sonorités des deux tambours qui se battent musicalement en duel, entre règles et improvisation, doit apporter la vibration qui saura satisfaire les dieux.<br />Texte : François JOUFFA.<br />© 2007 GROUPE FRÉMEAUX COLOMBINI SAS </span></p><br /><p><p><span class=Texte><span class=Soustitre><br />THE MASTERS OF SRI LANKA<br /></span><strong>Publisher’s note</strong><br />These recordings were made in February and March 2002 as demanded by the Sri Lankan government in order to add to the country’s national archives as well as the phonotheques of the chief universities which had no trace of the wealth left by their greatest masters.<br />At the turn of the present century, the Sri Lankan ambassador in France was Professor Senake Bandaranayake, an archaeologist specialising in the fort on the enormous Sigiriya rock. Thanks to his friend, producer Nimal de Silva, he discovered Sylvie Jouffa’s photographic work in Asia and which covered over thirty years and of the many ethnomusical discs, recorded on the spot by François Jouffa, stretching from Nepal to Korea, including other countries such as Burma and Vietnam. In particular, the professor listened to Jouffa’s recordings when, in Ceylon, he made his movie “La Bonzesse” in 1973. Several LPs, and then CDs, taken from the soundtrack immortalized the ‘magic drums’ played by the island’s healers at that time. As their art was disappearing, the professor and ambassador believed it necessary to rapidly capture the styles and talent of these last great masters. They were not simply percussionists, singers and dancers, but true artists. Not only polyinstrumentalists, they sculpted masks of divinities, protecting spirits or demons. In the rural areas they were considered as spiritual guides and their exorcism rites appeased the soul and body.<br />The titles featured on the present album are valuable documents as these men had always refused to be recorded, believing that each session is a privileged moment of spirituality and that its transcription would break the magic. Master Banda, the most worshiped among the drum masters, accepted to meet his confreres to explain the scientific and educational interest of the project. Never before had the voice and drums of Master Banda been recorded, and they will never be again as a few months later, this great musician and healer had a stroke and his virtuosity was lost through the <br />illness and resulting handicap. This again proves the tremendous worth of François Jouffa’s recordings. Master Banda was the prized accompanist to the eminent classical dancer Khema. Khema is married to the music lover Ajita de Costa, President of the Heritage Foundation for the Environment and Arts, who agreed to organize recording sessions in the musicians’ own villages, surrounded by their patients and disciples. In Paris, Ms. Dileeni R. de Alwis Perera (DPDJ International) and in Colombo, Ms. Manisha Gunasekera from the Ministry of Foreign Affairs realized the project. Finally, Gilles Schneider, with Radio France International (RFI), gave technical assistance. We would like to thank all those who collaborated.<br />In order to respect this ancestral music, François Jouffa preferred working with his good old Nagra IV S analog tape recorder. In today’s world of perfect but cold digital sound, these traditional pieces have retained their warmth, colour and original resonance, which will appeal to connoisseurs. <br />Patrick FRÉMEAUX<br />© 2007 GROUPE FRÉMEAUX COLOMBINI SAS<br />Photos on back of the CD : Master Banda and Sigiriya Rock</span></p><br /><p><p><span class=Texte><span class=Soustitre>Part I:</span> <span class=Soustitre>The Indian Tradition of Ceylon</span><br />- <strong>Master Harold Madapatha Rodrigo</strong> was born on 10 October 1910 in Badulla, Sri Lanka, or Ceylon as it was then called. After studying oriental music, he became a music teacher in Ampitiya School in the holy town of Kandy where he taught from 1953 to 1990. Once retired, he continued giving lessons in Sigiriya’s Central College where the pupils treated him as a guru. He sometimes plays with his three sons, all musicians and the eldest is a member of the police bands in Colombo and Kandy. Master Rodrigo plays the sitar, violin and mandolin.<br />- <strong>Namal Rodrigo</strong>, the master’s second son, was born on 26 August 1967 in Kandy. He plays all instruments, but mainly the serpina (harmonium), violin, mandolin, banjo and tablas (a percussion instrument). He is also the lead singer of his father’s band.<br />- <strong>Chamila Maldeniya</strong> was born on 8 April 1979 in Sigiriya. She began her training with Master Rodrigo in 1994. Two years later, she was awarded the Gold Medal in the Sri Lankan high schools’ contest playing the esraj, a kind of sarangi, an instrument from the north of India. In 1997, she came second in a national contest for those under the age of 37, despite the fact that music teachers also participated. She is also a worthy singer.<br />- <strong>Mangala Ratnayake</strong> was born on 18 October 1979 in Sigiriya. He plays the udekki tabla, a small drum from Sri Lanka, and also sings.<br />- <strong>Palitha Pathmasiri</strong> was born on 24 October 1981 in Sigiriya. He sings and plays the serpina (harmonium), pantheruwa (Sri lankan tambourine) and talam pata (small cymbals).<br />- <strong>Sumudu Chaturanga</strong> was born on 25 September 1981 in Sigiriya. He also sings and plays the serpina (harmonium).<br />Name of orchestra: Satsara Samadhi, meaning ‘Meditation on 7 notes’ (Satsara: 7 notes, Samadhi: meditation).<br />The recording was held on Tuesday 5 March 2002, after 9 pm, in the night, under torch light, in the heart of the jungle of Sigiriya which shelters creatures including monkeys and wild elephants. The time was chosen so as to hear, mixing with the instruments, the sounds of the forest wildlife, in particular batrachians which seem to add rhythm to the tunes. <br />However, the final title (track 11) was recorded the following day at around 10 am (as it is a ‘morning raga’) at the same spot, but does not include the background noise of night creatures. <br />Interpreter: Nilantha B. Herath, environmentalist of the Sigiriya village.<br /><span class=Texte><strong>The titles:</strong></span><br /> 01. THURANGA WANNAMA (instrumental). 1’29’’ <br /> The drum follows a horse’s pace, with its various <br /> movements and speed of activities.<br /> 02. NATTIYA (instrumental). 1’55’’ <br /> This tune is from the melodrama “Maname”, the name <br /> of a king who took the queen in the jungle, explaining its<br /> beauty and shows her the plants and the calm ambience.<br /> 03. PRASHASTHI GIITAYA (instrumental). 2’54’’ <br /> When the king arrives, everyone stands to cheer him <br /> and sing his praises.<br /> 04. KARATHTHE KAVI (instrumental). 3’09’’ <br /> This folk tune talks of the solitude felt by the farmer<br /> on his buffalo cart on the plains.<br /> 05. KARATHTHE KAVI (song). 1’51’’ <br /> The lyrics of this song come from an ancient poem.<br /> 06. SATAN GEE (song). 1’44’’ <br /> This war song is to encourage those going off to battle.<br /> 07. PRAMAYEN MANA (song). 2’23’’ <br /> Also from “Maname”, this love song is interpreted by artists <br /> representing the king and queen, both praising nature, <br /> trees and flowers.<br /> 08. SIGIRIYA BALA NAGARE (song). 5’11’’ <br /> “How the Sigiriya girls are pretty! Where are they going? <br /> Who are they?”. This song refers to the paintings of the <br /> Apsara vestals painted in the 5th century on the Sigiriya rock.<br /> 09. THILAKKAMODHA RAGA (instrumental). 2’09’’ <br /> An evening raga of Indian origin.<br /> 10. PEELU RAGA (instrumental). 3’10’’ <br /> This raga can be played at any time of the day. Peelu means<br /> at all times’ in Hindi.<br /> 11. BRINDABANEE SARANGI. 6’13’’ <br /> A morning raga. This explains why the raga could not be <br /> recorded at night, unlike the other titles.</span></p><br /><p><span class=Texte><span class=Soustitre>Part II: The Magic Drums of Ceylon<br /></span><strong>A – Master Karunachchar Thompsan Jayapala</strong>, a healer, born on 19 February 1954, the descendant of nine generations of artists playing this ancestral music which combines percussion and singing for healing exorcism . His Institute of Amarasa Saranasa in Meegama, near Bentota on the Sri Lankan west coast, is specialized in every sort of incantation and calling of spirits, either good or bad, which cause illness or, on the contrary, comfort the body and soul. Master Thompsan (or Thompson) dances in traditional costume, wearing masks of demons, sings (note the origin of the gypsy singing among the Sri Lankan master-healers) and plays the flute (made by his grandfather). In these two recordings, he is accompanied by his elderly uncle (on his mother’s side), Karunachchari Themari, then aged 83, and by S. L. Dayasiri, 48 years old. Both play pahathapata beraya (low-country drums), also called devol, devil, tovil, yack, gam or puna beraya, after the divinities they either summon or send away. Rathnayake Kaluarachchige Ariyarathne, 48 years old, also a lecturer at Kelaniya University in Colombo, plays the drum on the left, and the same artist acts as interpreter. The recording of the exorcisms was held on Thursday 21 February 2002 near Meegama, some 8 km from Bentota, in front of Thompsan’s father and grandfather’s house, in the presence of villagers in a trance.<br /> 12. NAANUMURAYA. 8’23’’ <br />This healing session is a part of the huniyama ritual. It incarnates the epic of King Musamatha, who had gone to war, and Queen Manik Pala, sister of the god Vishnu, who refuses the courtship of another man. The latter is transformed into a snake which, with the poison from hell, attacks the queen who loses her beauty and becomes a monkey. She was then cared for by a priest-god, Oddissa, who is always invoked for certain ailments.<br /> 13. WADIGA PATUNA. 5’52’’ <br />The same legend, taking place in Patuna in the Wadiga region of India, in which the god Vishnu, the queen’s brother, intervenes, summoning the healer of demons (Bamuna in Cinghalese). Superb dances, all night long, depict the queen’s illness, the prayers, the healing and blessings.</span></p><br /><p><span class=Texte><strong>B – Master Korale Gedara Herat Banda</strong> is the most worshiped among the drum-healers in Sri Lanka. Born on 23 November 1944, Banda had a stroke a few months after this recording made on Sunday 24 February 2002 in the courtyard of his family home in Molagoda, six kilometres from Pinnawala (see photo on back of the CD). His brother Korale Gedara Gunaratna Banda, born on <br />31 March 1947, took the lead, following the Kandian family style inherited from their father, Master Korale Gedara Chandana Banda (1909-1981). The name means the house (gedara) of the Korales, indicating that their ancestors were influential, governing the region.<br />Here, the two brothers, percussionists playing the geta bera or uda rata bera (up-country drums with curved sides), dancers (they wear tinkling ankle chains on their feet) and singers (the elder brother had an exceptional voice before his stroke), are accompanied by two dancers, Sunil Shilpadipathi (who plays small talam pata cymbals) and Sumathipala Shilpadipathi. Anil Ratwatte, a graduate from the Prague Academy of Fine Arts, acted as interpreter.<br /> 14. KUVENI ASNE. 12’29’’ <br />In the drum (bera) ceremony (magul), gods are summoned so as to ask them to ease the suffering of the patients. This ritual can last three days, including prayers before the altar made of vegetal matter, and purification of the setting. The tale of the first great king of Sri Lanka, Vijaya, from India, is portrayed. Having married a simple girl from the Lanka tribes, Kuveni, she was repudiated with their two children as she did not have royal blood, and the king wedded an Indian princess. Kuveni’s lamentations (asne) were transformed into curses intended for the king. But instead, the local lord fell ill, most probably as he had disapproved of the unsuitable alliance of the king with a peasant. To cure him, a healing prince from the Male mountains (in India or in Lanka, we are unsure) was called for. Thus the magul bera ritual came into being.</span></p><br /><p><span class=Texte><strong>C – Two of Master Pelikada Manannalage Babalis’</strong> (born in 1930) disciples met and competed musically before him on the hill of Pahala Galathura, a village 20 kilometres from Rathnapura. On this day, Thursday 28 February 2002, the technical and musical advisor was none other than Master Herat Banda who acted as our on-site guide. The musicians, coming from rural villages, are far from sophisticated. Yamanelage Heenpala plays the simple daula drum and Jamis Malwatte plays the double tammettama drum with two kirindi wela sticks made from vine trellis. The interpreter was Wickremasinghe Bandara, a lecturer in Colombo’s Kelaniya University.<br /> 15. PUJA HEWISI. 7’38’’ <br />To worship the divinities, they dance and play percussion instruments. The mental and physical aspects unite to pray for wealth, knowing that happiness is more important. The combination of the sounds of the two drums in a musical dual, following both the rules and improvisation, have to vibrate in order to satisfy the gods.<br />English adaptation by Laure WRIGHT<br />from the French text of François JOUFFA<br />© 2007 GROUPE FRÉMEAUX COLOMBINI SAS</span></p><br /><p align=left><span class=Texte><span class=Texte>Production and recordings in Sri Lanka: François JOUFFA.<br /></span></span><p align=center><br /><span class=Texte>Production, enregistrements (Nagra IV S, magnétique) et réalisation : <br />François Jouffa, assisté de Maïa Barouh à Sri Lanka.<br />Reportage photos (Nikon FE 2, argentique) : <br />Sylvie Jouffa.<br />Pro Tools editing & mastering : <br />Alexis Jouffa (Jakiss Studio).<br /><span class=Source>CD LES MAITRES DE SRI LANKA Enregistrement sonore in situ (MASTERS OF SRI LANKA. Live recording of the healer’s magic drums” & the Indian tradition of Ceylon) </span></span><span class=Texte><span class=Source>© Frémeaux & Associés. Droits audio : Frémeaux & Associés - La Librairie Sonore (Producteur initial : Sittelle, Pithys, Collection Allain Bougrain Dubourg ou Ceba) / Ecouter les chants d'oiseaux sur CD : Sons et ambiances naturelles des écosystèmes - Stéreo and digital recording of the natural landscape sound. Natural sound sceneries of écosystems, Voices of the Wild Life. Les droits de cet enregistrement sont protégés par la loi. Pour toute exploitation d’illustration sonore sur CD, DVD, CD-Rom, Télévision, Cinéma, Sites internet, scénographies (théâtre, musées…), l’autorisation et un devis gratuit peuvent être obtenus auprès de Frémeaux & Associés – fax : +33 (0)1 43.65.24.22 </span><span class=Source>info@fremeaux.com</span></span></p></p></p></p></p></p>" "dwf_titres" => array:15 [ 0 => array:6 [ …6] 1 => array:6 [ …6] 2 => array:6 [ …6] 3 => array:6 [ …6] 4 => array:6 [ …6] 5 => array:6 [ …6] 6 => array:6 [ …6] 7 => array:6 [ …6] 8 => array:6 [ …6] 9 => array:6 [ …6] 10 => array:6 [ …6] 11 => array:6 [ …6] 12 => array:6 [ …6] 13 => array:6 [ …6] 14 => array:6 [ …6] ] "unit_price" => "" "price_digital" => 9.948 "price_cd" => 19.992 "img_url" => "https://preprod.fremeaux.com/img/p/1/8/2/4/8/18248-home_default.jpg" "cover" => array:9 [ "bySize" => array:6 [ …6] "small" => array:3 [ …3] "medium" => array:3 [ …3] "large" => array:3 [ …3] "legend" => null "cover" => "1" "id_image" => "18248" "position" => "1" 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"117" "id_shop_default" => "1" "id_tax_rules_group" => "6" "on_sale" => "0" "online_only" => "0" "ean13" => "3561302543420" "isbn" => null "upc" => null "ecotax" => "0.000000" "quantity" => 10000 "minimal_quantity" => "1" "low_stock_threshold" => "0" "low_stock_alert" => "0" "price" => "€24.95" "wholesale_price" => "0.000000" "unity" => null "unit_price_ratio" => "0.000000" "additional_shipping_cost" => "0.00" "reference" => "FA5434" "supplier_reference" => null "location" => null "width" => "0.000000" "height" => "0.000000" "depth" => "0.000000" "weight" => "0.000000" "out_of_stock" => "0" "additional_delivery_times" => "1" "quantity_discount" => "0" "customizable" => "0" "uploadable_files" => "0" "text_fields" => "0" "active" => "1" "redirect_type" => "301-category" "id_type_redirected" => "0" "available_for_order" => "1" "available_date" => null "show_condition" => "0" "condition" => "new" "show_price" => "1" "indexed" => "1" "visibility" => "both" "cache_is_pack" => "0" "cache_has_attachments" => "0" "is_virtual" => "0" "cache_default_attribute" => "419" "date_add" => "2021-10-22 10:03:29" "date_upd" => "2022-06-23 13:55:38" "advanced_stock_management" => "0" "pack_stock_type" => "0" "state" => "1" "price_code" => "215" "id_shop" => "1" "id_lang" => "2" "description" => "<p><h3>SRI LANKA - SIGIRIYA’S LOVE SONGS, CEYLON</h3></p><br><br><p>Produced at the request of the Sri Lankan government by François Jouffa in 2002, these recordings collected in the jungle surrounding Sigiriya’s Lion Rock constitute a magnificent testimony of the Sinhalese traditional secular music. Immortalized for centuries thanks to the oral transmission, this music is played by guru master Harold Madapatha Rodrigo and his followers. It is a rare document offering the Occidental audience an access to a sensitive and harmonious heritage. Patrick FRÉMEAUX</p><br><br><p></p>" "description_short" => "<h3>SRI LANKA - SIGIRIYA’S LOVE SONGS, CEYLON</h3>" "link_rewrite" => "ceylan-chants-d-amour-a-sigiriya-sri-lanka" "meta_description" => null "meta_keywords" => null "meta_title" => null "name" => "CEYLAN CHANTS D’AMOUR À SIGIRIYA, SRI LANKA" "available_now" => null "available_later" => null "delivery_in_stock" => null "delivery_out_stock" => null "new" => "0" "id_product_attribute" => 419 "product_attribute_minimal_quantity" => "1" "id_image" => "1357-19286" "legend" => null "manufacturer_name" => null "category_default" => "Indian Ocean / Madagascar" "orderprice" => 20.79 "allow_oosp" => true "category" => "indian-ocean-madagascar" "category_name" => "Indian Ocean / Madagascar" "link" => "https://preprod.fremeaux.com/index.php?id_product=1357&rewrite=ceylan-chants-d-amour-a-sigiriya-sri-lanka&controller=product&id_lang=2" "attribute_price" => 0.0 "price_tax_exc" => 20.79 "price_without_reduction" => 29.94 "price_without_reduction_without_tax" => 24.95 "reduction" => 4.992 "reduction_without_tax" => 4.16 "specific_prices" => array:19 [ "id_specific_price" => "38596" "id_specific_price_rule" => "0" "id_cart" => "0" "id_product" => "1357" "id_shop" => "1" "id_shop_group" => "0" "id_currency" => "1" "id_country" => "8" "id_group" => "1" "id_customer" => "0" "id_product_attribute" => "0" "price" => "24.950000" "from_quantity" => "1" "reduction" => "4.992000" "reduction_tax" => "1" "reduction_type" => "amount" "from" => "0000-00-00 00:00:00" "to" => "0000-00-00 00:00:00" "score" => "62" ] "quantity_all_versions" => 10000 "features" => array:2 [ 0 => array:5 [ …5] 1 => array:5 [ …5] ] "attachments" => [] "virtual" => 0 "pack" => true "packItems" => [] "nopackprice" => 0 "customization_required" => false "attributes" => array:1 [ 5 => array:8 [ …8] ] "rate" => 20.0 "tax_name" => "TVA FR 20%" "ecotax_rate" => 0.0 "classic_pack_price_tax_exc" => 24.95 "is_ap5_bundle" => true "dwf_parent_product" => "1" "dwf_distinctions" => null "dwf_livret" => "<h3>Ceylan FA5434</h3><span class=Soustitre2>CEYLAN </span><span class=Texte><br /></span><span class=Soustitre>Chants d’amour à Sigiriya, Sri Lanka</span><span class=Texte><br /></span><span class=Soustitre2><br />SRI LANKA</span><span class=Texte><br /></span><span class=Soustitre>Sigiriya’s love songs, Ceylon</span><span class=Texte><br /></span><span class=Soustitre2><br />CEYLAN - CHANTS D’AMOUR A SIGIRIYA</span><span class=Texte><br /></span><span class=Soustitre>Réalisation François JOUFFA</span><span class=Texte><br /><strong>Avertissement de l’éditeur</strong><br /></span><p align=justify><span class=Texte>Ces enregistrements ont été réalisés en 2002 à la demande du gouvernement sri-lankais pour enrichir les Archives nationales du pays ainsi que les phonothèques des grandes universités qui n’avaient pas trace des prouesses de leurs grands maîtres.</span><br /><span class=Texte>L’ambassadeur du Sri Lanka en France était, au début de ce siècle, le professeur Senake Bandaranayake, lui-même archéologue spécialiste du site du gigantesque rocher de Sigiriya. Par l’intermédiaire de son ami le réalisateur cinghalais Nimal de Silva, il avait pris connaissance du travail photographique effectué en Asie depuis plus de trente ans par Sylvie Jouffa, et des nombreuses productions de disques d’ethnomusiques enregistrées sur le terrain par François Jouffa, du Népal à la Corée en passant, entre autres, par la Birmanie ou le Viêt-nam. Le professeur avait notamment écouté les enregistrements de Jouffa lorsqu’il avait réalisé à Sri Lanka son film « La Bonzesse » en 1973. Plusieurs albums en 33 tours puis CD, extraits de la B.O., avaient immortalisé « les Tambours magiques » des guérisseurs de l’île de ces années-là. Leur art, étant en voie de disparition, le professeur ambassadeur pensait qu’il y avait urgence à fixer les styles et les talents des derniers vieux grands maîtres. Le mélomane Ajita de Costa, président de Heritage Foundation for the Environment and Arts, a bien voulu organiser les séances d’enregistrements dans les villages mêmes des musiciens. À Paris, Madame Dileeni R. de Alwis Perera (DPDJ International) et, à Colombo, Madame Manisha Gunasekera du Ministère des affaires étrangères concrétisèrent le projet. Nous les en remercions. </span><br /><span class=Texte>Notons que, pour honorer ces musiques ancestrales, François Jouffa a choisi de travailler avec de la bande magnétique sur son Nagra IV S. À l’heure du numérique parfait mais froid, ces morceaux traditionnels conservent ainsi leur chaleur, leur couleur et leur rondeur originelles. Les connaisseurs apprécieront.</span><br /></p><span class=Texte><strong>Patrick FRÉMEAUX</strong><br /></span><span class=Source>© 2014 GROUPE FRÉMEAUX COLOMBINI SAS</span><span class=Texte><br /></span><p align=justify><span class=Texte>Lanka, ou Ceilão pour les Portugais qui a donné Ceylon pour les Anglais, ou Sinhala pour les Indiens, la Resplendissante, était la Taprobane des géographes grecs et romains. Son histoire ancienne se confond avec les récits légendaires. Ainsi, dans l’épopée indienne du Ramayana, c’est à Ceylan que le prince Rama et son armée viennent délivrer son épouse Sita, prisonnière des griffes du roi des démons Ravana.</span><br /></p><p align=justify><span class=Texte>De tout temps, les peuples de cette île de l’Océan Indien, au sud-est de l’Inde, manifestèrent de réelles dispositions pour la musique. Selon le Mahawansa, le plus ancien document historique du pays, les premiers immigrants aryens entendirent de la musique dans les tribus nommées Yakkas, des milliers d’années avant notre ère.</span><br /></p><p align=justify><span class=Texte>La musique cinghalaise, à l’instar de toutes les musiques extrême-orientales, se perpétue grâce à une méthode de transmission orale. Et le son est étroitement uni au mot, comme dans une récitation chantée où les rythmes mesurés imitent, par exemple, le bruit de la mer. Selon le traité de musique Sangistra Sastra, un lien étroit unit le chant, la danse et le jeu des instruments comme les tambours et les cymbales. Si l’un de ces trois éléments manque, l’art est incomplet. Les chants imitent parfois les mouvements d’animaux, comme la démarche lourde de l’éléphant ou le galop du cheval. Les percussionnistes sont plus que de simples musiciens, chanteurs et danseurs ; ils sont considérés comme des guides spirituels dont les rituels d’exorcisme apportent la paix de l’âme et le soulagement physique. À propos de ces gourous guérisseurs, nous vous conseillons notre CD<strong> Les</strong> <strong>Maîtres de Sri Lanka</strong> (disque Frémeaux FA 5168).</span><br /></p><span class=Texte>Au cours des siècles, l’influence indienne a progressé jusqu’à se fondre dans la tradition cinghalaise (la cithare vînâ et les drames Nagadama), et des chants populaires tamouls du nord de l’île se rattachent aux écoles karnatiques du sud de l’Inde et à leur système de raga.<br />« C’était une phrase hachurée, étouffée, haletante, qui finissait toujours, comme tous les airs indiens par une sorte de lamentation presque gutturale, un râle doux et pathétique mais, à l’intérieur de cette tristesse, était contenue une espèce de gaieté noble et ingénue.» <br /><strong>Pier Paolo Pasolini,</strong> L’odeur de l’Inde, 1962<br /></span><p align=justify><span class=Texte>C’est dans la jungle de Sigiriya, domaine des singes et éléphants sauvages, qui entoure le Rocher du Lion, palais royal-forteresse dont une cavité est décorée de fresques de courtisanes sacrées Apsaras datant du Vème siècle (photo de couverture et photo à gauche), que notre enregistrement a eu lieu, le mercredi 6 mars 2002, à 10 heures (bénéfique pour les ragas du matin). </span><br /></p><span class=Texte>Nom de cet orchestre de six musiciens : <strong>Satsara Samadhi,</strong> ce qui signifie « La méditation des 7 notes » (Satsara : 7 notes. Samadhi : méditation). <br /></span><p align=justify><span class=Texte>- Le maître est <strong>Harold Madapatha Rodrigo</strong>, né le 10 octobre 1930 à Badulla, Sri Lanka alors Ceylan. Après avoir étudié la musique orientale, il professa à l’Ampitiya School de Kandy de 1953 à 1990. À l’âge de la retraite, il continua d’enseigner la musique au Central College de Sigiriya, tout en dirigeant un orchestre aux côtés de ses trois fils, tous musiciens. Son fils ainé joue toujours de la musique orientale et occidentale dans les orchestres de la police, à Colombo et à Kandy. Maître Rodrigo est un virtuose de la mandoline, du violon et du sitar.</span><br /></p><span class=Texte><strong>- Namal Rodrigo,</strong> né le 26 août 1967 à Kandy, est le deuxième fils du maître. Il joue de tous les instruments, particulièrement de l’harmonium serpina mais aussi de mandoline, tabla, banjo et violon. Il est, surtout, le chanteur principal de l’orchestre de son père.<br /></span><p align=justify><span class=Texte><strong>- Chamila Maldeniya, </strong>née le 8 avril 1979 à Sigiriya, est une élève du maître-gourou Rodrigo depuis 1994. Deux ans plus tard, après avoir passé brillamment son Advanced Level Government exam, elle gagna la Médaille d’Or nationale dans le concours inter-universités en jouant avec son esraj (nom qui signifie « voleur de cœurs »), un instrument de 12 à 15 cordes du nord et de l’est de l’Inde, d’ailleurs appelé aussi Indian harp. Elle obtint, en 1997, à l’âge de 18 ans, la deuxième place de la compétition nationale de cet instrument de la famille du sarangi où participaient des professeurs de musique éminents, l’âge limite étant fixé à 37 ans. Chamila est également une excellente chanteuse. </span><br /><span class=Texte><strong>- Mangala Ratnayake</strong>, né le 18 octobre 1979 à Sigiriya, joue du tambour classique cinghalais uddeki, et il chante.</span><br /></p><p align=justify><span class=Texte><strong>- Palitha Pathmasiri</strong>, né le 24 octobre 1981 à Sigiriya, joue de l’harmonium serpina, du tambourin pantheruwa, des petites cymbales thala-pota, et il chante.</span><br /><span class=Texte><strong>- Sumudu Chaturanga</strong>, né le 25 septembre 1981 à Sigiriya, joue de l’harmonium serpina, et il chante.</span><br /></p><span class=Texte><br />Traducteur : Nilantha B. Herath, environnementaliste du Sigiriya Village.<br />Ce CD, qui comporte 13 morceaux, dure 51 minutes et 30 secondes.<br /><strong>1. Gajama Wannama. 2’50</strong><br /></span><p align=justify><span class=Texte>Gaja est le nom de l’éléphant. Cette musique, qui rend hommage à la fière démarche de l’éléphant et à ses pas majestueux, est interprétée à chaque Festival de Kandy du mois d’août. Les éléphants du défilé, aux riches parures colorées et scintillantes, avancent au rythme de cette musique.</span><br /></p><span class=Texte><br /><strong>2. Jana Gee. 3’34</strong><br /></span><p align=justify><span class=Texte>Jana signifie peuple et gee est une chanson. Il s’agit d’un chant de travail (worksong) du folklore de Ceylan. Pendant le dur labeur, on souhaite se libérer de la fatigue.</span><br /><strong><span class=Texte>3. Senkadagala Pura. 3’56</span></strong><br /><span class=Texte>Senkadagala est le nom ancien de la ville (pura) de Kandy. Il s’agit de l’histoire contée des héros et héroïnes qui peuplaient la ville, dans un lointain passé.</span><br /><strong><span class=Texte>4. Ratna Deepa. 4’17</span></strong><br /><span class=Texte>C’est une autre appellation de Sri Lanka : l’île (deepa) des pierres précieuses (ratna).</span><br /><strong><span class=Texte>5. Lanka Lanka Wadanaya. 3’19</span></strong><br /><span class=Texte>Ce morceau musical (wadanaya) instrumental est un hymne chaleureux et enthousiaste au pays. La version vocale se trouve en # 11.</span><br /><strong><br /><span class=Texte>6. Brindabanee Sarangi. 6’13</span></strong><br /><span class=Texte>Un beau et joyeux raga du matin. Le dieu Krishna, selon l’épopée Mahâbhârata, a passé sa petite enfance à Brindavana, une forêt de l’actuel Uttar Pradesh en Inde.</span><br /><strong><span class=Texte>7. Jaya Sri Ma Bodhi. 4’14</span></strong><br /><span class=Texte>Le Bodhi Tree, ou Bo en tamoul et cinghalais, est l’arbre sacrée (Ficus religiosa) du bouddhisme. Siddharta Gautama, reconnu plus tard comme le Bouddha Gautama, a atteint l’illumination sous les feuilles des branches de ce figuier, à Both Gaya en Inde. Au moins un Bodhi Tree est planté à proximité de chaque monastère bouddhiste. La tradition religieuse veut que certains de ces arbres proviennent d’une racine de l’original, comme à Anuradhapura au Sri Lanka.</span><br /><strong><span class=Texte>8. Senkadagala Sri Dalada. 4’07</span></strong><br /><span class=Texte>Dans la ville de Kandy, anciennement Senkadagala, se trouve le vénéré Sri Dalada Maligawa, le Temple de la relique de la dent de Bouddha.</span><br /><strong><br /><span class=Texte>9. Edithara Helayan. 3’32</span></strong><br /><span class=Texte>Edithara signifie brave et Helayan, le peuple srilankais.</span><br /><strong><span class=Texte>10. Muhudu Pathula Yata. 3’46</span></strong><br /><span class=Texte>Muhudu signifie mer, pathula, profondeur, et yata, en-dessous. Cette chanson au texte dramatisant est, généralement, interprétée par une mère pour sa fille afin qu’elle comprenne la vie dangereuse de son pêcheur de père.</span><br /><strong><span class=Texte>11. Lanka Lanka. 3’35</span></strong><br /><span class=Texte>Il s’agit du même morceau que le #5, mais maintenant dans sa version chantée.</span><br /><strong><br /><span class=Texte>12. Dakuna Negenahira Gayana. 3’15</span></strong><br /><span class=Texte>Dakuna signifie le sud, negenahira, l’est, et gayana, marche. Les quatre points cardinaux de l’île sont évoqués pour espérer que toutes les régions du pays soient placées sous un seul drapeau.</span><br /><strong><span class=Texte>13. Olu Pipila. 4’21</span></strong><br /><span class=Texte>Le titre signifie : les nénuphars (olu) fleuris (pipila). Cette chanson d’amour glorifie la nature. Le nénuphar naît dans la vase avant que ses fleurs n’éclosent d’une façon magnifique.</span><br /><strong><br /><span class=Texte>Production, enregistrement, réalisation, textes : François Jouffa.</span><br /><span class=Texte>Matériel technique : magnétophone Nagra IV Stéréo, deux micros Sennheiser MKH 416T, bandes magnétiques BASF.</span><br /><span class=Texte>Reportage photos (Nikon FE 2, argentique) : Sylvie Jouffa.</span><br /><span class=Texte>Editing et mastering : Laurent Yonker (Studio Trigone, Paris).</span></strong><br /><span class=Soustitre2>SIGIRIYA’S LOVE SONGS, SRI LANKA</span><br /><span class=Soustitre>Produced by François JOUFFA<br /></span><br /><strong><span class=Texte>Publisher’s note</span></strong><br /><span class=Texte>These recordings were made in 2002 as demanded by the Sri Lankan government in order to add to the country’s national archives as well as the phonotheques of the chief universities which had no trace of the wealth left by their greatest masters. At the turn of the present century, the Sri Lankan ambassador in France was Professor Senake Bandaranayake, an archaeologist specializing in the fort on the enormous Sigiriya Lion Rock fortress. Thanks to his friend, Singhalese film director Nimal de Silva, he discovered Sylvie Jouffa’s photographic work in Asia and which covered over thirty years and of the many ethno musical discs, recorded on the spot by François Jouffa, stretching from Nepal to Korea, including other countries such as Burma and Vietnam. In particular, the professor listened to Jouffa’s recordings when, in Sri Lanka (Ceylon), he directed his movie “La Bonzesse” in 1973. Several LPs, and then CDs, taken from the soundtrack immortalized ‘the magic drums’ played by the island’s healers at that time. As their art was disappearing, the professor and ambassador believed it necessary to rapidly capture the styles and talent of these last great masters. </span><br /><span class=Texte>The music lover Ajita de Costa, President of the Heritage Foundation for the Environment and Arts, agreed to organize recording sessions in the musicians’ own villages. In Paris, Ms. Dileeni R. de Alwis Perera (DPDJ International) and in Colombo, Ms. Manisha Gunasekera from the Ministry of Foreign Affairs realized the project. We would like to thank all those who collaborated.</span><br /><span class=Texte>In order to respect these ancestral musics, François Jouffa preferred working with his good old Nagra IV S analog tape recorder. In today’s world of perfect but cold digital sound, these traditional pieces have retained their warmth, color and original resonance, which will appeal to connoisseurs.</span><br /><strong><span class=Texte>Patrick FRÉMEAUX</span></strong><br /><span class=Source>© 2014 GROUPE FRÉMEAUX COLOMBINI SAS</span><br /><span class=Texte>The recording was held on Wednesday 6 March 2002, in the heart of the jungle of Sigiriya which shelters creatures including monkeys and wild elephants, after 10 am (for the ‘morning ragas’). This jungle is surrounding the Lion Rock (“Sigiriya”) on top of which a palace was built in the fifth century AD. It is decorated by breathtaking frescoes (photo cover) representing the Apsaras sacred courtesans. </span><br /><span class=Texte>Name of orchestra: <strong>Satsara Samadhi,</strong> meaning ‘Meditation on 7 notes’ (Satsara: 7 notes, Samadhi: meditation).</span><br /><span class=Texte><strong>- Master Harold Madapatha Rodrigo</strong> was born on 10 October 1930 in Badulla, Sri Lanka, or Ceylon as it was then called. After studying oriental music, he became a music teacher at the Ampitiya School in the holy town of Kandy where he taught from 1953 to 1990. Once retired, he continued giving lessons in Sigiriya’s Central College where the pupils treated him as a guru. He sometimes played with his three sons, all musicians and the eldest is a member of the police bands in Colombo and Kandy. Master Rodrigo plays the sitar, violin and mandolin.</span><br /><strong><br /></strong><span class=Texte><strong>- Namal Rodrigo,</strong> the master’s second son, was born on 26 August 1967 in Kandy. He plays all instruments, but mainly the serpina (harmonium), violin, mandolin, banjo and tabla (a percussion instrument). He is also the lead singer of his father’s band.</span><br /><span class=Texte><strong>- Chamila Maldeniya</strong> was born on 8 April 1979 in Sigiriya. She began her training with Master Rodrigo in 1994. Two years later, she was awarded the Gold Medal in the Sri Lankan university contest playing the esraj, a kind of sarangi, an instrument from the Northeast India. In 1997, she came second in a national contest for those under the age of 37, despite the fact that music teachers also participated. She is also a worthy singer.</span><br /><span class=Texte><strong>- Mangala Ratnayake</strong> was born on 18 October 1979 in Sigiriya. He plays the udekki tabla, a small drum from Sri Lanka, and also sings.</span><br /><span class=Texte><strong>- Palitha Pathmasir</strong>i was born on 24 October 1981 in Sigiriya. He sings and plays the serpina (harmonium), pantheruwa (Sri Lankan tambourine) and thala-pota (small cymbals).</span><br /><span class=Texte><strong>- Sumudu Chaturanga</strong> was born on 25 September 1981 in Sigiriya. He also sings and plays the serpina (harmonium).</span><br /><span class=Texte>Interpreter: Nilantha B. Herath, environnementalist of the Sigiriya village.</span><br /><span class=Texte>This CD consists of 13 pieces, lasting 51 minutes and 30 seconds.</span><br /><strong><span class=Texte>1. Gajama Wannama. 2’50</span></strong><br /><span class=Texte>Gaja is the name of the elephant. This music, that gives homage to the proud strut of the elephant and his majestic stride, is performed at each Festival of Kandy during the month of August. The elephants in the procession, wearing luxurious ornaments, both colored and sparkling, move forward to the rhythm of this music.</span><br /><strong><br /><span class=Texte>2. Jana Gee. 3’34</span></strong><br /><span class=Texte>Jana represents the people and gee is a song. It is actually a work song from Ceylonese folklore. While working hard, we long for release from fatigue.</span><br /><strong><span class=Texte>3. Senkadagala Pura. 3’56</span></strong><br /><span class=Texte>Senkadagala is the historic name of the city (pura) of Kandy. It recalls the fairy tale history of heroes and heroines who roamed the city in an age long gone. </span><br /><strong><span class=Texte>4. Ratna Deepa. 4’17 </span></strong><br /><span class=Texte>This is another name for Sri Lanka: the island (deepa) of precious stones (ratna).</span><br /><strong><span class=Texte>5. Lanka Lanka Wadanaya. 3’19</span></strong><br /><span class=Texte>This instrumental (wadanaya) selection is a heartfelt and enthusiastic hymn to the motherland. Listen to the track #11 for the vocal version.</span><br /><strong><span class=Texte>6. Brindabanee Sarangi. 6’13</span></strong><br /><span class=Texte>A beautiful and joyful morning raga. According to The Mahâbhârata, the Sanskrit epic, the God Krishna spent his youth in Brindavana, a forest in the real Uttar Pradesh of India.</span><br /><strong><span class=Texte>7. Jaya Sri Ma Bodhi. 4’14</span></strong><br /><span class=Texte>The Bodhi Tree, also known as Bo in Tamil and in Sinhalese, is the Sacred Fig tree (Ficus religiosa) of Buddhism. Siddhartha Gautama, known later on as Gautama Buddha, achieved enlightenment under the heart shaped leaves of this tree, at Bodh Gaya in India. At least one Bodhi Tree is planted near each Buddhist monastery. </span><br /><strong><span class=Texte>8. Senkadagala Sri Dalada. 4’07</span></strong><br /><span class=Texte>In the city of Kandy, the ancient city of Senkadagala, can be found the venerable Sri Dalada Maligawa, The Temple of the Tooth Relic of Buddha.</span><br /><strong><span class=Texte>9. Edithara Helayan. 3’32</span></strong><br /><span class=Texte>Edithara recalls the brave and helayan means the Sri Lankans.</span><br /><strong><span class=Texte>10. Muhudu Pathula Yata. 3’46</span></strong><br /><span class=Texte>Muhudu is the sea, pathula, its depth, and yata, under the sea, its danger. This song, with theatrical lyrics, is generally performed by a mother for her daughter, in order to acquaint her with the dangerous life of the fishermen, such as the little girl’s father.</span><br /><strong><br /><span class=Texte>11. Lanka Lanka. 3’35</span></strong><br /><span class=Texte>Vocal version of the hymn. For the instrumental version of this song, you may listen again to the track #5.</span><br /><strong><span class=Texte>12. Dakuna Negenahira Gayana. 3’15</span></strong><br /><span class=Texte>Dakuna signifies the south, negenahira, the east, and gayana, movement. Reference to the four cardinal directions of the island elicits the hope that, one day soon, the entire country will be united under a single flag.</span><br /><strong><br /><span class=Texte>13. Olu Pipila. 4’21</span></strong><br /><span class=Texte>This love song celebrates nature. The lotus (olu) germinates in the mud before the magnificent flowers bloom (pipila).</span><br /><strong><span class=Texte>Production and recordings (March 2002) in Sigiriya, Sri Lanka: François Jouffa.</span><br /><span class=Texte>Recorded on BASF tapes with a Nagra IV-Stereo and two Sennheiser MKH 416T microphones.</span><br /><span class=Texte>Editing and mastering in Paris, France: Laurent Yonker (Studio Trigone).</span><br /><span class=Texte>Photos: Sylvie Jouffa (Nikon FE2).</span><br /><span class=Texte>Liner notes: François Jouffa (with a little help from Dileeni R. de Alwis Perera). </span><br /><span class=Texte>English translation: Susie Jouffa (and thanks to Gil Snyder, University of Wisconsin-Milwaukee, USA).</span><br /></strong><br /><span class=Texte>Effectués à la demande du gouvernement sri-lankais par François Jouffa en 2002, ces enregistrements in situ recueillis dans les villages environnants le Rocher du Lion dans la jungle de Sigiriya, sont le magnifique témoignage de la tradition séculaire de la musique cinghalaise. Perpétuée depuis des siècles grâce à la transmission orale, cette dernière est ici jouée par le maître-gourou Harold Madapatha Rodrigo et ses disciples. Un document rare offrant à l’auditeur occidental un patrimoine accessible d’une grande finesse harmonique. <br /><strong>Patrick Frémeaux</strong></span><br /><span class=Texte>Produced at the request of the Sri Lankan government by François Jouffa in 2002, these recordings collected in the jungle surrounding Sigiriya’s Lion Rock constitute a magnificent testimony of the Sinhalese traditional secular music. Immortalized for centuries thanks to the oral transmission, this music is played by guru master Harold Madapatha Rodrigo and his followers. It is a rare document offering the Occidental audience an access to a sensitive and harmonious heritage. <br /><strong>Patrick Frémeaux</strong></span><br /></p><span class=Source><br />CD Ceylan - Chants d'amour à Sigiriya, Sri Lanka © Frémeaux & Associés 2014.</span><br />" "dwf_titres" => array:13 [ 0 => array:6 [ …6] 1 => array:6 [ …6] 2 => array:6 [ …6] 3 => array:6 [ …6] 4 => array:6 [ …6] 5 => array:6 [ …6] 6 => array:6 [ …6] 7 => array:6 [ …6] 8 => array:6 [ …6] 9 => array:6 [ …6] 10 => array:6 [ …6] 11 => array:6 [ …6] 12 => array:6 [ …6] ] "unit_price" => "" "price_digital" => 9.948 "price_cd" => 19.992 "img_url" => "https://preprod.fremeaux.com/img/p/1/9/2/8/6/19286-home_default.jpg" "cover" => array:9 [ "bySize" => array:6 [ …6] "small" => array:3 [ …3] "medium" => array:3 [ …3] "large" => array:3 [ …3] "legend" => null "cover" => "1" "id_image" => "19286" "position" => "1" "associatedVariants" => [] ] "authors" => [] "performers" => [] "images" => array:1 [ 0 => array:9 [ 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"3448960205825" "isbn" => null "upc" => null "ecotax" => "0.000000" "quantity" => 10000 "minimal_quantity" => "1" "low_stock_threshold" => "0" "low_stock_alert" => "0" "price" => "€39.95" "wholesale_price" => "0.000000" "unity" => null "unit_price_ratio" => "0.000000" "additional_shipping_cost" => "0.00" "reference" => "FA058" "supplier_reference" => null "location" => null "width" => "0.000000" "height" => "0.000000" "depth" => "0.000000" "weight" => "0.000000" "out_of_stock" => "2" "additional_delivery_times" => "1" "quantity_discount" => "0" "customizable" => "0" "uploadable_files" => "0" "text_fields" => "0" "active" => "1" "redirect_type" => "301-category" "id_type_redirected" => "0" "available_for_order" => "1" "available_date" => null "show_condition" => "0" "condition" => "new" "show_price" => "1" "indexed" => "1" "visibility" => "both" "cache_is_pack" => "0" "cache_has_attachments" => "0" "is_virtual" => "0" "cache_default_attribute" => "1145" "date_add" => "2021-10-26 09:41:02" "date_upd" => "2022-06-23 13:55:39" "advanced_stock_management" => "0" "pack_stock_type" => "3" "state" => "1" "price_code" => "228" "id_shop" => "1" "id_lang" => "2" "description" => "<p><h3>ANTHOLOGIE 1929 - 1931</h3></p><br><br><p>(2-CD set) Madagascar is one of the few African countries with a single language common to its entire population. This talent for synthesis is also to be found among its musicians, who have been able to absorb various influences in turn, whether Indonesian, West African Bantu, Yemeni or European, to produce a form of music whose charm is instantly recognizable. Includes a 20 page booklet with both French and English notes.</p><br><br><p></p>" "description_short" => "<h3>ANTHOLOGIE 1929 - 1931</h3>" "link_rewrite" => "madagascar-musiques-de-la-cote-et-des-hauts-plateaux" "meta_description" => null "meta_keywords" => null "meta_title" => null "name" => "MADAGASCAR - MUSIQUES DE LA COTE ET DES HAUTS PLATEAUX" "available_now" => null "available_later" => null "delivery_in_stock" => null "delivery_out_stock" => null "new" => "0" "id_product_attribute" => 1145 "product_attribute_minimal_quantity" => "1" "id_image" => "3495-19545" "legend" => null "manufacturer_name" => null "category_default" => "Indian Ocean / Madagascar" "orderprice" => 33.29 "allow_oosp" => true "category" => "indian-ocean-madagascar" "category_name" => "Indian Ocean / Madagascar" "link" => "https://preprod.fremeaux.com/index.php?id_product=3495&rewrite=madagascar-musiques-de-la-cote-et-des-hauts-plateaux&controller=product&id_lang=2" "attribute_price" => 0.0 "price_tax_exc" => 33.29 "price_without_reduction" => 49.938 "price_without_reduction_without_tax" => 33.29 "reduction" => 9.99 "reduction_without_tax" => 0.0 "specific_prices" => [] "quantity_all_versions" => 10000 "features" => array:2 [ 0 => array:5 [ …5] 1 => array:5 [ …5] ] "attachments" => [] "virtual" => 0 "pack" => true "packItems" => [] "nopackprice" => 0 "customization_required" => false "attributes" => array:1 [ 5 => array:8 [ …8] ] "rate" => 20.0 "tax_name" => "TVA FR 20%" "ecotax_rate" => 0.0 "classic_pack_price_tax_exc" => 41.615 "is_ap5_bundle" => true "dwf_parent_product" => "1" "dwf_distinctions" => [] "dwf_livret" => "<h3>MADAGASCAR fa058</h3><p><span class=Soustitre2>MADAGASCAR</span><span class=Texte><br /></span><span class=Soustitre>Musiques de la côte et des hauts plateaux <br />Music of the coast and tablelands</span><span class=Texte><br /><strong>1929-1931</strong><br /></span></p><p align=justify><br /><span class=Texte>Le musicologue Kurt Sachs, un des pères de l’ethnomusicologie, s’émerveillait dans son livre “Les instruments de musique de Madagascar”1, de la richesse musicale de la grande île où, écrivait-il : “on voit, les uns à côté des autres, le hochet de l’âge de pierre, la vièle arabe, la viole européenne du XVIIIe siècle et l’accordéon moderne.”Kurt Sachs aurait pu allonger encore cette liste : Madagascar a su, en effet, se créer une identité musicale à partir des nombreux avatars de son histoire, les musiques de chaque vague successive de nouveaux arrivants, étant successivement intégrées, digérées serait-on tenté de dire, par le génie unificateur du peuple malgache, même si chaque ethnie a su garder sa propre identité musicale. Madagascar est d’ailleurs également un des très rares pays d’Afrique où l’on parle une langue unique, avec ses particularités régionales.<br /></span><span class=Soustitre>Le peuplement de Madagascar</span><span class=Texte><br />Le peuplement de l’île a commencé tardivement. Les anthropologues s’accordent pour penser que les premiers arrivants sont venus par voie maritime et possédaient déjà le fer. Anthropologiquement, on rencontre trois types physiques distincts, un de type indonésien, un autre nettement africain et un troisième résultant fort probablement d’un métissage. L’analyse de la composition du sang prouve d’ailleurs que ce métissage entre l’Indonésie et l’Afrique est commun à tous les Malgaches. La langue, par contre, appartient au rameau indonésien des langues malayo-polynésiennes. On trouve le même caractère d’unicité (avec, bien sûr des différences régionales) au niveau de la vie matérielle, de la culture ou des systèmes de société. L’Afrique y est cependant plus présente que dans la langue et l’apport indonésien est celui d’une Indonésie très ancienne, d’avant l’hindouisme et l’islam. La théorie la plus répandue est que des navigateurs indonésiens venus sur leurs pirogues à balancier auraient fait d’abord escale en Afrique de l’Est, entre la Somalie et le Mozambique (on trouve ainsi chez les Chopi du Mozambique, des orchestres de xylophones timbila qui évoquent les gamelan indonésiens). Ils se seraient ensuite alliés à des groupes africains, Zendj ou Bantou, et auraient alors peuplé l’île par vagues successives au cours du premier millénaire de l’ère chrétienne. Plus tard, devaient arriver d’autres migrations de Swahili islamisés, qui allaient d’ailleurs vite cesser de pratiquer leur religion. Commerçants yéménites, pirates portugais, anglais ou français devaient aussi s’y succéder jusqu’à la conquête de l’île par les Français, en 1895.Si l’unité de la population malgache est réelle, on distingue cependant plusieurs grands groupes. Sur la côte sud-est, vivent les Antesaka et les Antemoro, ces derniers fortement arabisés. À l’extrême-sud, on rencontre les Antandroy et les Mahafaly. Le sud du plateau central est le domaine des Bara. Les Betsimisaraka sont sur la majeure partie de la côte orientale, alors que la côte occidentale est occupée par les Sakalava, qui en partagent le nord avec les Tsimihety. Le Grand Plateau appartient aux Betsileo et aux Merina.<br /></span><span class=Soustitre>Les instruments de musique</span><span class=Texte><br />Un instrument, la valiha, est cependant commun à la majorité de ces populations. Cette cithare (une cithare est un instrument à cordes dont le manche est absent ou n’est pas distinct de la caisse de résonance) est constituée par un tube, le plus généralement en bambou. L’instrument est fermé aux deux bouts par les noeuds de la plante. Une lettre du voyageur français Chapelier, datée du 2 prairial an XII (22 mai 1804), décrit la fabrication ancienne de l’instrument à partir “d’une portion de tige de bambou, entre deux articulations, ayant sept cordes formées de fibres longitudinales qui composent la tige ligneuse de cette graminée, et qu’on sépare en les levant avec la pointe d’une sagaye, et qu’on amenuise ensuite avec un couteau”. Chaque “corde” est séparée de la table d’harmonie/caisse de résonance par deux petits chevalets en calebasse placés à chaque extrémité du tube. Les cordes sont renforcées par des ligatures en raphia ou en sisal. Progressivement ces cordes végétales ont été remplacées par des cordes métalliques : une valiha présentée à l’Exposition Universelle de Paris en 1900 était montée de dix-neuf cordes en bambou et de quatre en métal. Des trous de résonance sont pratiqués dans le tube, selon l’inspiration de chaque facteur.Dans le sud de Madagascar, les valiha sont en bois. Comme il n’y a pas d’internodes, la sonorité en est très faible. Les musiciens bara pallient à ce défaut en utilisant un bidon de pétrole comme résonateur.Dans le sud, les Sakalava fabriquent l’instrument “avec une portion de pétiole ligneuse des feuilles de Rafia, qu’ils creusent et dont les fibres servent de même à faire des cordes. On le dit le principal instrument de danse chez ce peuple. Les peuples de la côte de l’Ouest l’ont aussi adopté. Son nom est composé de marou qui signifie plusieurs, beaucoup”, nous rapporte Chapelier, qui ajoute que les Sakalava en seraient les inventeurs2. <br />Ce mot “marou” est peut-être à l’origine d’une autre cithare apparue plus tard, le marovany, cithare sur caisse que l’on rencontre aussi, avec une taille réduite, aux Comores. Sur une caisse en bois (ou parfois en tôle), généralement munie de deux pieds, des cordes métalliques (leur nombre, qui varie selon les musiciens, peut aller jusqu’à vingt-quatre) sont tendues de chaque côté de l’instrument. La répartition des notes de chaque côté de la caisse rappelle celle de l’accordéon diatonique, très répandu à Madagascar. Il existe à Madagascar une vièle traditionnelle, le lokanga, chez les Antandroy, au sud de l’île. Le violon européen a, par contre, été très vite adopté, à partir du XVIIe siècle, sous le nom de lokanga bazaha (lokanga étranger), même si les missionnaires brûlèrent un bon nombre de ces “instruments du diable”. Il est surtout joué dans l’Imerina. Les troupes traditionnelles (mpilalao) en jouent depuis le début du XIXe siècle. À la fin du XIXe siècle, les cours de Ranavola II et de la dernière reine, Ranavola III, s’enorgueillirent de quatuors et de trios à cordes3.Les musiques de Madagascar ont commencé à se faire connaître en Europe avec l’Exposition Universelle de 1900, où la France brûlait de faire connaître au monde son empire colonial en pleine expansion. Si Debussy y fut fasciné par les gamelans balinais, c’est sans doute là que le jeune Maurice Ravel trouva l’inspiration pour ses “Chansons Madécasses” qu’il devait composer vingt-six ans plus tard! L’exotisme y est d’ailleurs plus dans les textes que dans la musique, qui ne doit pas grand chose aux mélodies malgaches.Les mpilalao, très présents dans ces enregistrements, sont des orchestres constitués “classiquement” de trois ou quatre violons, d’un tambour, d’une grosse caisse et d’un groupe mixte qui chante et qui danse. Aucune fête populaire ne se déroulait sans la présence d’un mpilalao. Les mpilalao sont ici représentés par des formations plus légères avec une ou deux valiha (plages 01 à 07, 09, 11, 12 et 15 du premier CD), ou un ou deux violons : (plage 10 du premier CD, plages 02, 05, 07 et 08 du second CD), ou même un concertina (plage 13 du premier CD), les percussions étant absentes.Les pièces composées par Ratianarivo sont interprétées sur des instruments européens, piano, violons et saxophone...<br /></span><span class=Soustitre>Les musiciens</span><span class=Texte><br />Le mpilalao de Fenoarivo était une troupe de musiciens basés dans le village de Fenoarivo, à une quinzaine de kilomètres de Tananarive, dans une région appelée Imamo. Ce village était spécialement renommé pour ce genre de spectacles. Le musicien et compositeur Razafimahefa était lui-même originaire de ce village. Tout en ayant sa propre troupe, il faisait également partie du mpilalao de Fenoarivo.Razanakolona était un célèbre joueur de valiha, qui avait sa propre troupe de mpilalao.Andrianary Ratianarivo (1895-1949) était compositeur (plages 08, 14 et 17 du premier CD) et chef d’orchestre de formation classique. Fils d’un musicien du Palais Royal, il était également le fondateur de la célèbre troupe théâtrale “Jeannette”.<br /></span><span class=Soustitre>Les enregistrements</span><span class=Texte><br />Les enregistrements contenus dans ce coffret proviennent des sources suivantes :<br />- deux faces Columbia enregistrées en 1929 par cette société pour le compte de son agent, la société Abel Louis et Magloire de Tananarive. La première (plage 08 du premier CD) est le titre “Bebeso” interprété par l’orchestre du compositeur Andrianary Ratianarivo, la seconde est le titre “Zovy” (plage 11 du premier CD) interprété par l’ensemble de valiha de Razanakolona.<br />- une face Odéon enregistrée en 1929 par cette société pour le compte de son agent, la Compagnie marseillaise de Madagascar. C’est le titre “Lahy e!” (plage 14 du premier CD) interprété par l’orchestre du compositeur Andrianary Ratianarivo.<br />- vingt-cinq faces Gramophone enregistrées en 1930 à Paris, par cette société, pour le compte de son agent la Compagnie lyonnaise de Madagascar, dont :<br />• douze faces (01, 02, 03, 04, 05, 06, 10, 15, 16 sur le premier CD et 01, 05, et 08 sur le second CD) interprétées par l’ensemble Mpilalao ao Fenoarivo.<br />• six faces (12, 18 et 19 sur le premier CD, 02, 07, 09 sur le second CD) interprétées par la troupe Razafimahefa.<br />• une face (17 sur le premier CD) interprétée par l’orchestre du compositeur Andrianary Ratianarivo.<br />• cinq faces (07, 09 et 13 sur le premier CD et 03 et 06 sur le second CD) dont les interprètes sont inconnus mais pourraient être le Mpilalao ao Fenoarivo ou la Troupe Razafimahefa.<br />• une face (04 sur le second CD) dont auteurs et interprètes sont inconnus.<br />Les meilleures ventes à l’époque étaient les titres n° 3, “Tao Anatin’Imamo” et 10, “Mazava atsinana ny any aminay” du premier CD et les titres n° 8, “Maraina ny andro” et 9, “Mifohaza re rabetorimaso” du second CD.<br /></span><span class=Soustitre>La mission Clérisse</span><span class=Texte><br />En 193O, la mission Clérisse effectuait des enregistrements de musiques traditionnelles à Madagascar. En 1946, les éditions de disques du Musée de l’Homme, sous la direction de Gilbert Rouget, publiaient une série de trente soixante-dix huit tours tiré à cinquante exemplaires destinés à différents Musées et Archives sonores, choisis parmi les documents collectés par la mission Clérisse.Henry Clérisse a été notamment chargé de missions par les Ministères des Colonies, de l’Instruction Publique et des Beaux-Arts ainsi que par le Muséum d’Histoire Naturelle. Dans les années trente, il a raconté ses voyages en Afrique dans son livre “30 000 kilomètres à travers l’Afrique française”.Les enregistrements (plages 10 à 19 du second CD) sont extraits de cette première série éditée en 1948 par le Musée de l’Homme.<br /><em>Henri Lecomte</em><br />© FRÉMEAUX & ASSOCIÉS SA, 1997<br /><span style=\text-decoration: underline;>Remerciements</span><br />Nous tenons à remercier tout particulièrement Jean-François de Comarmond pour son aide érudite qui nous a largement aidé à rédiger le texte du livret, ainsi que Robert Crumb, Maurice Desramé, Arnaud Boubet, Jean-Olivier Ranaivo, Dieter und Mikael “Shimmy”, Gérard Roig, et Daniel Nevers, pour leurs prêts de documents ou de 78 tours.<br />Remerciements au Ministère de la Culture et de l’Information de la République de Madagascar :<br />- Samuel Rabé<br />- Prosper Ralaiarimanana<br />- Annick Bessy.<br /></span><span class=Source><br />1Institut d’ethnologie, Paris, 1938.<br />2Notons cependant que ce type de cithare est répandu en Indonésie (comme le talempong bambu des Minangkabau, à l’ouest de Sumatra) et chez les populations montagnardes de la péninsule indochinoise (comme le cing boong rlaa des Mnong Gar, population proto-indochinoise du Viêt-nam) ou encore aux Philippines (comme le papang des Palawan).<br />3Pour en savoir plus sur les instruments malgaches, outre le livre de Kurt Sachs déjà mentionné, on peut consulter les articles de Michel Domechini-Ramiaramanana dans le Grove Dictionary of Musical Instruments ou encore le classique “Origine des instruments de musique. Introduction ethnologique à l’histoire de la musique instrumentale”, d’André Schaeffner.</span><span class=Texte><br /><em><strong>english notes</strong></em><br />Madagascar is one of the few African countries with a single language common to its entire population. This talent for synthesis is also to be found among its musicians, who have been able to absorb various influences in turn, whether Indonesian, East African Bantu, Yemeni or European, to produce a form of music whose charm is instantly recognizable.<br /></span><span class=Soustitre>The People and Music of Madagascar</span><span class=Texte><br />In his book “Les instruments de musique de Madagascar”1 the musicologist Kurt Sachs, one of the fathers of ethnomusicology, expressed his wonder at the musical richness of the great island, where “one can see, side by side, the Stone-Age rattle, the Arabian fiddle, the 18th century European viol and the modern accordion.”Kurt Sachs could have made the list a good deal longer. Essentially, Madagascar has succeeded in carving out a musical identity from the various events that have marked its history. The music of every successive wave of new arrivals has been integrated, digested, as it were, by the unifying genius of the Malagasy people, while, at the same time, each ethnic group has managed to retain its own musical identity. <br /></span><span class=Soustitre>The Population of Madagascar</span><span class=Texte><br />The island began to be inhabited relatively late. Most anthropologists agree that the first settlers came by sea and were already using iron.The population includes three distinct physical types: an Indonesian type, a clearly African type and a third type which is very likely the result of a blend of the other two. Moreover, genetic blood analysis provides proof that this Afro-Indonesian mix is common to all Malagasies. The language, on the other hand, is part of the Indonesian branch of the Malayo-Polynesian group. With certain regional differences, this uniqueness also pertains to the way of life, the culture and social institutions, all of which show more African influence than the language. The Indonesian contribution is a very ancient one, predating Hinduism and Islam. The most widely-held theory is that Indonesian seafarers in outrigger canoes initially landed in East Africa, somewhere between Somalia and Mozambique, which accounts for the Chopi orchestras of Mozambique, with their timbila xylophones, so like Indonesian gamelan. Then they became associated with African Zenj and Bantu tribes and appear to have settled the island in successive waves over the first thousand years A.D. They were followed by migrating Swahili Moslems, who were soon to abandon their religion. Later there was a succession of Yemeni traders and Portuguese, English and French pirates, until the French conquest of the island in 1895.While the cohesiveness of the Malagasy population is genuine, there are several major component groups. The Antesaka and the highly Arabised Antemoro live on the south-east coast. In the far south we find the Antandroy and the Mahafaly. The southern end of the central plateau is the land of the Bara. Most of the east coast is inhabited by the Betsimisaraka, while the west coast is settled by the Sakalava, who share the northern part with the Tsimihety. The Great Plateau belongs to the Betsileo and the Merina.<br /></span><span class=Soustitre>The Musical Instruments</span><span class=Texte><br />One instrument that is common to all these groups is the valiha, a member of the zither family. It consists of a tube – generally bamboo – with each end closed by the knots in the stem. A letter, dated 22 May 1804, from a French traveller called Chapelier, describes the old way of making the instrument from “a section of bamboo, between two joints, with seven bamboo-fibre strings”. Each string is separated from the sound-board by two small calabash bridges at either end of the tube. The strings are wound with raffia or sisal for added strength. These fibre strings gradually gave way to metal ones: a valiha on display at the Paris Universal Exposition of 1900 had nineteen bamboo strings and four metal ones. The tube would be drilled with sound-holes, according to the maker’s whim.In southern Madagascar the valiha are made of wood. Since there are no intermediate knots, the sound is very weak. Bara musicians make up for this by using an oil drum as a resonator.According to Chapelier, in the south the Sakalava use raffia leaf fibre for the strings. “It is reputedly the main dance instrument for these people. West coast tribes have also adopted it. It is called marou, which means “much” or “many”. He also credits the Sakalava with having invented it.2 The word “marou” may also be the origin of another, later zither-type intrument, the marovany, which is to be found in the Comoro Islands. Among the Antandroy, in the south of the island, there is a traditional viol, called the lokanga. However, from the 18th century the European violin, called lokanga bazaha (foreign lokanga), was quickly adopted, despite a fair number of these “instruments of the devil” having been burnt by missionaries. <br />It is played mainly in the Imerina. Traditional mpilalao groups have been using it since the early 19th century. At the end of the 19th century the courts of Ranavola II and of the last queen, Ranavola III, boasted string trios and quartets.3 Malagasy music began to be heard in Europe at the Universal Exposition of 1900, where France was keen to promote its expanding colonial empire. While Debussy was fascinated by the Balinese gamelan, it was probably here that the young Maurice Ravel found the inspiration for his “Chansons Madécasses” that he was to compose twenty six years later! However, there is more exoticism in the words than in the music, which does not seem to owe much to the melodies of Madagascar.Mpilalao are heavily represented on these recordings and consist of “classically” organized ensembles of three or four violins, a drum, a bass drum and a choral and dance group of both men and women. No popular festival was complete without a mpilalao. The ones on the present album are smaller ensembles with one or two valiha (tracks 01 to 07, 09, 11, 12, and 15 on CD1), one or two violins (track 10 on CD1, tracks 02, 05, 07, 08 on CD2) and even a concertina (track 13 of CD1), but without percussion. The pieces written by Ratianarivo are played on European instruments - piano, violins and saxophone.<br /></span><span class=Soustitre>The Musicians</span><span class=Texte><br />The Fenoarivo mpilalao was a troupe of musicians based at the village of Fenoarivo, fifteen kilometres away from Atananarivo, in a region called Imamo. The village was renowned for this form of entertainment and was also the birthplace of the musician and composer Razafimahefa, who had his own troupe, but was also a member of the Fenoarivo mpilalao.Andrianary Ratianarivo (1895-1949) was a composer (tracks 08, 14 and 17 on CD1) and leader of a classical orchestra. He was the son of a musician at the Royal Palace, and he was also the founder of the famous “Jeannette” theatre company.<br /></span><span class=Soustitre>The Recordings</span><span class=Texte><br />The recordings in this CD set come from the following sources:<br />- Two 1929 Columbia sides made for its Atananarivo agents, the Abel Louis et Magloire company. The first title(track 08, CD1) is “Bebeso”, played by composer Andrianary Ratianarivo’s orchestra. The second title is “Zovy” (track 11, CD1) played by the Razanakolona valiha ensemble. <br />- One 1929 Odeon side made for its agents, the Compagnie marseillaise de Madgascar. The title is “Lahy e!” (track 14, CD1) played by composer Andrianary Ratianarivo’s orchestra.<br />- Twenty five Gramophone(HMV) tracks made in Paris in 1930 for the company’s agents, la Compagnie lyonnaise de Madagascar, including: - twelve sides (01, 02, 03, 04, 05, 06, 10, 15 16 on CD1 and 01, 05, 08 on CD2) played by the Mpilalao ao Fenoarivo ensemble.<br />- six sides (12, 18 and 19 on CD1, 02, 07, 09 on CD2) played by the Razfimahefa Troupe.<br />- one side (17 0n CD1) played by composer Andrianary Ratianarivo’s orchestra.<br />- five sides (07, 09 and 13 on CD1 and 03 and 0? on CD2) with an anonymous group which could be the Mpilalao ao Fenoarivo or the Razfimahefa Troupe.<br />- one side (04 on CD2) whose composers and artists are unknown.<br /></span><span class=Soustitre>The Clérisse Mission</span><span class=Texte><br />In 1930 the Clérisse Mission made some recordings of traditional music in Madagascar. In 1946 a series of thirty six 78 r.p.m. records were issued in a run of fifty copies each by Editions de disques du Musée de l’Homme. The recordings (tracks 10 to 19 on CD2) are extracts from this first series of issues by the Musée de l’Homme.<br /><em>Henri Lecomte</em><br />Abridged and adapted from the French by <em>Tony Baldwin</em><br />© FRÉMEAUX & ASSOCIÉS SA, 1997<br /><span style=\text-decoration: underline;>Ackowledgements:</span><br />Special thanks to Jean-François de Comarmond for his erudite help in putting together this booklet, as well as Robert Crumb, M. Desramé, A.Boubet, Jean-Olivier Ranaivo, Dieter und Mikael “Shimmy”, G. Roig and Daniel Nevers for their loan of documents or 78 r.p.m. records.<br /></span><span class=Source>1 Institute of Ethnology, Paris, 1938<br />2 This type of instrument is also widespread in Indonesia, e.g. the talempong bambu among the Minangkabau of Western Sumatra.<br />3 for more information on Malagasy instruments, cf. Kurt Sachs (q.v.) or Michel Domechini-Ramiaramanana’s article in the Grove Dictionary of Musical Instruments.</span><span class=Texte><br /></span><span class=Soustitre2>CD 1</span><span class=Texte><br /><strong>01. Ô ry namako, ô ry mba hitanareo ve ry zanako? </strong> <br />Ô amis, avez-vous vu mon enfant? (folklore) <br />Friends, have you seen my child? <br />MPILALAO DE FENOARIVO<br /><strong>02. Ny fifaliana ry lahy tsy feno raha tsy eo anita-nareo </strong><br />La joie, ô amis, est incomplète, sans être à côté de vous (folklore) <br />I am only really happy when I am with you, my friends <br />MPILALAO DE FENOARIVO<br /><strong>03. Tao anatin'Imano </strong><br />Dans l'Imano / In the Imano (folklore) <br />MPILALAO DE FENOARIVO<br /><strong>04. Arie faly aho leitsy </strong><br />Ô, ami, je suis content / My friends, I feel happy (folklore) <br />MPILALAO DE FENOARIVO<br /><strong>05. Mampahory ny masoandro serania-javona </strong> <br />Le soleil caché par les nuages, nous rend tristes / We are sad when the sun goes behind the clouds (folklore) <br />MPILALAO DE FENOARIVO<br /><strong>06. Oay lahy e! </strong> <br />Ohé, amis! / Hey, friends! (folklore) <br />MPILALAO DE FENOARIVO<br /><strong>07. Eny arodo rodgrodoy ny famindra </strong><br />Écho des pas de danse / Echo of dancing feet <br />CHOEUR MALGACHE<br /><strong>08. Bebeso </strong> <br />(folklore, A. Ratianarivo) <br />ORCHESTRE RATIANARIVO<br /><strong>09. Tery mafy loatra ny saina </strong><br />L'esprit empli de chagrin / Soul full of pain <br />CHOEUR MALGACHE<br /><strong>10. Mazava antsinana ny any aminay! </strong> <br />Chez nous, que l'aurore est belle! (folklore) <br />The dawn is so beautiful down our way <br />MPLILALAO DE FENOARIVO<br /><strong>11. Zovy </strong><br />Alerte! / Alarm! (folklore) <br />TROUPE RAZANALAKONA<br /><strong>12. Fony hianao mbola kely sakaiza </strong> <br />Au temps où tu étais enfant / When you were a child (folklore) <br />TROUPE RAZAFIMAHEFA<br /><strong>13. Rambalamanana </strong><br />Nom de garçon / Boy’s name<br /><strong>14. Lahy e! Eh toi, l'homme! / Hey you, over there! </strong><br />(folklore, arrgt. A. Ratianarivo) <br />ORCHESTRE RATIANARIVO<br /><strong>15. Ô ry dada sy neny malala ô! </strong><br />Ô mes père et mère chéris! / O my beloved father and mother <br />(Razafimahefa) <br />MPILALAO DE FENOARIVO<br /><strong>16. Tanora tsy manaja tena </strong><br />Les jeunes qui n'ont pas le respect d'eux-mêmes / Young people have no self-respect (Ralaimanana) <br />MPILALAO DE FENOARIVO<br /><strong>17. Ô! Ravazaha! </strong><br />Ô! toi, l'étranger! / Hey, stranger! (folklore, arrgt. A Ratianarivo, quadrille) <br />ORCHESTRE RATIANARIVO<br /><strong>18. Ô ry fody an' anala ê! </strong><br />Ô! toi, l'oiseau cardinal des forêts! / O cardinal bird of the forest! (Razafimahefa) <br />TROUPE RAZAFIMAHEFA<br /><strong>19. Ô ry tsiriry mandalo an'Itasy! </strong><br />Ô! toi, l'oiseau qui survole le lac Itasy! / O bird, flying over lake Itasy! (Razafimahefa) <br />ORCHESTRE RAZAFIMAHEFA<br /></span><span class=Soustitre2>CD 2</span><span class=Texte><br /><strong>01. Raivo Ô </strong><br />Ô Raivo (nom de fille) / Girl’s name (folklore) <br />MPILALAO DE FENOARIVO<br /><strong>02. Ry volon-danitra manga </strong><br />Un beau ciel bleu / A beautiful blue sky (Razafimahefa) <br />TROUPE RAZAFIMAHEFA<br /><strong>03. An'iza ny basy? </strong><br />À qui est ce fusil? / Whose gun is this?<br /><strong>04. Afindrafindrao </strong><br />Passons d'un côté à l'autre / Let’s cross over (folklore, quadrille) <br />CHOEUR MALGACHE <br /><strong>05. Hadalana, hadisaona </strong><br />Une folie, une erreur / A crazy mistake (Razafimahefa) <br />MPILALAO DE FENOARIVO<br /><strong>06. Fikasakasana ny eto an-tany </strong> <br />La vie n'est qu'une préparation / Life is just a rehearsal<br /><strong>07. Indrisy mantsy zareo mpilalao tsy manantiana </strong><br />Ayez pitié des musiciens qui n'ont pas d'amoureuse / Pity poor musicians who don’t have a girlfriend (Razafimahefa) <br />TROUPE RAZAFIMAHEFA<br /><strong>08. Maraina ny andro </strong><br />Le jour point / Dawn is breaking (folklore) <br />MPILALAO DE FENOARIVO<br /><strong>09. Mifohaza, re rabetorimaso </strong> <br />Réveille-toi, endormi / Wake up, sleepy head (Razafimahefa) <br />TROUPE RAZAFIMAHEFA<br /><strong>10. Nosy Bé </strong><br />Chant pour la première coupe de cheveux d'un enfant / Song for a child’s first haircut <br />SAKALAVA.<br /><strong>11. Nosy Bé </strong><br />Chant de piroguiers surpris par la pluie / Canoists’ song in unexpected rain <br />SAKALAVA.<br /><strong>12 Andrainjatu </strong><br />Chant de lutteurs (duo d'hommes) / Fighters’ song (male duet) <br />BETSILEO DU NORD<br /><strong>13. Ambalavao</strong> <br /> Retour du guerrier (solo et choeur d'hommes) / Return of the warrior (male solo and choir) <br />BETSILEO DU SUD. <br /><strong>14. Antankarana. Ambilobe </strong><br />Hommage au roi (solo d'homme, choeur de femmes, tambour) / <br />Hail to the king (male solo, female choir, drum) <br />SAKALAVA ou TSIMIHETY<br /><strong>15. Antankarana. Ambilobe </strong> <br />Accueil des chefs (solo et choeur de femmes, tambour) / Welcoming the chiefs (female solo and choir, drum) <br />SAKALAVA ou TSIMIHETY<br /><strong>16. Majunga </strong> <br />Chant d'amour (choeur d'hommes, hautbois, tambour) / Love song (male choir, oboe, drum) <br />SAKALAVA DU NORD<br /><strong>17. Befandriana </strong> <br />Pour encourager les boxeurs (solo et choeur de femmes, tambour) / For cheering boxers (female solo and choir) <br />TSIMIHETY<br /><strong>18. Majunga </strong> <br />Musique rituelle musulmane (solo d'homme, viole, tambour, cymbales, cliquettes) / <br />Moslem ceremonial music (male solo, viol, drum, cymbals, rattle) <br />COMORIENS ANJOUANAIS<br /><strong>19. Majunga </strong><br />Musique rituelle musulmane (solo et choeur d'hommes, viole, tambour, cymbales, cliquettes) / <br />Moslem ceremonial music (male solo, viol, drum, cymbals, rattle) <br />COMORIENS ANJOUANAIS<br /></span><span class=Texte><br /></span><span class=Source>CD Madagascar © Frémeaux & Associés (frémeaux, frémaux, frémau, frémaud, frémault, frémo, frémont, fermeaux, fremeaux, fremaux, fremau, fremaud, fremault, fremo, fremont, CD audio, 78 tours, disques anciens, CD à acheter, écouter des vieux enregistrements, albums, rééditions, anthologies ou intégrales sont disponibles sous forme de CD et par téléchargement.)</span></p>" "dwf_titres" => array:38 [ 0 => array:6 [ …6] 1 => array:6 [ …6] 2 => array:6 [ …6] 3 => array:6 [ …6] 4 => array:6 [ …6] 5 => array:6 [ …6] 6 => array:6 [ …6] 7 => array:6 [ …6] 8 => array:6 [ …6] 9 => array:6 [ …6] 10 => array:6 [ …6] 11 => array:6 [ …6] 12 => array:6 [ …6] 13 => array:6 [ …6] 14 => array:6 [ …6] 15 => array:6 [ …6] 16 => array:6 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MADAGASCAR
CHANTS ET MUSIQUE TRADITIONNELLE DES ANTANDROY
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€19.99
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LES MAÎTRES DE SRI LANKA
ENREGISTREMENT SONORE IN SITU DE FRANCOIS JOUFFA
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CEYLAN CHANTS D’AMOUR À SIGIRIYA, SRI LANKA
SRI LANKA - SIGIRIYA’S LOVE SONGS, CEYLON
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MADAGASCAR - MUSIQUES DE LA COTE ET DES HAUTS PLATEAUX
ANTHOLOGIE 1929 - 1931
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€29.99
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€19.95
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