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CD

Kalaschjan

Rural and Urban Traditional Music from Armenia
House of the Cultures of the World
Product number: SM 15052
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Product Details

Description

This recording from the Caucasus Festival (House of Cultures, Berlin, 1991) offers an overwhelming impression of the artful expressive power of Armenian music. Solo songs alternate with instrumental music, expressive melodies with boisterous dances. Most of the instruments - like the beguilingly soft-sounding, oboelike duduk and its nasal sister, the zurna - are known only in Armenia. The extensive booklet contains an informed discussion of the history of this rich musical culture, the musicians, and the works. The CD was awarded the Quarterly German Record Critics' Award!

Content

Medieval Lamentation
Shalakho
Horhovel
Folk Dances from Alashkert
Urban Folk Songs
Folk Dance Melodies from Taron
Easter Ritual Song
Folk Dance Melodies from Abaran
Threshing Song
Parkapsuk
The Prince of Moks
Pastoral Melody
Na, na, na
You Are Like a Siren
Your Strong Intelect
Antuni
Avun-avun
Tagh
Dance Melody
Two Dances: Twelve Steps and Kotchari

More Information

Title:
Kalaschjan
Rural and Urban Traditional Music from Armenia
House of the Cultures of the World
Vocal and Instrumental Ensemble Erevan / Ensemble Kalashyan
Publisher/Label:
Wergo
Duration:
70 ′47 ′′
Series:

Technical Details

Product number:
SM 15052
MAN EAN:
4010228150520
Weight:
0,13 kg

More from this series

Music of World Cultures
World Music – What Is Distant? What Is Near? World Music is a not uncontroversial term for the rich variety of musical culture of our planet, and it comprises not only the musical traditions of the rural parts of Africa, Asia, and Latin America but also those of the high cultures of the Indian subcontinent, Japan, and China as well as the popular music of urban metropolises throughout the world today. This edition of CDs, most of which were produced in cooperation with Berlin’s House of the Cultures of the World and the Music Department of Berlin’s Ethnological Museum, mixes up the categories of “foreign” and “familiar” not only by bringing closer things that are unknown and unfamiliar but also by revealing the familiar in the foreign and the foreign in the familiar. The encounter with the varied musical ideas that exist outside of our own culture has made us more aware of our own categories and shown us that we can no longer operate with a single compulsory aesthetic but that we must instead speak of innumerable distinctive aesthetics. This conclusion is supported both by the extraordinary recordings and the high quality of the booklet texts on the WELTMUSIK label.

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