CD Booklet 32 Pages - Release Date: 2015 - Music Popular Tuscany
Lyric songs - songs Tragic Narrative
1 Peschi fiorenti (stornello) 3:43
2 Quando nasceste voi (stornello) 3:28
3 Giovanottino mi piacete tanto (rispetto) 2:40
4 È l’undici di notte (serenata) 1:53
5 L’amore è come l’ellera (canzonetta) 2:40
6 O rondinella che passi tra i monti (canzonetta) 2:17
7 Mamma, fammi la pappa (canzonetta) 3:32
8 E se nun son contenti quelli di casa (canzonetta) 2:22
9 Di nome si chiamava Veneranda (canzonetta) 2:02
10 La Biritùllera (canzonetta) 2:36
11 Tira e molla (canzonetta) 2:22
12 Era di notte (canzonetta) 2:15
13 Contrasto fra un contadino e un fiorentino(ottava rima) 3:02
Canti narrativi tragici
14 Donna lombarda 4:14
15 Quando Logiardo gli andette per la sposa 4:11
16 In do’ stetti iersera 3:39
17 La Lea 3:27
18 Chi è che bussa 4:26
19 O barbiera 4:22
20 Sotto il ponte della Siera 4:05
21 O Fedora 2:54
22 Il popol di Bagnina 3:34
GOOGLE AUTOMATIC TRANSLATION
SONGS TRADITIONAL TUSCAN – CD 1
The songs that are presented in three CDs belong, with tales fairy tales proverbs, the oral form of the Traditional Community, as well as instrumental music, dances, theater, rituals and festivals belong to the executive-representative forms of it.
Poetry in songs and music, logos and melos, are both present to form a unitary structure characterized by relative simplicity of forms both texts and music.
Some of the general themes of the poems - the war, valor, honor, betrayal, revenge, return, love, hatred, abandonment, weddings, family, birth, work - it can be reflected in myths, legends and stories have been handed down from the past, even from that far away, on the edge of the archaic.
However every single song, even if it emerges in one or more than one of ancestral themes above, refers generally to a specific episode, describes a specific event or a specific mood. And each song had an author whose name is lost in time, that author was a jester, or a storyteller or poet semicolto, probably moving between places and different cities.
Rural communities that once made up the majority of the population of a region or a state, were the audience who listened to the songs, which they have learned, understood and made their own thing and they have over time transmitted orally from one individual to another as they become part of the traditions of the community.
In this process, the songs have undergone continuous development and have formed a number of variants of the texts (different dialects, different languages, variations of words or phrases, different course of action) and melodies: the results of the changes and transformations of the songs in time are the ones that nowadays there are a legacy.
This heritage is, however, gradually eroded as the custom and usage of traditional songs at work, in vigils, in his spare time it is towards a gradual disuse and nowadays are few older people in decentralized areas, especially rural and mountainous , to preserve the memory of them, supplanted by the generalization of written culture and "the media" (radio, cinema, television, newspapers and magazines) for information and entertainment.
The study of the songs of oral tradition began in the nineteenth century with the first collections written appeared in the mid-century and has been in Italy distinguished scholars such as Niccolò Tommaseo, Giuseppe Tigers, Costantino Nigra, Giuseppe Ferraro, Alessandro D'Ancona and continued in the twentieth century with Giuseppe Pitre, John Giannini, Michele Barbi, Francesco Balilla Pratella, Joseph Cocchiara, Paolo Toschi, Ernesto De Martino, Vittorio Santoli and, more recently, Pier Paolo Pasolini, Roberto Leydi, Giuseppe Vettori, Diego Carpitella, Paolo Bon, Angelo Agazzani and many others.
A great help to scholars came, since the seventies of the last century, the tape recorder that allows a direct recording of the songs on tapes and cassettes, allowed to transcribe faithfully and conveniently texts and music, the latter often ignored or neglected the early scholars. Today then with VCRs shooting possibilities and storage are further improved. They were made up in Italian centers for the collection and study of folk traditions where, in addition to library materials, are large collections of records and discs: these are the State Record Archive with its ethnic musical language, the National Center Study of Popular Music (CNSMP), The Institute Ernesto De Martino once in Milan, now in Sesto Fiorentino and many other public and private collections.
1) - lyrical songs - include starlings, respects, serenades, pop songs, octaves.
They usually the theme of love in the various aspects of joy or sorrow, hope and despair, elation or contempt; exception octaves that have various themes.
Starlings and respect are formed from a single verse (lyric songs monostrofici); serenades, pop songs, the octaves are polystrophic.
Starlings has two main forms: the first is three-syllable of which the first and last rhyming or assonant, the central consonance with dull and usually repeated; the second form is constituted by a quinary initial and subsequent by two-syllable, with rime, similarities and repetitions similar to those of the first embodiment. Sometimes we might call these verses follows a short refrain or "blossomed", usually 2 or 3 verses, sung by the choir at the end of each verse. Starlings, so called because they chanted in the countryside "in reversal" from a hill to another (Neretti), may take the character of dialogue or challenge repartee between men and women. From the musical side ditties they are usually so more time and even (4/4) but there is some example in compound time (6/8).
I respect consist of octaves of heroic verse rhyme ABABCCDD. They are named (B. Cross) by the feeling of reverence towards the beloved singer. The fourteenth-century Sicilian origin is eighth. From the musical side respects normally they occur so more time and compound (6/8); the melody is usually differentiated between the two quadruplets that compose them.
Serenades and songs have structure polistrofica and largely consist of eleven-syllable rhyming quatrains alternate (ABAB) and almost always have a chorus or "flourishes" which is in turn a quatrain of seven or five syllable to rhyme varies. Serenades and songs from the musical side prevalence for a double ternary rhythms (3/4, 6/8) on the binary rhythm (4/4) and a clear majority of the major mode; some songs is so minor in verse and more in the chorus.
Octaves are structured into heroic verse to rhyme ABABABCC. They are also polystrophic but have the distinction of being chained by the rhyme between the last line of each stanza and the first line of the next stanza (ABABABCC, CDCDCDEE, EFEFEFGG etc.). Their other particularity is to be sung today by two or more poets improvisers, the "bernescanti" in academies or poetry contests in which the public usually called them the theme to PET, or social or political or religious or Used to be developed in which poetry and poets, who have opposing roles (farmer and citizen, mother-in-law and daughter-communist and liberal, etc.), alternate to improvise a verse after another. The musical structure of the eighth is so minor and time equal and the same melodic-rhythmic pattern is used with minimal variations by most singers.
2 °) - narrative songs - These songs also epic or lyrical ballads. They consist of more stanzas varies in structure (primarily the seven-syllable quatrains, but also quinari, senari, octosyllabic, novenari, decasyllabic), usually with two verses floors and two trunks, which bears testimony to the northern origin. The verses have varied rhyme or assonance and the verses are often complicated by the repetition of lines or half-lines or interpolation of onomatopoeic words or phrases without sense of connection with the text.
Narrate historical facts, cases fictional or legendary, often tragic, but there are success stories. The oldest reflect the feudal society and chivalry, the latest expression of bourgeois reality and popular songs are storytellers of which was often made a print edition, the so-called "loose-leaf" sold in the streets.
From the musical point of view the major mode has a certain focus on the child when considering the narrative songs in their entirety. This prevalence, however, becomes more pronounced in the narrative songs are happy, while in those tragic things are reversed and the minor mode prevails clearly.
Special forms of narrative song are the stories in eighth rhyme, we have received both from past centuries by poets more recent: the first is a kind of poetry in verses (eg. The story of Pia de 'Tolomei), almost a smaller version of great chivalric poems of Tasso and Ariosto, the second stories of bandits and in prison, relatives of heinous crimes, sometimes comic episodes of rural life
NUOVO QUARTETTO VOCALE FIORENTINO diretto da Claudio Malcapi
Enrico Vannucci tenore I
Cesare Cristofolini tenore II
Renato Galasso baritono
Giulio Pacifici basso