CD Booklet 32 Pages - Release Date: 2005 - Music Popular Tuscany
Narrative songs Pleased - Work - Religious - Iterative
Canti narrativi lieti
1 La Dea fa ‘l bucato 2:49
2 Andando a spasso per la Maremma 2:37
3 Pellegrin che vien da Roma 1:56
4 Pellegrino che viene di Francia 2:40
5 Ell’eran tre sorelle 3:24
6 O Pinotta 2:06
7 Marcellina giù per le scale 2:17
8 Donzella va alla guerra 3:36
9 Cosa piangi, mia cara Emma 3:49
10 La mamma di Rosina era gelosa 2:44
11 Svégliati, Ugenia 2:28
12 Quando arrivai per maritarmi 1:47
Canti di lavoro
13 Arrotino! 2:24
14 Maremma amara 2:37
15 Dove tu te ne vai, bel pecoraro 3:15
16 Maria lavava 3:48
17 Verrà quel dì di lune 4:19
18 Stamattina so’ anda’ a i’ merca’ 2:35
GOOGLE AUTOMATIC TRANSLATION
SONGS TRADITIONAL TUSCAN – CD 2
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 °) - 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.
2 °) - Canti Enumerated - They are based on the enumeration of an element - the days of the week, the women of the Italian regions, etc.-that is the only variant of lyrics for the remaining equal. There exists a simpler type in which it has the only progressive enumeration of the element which changes, and a more complex one in which for each verse you have, in addition to the enumeration, also a recapitulation of the elements reversed variables: the first can be defined in strictly speaking enumerative chants, songs enumerated the seconds-summaries.
As the arguments are often happy or funny, but you Piò recognize in many of them an educational goal: to teach the days of the week, the Italian regions, etc.
3 °) - Religious Songs - They theme prayers or invocations, episodes of the Gospels, hagiographic legends and edifying. Often they do not mysticism and transcendence, while stand out the human aspects, land of the events of the Gospel. The music of religious songs is predominantly a lesser degree, while the time is equally divided between songs at times even (4/4) and ternary (3/4, 6/8).
4 °) - Songs of work - can have both a direct functional significance, such as the "cry", the "references", the "rhythms" that serve to draw attention or to give the rhythm of work, or the songs of weeders, the shepherds, the songs of itinerant craftsmen such as grinders, the chimney sweep, the songs of the teamsters, the songs of sailors, all sung at work. Or they may have to issue the work, often encroaching on other social groups such as songs, songs of protest, etc.
From the musical side in work songs, which are structured in stanzas rarely with the refrain, it is detected prevalence of major and the ternary compound (6/8).
NUOVO QUARTETTO VOCALE FIORENTINO diretto da Claudio Malcapi
Enrico Vannucci tenore I
Cesare Cristofolini tenore II
Renato Galasso baritono
Giulio Pacifici basso