CD Booklet 32 Pages - Release Date: 2015 - Music Popular Tuscany
Childish songs - Rituals and Questua - Social, of Imprisonment - Military and War - Zinganette - to Dance - D'Osteria
1 Fate la nanna, coscine di pollo (ninna nanna) 2:40
2 L’uccellino quando imbruna (ninna nanna) 2:14
3 Il pecoraio (ninna nanna) 2:00
4 La santa Caterina (canto di gioco) 3:51
5 Grillo bel grillo (canto di gioco) 2:44
6 Tre tamburini belli (canto di gioco) 2:01
Canti rituali e di questua
7 Grano, grano non carbonchiare (canto rituale) 1:28
8 Maggio della primavera (canto di questua) 3:42
Canti politici, sociali, di carcere, militari, di guerra
9 Il lamento del contadino (canto sociale) 1:52
10 Per un’ingrata femmina (canto di carcere) 3:31
11 O rondinella che libere l’ali (canto militare) 2:18
12 Bersaglierino dalle penne nere (canto di guerra) 1:42
13 Bista vol essere sposo 3:18
14 O poveri soldati 3:45
Canti a ballo
15 Levatevi da i’ sonno, briaconi (trescone) 1:59
16 Uccellino, mio bell’uccellin (canto licenzioso) 2:48
17 Bevi, bevi compagno (bàcchica) 1:39
GOOGLE AUTOMATIC TRANSLATION
SONGS TRADITIONAL TUSCAN – CD 3
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) - Canti childhood - can be: childhood, sung by children, or Count, nursery rhymes, lullabies, riddles, songs playing, often accompanied by gestures, movements, actions, individual or collective; for children, sung by the relatives to the children, or lullabies, nursery rhymes, rhymes, riddles, little stories (which are often narrative songs degradatisi over time).
As for the music prevails the minor mode for lullabies and nursery rhymes and chants for more, and for all time lulling the 6/8; in the songs playing the music follows the parameters already mentioned for narrative songs (major and prevailing times equal).
2 °) - to dance songs - songs are to be performed by dancing, usually to the accompaniment of folk instruments such as the accordion, guitar, mandolin, tambourine, castanets. In Tuscany the best known folk dances are the "trescone". Musically trescone, that when it is structured in stanzas sung by the chorus, is in major and in compound time (6/8).
3 °) - Songs of begging - are sung by groups of people on special occasions - New Year, epiphany ("Befanate"), May ("Mays opera") - go from house to house and, after the greetings and greetings, ask for gifts. Usually it's collage of various types of hand (eighth, songs, etc.)
4 °) - ritual songs - are linked and rites and traditions that result from magical practices and propitiatory or even by ancient pagan rituals (such as "give light to the grain" with torches in the Tuscan countryside in the last night of the carnival, to protect the wheat from the "anthrax"). In this song, which strophic character, the music is so more time and compound (6/8).
5 °) - 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).
6 °) - Canti political, social, prison, military, war - They play in various forms the theme that is in their name. These are in practice, in addition to the octaves of "bernescanti", the only folk songs still made by some poet-singer, perhaps even taking a pre-existing melody, on the occasion of political struggles or trade union or episodes of war or guerrilla. Are strophic songs with the structure of the texts and music very different.
7 °) - Canti tavern - They usually theme and atmosphere cheerful and satire, sometimes flirting with licentious, and have various shapes. They belong to a large part of "enumerative chants", the "Bacchanalian" sung during the toast, the "contrasts", the "eighth", some "stories", etc. From the musical side in Bacchanalian the way is usually the largest and the 6/8 time. In the other songs the strophic structure and music can be quite varied.
8th) - Zinganette - Features of Tuscany, have a structure of three quatrains and a seven-five syllable, with rhyme between the two lines between the central and the quinary and the first of the seven day next stanza, so create a linkage between the various stanzas ( abbc, CDDE, EFFg, etc.). They derive their name from the fact that initially sang the arts of Gypsies in traditional theater of "Saw the old" then the name stuck to songs that have kept the structure described above, while varying the content that can be religious, lyrical, dramatic, occasionally. As it regards their musical characters the zinganette incline towards the minor mode, while the rhythm can be both binary ternary.
NUOVO QUARTETTO VOCALE FIORENTINO diretto da Claudio Malcapi
Enrico Vannucci tenore I
Cesare Cristofolini tenore II
Renato Galasso baritono
Giulio Pacifici basso