John Mclaughlin - Remember Shakti 1999
Track List
CD 1
01 Chandrakauns
02 The Wish
03 Lotus Feet
CD 2
01 Mukti
02 Zakir
Full Cover
Download HERE
Download HERE
Bijan Chemirani - Eos
The handsome cadet of one of Iran’s most famous musical families, Bijan Chemirani began his professional career while still in secondary school. The son of a famous zarb master, his subtle percussions have graced the works of several traditional musicians in his adopted homeland of France. With the release of his album “Eos”, Chemirani launched into an ambitious solo career. His first steps have confirmed the 23-year-old’s nigh scientific ability to coax out rhythms from his zarb. Despite critical praise for his first album, he has continued to collaborate with the likes of Ross Daly, Dupain and his old Greek friend Stelios Petrakis.
(01). Roudra Lalit
(02). Hayat Güzel: Hayat Güzel - intro
(03). Hayat Güzel: Hayat Güzel
(04). Nichapoûr
(05). Panjzarbi
(06). Yavôch Yavôch
(07). Jurjuna
(08). Ritournelles
(09). Noh zarbi
(10). Maria
(11). Sitia
(12). Fish Dance
(13). Yunan
Stelios Petrakis: Lyra, Laouto, Saz, Vocals Henri Tournier: Bansuri, Flute, Octobasse Loy Ehrlich: Hajouj, Awicha, Kora Pape N'Diaye, Maryam & Mardjane Chemirani: Vocals Levon Minassian: Duduk Pierre Ruiz: Guitar Djamchid Chemirani: Zarb, Keyvan Chemirani: Zarb, Voice Bijan Chemirani: Zarb, Saz, Daf, Riq, Udu, Bendir Recorded at Studio Mobile & Nerves, Salon-de-Pce, France
Flac (EAC Rip): 440 MB | MP3 - 320 kbs: 160 MB | Booklet Scans
Archives have 5% of the information for restoration
Flac
Part 1 | Part 2 | Part 3
OR MP3 320 kbps
HERE
Putumayo Presents: Acoustic Brazil
The gentle rhythms of samba, bossa nova and more by legendary artists and fresh new voices. From the gentle swing of bossa nova and samba canç?o, to the lyrical grace of contemporary singer-songwriters, Acoustic Brazil presents some of the most beautiful songs from Brazil's unique musical legacy.
Acoustic Brazil is Putumayo's fourth installment in its popular regional series which includes Brasileiro, Samba Bossa Nova and Brazilian Groove. Focusing again on bossa nova and samba canção, the compilers have put together a heady mix of old and new, with legendary performers like Gal Costa, Caetano Veloso and Chico Buarque crooning alongside more contemporary voices like Teresa Cristina, Lucas Santtana and Márcio Faraco. As usual, Putumayo has included extensive liner notes in English, Spanish and French, as well as numerous photos. Fans of Antonio Carlos Jobim, Milton Nascimento or just bossa nova in general will find Acoustic Brazil not only warm and relaxing, but also teeming with life.
[01]. Aquele Frevo Axe - Gal Costa
[02]. A Voz Do Povo - Paulinho Da Viola
[03]. Samba Triste - Anna De Hollanda
[04]. Ciranda - Marcio Faraco
[05]. Meu Mundo E Hoje (Eu Sou Assim) - Teresa Cristina
[06]. Quando Eu For Eu Vou Sem Pena - Chico Buarque
[07]. Tem Quem Queira - Rita Ribeiro
[08]. Cajuina - Caetano Veloso
[09]. Moro Na Roca - Monica Salmaso
[10]. Mensagem De Amor - Lucas Santtana
[11]. Labios De Cetim - Glaucia Nasser
[12]. Noite Severina - Lula Queiroga
Flac (EAC Rip): 260 MB | MP3 - 320 kbs: 100 MB | Scans
Archives have 5% of the information for restoration
Flac
Part 1 | Part 2
OR MP3 320 kbps
HERE
Musique Et Chants Traditionnels De Mauritanie (Traditional Songs of Mauritanie)
Track List
01.Prélude Instrumental
02.Madha
03.Beyt Biedh
04.'Aynî Yâna
05.Beyt Harb
06.Beyt Harb
07.Dezzeyt'm Berr
08.Sans titre
09.Sans titre
10.Râ'i Imeyl !
11.Umsiku Dam'a 'Ayni
12.Lalla Mmwi
13.El-Hawl
14.Ana Wana
15.Madha
16.Madha
Download HERE
Alim Qasimov - Classical Mugham
According to the New York Times, Alim Qasimov is simply one of the greatest singers alive, with a searing spontaneity that conjures passion and devotion, contemplation and incantation.
Alim Qasimov was born in 1957 and is one of the foremost mugam singers in Azerbaijan as well as being an musician (on the daf - the single-headed frame drum of the Middle East and Central Asia) .
Mugham has a thousand years of musical tradition and is a highly complex art form that weds classical poetry and musical improvisation in specific local modes accompanying an orally transmitted collection of melodies and melodic fragments that performers can draw on when improvising.
"The choice of a particular mugham and a style of performance fits a specific event. The dramatic unfolding in performance is typically associated with increasing intensity and rising pitches, and a form of poetic-musical communication between performers and initiated listeners". (Wikipedia)
"Alim Qasimov is a prominent mugham singer named a "Living National Treasure" of Azerbaijan. He has been passionate about mugham since his early childhood, but initially Qasimov sang mugham solely for his own enjoyment. Only at the age of nineteen, after having held various jobs as an agricultural worker and driver, did he decide to pursue a career in music. Qasimov studied at the Asaf Zeynalli Music College (1978-1982) and the Azerbaijan University of Arts (1982-1989). His teacher was well-known mugham singer Aghakhan Abdullayev.
Qasimov's first remarkable international success occurred in 1988 when he won first prize at the International Festival and Symposium on Traditional Music in Samargand, Uzbekistan. Since then, he has been traveling worldwide to spread the art of Azerbaijani mugham.
Alim appears on 12 CDs released in Europe and the United States, on one of them, Love's Deep Ocean (1999, Network Medien, Frankfurt, Germany) together with his daughter and student Fargana Qasimova. In addition to performing with the Silk Road Ensemble, Qasimov performs with the Kronos Quartet as part of his collaboration with the Aga Khan Initiative in Central Asia.
Qasimov has performed on Azerbaijan’s most prestigious stages, such as the Heydar Aliyev Palace and the Azerbaijan Philharmonic Hall. Since 1989, he has been a soloist at the Azerbaijan Opera and Ballet Theater. Qasimov teaches mugham classes at the Asaf Zeynalli Music College and the Azerbaijan National Conservatory.
Qasimov perceives and presents mugham not only as an ancient art and a part of Azerbaijan's musical and cultural heritage but also as a constantly developing tradition. His performing style is unique, as it combines deep knowledge of centuries-old rules of mugham with challenging innovations. It is distinguished by extreme intensity, which takes audiences to a spiritual world. Qasimov's approach to mugham is far from conservative, and he willingly juxtaposes mugham with other music styles, such as jazz and contemporary composition.
In 1999, in recognition for his musical contributions to world peace, Qasimov was awarded the coveted International IMC-UNESCO Music Prize. Past winners of this prize include Yehudi Menuhin, Ravi Shankar, Olivier Messiaen and Daniel Barenboim. Qasimov's numerous awards also include the title of the People's Artist of Azerbaijan, the highest artistic rank in the country. In 2007, on the occasion of Qasimov’s 50th birthday, the President of Azerbaijan awarded him the Medal of Glory."
(above taken from www.silkroadproject.org)
He was also included in a book on the 500 Most Influential Muslims of The World (2009).
"The heart-aching soul music of Eurasia"
"Alim Qasimov certainly has his fans. The late Jeff Buckley described his singing as "pure and effortless" while The Guardian's Robin Denselow claimed him to be "one of the most thrilling, unashamedly emotional performers on the planet". The Kronos Quartet's David Harrington put a figure on it, announcing that, vocally, Alim is in "the top five of all-time". His is certainly an astonishing voice, pricking the skin and riding undulating air currents as he dramatically interprets the ancient poetic works of his homelands.
One of the most cherished citizens of Azerbaijan, he sings both the homegrown classical music known as mugham and the ballads of the ashiqs, the local lute-playing troubadours. But whatever the song's origin, when that voice begins to ascend, you just know that Alim Qasimov means every single word of it. A genuine soulman.
The Alim Qasimov Ensemble are produced in association with Serious and the Aga Khan Music Initiative, a programme of the Aga Khan Trust for Culture." (Taken from Womad.org website - Biography written by Nige Tassell 2010)
1. Rast
2. Segah
3. Mahur
4. Chahargah
5. Nazli Yar
MP3 320 kbps including Covers
Part 1 || Part 2
Alim Qasimov was born in 1957 and is one of the foremost mugam singers in Azerbaijan as well as being an musician (on the daf - the single-headed frame drum of the Middle East and Central Asia) .
Mugham has a thousand years of musical tradition and is a highly complex art form that weds classical poetry and musical improvisation in specific local modes accompanying an orally transmitted collection of melodies and melodic fragments that performers can draw on when improvising.
"The choice of a particular mugham and a style of performance fits a specific event. The dramatic unfolding in performance is typically associated with increasing intensity and rising pitches, and a form of poetic-musical communication between performers and initiated listeners". (Wikipedia)
"Alim Qasimov is a prominent mugham singer named a "Living National Treasure" of Azerbaijan. He has been passionate about mugham since his early childhood, but initially Qasimov sang mugham solely for his own enjoyment. Only at the age of nineteen, after having held various jobs as an agricultural worker and driver, did he decide to pursue a career in music. Qasimov studied at the Asaf Zeynalli Music College (1978-1982) and the Azerbaijan University of Arts (1982-1989). His teacher was well-known mugham singer Aghakhan Abdullayev.
Qasimov's first remarkable international success occurred in 1988 when he won first prize at the International Festival and Symposium on Traditional Music in Samargand, Uzbekistan. Since then, he has been traveling worldwide to spread the art of Azerbaijani mugham.
Alim appears on 12 CDs released in Europe and the United States, on one of them, Love's Deep Ocean (1999, Network Medien, Frankfurt, Germany) together with his daughter and student Fargana Qasimova. In addition to performing with the Silk Road Ensemble, Qasimov performs with the Kronos Quartet as part of his collaboration with the Aga Khan Initiative in Central Asia.
Qasimov has performed on Azerbaijan’s most prestigious stages, such as the Heydar Aliyev Palace and the Azerbaijan Philharmonic Hall. Since 1989, he has been a soloist at the Azerbaijan Opera and Ballet Theater. Qasimov teaches mugham classes at the Asaf Zeynalli Music College and the Azerbaijan National Conservatory.
Qasimov perceives and presents mugham not only as an ancient art and a part of Azerbaijan's musical and cultural heritage but also as a constantly developing tradition. His performing style is unique, as it combines deep knowledge of centuries-old rules of mugham with challenging innovations. It is distinguished by extreme intensity, which takes audiences to a spiritual world. Qasimov's approach to mugham is far from conservative, and he willingly juxtaposes mugham with other music styles, such as jazz and contemporary composition.
In 1999, in recognition for his musical contributions to world peace, Qasimov was awarded the coveted International IMC-UNESCO Music Prize. Past winners of this prize include Yehudi Menuhin, Ravi Shankar, Olivier Messiaen and Daniel Barenboim. Qasimov's numerous awards also include the title of the People's Artist of Azerbaijan, the highest artistic rank in the country. In 2007, on the occasion of Qasimov’s 50th birthday, the President of Azerbaijan awarded him the Medal of Glory."
(above taken from www.silkroadproject.org)
He was also included in a book on the 500 Most Influential Muslims of The World (2009).
"The heart-aching soul music of Eurasia"
"Alim Qasimov certainly has his fans. The late Jeff Buckley described his singing as "pure and effortless" while The Guardian's Robin Denselow claimed him to be "one of the most thrilling, unashamedly emotional performers on the planet". The Kronos Quartet's David Harrington put a figure on it, announcing that, vocally, Alim is in "the top five of all-time". His is certainly an astonishing voice, pricking the skin and riding undulating air currents as he dramatically interprets the ancient poetic works of his homelands.
One of the most cherished citizens of Azerbaijan, he sings both the homegrown classical music known as mugham and the ballads of the ashiqs, the local lute-playing troubadours. But whatever the song's origin, when that voice begins to ascend, you just know that Alim Qasimov means every single word of it. A genuine soulman.
The Alim Qasimov Ensemble are produced in association with Serious and the Aga Khan Music Initiative, a programme of the Aga Khan Trust for Culture." (Taken from Womad.org website - Biography written by Nige Tassell 2010)
1. Rast
2. Segah
3. Mahur
4. Chahargah
5. Nazli Yar
MP3 320 kbps including Covers
Part 1 || Part 2
Amina Alaoui - Arco Iris
Amina Alaoui is a vocalist, pianist, and composer steeped in the history of Andalusian music, the fusion of Arab, Spanish, Persian, and Portuguese styles that evolved in the courts of Moorish Spain in the ninth century. Her intent, stated poetically in the album's liner notes, is to use the fusion of styles that flourished centuries ago as the foundation for a modern music without boundaries. Arco Iris translates as rainbow, a metaphor for the way the musics of the Iberian Peninsula and Northern Africa blend into and color each other. Alaoui, and the five musicians that accompany her, produce a powerful, contemplative sound that stirs deep feeing with its deliberate tempos and intricate instrumental work. Still, the main focus remains Alaoui's soulful, passionate vocals. They take up an immense emotional space, reminding listeners of the limited range of most pop music. The record opens with "Hado" (Fate), a chilling solo performance that shows Alaoui's vocal range and masterful control as she slides up and down the scale adding ornamentations to her vocal lines. "Búscate en Mí" (Seek Yourself Within Me) is a poem by Saint Teresa of Avila set to Alaoui's music. The solemn instrumental work of violinist Saïfalla Ben Abderrazak and oud player Sofiane Negra set the stage for Alaoui's understated vocal. "Fado Al-Mu'tamid" and "Fado Al-Mu'tamid" feature the mandolin of Eduardo Miranda, who adds a Brazilian lilt to his accompaniment that lets Alaoui dig deep into the melancholy of the songs. "Oh Andaluces" (Oh Andalusians) may be the most emotional song on the record, featuring Alaoui's stunningly emotional vocals accompanied only by José Luis Montón's smoldering flamenco guitar. With the exception of "Las Morillas de Jaén" (Moorish Girls of Jaén), a midtempo tune marked by Montón's dramatic flamenco guitar and Idriss Agnel's inventive percussion accents, and the driving Andalusian workout of "Ya Laylo Layl," the tunes here are taken at a measured tempo that serves to accent their emotional weight.
“This music transcribes an Iberian peninsula carried towards a dialogue with the potential of what might be. It is a poetic geography that entertains the dream of the impossible: human horizons that transcend borders, lyrical Mediterranean idioms that are open to the universe and the intelligence of being, of mutual communication. Song and music explore this possibility in order to open up another path: original expression.”
Amina Alaoui.
Following her outstanding ECM debut performance as the lyrical voice of Jon Balke’s “Siwan” recording of 2007/8, Amina Alaoui explores a rainbow of musical possibilities on her own “Arco Iris”. It is an emotionally powerful album that soars through related idioms. This time, says Alaoui in her liner notes, there is “no need to discuss the origins of fado, flamenco or Al Andalusi” for the music itself investigates the common crucible of the styles:
Amina’s delivery, and the performances of her superb ensemble, make the interconnections of the genres self-evident.
Yet as she also points out, “you must first have assimilated your own roots, in order to absorb the culture of the other...” Historical awareness, study and discernment are essential but more is needed: “I am an artist of the present. I abstain from simply copying the styles of the past.”
The songs are from many sources, and the texts and some of the melodies span a thousand years. Amina sets mystic poems by St. Teresa of Avila and by 11th century king of Seville Al Mutamid Ibn Abbad, and nature poetry of Ibn Khafaja. There is 20th century fado from the pen of Antonio de Sousa Freitas and the well-known 15th century text “Las Morillas de Jaén” which Amina puts to her own music.
(01). Hado [Fate]
(02). Búscate en Mí [Seek Yourself Within Me]
(03). Fado Al-Mu'tamid
(04). Flor de Nieve [Sunflower]
(05). Oh Andaluces [Oh Andalusians]
(06). Ya Laylo Layl
(07). Fado Menor [Fadio in Minor]
(08). B?scate En M?, Var.
(09). Morad?a
(10). Las Morillas de Jaén [Moorish Girls of Jaén]
(11). Que Faré [What Shall I Do?]
(12). Arco Iris [Rainbow]
320 kbps including Front Cover
HERE
Jon Balke, Amina Alaoui - Siwan
A wise man once said "cross-cultural pollination is the life blood of music". He could have had Jon Balke's "Siwan" featuring the remarkable Moroccan vocalist Amina Alaoui in mind.
The ensemble includes Norwegian Jon Balke who conceived the project and arranged the music, Amina Alaoui who sings poetic texts in Arabic, Spanish and Portuguese from the Al-Andalus period of Muslim Iberia (730 to 1492), John Hassell (trumpet, electronics)lives for this kind of cross-cultural synthesis, and 12 baroque soloists (Bjarte Eike's Barokksolistene) with strings and lute and harpsichord. The most soul stirring sounds come from the artists newest to me: Algerian violinist Kheir Eddine M'Kachiche and Amina Alaoui.
I'm fascinated by Amina. She is a virtuoso singer and musicologist. Born in Fez, she was originally schooled in the Moroccan Gharnati tradition. Gharnati derives from Al-Andalus, where it spread from Granada to North Africa. Amina continues to research connections between flamenco, fado and the music of Al-Andalus. On Siwan much of the music was originally composed to Spanish translations of the poetry. Alaoui then helped to reshape the material around original Arabic versions.
The inspiration for this project stemmed from Balke observing similiarities between two beautiful traditions represented by the voice of Amina Alaoui and early music, as explored by Bjarte Eiike's Barokksolistene. But it goes deeper.
Excerpting from the cd liner notes and ECM's website:
"The title Siwan means in balance, or equilibrium, in a mixed language called Aljamiado, spoken under the Inquisition in Spain.
This is a fascinating blend of Arabic and European music and poetry, which is very poorly documented in European music history. This project is not a musicological research, but rather a tribute to musical freedom. Andalus was a beacon of learning in the so-called Dark Ages, and unique in the degree of exchange between Muslim, Christian and Jewish scholars. Balke points out there are striking correspondences in the writings of the Sufi poets and the Catholic and Sephardic mystics.
Siwan also raises questions about what was lost in the bonfires of the Inquisition, and points to the catastrophic costs of religious intolerance."
Siwan gathers nourishment from the cooperative spirit of Al-Andalus and creates an exquisite mosaic where the unlikely elements are integrated into an atmospheric whole. The results are not only sublime but a revelation.
(01). Tuchia
(02). Ya Andalucin
(03). Jadwa
(04). Ya Safwa Ti
(05). Ondas Do Mar De Vigo
(06). Itimad
(07). A La Dina
(08). Zahori
(09). Ayshyin Raquin
(10). Thulathyath
(11). Toda Sciencia Trancendiendo
320 kbps including full scans
HERE
Sound Documents of Uighur Muqam (Central Asia)
Sound Documents of Chinese Xinjiang Uighur Muqam Music
(3 CDs + Chinese Book, published by Chinese Central Conservatory Of Music, 2007)
Music of the Uyghurs
The Xinjiang Uyghur Muqam is the general term for a variety of Muqam practices widespread among people in the Xinjiang Uygur Autonmous Region. Xinjiang Uyghur Muqam is a composite of songs, dances, folk and classical music, and is characterized by a diversity of content, dance styles, musical morphology and instruments.
The lyrics contain not only folk ballads but also poems written by classical Uyghur masters. Thus, the songs reflect a wide range of styles such as poetry, proverbs, folk narratives and popular topics such as the praise of love and contemplation of life, reflecting the history and contemporary life of Uyghur society.
The music of the Uyghur Muqam is characterized by variations and the continuity of musical patterns, indicating a close affinity with the musical culture of China's central plains. The dancing skills involve unique steps, rhythms and formations as well as figures such as flower-picking-by-mouth, bowl-carrying-on-head and imitation of animals in solo dances.
The Xinjiang Uyghur Muqam has developed four main regional styles, namely the Twelve Muqam, Turpan Muqam , Hami Muqam and Dolan Muqam,Twelve Muqam is known as the "mother of Uygur music." Legend has it in the mid-16th century, aided by other musicians, the imperial concubine Amannisahan of the Yarkant Kingdom, who was also an esteemed poetess and musician, devoted all her efforts to collecting and compiling Muqam music, which was then scattered across areas populated by Uygur. She finally worked out 12 grand, yet light and entertaining compositions that are now known as the Twelve Muqam.
The Twelve Muqam consist of sung poetry, stories, dance tunes and instrumental sections. Some of the lyrics of the Muqam are drawn from the great Central Asian Chagatay poets.
After the founding of new China (1949), the local government of the Xinjiang Uygur Autonomous Region made every effort possible to preserve the Twelve Muqam. The whole set of the Twelve Muqam consists of 360 different melodies and takes over 24 hours to play in full.
2 Xinjiang Uyghur MuqamoTurpan Muqam
Declarer: Shanshan County, Xinjiang Uygur Autonmous Region
Each of the Turpan Muqam generally corresponds to one mode, and each is about thirty minutes in length. Although no information on its historical transmission is currently available, musically there is much to link the Turpan Muqam to the chong n?ghm? of the Twelve Muqam.
While the section names differ, there is correspondence in overall structure, rhythmic cycles and melodic material. The preferred instrument for the Turpan Muqam is the satar bowed lute, plus t?mbür, dutar, chang and dap frame drum accompanying voices.
3 Xinjiang Uyghur Muqam oHami Muqam
Declarer: Hami Region, Xinjiang Uygur Autonmous Region
Hami Muqam is a kind of large-scaleUyghur musical performance, including 12 sets of music and 258 songs. During the development process Hami Muqam absorbed many musical elements from China's central plains, central Asia and west Asia in the aspects of lyrics, style and structure.
4 Xinjiang Uyghur Muqam o Daolang Muqam
Declarer: Maigaiti County Xinjiang Uygur Autonmous Region
Daolang people live around the Great Takelamagan Desert that is called the "Sea of Death" in Sinkiang. In ancient times, it was cut off from the outside world, and production lagged behind, so hunting played an important role.
The dancing content of the Daolang Muqam is the whole process of Daolang People's hunting lives: During the overture, dancers lift their arms high, as if they are lifting the torch to light up thewildernessto hunt wild animals. In the main part, dancers perform as if using the language of hunting wild animals and in the end, the dancing team forms a square and dancers whirl cheerfully to show great joy after a successful hunt.
The distinguishing feature of Daolang Muqam music is that all sorts of instruments are played with energy and people sing in different styles loudly and without restraint. They don't follow each other in melody. But overall, there is no difference in the main melody. They singers harmonize and the musicians create multi-faceted music that is full of artistic appeal.
This 3CD anthology is a part of the Book: Instruments Pics, Sound Documents of Chinese xinjiang Uighur Muqam Music, published by Chinese Central Conservatory Of Music.
the Pics and the Musics were collected in four periods: 1950s, 1960s, 1980's, and 1990s up to now. there is no definitive date for each track in the book, and It seems that all tracks have no digital remastering so some sound quarlity are too bad, but obviously most of these recordings were very precious and never released openly even in China.
Disc.1
Track.1-14 are Instrumental Solo pieces, and last 4 tracks are ensemble pieces.
Disc.2
Track.1 is the greatest muqam master TURDI AHUN's historical recordings, the rest is a complete version of a classical Muqam: Muqam Nava.
Disc.3
3 Local muqam: dolan muqam, turupan muqam, Hami muqam.
About the Master TURDI AHUN
Turdi Ahun with his son
Toward the end of the 1940s, the economy of Xinjiang was in recession and people lived in dire poverty. The 12 Muqam was on the verge of extinction and its melody was hardly heard. Up to the 1950s, after the founding of New China, there was only one person who could sing the complete 12 Muqam. He was Turdi Ahun.
The old 12 Muqam musician Turdi Ahun was born in a musician’s family in Yengisar County. He mastered the 12 Muqam at the age of 20. He then performed the musical suite for more than 50 years in Kashgar, Hotan and other places. He could perform with tanbor, duttar, satar and rawap. His performance with satar was rated as unique in Xinjiang.
After the founding of new China (1949), the local government of the Xinjiang Uygur Autonomous Region made every effort possible to preserve the "Twelve Muqam." In 1956, Muqam master Turdi Ahun and musician Wan Tongshu, working with other assistants, took great pains to record most of the vocal melodies and librettos of the "Twelve Muqam" on tape. They also recorded the music by hand. Their efforts paved the way for the renaissance of this cultural tradition. In 1960, two volumes of "Twelve Muqam" sung by Turdi Ahun were published. The oral cultural heritage was finally secured in the form of its first publication.
Flac (EAC Rip): 1100 MB | MP3 - 320 kbs: 610 MB | Book Scans
Archives have 5% of the information for restoration
Flac
Part 1 | Part 2 | Part 3 | Part 4 | Part 5 | Part 6
OR MP3 320 kbps
Part 1 | Part 2 | Part 3 | Part 4
(3 CDs + Chinese Book, published by Chinese Central Conservatory Of Music, 2007)
Music of the Uyghurs
The Xinjiang Uyghur Muqam is the general term for a variety of Muqam practices widespread among people in the Xinjiang Uygur Autonmous Region. Xinjiang Uyghur Muqam is a composite of songs, dances, folk and classical music, and is characterized by a diversity of content, dance styles, musical morphology and instruments.
The lyrics contain not only folk ballads but also poems written by classical Uyghur masters. Thus, the songs reflect a wide range of styles such as poetry, proverbs, folk narratives and popular topics such as the praise of love and contemplation of life, reflecting the history and contemporary life of Uyghur society.
The music of the Uyghur Muqam is characterized by variations and the continuity of musical patterns, indicating a close affinity with the musical culture of China's central plains. The dancing skills involve unique steps, rhythms and formations as well as figures such as flower-picking-by-mouth, bowl-carrying-on-head and imitation of animals in solo dances.
The Xinjiang Uyghur Muqam has developed four main regional styles, namely the Twelve Muqam, Turpan Muqam , Hami Muqam and Dolan Muqam,Twelve Muqam is known as the "mother of Uygur music." Legend has it in the mid-16th century, aided by other musicians, the imperial concubine Amannisahan of the Yarkant Kingdom, who was also an esteemed poetess and musician, devoted all her efforts to collecting and compiling Muqam music, which was then scattered across areas populated by Uygur. She finally worked out 12 grand, yet light and entertaining compositions that are now known as the Twelve Muqam.
The Twelve Muqam consist of sung poetry, stories, dance tunes and instrumental sections. Some of the lyrics of the Muqam are drawn from the great Central Asian Chagatay poets.
After the founding of new China (1949), the local government of the Xinjiang Uygur Autonomous Region made every effort possible to preserve the Twelve Muqam. The whole set of the Twelve Muqam consists of 360 different melodies and takes over 24 hours to play in full.
2 Xinjiang Uyghur MuqamoTurpan Muqam
Declarer: Shanshan County, Xinjiang Uygur Autonmous Region
Each of the Turpan Muqam generally corresponds to one mode, and each is about thirty minutes in length. Although no information on its historical transmission is currently available, musically there is much to link the Turpan Muqam to the chong n?ghm? of the Twelve Muqam.
While the section names differ, there is correspondence in overall structure, rhythmic cycles and melodic material. The preferred instrument for the Turpan Muqam is the satar bowed lute, plus t?mbür, dutar, chang and dap frame drum accompanying voices.
3 Xinjiang Uyghur Muqam oHami Muqam
Declarer: Hami Region, Xinjiang Uygur Autonmous Region
Hami Muqam is a kind of large-scaleUyghur musical performance, including 12 sets of music and 258 songs. During the development process Hami Muqam absorbed many musical elements from China's central plains, central Asia and west Asia in the aspects of lyrics, style and structure.
4 Xinjiang Uyghur Muqam o Daolang Muqam
Declarer: Maigaiti County Xinjiang Uygur Autonmous Region
Daolang people live around the Great Takelamagan Desert that is called the "Sea of Death" in Sinkiang. In ancient times, it was cut off from the outside world, and production lagged behind, so hunting played an important role.
The dancing content of the Daolang Muqam is the whole process of Daolang People's hunting lives: During the overture, dancers lift their arms high, as if they are lifting the torch to light up thewildernessto hunt wild animals. In the main part, dancers perform as if using the language of hunting wild animals and in the end, the dancing team forms a square and dancers whirl cheerfully to show great joy after a successful hunt.
The distinguishing feature of Daolang Muqam music is that all sorts of instruments are played with energy and people sing in different styles loudly and without restraint. They don't follow each other in melody. But overall, there is no difference in the main melody. They singers harmonize and the musicians create multi-faceted music that is full of artistic appeal.
This 3CD anthology is a part of the Book: Instruments Pics, Sound Documents of Chinese xinjiang Uighur Muqam Music, published by Chinese Central Conservatory Of Music.
the Pics and the Musics were collected in four periods: 1950s, 1960s, 1980's, and 1990s up to now. there is no definitive date for each track in the book, and It seems that all tracks have no digital remastering so some sound quarlity are too bad, but obviously most of these recordings were very precious and never released openly even in China.
Disc.1
Track.1-14 are Instrumental Solo pieces, and last 4 tracks are ensemble pieces.
Disc.2
Track.1 is the greatest muqam master TURDI AHUN's historical recordings, the rest is a complete version of a classical Muqam: Muqam Nava.
Disc.3
3 Local muqam: dolan muqam, turupan muqam, Hami muqam.
About the Master TURDI AHUN
Turdi Ahun with his son
Toward the end of the 1940s, the economy of Xinjiang was in recession and people lived in dire poverty. The 12 Muqam was on the verge of extinction and its melody was hardly heard. Up to the 1950s, after the founding of New China, there was only one person who could sing the complete 12 Muqam. He was Turdi Ahun.
The old 12 Muqam musician Turdi Ahun was born in a musician’s family in Yengisar County. He mastered the 12 Muqam at the age of 20. He then performed the musical suite for more than 50 years in Kashgar, Hotan and other places. He could perform with tanbor, duttar, satar and rawap. His performance with satar was rated as unique in Xinjiang.
After the founding of new China (1949), the local government of the Xinjiang Uygur Autonomous Region made every effort possible to preserve the "Twelve Muqam." In 1956, Muqam master Turdi Ahun and musician Wan Tongshu, working with other assistants, took great pains to record most of the vocal melodies and librettos of the "Twelve Muqam" on tape. They also recorded the music by hand. Their efforts paved the way for the renaissance of this cultural tradition. In 1960, two volumes of "Twelve Muqam" sung by Turdi Ahun were published. The oral cultural heritage was finally secured in the form of its first publication.
Flac (EAC Rip): 1100 MB | MP3 - 320 kbs: 610 MB | Book Scans
Archives have 5% of the information for restoration
Flac
Part 1 | Part 2 | Part 3 | Part 4 | Part 5 | Part 6
OR MP3 320 kbps
Part 1 | Part 2 | Part 3 | Part 4
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