| 005 Los viejos tiempos ahora |
La memoria histórica ha sido fundamental en el desarrollo de la humanidad, aunque tantas veces se nos olvide.
La memoria musical suele ser más noble y gracias a la transmisión oral (boca-oído) y posteriormente a la invención de la imprenta y el desarrollo tecnológico de nuestros tiempos, podemos conocer piezas compuestas hace muchos, muchos años.
La idea de esta lista musical es poder escuchar armoniosamente piezas compuestas hace varios siglos junto a piezas compuestas en estas décadas, interpretadas con instrumentos antiguos y modernos, y poder encontrar un pasaje histórico-musical natural.
|
Duración: 00:53:54 |
|
& mibrinco
Kemp's Jig
-Trad. Arr. Gryphon-
|
|
|
|
|
| Gryphon (1973) |
|
Gryphon is the debut album by the progressive rock band Gryphon. It was originally released in 1973 by Transatlantic, catalogue number TRA 262.
The album was produced by Lawrence Aston and Adam Skeaping and engineered by Adam Skeaping and Nick Glennie-Smith. It was recorded at Riverside Recordings and Livingston Studios. The gryphon cover illustration is by Dan Pearce.
This is the first Gryphon album, with the emphasis still very much on the acoustic and 'early music' instruments.
Brian Gulland - bassoon, crumhorns, recorders, keyboards, vocals Richard Harvey - recorders, crumhorns, keyboards, guitar, mandolin Dave Oberlé - drums, percussion, vocals Graeme Taylor - guitars, keyboards, recorder, vocals William Kempe (también escrito Kemp), (floreció en torno a 1600) fue un actor y bailarín inglés conocido sobre todo por ser uno de los actores originales en los estrenos de obras de William Shakespeare. Se especializó en papeles cómicos del teatro isabelino, fue considerado en la época el sucesor del gran payaso Richard Tarlton, uno de los Queen's Men. En su época, Kempe era famoso por sus jigas, tanto como por sus representaciones teatrales. La jiga, una clase de representación rústica que se puede relacionar con la comedia del arte, implicaba hasta cinco intérpretes en un espectáculo parcialmente improvisado de danza y canto. Las jigas representaban historias, a menudo groseras, pero el énfasis estaba en el baile y la comedia física. Dos de las jigas de Kempe sobreviven en inglés, y dos más en alemán. Ejemplos de las jigas pueden verse en la colección de manuscritos de John Dowland (hoy en la biblioteca de la Universidad de Cambridge). Una famosa jiga del siglo XVII llamada "Jiga de Kempe" recibe su nombre por este actor, Will Kempe, y se publicó en el primer libro de The English Dancing Master, obra de John Playford de 1651. |
Instrumental |
|
& mibrinco
Leilun 'ayib |
|
|
|
|
| Al-Son de musulmanes, judios y cristianos en Al-Andalus (2003) |
|
|
En búsqueda de la letra |
|
& mibrinco
Strambotti/Monferrina |
|
|
|
|
| Stranòt d'Amur (1984) |
|
|
En búsqueda de la letra |
|
& mibrinco
Son del repique |
|
|
|
|
| Tribus hispanas (1998) |
|
Eliseo Parra (voz y percusiones), Elisa Serna (voz), Eduardo Laguillo (guitarra), Dimitri Psonis (ud), Javier Paxariño (saxos y flautas, Pedro Martín (contrabajo) y Juan Alberto Arteche Gual (percusiones) |
En búsqueda de la letra |
|
& mibrinco
Lady Marion's Galliard |
|
|
|
|
| Evensong (1970) |
|
Evensong was the second album released by the band Amazing Blondel. It featured the style of music which they described as "pseudo-Elizabethan/Classical acoustic music sung with British accents".
By this time, the band were touring Britain extensively as part of a package of artists supporting major bands such as Free, and their contrasting style coupled with bawdy anecdotes between songs found favour with rock audiences.
John David Gladwin - lead vocals, lute, theorboe, cittern, double bass Terence Alan Wincott - crumhorn, recorders, pipe-organ, vocals (and occasional lead vocals), tabor pipe, tabor, flute, harmonium, lute, harpsichord Edward Baird - lute, cittern, vocals (and very occasional lead vocals) Chris Karan - percussion Adam Skeaping - viola da gamba, violone |
Oh my Lady Marion I have loved you long Still you do me wrong And taunt me with your jests Oh my Lady Marion A thousand deaths I die For you to cast your eye Declaring love confessed Turn me not aside this way When love runs true Guide my heart lest it should stray Away from you Oh my Lady Marion Knights fight for your hand Pledge you all their lands And send you presents fine Oh my Lady Marion Riches have I none Yet hearts can be won By love as strong as mine While you keep me waiting Lovers should be mating Yet you jilt me Turn and tilt me And I know not why Oh my Lady Marion Bards tell of your charms Praise with chants and psalms So frail a figure fair Oh my Lady Marion No verses do I write Yet win your heart I might If true love will forbear |
|
& mibrinco
Three Jolly Butchers
-Trad. Arr. Gryphon-
|
|
|
|
|
| Gryphon (1973) |
|
Gryphon is the debut album by the progressive rock band Gryphon. It was originally released in 1973 by Transatlantic, catalogue number TRA 262.
The album was produced by Lawrence Aston and Adam Skeaping and engineered by Adam Skeaping and Nick Glennie-Smith. It was recorded at Riverside Recordings and Livingston Studios. The gryphon cover illustration is by Dan Pearce.
This is the first Gryphon album, with the emphasis still very much on the acoustic and 'early music' instruments.
|
It's of three jolly butchers as I've heard many say They were going to some market town their money for to pay They rode together for a mile or two and a little more besides Said Johnson unto Jipson "Stop I heard a woman cry" "Then stop I won't" said Jipson, "And stop I won't" said Ryde "Then stop I will" said Johnson, "For I heard a woman cry" So Johnson he alighted and viewed the place around And saw a naked woman with her hair tied to the ground "How came you here?" said Johnson, "How came you here?" said he "Two highway men have robbed me that you can plainly see" Then Johnson being a valiant man a man of courage bold He took the coat from off his back to keep her from the cold Then Johnson being a valiant man a man of valiant mind He sat her up upon his horse and mounted up behind And as they rode along the road as fast as they could ride She put her fingers to her lips and gave three piercing cries Out sprang ten bold highwaymen with weapons in their hands They strode up to young Johnson and boldly bid him stand "Stand I will" said Johnson "as long as ever I can For I was never in all my life afraid of any man" Then Johnson being a valiant man he made those bullets fly Till nine of them bold highwaymen all on the ground did lie This wicked woman standing by young Johnson did not mind She took a knife all from his side and stabbed him from behind This day it being a market day and people passing by They saw this woman's dreadful deed and raised a hue and cry Then she was down to Newgate brought bound down in irons strong For killing the finest butcher as ever the sun shone on |
|
& mibrinco
John Barleycorn
-Roud 164 ; G/D 3:559 ; Ballad Index ShH84 ; trad.-
|
|
|
|
|
| A Maid in Beldam (1977) |
|
John Renbourn, guitars, vocals; Tony Roberts, vocals, flute, recorders, oboe, piccolo; Jacqui McShee, vocals; Sue Draheim, fiddle,vocals; Keshave Sathe, tabla, finger cymbals John Barleycorn is an ancient folksong from Britain. The character "John Barleycorn" in the song is a personification of the important cereal grain crop barley, and of the alcoholic beverages made from it, beer and whisky. A version of the song is included in the Bannatyne Manuscript of 1568, and English broadside versions from the 17th century are common. Robert Burns published his own version in 1782, and modern versions abound. Kathleen Herbert draws a link between the mythical figure Beowa (a figure stemming from Anglo-Saxon paganism that appears in early Anglo-Saxon royal genealogies whose name means "barley") and the figure of John Barleycorn. Herbert says that Beowa and Barleycorn are one and the same, noting that the folksong details the suffering, death, and resurrection of Barleycorn, yet also celebrates the "reviving effects of drinking his blood." In their notes to the Penguin Book of English Folk Songs (London, 1959), editors A L Lloyd and Ralph Vaughan Williams ponder whether the ballad is "an unusually coherent folklore survival" or "the creation of an antiquarian revivalist, which has passed into popular currency and become 'folklorised'". It is in any case, they note, "an old song", with printed versions dating as far back as the sixteenth century. |
There was three men come out of the west Their fortunes for to try, And these three men made a solemn vow: John Barleycorn should die. They ploughed, they sowed, they harrowed him in, Throwed clods upon his head. And these three men made a solemn vow: John Barleycorn was dead. They let him lie for a very long time Till the rain from heaven did fall, And little Sir John sprung up his head And that amazed them all. They let him stand till midsummer And he growed both pale and wan. Then little Sir John, he growed a long beard And so become a man. They hired men with the scythes so sharp To cut him off at the knee. And poor little Johnny Barleycorn They served most barbarously. They hired men with the sharp pitchforks To pierce him to the heart. And the loader, he served him worse than that For he bound him to the cart. They wheeled him all around the field A prisoner to endure, And in the barn poor Barleycorn They laid him upon the floor. They hired men with the crab tree sticks To cut him skin from bone, And the miller, he served him worse than that For he ground him between two stones. I'll make a boy into a man, A man into an ass. I'll change your gold to silver, lass, And your silver into brass. I'll make the huntsman hunt the fox With never a hound or horn. I'll bring the tinker into gaol Says old John Barleycorn. Oh barley wine is the choicest drink That was ever drunk on land. It will make a man do miracles By the turning of his hand. You can tip your brandy in a glass, Your whiskey in a can, But barley corn and his nut-brown ale Will prove the stronger man. |
|
& mibrinco
Prodigal's Resolution
-Anon 18th century-
|
|
|
|
|
| Hang Up Sorrow & Care (1995) |
|
Maddy Prior - vocals William Badley - baroque guitar, lute, acoustic guitar, electric guitar, banjo mandolin, vocals Andrew Davis - Double Bass Giles Lewin - violin, recorders, hoboy, mandolin, vocals Andrew Watts - Flemish bagpipes, shalmes, curtals, recorders, melodica, kazoo, vocals Rafaello Mizraki - drums, percussion, cello, Hammond organ, vocals Arrangements by Andrew Watts Anon. from D'Urfey's Wit and Mirth: or Pills to Purge Melancholy 1719-1720. Tune `Jamaica' also in The Dancing Master 1670. |
I am a lusty lively Lad, Now come to One and Twenty, My Father left me all he had, Both gold and Silver plenty; Now he's in grave, I will be brave, The Ladies shall adore me; I'll court and kiss, what hurt's in this, My dad did so before me. My Father was a thrifty Sir, Till Soul and Body sundred, Some say he was an Usurer, For thirty in the Hundred; He scrapt and scratcht, she pincht and patcht, That in her Body bore me; But I'll let fly, good cause why, My Father was born before me. o many Blades now rant in Silk, And put on Scarlet Clothing, At first did spring from Butter-milk, Their Ancestors worth nothing; Old Adam and our Grandam Eve, by digging and by Spinning, Did all to Kings and Princes give Their radical Beginning. Our aged Counsellors would have Us live by Rule and Reason `Cause they are marching to their Grave, And Pleasure's out of Season; I'll learn to dance the Mode of Francs, That Ladies may adore me; My thrifty Dad no Pleasure had, Tho' he was born before me. I'll to the Court, where Venus Sport Doth revel it in Plenty, I'll deal with all, both great and small, From twelve to five and twenty; In Play-houses I'll spend my Days, For they're hung round with Plackets, Ladies make room, behold I come, Have at your knocking Jackets. So I get wealth, what care I if My Grandsir were a Sawyer, My Father proved to be a chief, And subtile, Learned Lawyer: By Cook's Reports and Tricks in Courts, He did with Treasure store me, That I may say, Heavens bless the Day, My Father was born before me. |
|
& mibrinco
Le Garcon Jardinier |
|
|
|
|
| Malicorne II (1975) |
|
|
Où allez-vous la belle avant soleil levé ? je m'en vais à la messe l'avez-vous entendue sonner beau garçon jardinier Attendez-moi la belle je vous y conduirai l'a pris par sa main blanche au jardin il l'a emmenée à l'ombre du rosier Cueillez cueillez la belle la fleur que vous voudrez la belle a pris la rose et puis elle se mit à pleurer à l'ombre du rosier Qu'a-vous qu'a-vous la belle qu'a-vous à tant pleurer ? je pleure mon coeur volage galant que vous m'avez volé à l'ombre du rosier Pleurez pas tant la belle je vous le renderai c'est pas une chose à rendre galant comme de l'argent prêté beau garçon jardinier |
|
& mibrinco
Riturnella |
|
|
|
|
| Musicanova (1978) |
|
|
Tu rìnnina chi vai Tu rìnnina chi vai Lu maru maru Oi riturnella Tu rìnnina chi vai lu maru maru Ferma quannu ti dicu Ferma quannu ti dicu Dui paroli Oi riturnella Ferma quannu ti dicu dui paroli Corri a jettari lu Corri a jettari lu Suspiru a mari Oi riturnella Corri a jettari lu suspiru a mari Pe’ vìdiri se mi rišpunna Pe’ vìdiri se mi rišpunna Lu mio beni Oi riturnella Pe’ vìdiri se mi rišpunna lu mio beni Non mi rišpunna, annò Non mi rišpunna, annò È troppu luntanu, Oi riturnella Non mi rišpunna, annò, è troppu luntanu È sutt’ a na frišcura È sutt’a na frišcura Chi sta durmennu Oi riturnella È sutt’a na frišcura chi sta durmennu Poi si rivigghja cu Poi si rivigghja cu lu chjantu all’occhi Oi riturnella Poi si rivigghja cu lu chjantu all’occhi Si stuja l’occhi e li Si stuja l’occhi e li Passa lu chjantu Oi riturnella Si stuja l’occhi e li passa lu chjantu Piglia lu muccaturu Piglia lu muccaturu Lu vaju a llavu Oi riturnella Piglia lu muccaturu, lu vaju a llavu Poi ti lu špannu a nu Poi ti lu špannu a nu Peru de rosa Oi riturnella Poi ti lu špannu a nu peru de rosa Poi ti lu mannu a Na Poi ti lu mannu a Na puli a stirare Oi riturnella Poi ti lu mannu a Napuli a stirare Poi ti lu cogliu a la Poi ti lu cogliu a la Napulitana Oi riturnella Poi ti lu cogliu a la napulitana Poi ti lu mannu cu Poi ti lu mannu cu Ventu a purtari Oi riturnella Poi ti lu mannu cu ventu a purtari Ventu và portacellu Ventu và portacellu A lu mio beni Oi riturnella Ventu và portacellu a lu mio beni Mera pe’ nun ti cara Mera pe’ nun ti cara Pe’ supra mari Oi riturnella Mera che nun ti cara pe’ supra mari Ca perda li sigilli Ca perda li sigilli De chistu cori Oi riturnella Ca perda li sigilli de chistu cori |
|
& mibrinco
The Unquit Grave |
|
|
|
|
| Gryphon (1973) |
|
Gryphon is the debut album by the progressive rock band Gryphon. It was originally released in 1973 by Transatlantic, catalogue number TRA 262.
The album was produced by Lawrence Aston and Adam Skeaping and engineered by Adam Skeaping and Nick Glennie-Smith. It was recorded at Riverside Recordings and Livingston Studios. The gryphon cover illustration is by Dan Pearce.
This is the first Gryphon album, with the emphasis still very much on the acoustic and 'early music' instruments.
|
Cold blows the wind to my true love and gently drops the rain I only had but one true love and in greenwood she lies slain I'll do as much for my true love as any young man may I'll sit and mourn along her grave for a twelve-month and a day When the twelve months and one day was past the ghost began to speak: "Why sit thou'st here along my grave and will not let me sleep?" "There's one thing that I want sweetheart, there's one thing that I crave And that is a kiss from your lily white lips then I'll go from your grave" "My lips they are as cold as clay my breath smells earthy strong And if you kiss my cold clay lips your days they won't be long Go fetch me water from the desert and blood from out of stone Go fetch me milk from a fair maid's breast that a young man never had known" 'Twas down in Cupid's Garden where you and I would walk The finest flower that ever I saw is withered to a stalk The stalk is withered and dry sweetheart the flower will ne'er return And since I lost my one true love what can I do but mourn? "When shall we meet again sweetheart? When shall we meet again?" "Ere the oaken leaves that fall from the trees are green and spring up again" |
|
& mibrinco
Hunting Song |
|
|
|
|
| Basquet of Light (1969) |
|
|
As I did travel all on a journey Over the wayside and under a dark moon Hanging above a mountain I spied a young man riding a fine horse Chasing a white hart and all through the woodland Head of a hunting party And there followed after ten kings and queens Laughing and joking, the white hart they'd seen Bloodied running into the bushes I plume to his helmet, a quiver and a bow There's nowhere to run now, there's no place to go The hunt is cast and ready Still farther I journeyed through the hills and the valleys Until upon the verge of despair I sat and rested And there did pass a princely knight poursuite [pursued] by a lady And this she did say: "Oh may I ask you kind sir where you are going? And pray tell unto me sir why you do hurry Strange that I should meet you here, come sit by me". "I have here a magic horn to deliver And one drop from this silver and gold horn I hold, sir Shall prove all to be false, lovers beware!" "The gift that you bear for your brother the king I gladly would carry to the banquet this even' What fair sport this would be for the maidens at court." Wearily I crossed the stream to the castle Where I found shelter from the cold wintry wind And food did I have and plenty But the Lord and Lady seemed so sad For these words they did say unto each other: "My good lord, all off to war in thy armor Leaving me here alone to weep and to worry Take care lest misadventure Shall overcome thy kindly heart My good lord, all off to war in thy armor." "My lady, you have no need for to worry I'll return victorious and true unto thee Take care, lest misadventure Shall stain your heart and lead to woe My fair lady you have no need for to worry." . . . la la la . . . While underneath the spreading oak a knight with white device Upon a shield of black, and deep in grief and sorrow sings His unrequited love "Young noblewoman riding by, pray tell me have you seen Queen Azelda the fairest maid, in company she rides For I swear to have revenge." A thousand days have come and passed, the Lord returns this night The victor from the bloody wars proven his fearsome might As ever he would claim But fate has played its wanton game, the circle come full turn The magic horn has done its work, cried "Falseness is found out!" The sorrowed quest is over. |
|
Sugerencias para el ciberescucha: |
 |
Participación del ciberescucha: |
| Los músicos listados son los que formaban los grupos en el momento que se hizo la grabación. Podrían ya no ser los mismos. Los instrumentos listados son los que utilizan durante todo el disco, no necesariamente los usados en la canción seleccionada. Las portadas de los discos son para que se animen a comprarlos cuando los vean. Escuchar con volumen alto y con audífonos. |
Esperamos la participación directa de nuestros ciberescuchas, quienes podrán participar en textos escritos y/o grabados. Pueden dejar sus textos en los comentarios de cada entrada del blog o enviar sus comentarios escritos o grabados al correo aquiradio14@gmail.com y los iremos integrando al blog en una sección que se llamará Comentarios de los ciberescuchas, así es que ¡anímense a participar!. Los comentarios deberán tener un texto alusivo al mismo para saber de que se trata y, si el ciberescucha lo desea, puede poner también su nombre o seudónimo, para que también aparezca. Los comentarios grabados deberán enviarse en formato .mp3 o .wav y, de preferencia de 192 a 320 kbit/s. |
Suscribirse a:
Enviar comentarios (Atom)
No hay comentarios:
Publicar un comentario