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Исполнитель: Разные

Альбом: Songs of defiance: Music of Chechnya and the North Caucasus

Жанр: folk

Формат и качество: MP3 | 320

Кол-во композиций: 24

Размер: 167 MB

 

In this first ever survey of the music of this war torn region, Michael Church lifts the veil on a vibrant musical tradition. The small but troubled Republic of Chechnya is a member of the Russian Federation, located in the North Caucasus Mountains between the Black and Caspian Seas. With a population of a little more that one million, its fierce fight for independence has kept it in the news and kept visitors out. A beautiful but harsh mountainous landscape has made for a traditionally hard and resilient people whose culture has rarely reached the outside world. Michael Church has recorded and compiled the stunning music on this disc partly in Chechnya itself and was held by the Russian police for his efforts. Some of the tracks are love songs and circle dances, others are living history, accompanied by balalaika, violin, drum and accordion, these songs celebrate heroes and denounce genocidal crime.

 

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Tracklist:

 

01. Aznach Ensemble - Nokhtchiin gimn - Chechen hymn - Georgia (3:12)

02. Cherim Nakhushev - Khatkhe Mahomet Guaz - Kabardian (Adighian) (5:49)

03. Sahab Mezhidov - Daimohk (Fatherland) - Chechen folk (2:06)

04. Sahab Mezhidov - I can't find her but I love her - Chechen folk (2:35)

05. Aznach Ensemble - I thank my fate - Chechen folk (3:05)

06. Timur Losanov - Adighian dance (2:01)

07. Zhoukhar Ensemble - Laalur, laalur - Chechen comic folk (2:29)

08. Cherim Nakhushev - Kafa - Adighian dance melody (3:46)

09. Batu Dzugaev Choir - 7 Gazdanov Brothers - North Ossetia (3:46)

10. Batu Dzugaev Choir - Tsitsidon (a river in North Ossetia) (3:24)

11. Valid Dagaev - Nokhcho vu so (In praise of Chechnya) (3:37)

12. Tamara Dadasheva - Don't look at me - Chechen-Ingush love song (2:22)

13. Tamara Dadasheva - Chechnya, I am your daughter (1:57)

14. Shirvani Chalaev - Doldi from Barkhal - Dagestan (2:38)

15. Illi Male Voice Ensemble - To Mother - Chechen (4:52)

16. Lydia Bachaeva - Djuldouz (Star) - Karachai (2:52)

17. Zuber Ibasov and Zalim Khagurov - Kabardian dance (Adighia) (3:12)

18. Adigh Ensemble - Kiaperish (Dance on tiptoe) - Turkish Adighis (2:22)

19. Khazret Ramazanovich Chich - Circassian dance (2:33)

20. Aznach Ensemble - Vai deli Allah vu (Our God Allah) - Nazmi (1:45)

21. Aznach Ensemble - Biezamuo (Love Song, from 'biezam', love) (2:57)

22. Aznach Ensemble - Stigiara (A star has fallen from the sky) (4:42)

23. Aznach Ensemble - Daimohk (Fatherland) - Chechen folk (2:45)

24. Aminat Akhmadova - Love for the fatherland - Chechen folk (1:20)

 

 

 

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Предупреждение администратора: Пароль на архив: | Password KP
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В Лондоне вышел диск с музыкой народов Северного Кавказа, в числе самых знаменитых мелодий представлены и черкесские напевы в исполнении музыкантов из Адыгеи и Кабардино-Балкарии. Как сообщает сайт "Вести – Северный Кавказ", презентация диска прошла на телеканале Би-би-си. Появление этого диска стало возможно благодаря знакомству журналиста Би-би-си Майкла Чочема и музыкантов из Адыгеи, гостивших в Англии. Всего на диске 24 композиции разных народов Северного Кавказа. Впервые адыгская этническая музыка записывалась в Лондоне и весьма отрадно, что она была представлена именно голосом Черима Нахушева и старинной скрипичной музыкой в блестящем исполнении Зубера Евазова, Заура Нагоева и Хазрета Чича.

 

 

The compilation album ‘Songs of Defiance – Music of Chechnya and the North Caucasus’ was recorded and compiled by music critic Michael Church. In this article which he wrote for BBC Music Magazine in May 2007, he tells the details of how he was arrested while recording a choir in North Ossetia

 

Not even the prettifying snow can disguise the fact that Ardon is a drab little town with a sinister atmosphere. A few miles down the road is Beslan, where 176 schoolchildren were recently murdered in a hail of bullets and bombs, the memory of which freezes on people’s lips. But I’m here to record the choir, who are rumoured to be good. Even if their singing is only so-so, it will still be notable, since not much music is made in this war-torn part of the Caucasus, let alone traditional polyphony.

 

Flanked by my bodyguard – foreigners here are kidnap-fodder – I’m ushered into the local hall, where eight men and two women in martial attire are ranged in front of a romantic mural of the menacing peaks which dominate the surrounding landscape. Smiling their welcome, the Batu Dzugaev People’s Choir of North Ossetian (Alanian) Heroic Song – yes, they insist on that full title, brackets and all – launch into a chanted toast over a gigantic foaming goblet: scrambling to get my kit out, I only manage to record the last 30 seconds of this rare musical outburst, and when I ask if they’ll do it again, they refuse, saying it’s not a performance, and must spring from the heart. Then they deliver a series of songs in which solo voices surge out from moving drones: dead Ossetian heroes – and the dead children of Beslan – are their subject-matter, but they end with a paean to the beauty of their land. Duty done, out comes the vodka, and – just as we begin celebrating a satisfactory session – in walk two policemen who arrest me.

 

My questioning at the local station goes on for several hours during which – terrified they’ll impound my precious tape – I fake an illness, retire to the lavatory (a hole in the ground on some nearby waste-land), insert a blank tape in my machine, and hide the real one. They’re not very bright – they let my bodyguard sit beside me throughout, still with his gun in his pocket – but they know enough to prove (with the aid of a massive tome) that I’ve committed an offence by recording without government permission; despite my protestations that I’m only trying to celebrate their culture, I’m fined and told to leave the country. It turns out, moreover, that I’ve been followed by the secret police ever since I got off the plane: they’d even watched me record a performance by a dance company the night before in the North Ossetian capital, Vladikavkaz. Yet if I’d applied for official permission, it wouldn’t have been granted: the Russian government wants the outside world to know nothing about this politically troublesome place, where foreigners are assumed to be spies, and musicology just a blind.

 

North Ossetia’s indigenous music did once have classical champions: Balakirev, enthralled by what he heard, responded by writing his piano fantasy ‘Islamey’ in homage to the local dance of that name. Rimsky-Korsakov loved the exoticism of Caucasian melodies; Prokofiev, who was evacuated in 1942 to the Kabardino-Balkarian capital, Nalchik, responded by building his Second String Quartet out of Kabardinian folk songs, and by mimicking the sound of the local ‘shichepshin’ spike-fiddle. Today the North Caucasus has just two musical champions, in the form of Valery Gergiev and his sister Larissa who were brought up there: in addition to her duties in St Petersburg, Larissa runs an annual festival in Vladikavkaz. But musicologists have seldom set foot in the North Caucasus: since its indigenous tradition is so rich, and since all the outside world ever hears about are the atrocities committed in Chechnya, making a CD seemed a timely thing to do, and to hell with the difficulties. © By Michael Church

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