track 1 |
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| ALBORADA
DEL PAXARÍN (little bird's dawn) |
| (4.04) |
| Traditional.
Arrangements by Michael Lee Wolfe |
|
bagpipe, clarinet, side and
bass drums |
| The
clarinet is used here to give some "colour"
to this group of instruments, a very common
ensemble from the western part of Asturias, even
though the clarinet was incorporated to the
asturian musical tradition not long ago. |
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track 2 |
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| PASUCAIS
DE NOVAL (Noval's
marching song) |
| (2.41) |
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| Traditional.
Arrangements by Manuel F. Avello |
|
bagpipe, snare and bass
drums |
| This
song has been composed for Pipe Bands by Manuel
F. Avello. It is based on a melody played by the
famous piper Alfredo Naval, from the Nalón river
valley. The traditional percusion is replaced
here for some kind of scottish drum. |
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track 3 |
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| JOTA
DEL CURDIÓN (jota from
Curdión) |
| (2.14) |
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| Traditional.
Arrangements by Michael Lee Wolfe |
|
bagpipe, accordion, violin,
mandolin, tambourine, bones and bass drum |
| To
listen to some of what is called "the
asturian folk" |
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track 4 |
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| CUANDO
YO SALÍ D'ASTURIES (When I left Asturias) |
| (3.45) |
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| Traditional |
|
bagpipe and voice |
| We
have here the oldest musical ensemble, where the
bagpipe tries to find the unison with the
singer's voice |
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track 5 |
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| JOTA
DE PONTEVEDRA |
| (2.03) |
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| Traditional |
|
large and small drone
bagpipe |
| Collected
as the number 349 in the Song-book of C.
Sampedro. There is here an attempt to copy the
style and the techniques of the galician bagpipe |
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track 6 |
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| WALSH'S
HORNPIPE / THE GLASS OF BEER |
| (5.12) |
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| K.
Tickell and Carlos Núñez.
Arrangements by Michael Lee Wolfe |
|
bagpipe, accordion, guitar,
electric bass and indian |
| This
is, undoubtly, the most shocking ensemle in the
album. The first song has english origins and the
second comes from Irland. |
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track 7 |
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| CARRETERA
D'AVILÉS (on the
way to avilés) |
| (2.32) |
|
|
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| Traditional.
Arrangements by Manuel F. Avello |
|
bagpipe and piano |
| This
composition of Manuel F. Avello over this popular
asturian tune is played by a surprising pair of
instruments. |
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track 8 |
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| TRES
VARIACIONES SOBRE UN TEMA DE GAITA (Three
variations on a bagpipe theme) |
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|
| ind. 1 |
(FLOURISH
and THEME) |
|
2.10 |
| ind. 2 |
(1st variation ALBORADA) |
|
2.01 |
| ind. 3 |
(2nd variation CANCIÓN) |
|
2.39 |
| ind. 4 |
(3rd variation MUÑEIRA) |
|
3.15 |
|
| Unpublished
composition by Manuel F. Avello |
|
bagpipe and orchestra |
| For Manuel
F. Avello, composing a work for bagpipeand
orchestra meant fulfilling an old desire which
was not made reality earlier due to the enormous
limitations of the instrument among which was the
one he considered an indispensabkle factor:
TUNING. He, at last, discover this factor in the
bagpipe built by Alberto Fernández Velasco, as
well as the chromatic possibility in a two octave
range, maintaining the purest essences of the
traditional asturian bagpipe. For this
composition the author chooses the form of
variation with the deliberate intention of making
(in the FLOURISH and THEME) a concrete folkloric
reference with a development in the composition
through the following three varations within
their own styles(ALBORADA, CANCIÓN and
MUÑEIRA)
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track 9 |
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| TRES
DANZAS ASTURIANAS (Three
asturian dances) |
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|
| ind. 1 |
XIRANDILLA
|
3.41 |
| ind. 2 |
TRANSHUMANTE
|
3.49 |
| ind. 3 |
RONDÓ |
4.00 |
|
| Unpublished
composition by Victor F. Diéguez Marcos |
|
bagpipe and orchestra |
| These
three dances are based on themes taken from
Asturian folklore from the Onís area (eastern
Asturias). The first one GIRALDILLA,
is related to the devotion of the popoular Saint
Antonio de Padua, patron saint of Cangas de
Onís.
The
second dance TRASHUMANTE, refers to the old task
of the "trashumancia" (taking the sheep
and cattle to the summer pastures), full of
nostalgy and loving feelings, not only by those
who went with the flocks of sheep but also by the
girls who were left behing, waiting for them to
come back. It was said that the flocks were taken
from oe place to another in search of "the
sun and the moon of good fortune".
The
title of the last dance "RONDÓ"
adheres to the musical form adopted by the
author. It is a composition of his own which
recreates a festive atmosphere in which the
fruits of the land are abundant, among them
cider, whose effect evokes gathering and
encourages everyone to dance and have fun.
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track 10 |
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| HIMNO
OFICIAL DEL PRINCIPADO DE ASTURIAS (Official
Hymn of the Principality of Asturias) |
| (2.50) |
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| Traditional.
Arrangements by Victor L. Diéguez Marcos |
|
bagpipe, choir and
orchestra |
| No
comments are needed. It is enough to listen to
these 3 magical minutes. |
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