NOMADIC VOICES – SARDINIA/MONGOLIA – FULL CONCERT
Published on Feb 21, 2016
Krakow, 9th july 2015 NOMADIC VOICES THE SONGS OF SARDINIAN TENORES AND THE DIPHONIC MONGOLIAN CHANT CUNCORDU E TENORE DE OROSEI MEETS MONGOLIAN SINGERS TS. TSOGTGEREL ET N. GANZORING Massimo Roych: voche, trunfa, flute pipiolu Mario Siotto: bassu Gian Nicola Appeddu: contra Piero Pala: mesuvoche Tonino Carta: voche Tsogtgerel Tserendavaa: chant khoomij, flute tsuur, viella morin-khuur Garzoring Nergui: chant khoomij, liuto tovshuur, viella morin-khuur
NOMADIC VOICES – SARDINIA/MONGOLIA – “DILLU”
LIVE IN ETHNO KRAKOW, 9 july 2015 NOMADIC VOICES THE SONGS OF SARDINIAN TENORES AND THE DIPHONIC MONGOLIAN CHANT CUNCORDU E TENORE DE OROSEI MEETS MONGOLIAN SINGERS TS. TSOGTGEREL ET N. GANZORING In the heart of countryside still considered sacred, the harsh beauty of the Sardinian mountains meets the vast steppes through the polyphony of the Tenores and Khoomii overtone chants. Within the confines of the sacred and the profane, somewhere between liturgy and peasant celebrations, these voices resonate in the heights of Sardinian mountains. It is there that the beauty of a pastoral culture is still to be found. The Sardinian polyphonies date back to the Nuragic age when these nuraghi or round towers were built, in the form of truncated cones. These megalithic edifices remain the symbol of this age between 1900 and 730 years BCE (between the bronze and iron ages). Beyond these towards other mountains equally sacred since prehistoric times, those of the Gobi-Altai steppes, where the Altai mountains meet the immense Gobi desert, legend has it that overtone chant was born. Here it is known as Khoomii, meaning larynx. It is accompanied by the morin-khuur or khiil-khuur, the horse head fiddle of the poet and sootsayer. Overtone chant is a musical metaphor for this land: the hilltops and the valleys, the vastness of the steppes, the herds, the tumult of nature, its rumbles and its murmurs, the galloping horses and the rustling of its wind grasses. Surprisingly, in the heart of these two traditions, we find the instrument known as the guimbarde or Jew’s harp, an instrument familiar to nomadic shepherds all over the world. This original work highlights the richness of these vocal techniques of people who belong to the same history of mankind and who are the last witnesses of ancient times when man knew how to be one with nature. (Alain Weber)
Urbi et Orbi
Urbi&Orbi Création autour du Chant diphonique de l’Altaï Mongol. Tserendavaa & Tsogtgerel : Chants diphoniques de l’Altaï Mongol Johanni Curtet : Chant diphonique Jean Baptiste Henry : Bandonéon Sophie Bernado : Basson, Chant Gildas Boclé : Contrebasse Pierrick Lefranc : Guitare, Composition
MEIKHANEH – UULYN NULIMS – 2017 – FR3
Published on Feb 14, 2017
MEÏKHÂNEH Interview de Johanni Curtet Uulyn Nulims extrait de l’album “La Silencieuse”, Buda Musique, mai 2017. Musique : Meïkhâneh / texte en mongol : Nomindari Shagdarsuren – Johanni Curtet : chant de gorge, chant diphonique, luth dombra Maria Laurent : chant Milad Pasta : percussions, chœurs – À la Péniche Spectacle, Rennes, janvier 2017 Émission “Itinéraire Bretagne”, FR3 Isabelle Rettig Merci à toute l’équipe dont nous n’avons pas les noms.
Chant diphonique – Conférence de Johanni CURTET
Published on Mar 24, 2016
Conférence de Johanni Curtet (ethnomusicologue, musicien, diphoneur, chercheur) : Rechercher, jouer et transmettre. Retour sur un parcours diphonique atypique. En partenariat avec l’Université de Bretagne Occidentale (UFR Lettres, Langues et Sciences Humaines) et avec la participation des maïtres de conférence Annick Madec pour le laboratoire LABERS et Nelly Blanchard pour le Centre de Recherche Bretonne et Celtique (CRBC)
Soriah Tuvan Throat Singer
Soriah, which translates as “Milky Way” from Sufi, is the stage persona for the internationally recognized artist, Enrique Ugalde. Soriah’s craft is a blending of traditional Khöömei (Tuvan Throat Singing), tempered with Soriah’s own visceral force. Performances vary from being steeped in tradition and bound to its constructs to more experimental fascinations with electronic and acoustic accompaniments, and introducing Butoh and Ritual Performance Art. Soriah’s use of Khöömei as a transportive medium is an offering to nature in her own tongue, that of organic sound whether it be wind, water or the mimicry of animals. He is currently working to integrate his work into film and sound design. Soriah takes an annual sabbatical to Tuva to study with various masters and to compete. The 2008 Fifth Quinquennial Ethnomusicology Symposium, “Khöömei: The Cultural Phenomenon of Central Asia”, has honored Enrique Ugalde, “Third Place”, the highest a non-native to Tuva has yet placed. The Üstüü-Khüree Festival awarded him “Best Foreigner” for their 2008 selection. In 2014, he won 2nd place in the Tuvan National Kargyraa Competition. The rest of the year Soriah travels the globe with extended tours performing in various cities and enclaves of Japan, crooning in the cathedrals and ruins of Mexico, and intoning in ocean caves and amidst the swamplands of America. The artist has been invited to perform at society events such as The 2009 Peace Ball in Washington, D.C. for Obama’s inauguration, and by brigand artist elites, to sing at various installations of note at the Burning Man Festival. One becomes encased in an awe-laced ceremonial pallor while in attendance at a Soriah performance. A deep spiritualism imbues each piece performed, whether entirely traditional or exhibiting a fusion of music, movement and meditation that Soriah describes as Vocalized Ritual Drone.