A Breton In Paris - Moving Hearts - The Storm (Vinyl, LP, Album) download full album zip cd mp3 vinyl flac
However, the instrument remains a common part of Breton folk bands today. The violon has been played in Brittany since at least the 17th century, and was possibly the most widespread instrument in the land by the early 20th century. It was only a few decades later, however, that the accordion nearly wiped the violon out, and most fiddlers joined Irish bands, moved into jazz or otherwise left the instrument. The violon survived, however. Alan Stivell has used the fiddle and electric violin in his arrangements and compositions since his first album ininviting different fiddlers for his tours and records.
The clarinet was invented in Germany in the 18th century. It evolved from earlier single reed instruments such as the renaissance chalumeaux, or shalmei. Clarinets were quickly incorporated into orchestrasfrom where they moved into marching bands and the amateur musicians in them. By the 19th century, the clarinet had entered a number of folk traditions and spread to many parts of the world.
In Brittany the instrument is called a treujenn-gaol Bretonwhich translates as cabbage stalk. The traditional Breton clarinet usually has only 13 keys though sometimes as few as sixin contrast to the more common 'Boehm' instrument used in jazz, classical music and other fields. This is because classical musicians discarded the clarinets with fewer keys in favor of more complex and state-of-the-art pieces.
After a decline in use in traditional music, the instrument came back, notably in the music of the bagad and paired with the accordion. In Breton music, two clarinetists typically play together, though they also play in ensembles with accordions and violins. The clarinet is a common part of Breton jazz bands, along with saxophones and drumsplaying both jazz and traditional songs. Perhaps the earliest popularizer of Breton guitar was Dan Ar Braz, who continues to be an influential figure in a somewhat jazzy, easy-listening vein.
Another guitarist of note is Gilles Le Bigotwho performed with Kornog as well and has been a mainstay of the LP super-group Skolvan for more than 20 years. Other notable Breton guitarists include Jacques PellenPat O'MayNicolas QuemenerFabrice CarreRoland Conq and Arnaud Royerwho has developed a unique and complex self-accompaniment technique based on sampling and then playing along with loops of his own work.
The wooden transverse flute entered Brittany only relatively recently, popularized by Jean Michel Veillon. The accordion only arrived in large numbers in the country in aboutbut its popularity grew quickly. Among the reasons for this were the instrument's cheapness and durability, and could be played solo, and was easier to learn.
Perhaps the most important reason, though, was the A Breton In Paris - Moving Hearts - The Storm (Vinyl association with 'kof ha kof' couples dancing like waltzes and mazurkaswhich stood in stark contrast to the line and round dances familiar in Breton folk; the perceived sexuality of the instrument's common dances may have made it more attractive. By the s, the instrument was more popular than any other. In the s, chromatic accordions LP in Brittany and jazz -influenced bands with saxophonesdrum kits and banjos were Album).
There are two types of bagpipes indigenous to Brittany. The veuze is very similar to other western European bagpipes such as the Gaita from Galicia and Asturies, while the biniou kozh old biniou in Breton is much smaller and is used to accompany the bombarde. The biniou, which plays exactly one octave above the bombarde, and bombarde duo soner ar couple are an integral and common part of Breton folk music, and was used historically for dance music.
The two performers play alternate lines that intersect at the end, in a similar manner to the Kan ha Diskan style of singing; the bombarde does not usually play every line of the tune, however, usually instead playing every other line, or three out of four lines in a dance tune. The veuze has a chanter of conical bore fitted with a double reed and a drone fitted with one reed, both attached to a mouth-inflated bag.
Its sound and design is similar to Flemish pipes and Galician gaita. In the 20th century, the term veuze came to be applied to the diatonic accordionwhich had been recently imported, and the use of the bagpipes declined.
Though still not common, it has rebounded since the Breton folk revival. It is now used in solo performances, along with a bombarde in a duo, and as part of the bagada kind of pipe band. The idea of bagad comes from the World War 2 : Breton soldiers saw pipe bands in Scotland, and brought the idea and instrument back with them to Brittany. There, they added bombardes along with the bagpipes drums and called the ensemble bagad which means "company" in Breton.
Those ensembles gained in popularity in the s, just before the folk revival began and remain very popular to this day. It was originally designed from the veuze in order to play in a higher register. Its pitch is higher and its chanter smaller than any other European bagpipe. Originally, it was common in the Breton-speaking area. It is often played as part of a duo with the bombarde, for dance accompaniment. The bombard Breton, Fr. In its most primitive form the bombard has six open holes and possibly a seventh that is often closed with a key.
It has a range of just over an octave. Bombards come in a number of keys, based on region or intended use. In the contemporary setting bombards may also have complex simple system key-work enabling significant chromatic possibilities. In Breton, the bombard is also known as the talabardand a bombard player as a talabarder.
In recent years the bombard has been paired and recorded with other instruments not traditionally associated with Breton folk music, such as the organ.
Sacred music is well served by the clear, strong sound of the bombard, in combination with the traditional organ. The late Jegat and Yhuel are renowned for this use of the bombard. Breton musician, teacher, and luthier Youenn Le Bihan invented the piston in The piston is a contemporary development of the hautboy or baroque oboe, influenced by the bombard. It is typically rooted in the key of D and features simple system key-work to expand its range. The tone of the piston stands in a warm and rich middle ground between the trumpet-like tone of the bombard and that of the baroque oboe.
Undoubtedly the most famous name in modern Breton music is Alan Stivellwho popularized the Celtic harp first in the fifties and sixties and on a wider level since the s, with a series of albums including most famously Renaissance de la Harpe Celtique His first harps were built by his father; the Celtic harp was long forgotten in Brittany before.
He began playing the bombarde ina double-reeded shawm or oboe and later the Scottish bagpipe and became pipe-major. Alan Stivell began in the mid 60s recording Breton folk, Celtic harp and other Celtic music, mixing influences from American rock and roll and the main musical genres. February 28, LP, marks the unprecedented performance of the Breton musician, on the Olympia music hall in Paris, broadcast live on one of only three radio networks in France seven million listeners on Europe 1 radio.
The Olympia album were sold a staggering 1, copies. The recording quality is also truly wonderful, allowing the instruments to be clearly distinguished and yet delivered with astonishing power. Some will argue that this is really Irish folk, not prog, but the complexity and variety stands it well apart from more traditional though excellent Irish folk bands like Boys Of the Lough, Planxty and the Bothy Band.
It's an astonishing album, well worth the full 5 stars. A genuine masterpiece which no lover of good music should be without. Composed of only 3 multi part tracks, "The Storm" is basically a long medley of jigs and reels that start off like cookie cutter performances before subtle and less subtle rhythms and shifts of pace are interjected. The key lead instruments are Davy Spillane and Declan Masterson's uillean pipes and Keith Donald's saxes, but the drums, bodhran and bass and the manner in which they deftly interpose jazzy accents are also critical.
Master instrumentalist Donal Lunny craftily integrates synthesizers that augment this freshness without descending into a s keyboard morass. My personal favourite here is "The Titanic", particularly the second segment, "A Breton in Paris", with an accelerating urgency that culminates in a manic dance of sax dragging keyboards into the drink by their high heels.
Brilliant, and sadly not imitated enough. While I do enjoy "The Storm", I ultimately fall more on the side of the first incarnations of this band, which were albeit less progressive but compensated with their hard rock take on the genre and their political acumen. You must be a forum member to post a review, please register here if you are not.
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