pomianowska.art.pl
folk.pl
Wydany:
2008
MTJ
Zespół Polski
Maria Pomianowska
Maria Pomianowska • śpiew, padudla (fidel płocka), suka biłgorajska
Małgorzata Szarlik • skrzypce żłobione
Marta Maślanka (Stanisławska) • cymbały
Bartłomiej Pałyga • śpiew alikwotowy, bas
Robert Siwak • bębny
Roozbeh Asadian • śpiew (#8, 14), kemancze (#6, 8, 17, 22)
Tomasz Budkiewicz • instrumenty klawiszowe
Each year in Polish tradition is traced by the recurrent rhythm of holidays, ceremonies and rituals. They are related to the important events that determine the spiritual evolution of every Christian who takes an active part in keeping vigilance during Advent, who share the joy of Christmas, who experience the sadness of Lent and the exultation of Easter.
However the Christian holidays intertwine with the almost-forgotten pagan customs, superstitions and beliefs. The latter strongly emphasize the carefree fun, fertility and survival factors. Both worlds, like the sacrum and profanum, mix in Polish songs. Each song is related to a specific season. They are sung with the accompaniment of unique instruments such as two reconstructed fiddles: the Bilgoraj "suka", known from the late 19th century iconography and the 16th century "padudla" found in an archaeological site in Plock. Where to find the echo of their long-lost and newly reconstructed sound?
The quest for their ancient roots leads us to the western regions of Central Asia and to the Middle East – to the places of origin of the world's oldest string instruments. The bowed chordophones, which came from Asia in the Middle Ages, have given birth to the rich family of European fiddles. Until today one of the basic fiddles in Iran is "kemanche", a very old instrument of archaic construction. The presence of "kemanche" on our CD alongside suka, padudla, carved violin and bass is by no means accidental. It is a journey in time and space.
Apart from typical Polish songs related to a specific season, you can find on our CD some musical surprises: Polish tunes sung in typical Persian manner or played on "kemanche" and full of unusual improvisations, the duet of "suka" and "kemanche" or Persian vocal with the "padudla" accompaniment. Different aesthetics, different tone, but similar musical scale. The tendency of teaming up the stringed instruments with the human voice is also common with most of the musical cultures of the world. At times one can hear some strange flourishes and quarter-tones which nevertheless perfectly fit in the old Polish tradition.
The music contained on this CD is also a Meeting. And this meeting is somewhat like discovering new lands. At time it asks how do we and our culture differ from the ones we encounter? What divides us and what unites us? Not only on the level of superficial shapes and colours but also on the level of emotions, requirements and expectations the music brings about. The meeting may offer us the notion that in order to evolve we need something different – different people, different cultures...
Maria Pomianowska
U źródeł muzyki Chopina
(#2, 9, 12)
