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Η Μακεδονία δεν είναι Ελληνική
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This clip is extracted from a popular Australian documentary TV series. This episode features an Australian collector of bagpipes with an expressed taste for the Macedonian bagpipe and Macedonian music. Rob Bester and Anne Hildyard are so entranced with Balkan music that they visited the Balkans, and collected the music, instruments, clothing and recipes from this area. When Rob heard the Macedonian bagpipes played, it really struck a chord with him. A favourite is the biniou, a bagpipe from ...
- DVA with Tunji Beier
"Dva" (pronounced D-vah) is simply the Macedonian word for "two" which expresses the great love of playing together as a duo shared by its two members: Tunji Beier and Linsey Pollak.
Linsey and Tunji first performed together at the "Border Crossings Festival" in Germany in 1996 and have played together ever since. Although they have travelled very diverse paths and studied different musical traditions, they find their playing extremely compatible. They create improvisations and compositions that draw on the traditions of Macedonia and South India, their greatest musical influences.
Linsey's collection of wind instruments is unique with 30 years experience in making & experimenting with wind instruments. He has come up with new single reed designs, such as the various clarinis (narrow bored clarinets) made from bamboo, wood, aluminium and glass as well as various hybrid bagpipes based on the gaida (Macedonian bagpipe) which he studied in Macedonia and also the conical bore Saxillo. These wind instruments are combined with Tunji’s Gangan (a small Yoruba talking drum), Tavil (South Indian temple drum), Kanjira (South Indian tambourine with a lizard skin), Jaw Harps and other percussion instruments that Tunji has mastered while living in Nigeria, India and Europe.
Audiences respond enthusiastically to the intense musical relationship between these two artists, and while their music has its roots in Eastern European, Sth Indian and African traditions, they have developed it along their own very personal lines. Their repertoire of original compositions is constantly changing and although based on a solid structure their performances are not rigidly planned and there is a great deal of improvisation that is both technically and emotionally dazzling.
http://www.linseypollak.com/video-dva.html
И овде погледнете- http://www.ohfs.org/concert2001.htm
The Greek record industry's attitude towards the brass folk bands was initially negative, probably because their sounds were related to those of neighbor Slavic countries. This type of music was considered non-Greek or believed to be a threat to the national identity. Today, this attitude has ceased to exist. Until the last few years, anyone looking for recordings featuring brass band music in Greece was likely to be disappointed. A few older recordings do exist, but they are either mixed with other material or appear on obscure 45s and LPs. Several new recordings of brass band music from Greece have been issued, and they showcase the talent of many local musicians who are relatively unknown outside their own regions The Greek record industry is currently looking to produce and capture the festive elements of the folk tunes of Central and Western Macedonia.
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Due to its proximity to Macedonia, the Macedonian bagpipe (gaida) was said to be one of the main folk instruments of the island, but that is not the case anymore. Sometimes, two violin players may accompany the local songs, where their parallel execution closely imitates the sound of the Macedonian bagpipe. Now, there are very few local musicians left and even they have abandoned the authentic folk instruments. They now prefer to play more popular instruments like the bouzouki, guitar and sometimes the clarinet, as more moneymaking opportunities are presented to them, especially during the summer months when the tourist season is at its peak. Other instruments, in addition to the violin, used in the recordings of the local songs are the lute (laouto), accordion, santouri (dulcimer), toubeleki (percussion), guitar, clarinet, taboura and others.
- DVA with Tunji Beier
"Dva" (pronounced D-vah) is simply the Macedonian word for "two" which expresses the great love of playing together as a duo shared by its two members: Tunji Beier and Linsey Pollak.
Linsey and Tunji first performed together at the "Border Crossings Festival" in Germany in 1996 and have played together ever since. Although they have travelled very diverse paths and studied different musical traditions, they find their playing extremely compatible. They create improvisations and compositions that draw on the traditions of Macedonia and South India, their greatest musical influences.
Linsey's collection of wind instruments is unique with 30 years experience in making & experimenting with wind instruments. He has come up with new single reed designs, such as the various clarinis (narrow bored clarinets) made from bamboo, wood, aluminium and glass as well as various hybrid bagpipes based on the gaida (Macedonian bagpipe) which he studied in Macedonia and also the conical bore Saxillo. These wind instruments are combined with Tunji’s Gangan (a small Yoruba talking drum), Tavil (South Indian temple drum), Kanjira (South Indian tambourine with a lizard skin), Jaw Harps and other percussion instruments that Tunji has mastered while living in Nigeria, India and Europe.
Audiences respond enthusiastically to the intense musical relationship between these two artists, and while their music has its roots in Eastern European, Sth Indian and African traditions, they have developed it along their own very personal lines. Their repertoire of original compositions is constantly changing and although based on a solid structure their performances are not rigidly planned and there is a great deal of improvisation that is both technically and emotionally dazzling.
http://www.linseypollak.com/video-dva.html
И овде погледнете- http://www.ohfs.org/concert2001.htm
The Greek record industry's attitude towards the brass folk bands was initially negative, probably because their sounds were related to those of neighbor Slavic countries. This type of music was considered non-Greek or believed to be a threat to the national identity. Today, this attitude has ceased to exist. Until the last few years, anyone looking for recordings featuring brass band music in Greece was likely to be disappointed. A few older recordings do exist, but they are either mixed with other material or appear on obscure 45s and LPs. Several new recordings of brass band music from Greece have been issued, and they showcase the talent of many local musicians who are relatively unknown outside their own regions The Greek record industry is currently looking to produce and capture the festive elements of the folk tunes of Central and Western Macedonia.
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Island of Thassos
Due to its proximity to Macedonia, the Macedonian bagpipe (gaida) was said to be one of the main folk instruments of the island, but that is not the case anymore. Sometimes, two violin players may accompany the local songs, where their parallel execution closely imitates the sound of the Macedonian bagpipe. Now, there are very few local musicians left and even they have abandoned the authentic folk instruments. They now prefer to play more popular instruments like the bouzouki, guitar and sometimes the clarinet, as more moneymaking opportunities are presented to them, especially during the summer months when the tourist season is at its peak. Other instruments, in addition to the violin, used in the recordings of the local songs are the lute (laouto), accordion, santouri (dulcimer), toubeleki (percussion), guitar, clarinet, taboura and others.