v.a. - Ethio podcast - Begena [2006] [ethiopia]

Alemu Aga - "Besmeab - Abatachin Hoy"

playing the Begenna, the Harp of David from Ethiopia

       The begena (or bèguèna, as in French) is an Eritrean and Ethiopian string instrument with ten strings belonging to the family of the lyre. According to oral tradition, Menelik I brought the instrument to the region from Israel, where David played on it to soothe King Saul's nerves and heal him of insomnia. Its actual origin remains in doubt, though local manuscripts depict the instrument at the beginning of the 15th century (Kimberlin 1978: 13).

      Known as the instrument of noblemen, monks and the upper class and performed by both men and women, the begena was used primarily as an accompaniment during meditation and prayer. Though commonly played in the home, it is sometimes played in the framework of festive occasions. During Lent, the instrument is often heard on the radio and around churches. 

   Begena is accompanied by singing voice only. The singer may compose his or her own texts or they may be taken from the Bible, from the Book of Proverbs, or from the Book of Qine, an anthology of proverbs and love poems. Subject matter includes the futility of life, the inevitability of death, saints, mores, morality, prayer, and praises to God. The song's duration varies according to the text, the audience, and the persistence of the player. Though many texts are of a religious nature, the instrument is not used in the Ethiopian Orthodox church services, even if it is seen occasionally in religious processions outside the church.

     Because of the instrument's relatively intimate and sacred role in society, the begena is not very common to find. Meditation and prayer are very private, personal endeavors, and hearsay suggests that the instrument is played by very few and is a dying art. However, in 1972, the Yared Music School in Addis Ababa began formal instruction in the begena. Since 2004, evening courses are organized and the begena is still played.

    The begena has ten strings. However, different musicians use varying numbers of strings to play the begena. For example, begena teacher Memhr Sisay Demissae uses all ten strings to play the begena, while other players may use five or six of the strings. The left hand is used to pluck the strings.

 When all ten strings are plucked, one method of tuning the begena is to tune each pair of strings to one of the pitches in a pentatonic scale. When using five of the stings, only the first, fourth, sixth, eighth and tenth strings are tuned and plucked to give sound. Finally, while playing the begena using six strings, the left hand plucks strings one, three, four, six, eight, and ten (starting from the left side when facing the instrument). The pointing finger plucks strings three and four while the other fingers are in charge of controlling one string each. The remaining strings are used for the finger rests or stops after the strings have been plucked, allowing the plucked string to vibrate.

          The begena may also be played using a system called girf, wherein a plectrum made of horn or wood is used to pluck the ten strings of the begena. Megabe Sebhat Alemu Aga plays begena both by using his fingertips and girf.

       

      

The begena is characterized by a very specific buzzing sound, due to U-shaped leather pieces placed between each string and the bridge. The thong for each string is adjusted up or down along the bridge so that the string, when plucked, repeatedly vibrates against the edge of the bridge.

01 - unknown - Begena 9 (5:17)
02 - Zerfu Demisie - Tewoledelin (5:23)
03 - Merigeta Fikru Sahelu - Simih Yemesgen (7:34)
04 - Akalu - Bene Tsidk Aydelem (7:11)
05 - Yilma Hailu - Silasie Kesemay (4:14)
06 - Tadiwos Girma - Temesgen (6:05)
07 - Yilam Hailu - Eninesalen (3:55)
08 - Mirtnesh Tilahun - Rehoboth (5:11)
09 - Engidawork Bekele - Alefkugne Dingil (6:00)
10 - Fekadu Amare - Egziabher Hayal New (5:20)

Ehul Saged - Mezmur & Bägäna [ethiopia]

   R  E  U  P  L  O  A  D   

           Mezmur are the religious songs of the Ethiopian Orthodox Church. Mezmur is the Amharic term for music, although it often has a religious connotation. Other religious groups also use the term, which is in contrast with zafan, or secular music.

             The Ethiopian Orthodox Church is one of the oldest Christian churches in Africa, and it dates to pre-colonial times. As of 2015, it has between 40 and 45 million members. It has also spread outside Ethiopia, with many branches in the United States and other countries where Ethiopian immigrants have settled.

                                                                                        Mirtnesh

Tewahedo orthodox mezmur

        It has a rich musical tradition, referred to as mezmur. Mezmur plays an important part in church services, including a detailed liturgy divided into two parts and 14 sub-parts known as anaphoras. These fixed songs undergo few changes.

           Mezmur can also refer to hymns, which are more innovative, and the church continues to accept and use new hymns. These are more free-form songs of praise. Many Ethiopians take great pride in their music and strive to create beautiful songs as a sign of devotion.

      Mezmur is not purely Ethiopian Orthodox. It can refer to any religious song. The P'ent'ay, or Ethiopian protestants, also use the term mezmur. The P'ent'ay can include Pentecostals, Baptists, Mennonites and many others.

   

                 O Goyta Selam

Eritrean Orthodox Tewahdo Mezmur 

      The begena is an Ethiopian or Eritrean string instrument with ten strings belonging to the family of the lyre. According to oral tradition, Menelik I brought the instrument to the region from Israel, where David played on it to soothe King Saul's nerves and heal him of insomnia. Its actual origin remains in doubt, though local manuscripts depict the instrument at the beginning of the 15th century (Kimberlin 1978: 13).

     

   Known as the instrument of noblemen, monks and the upper class and performed by both men and women, the begena was used primarily as an accompaniment during meditation and prayer. Though commonly played in the home, it is sometimes played in the framework of festive occasions. During Lent, the instrument is often heard on the radio and around churches. Begena is accompanied by singing voice only. The singer may compose his or her own texts or they may be taken from the Bible, from the Book of Proverbs, or from the Book of Qine, an anthology of proverbs and love poems. Subject matter includes the futility of life, the inevitability of death, saints, mores, morality, prayer, and praises to God. The song's duration varies according to the text, the audience, and the persistence of the player. Though many texts are of a religious nature, the instrument is not used in the Ethiopian Orthodox church services, even if it is seen occasionally in religious processions outside the church.

      Because of the instrument's relatively intimate and sacred role in society, the begena is not common to find. Meditation and prayer are very private, personal endeavors, and hearsay suggests that the instrument is played by very few and is a dying art. However, in 1972, the Yared Music School in Addis Ababa began formal instruction in the begena. Since 2004, evening courses are organized and the begena is still played.

A begena player strumming.

     The begena has ten strings. However, different musicians use varying numbers of strings to play the begena. For example, begena teacher Memhr Sisay Demissae uses all ten strings to play the begena, while other players may use five or six of the strings. The left hand is used to pluck the strings.

         When all ten strings are plucked, one method of tuning the begena is to tune each pair of strings to one of the pitches in a pentatonic scale. When using five of the stings, only the first, fourth, sixth, eighth and tenth strings are tuned and plucked to give sound. Finally, while playing the begena using six strings, the left hand plucks strings one, three, four, six, eight, and ten (starting from the left side when facing the instrument). The pointing finger plucks strings three and four while the other fingers are in charge of controlling one string each. The remaining strings are used for the finger rests or stops after the strings have been plucked, allowing the plucked string to vibrate.

         The begena may also be played using a system called girf, wherein a plectrum made of horn or wood is used to pluck the ten strings of the begena. Megabe Sebhat Alemu Aga plays begena both by using his fingertips and girf.

       The begena is characterized by a very specific buzzing sound, due to U-shaped leather pieces placed between each string and the bridge. The thong for each string is adjusted up or down along the bridge so that the string, when plucked, repeatedly vibrates against the edge of the bridge.

01. Ehul Saged - Mezmur & Bägäna - Track 01 (5:55)
02. Ehul Saged - Mezmur & Bägäna - Track 02 (6:29)
03. Ehul Saged - Mezmur & Bägäna - Track 03 (4:48)
04. Ehul Saged - Mezmur & Bägäna - Track 04 (7:00)
05. Ehul Saged - Mezmur & Bägäna - Track 05 (6:03)
06. Ehul Saged - Mezmur & Bägäna - Track 06 (6:06)
07. Ehul Saged - Mezmur & Bägäna - Track 07 (5:54)
08. Ehul Saged - Mezmur & Bägäna - Track 08 (6:30)
09. Ehul Saged - Mezmur & Bägäna - Track 09 (5:20)
10. Ehul Saged - Mezmur & Bägäna - Track 10 (7:01)




     for more mezmur songs visit        this site      

v.a. - The begenna of elders - The harp of David in Ethiopia [2009]

   R   E   U   P   L   O   A   D   

Alemu Aga - "Besmeab - Abatachin Hoy", 

playing the Begenna, the Harp of David from Ethiopia

01. Alemu Aga - The Sacred Names Of The Begenna (6:36)

02. Alemu Aga - Alem Marefiya Nat (The World Is A Place Of Rest) (4:25)

03. Alemu Aga - Hosanna (Cry Of Praise And Adoration To God) (4:09)

04. Seyoum Mengistu - Segid Selam (Worship For Peace) (2:44)

05. Seyoum Mengistu - Gidune (Unwillingly) (4:27)

06. Seyoum Mengistu - Hede Minino (Went To The Hermitage) (3:11)

07. Admassu Fikre - Ehud Lelit (Sunday Night - About The Ressurrection) (2:55)

08. Admassu Fikre - Kidus Kidus (The Praise Of The Lord) (5:31)

09. Admassu Fikre - Medinanazelesegna (The Futility Of Life) (4:08)

10. Tafesse Tesfaye - Besemea (In The Name Of The Father) (3:05)

11. Tafesse Tesfaye - Ergibina Wane ((The Praise Of St. Virgin Mary) (4:34)

12. Tafesse Tesfaye - Wodaje Wodaje (About The Sufferings Of Christ) (3:48)

       Alemu Aga was born in 1950 in Entoto, near Addis Ababa. Alemu Aga has played the Ethiopian traditional lyre Begenna since he was 12, having been trained by a famous master, Aleqa Alemayehu Wolde-Ammanuel, who was his neighbour and teacher at his school.

     After graduating from the Addis Ababa University (with a degree in geography), he taught the Begenna at the Yared Music School until 1980. He now teaches on a voluntary basis and focuses on his research about the Begenna.

      He has published numerous audiotapes and several CD‘s and appeared in concert worldwide. Nowadays, Alemu Aga is the most highly respected Begenna player of Ethiopia.

    Talking on any subject with Alemu Aga, one cannot help but be taken aback by the exceptionally smooth and enchanting tone in which the veteran begena performer utters his measured responses. Of course, given the gracious and calm mood displayed on all occasions by one of the few living authorities on the begena instrument, it could still be possible to pass Alemu Aga's spiritual and melancholic sounding tones as mere natural endowments of that exceptional man. But take the scores of begena lyrics Alemu is known to sing again and again, especially during fasting seasons, on the national radio and you have just begun to appreciate the high degree of sublimity (as they call it in the theatre) that the personality of Alemu has afforded to the art of that unique Ethiopian treasure.

    True enough then that in manners, speech and strict Orthodox Christian way of life, the personality of Alemu Aga, to say the least, could be described as all begena in itself. And this is due to the fact that all the enchanting monotony of lyrical sounds that the traditional string instrument is capable of producing, together with the strict spiritual messages the lyrics carry, have almost perfectly captivated the psyche and physique of the virtuoso performer. "In performing with the begena, one is only supposed to appropriately reflect strictly spiritual and holy messages. Anything less and worldly than that, like modern music, is not attributable to the purposes of the begena and is hence disrespectful," he says.

Temesgen - Begena Fusion [2012] [ethiopia]

              Temesgen was born and raised in Addis Ababa, Ethiopia. He has studied with Alemayehu Fanta and Teshome Shenkute at the Yared School of Music in Addis Ababa. It is Temesgen's dream to keep alive the ancient musical traditions of Ethiopia. He is in the process of setting up a school to teach the Begena and the Krar.

Temesgen - Yibellahalla [Begena Fusion]

           A versatile singer-songwriter, Temesgen has begun to explore the frontiers of ethio-fusion. His non-traditional work is a soulful stew of reggae, ethiopian, and jazz. He is currently working on Begena Fusion, an album that features the begena in a modern milieu. And, Krarization a collection of popular contemporary songs re-interpreted with the help of the krar. Temesgen has also created instructional DVDs on how to play the krar and the begena.

Temesgen - 01 - Yibelahalla (3:11)

Temesgen - 02 - Dawit Bebegena (3:27)

Temesgen - 03 - Qiddus (3:48)

Temesgen - 04 - Meserete Zema (3:26)

Temesgen - 05 - Dirdera (5:27)

Temesgen - 06 - Maan Yimeramer (3:35)

Temesgen - 07 - Nu Nu (3:03)

Temesgen - 08 - Alayenim Belu (5:32)

Temesgen - 09 - Haadeego (2:26)

Temesgen - 10 - Abba Gragn (4:09)

Temesgen - Traditional Favorites [2007]

      R   E   U   P   L   O   A   D   

       Temesgen was born and raised in Addis Ababa, Ethiopia. He has studied with Alemayehu Fanta and Teshome Shenkute at the Yared School of Music in Addis Ababa. It is Temesgen's dream to keep alive the ancient musical traditions of Ethiopia. He is in the process of setting up a school to teach the Begena and the Krar.

       "Listen to the stark, haunting sounds of traditional Ethiopian music and you will be elevated to a place free from worries and strife. The wisdom and knowledge of centuries of culture are communicated by the nimble fingers and resonant voice of Temesgen. Temesgen sings songs of life, of love and of devotion. Deeply spiritual, with the simple truth of folk music, sanded and distilled by generations of musicians, these songs have evolved over the ages to shine with the pristine beauty of the very roots " - liner notes from Begena Bedtimes (2006).

        A versatile singer-songwriter, Temesgen has begun to explore the frontiers of ethio-fusion. His non-traditional work is a soulful stew of reggae, ethiopian, and jazz. He is currently working on Begena Fusion, an album that features the begena in a modern milieu. And, Krarization a collection of popular contemporary songs re-interpreted with the help of the krar. Temesgen has also created instructional DVDs on how to play the krar and the begena.

Temesgen - Ethio-banjo [2007] [ethiopia]

   R   E   U   P   L   O   A   D   

       Temesgen was born and raised in Addis Ababa, Ethiopia. He has studied with Alemayehu Fanta and Teshome Shenkute at the Yared School of Music in Addis Ababa. It is Temesgen's dream to keep alive the ancient musical traditions of Ethiopia. He is in the process of setting up a school to teach the Begena and the Krar.

     

        "Listen to the stark, haunting sounds of traditional Ethiopian music and you will be elevated to a place free from worries and strife. The wisdom and knowledge of centuries of culture are communicated by the nimble fingers and resonant voice of Temesgen. Temesgen sings songs of life, of love and of devotion. Deeply spiritual, with the simple truth of folk music, sanded and distilled by generations of musicians, these songs have evolved over the ages to shine with the pristine beauty of the very roots " 

- liner notes from Begena Bedtimes (2006).

 A versatile singer-songwriter, Temesgen has begun to explore the frontiers of ethio-fusion. His non-traditional work is a soulful stew of reggae, ethiopian, and jazz. He is currently working on Begena Fusion, an album that features the begena in a modern milieu. And, Krarization a collection of popular contemporary songs re-interpreted with the help of the krar. Temesgen has also created instructional DVDs on how to play the krar and the begena.

Zerfu Demissie - Akotet: Songs of the Begena [2008] [ethiopia]

   R   E   U   P   L   O   A   D   

      In March 2001, Andy (also guitarist in The Ex) and I (Terrie Ex) were in Addis Abeba, checking out possibilities for The Ex to play some concerts in Ethiopia. But also to check out other music. There is so much amazing stuff there. One day, in the middle of the Mercato, we were struck by something that we had never heard before. Out of the street speaker of a little cassette shop, flowed a sound that was dark, heavy and serious, but also light, fragile and spiritual. We couldn't quite pin it down. We knew the great Ethiopiques 11 of Alemu Aga, but this was different. Slightly embarrassed at the fact that the shopkeeper had had to take the cassette out of the machine and that the street was suddenly silent, we bought the tape. It turned out to be Zerfu Demissie. 

        In March 2004, we organized a series of concerts in Holland called "An Ethiopian music night". The programme consisted of The Ex + Han Bennink, nine of the greatest Azmaris from Addis and Alemu Aga on the begena. Quite a contrasting line-up! In Ethiopia, the Azmaris and Alemu are from completely opposite sides of the musical spectrum. 

     The Azmaris' music is about drinking, politics, sex, dancing, jokes. Playing the begena, on the other hand, is rooted in meditation, concentration and prayer. Deeply devoted to the Orthodox Christian tradition, Alemu was in his fasting period during the tour, which for him meant an even stronger spiritual commitment and no meat and alcohol. He played his songs and right after, The Ex performed. A very different music from a very different background. But when we were finished, Alemu was there standing at the side of the stage, offering us some cold beers. This is not a rigid religion and culture. This is about people.

     We became more and more intrigued by Ethiopian music and culture. We were also intrigued by the begena, an instrument that dates back thousands of years; with its mesmerizing buzzing sound and its special role in the musical, sociological palette. There are the fascinating lyrics, sometimes hundreds of years old and occasionally very contemporary. At times biblical, at other times tapped from different sources. But all including this typical Ethiopian phenomenon known as "Wax 'n' Gold", the subtle poetry with double meaning, which is deciphered as an abstract art form.

     This music is unique to this worid. We had to find out more. August 2006, and we were back in Ethiopia. Jeroen took his mobile studio and Emma her camera. We were hoping to find Zerfu to make a recording with him. And we did find him. He agreed to the project, and a few days later, we recorded him in his empty bedroom at home. Beautiful! Enjoy the sounds within!

Terrie Ex - Wormer, November 2007

01. Zerfu Demissie - Alayenem Belu, Alsemanem Belu (5:42)
02. Zerfu Demissie - Degwawen Kitetut (5:41)
03. Zerfu Demissie - Arb Yetaredewn (8:05)
04. Zerfu Demissie - Ahadu Belo K'idus (8:32)
05. Zerfu Demissie - Arb, Rob, Inegedef (5:10)
06. Zerfu Demissie - Ne'i, Ne'i Kidane Mehret (6:29)
07. Zerfu Demissie - Efoy Ta'ageseke (4:48)
08. Zerfu Demissie - Sek'let (3:27)
09. Zerfu Demissie - Dingelim (4:01)
10. Zerfu Demissie - Esme Ante (2:46)
11. Zerfu Demissie - Godana (7:06)

Asnakech Worku & Alemu Aga - Ende Jerusalem [1996] [ethiopia]

                   

     R   E   U   P   L   O   A   D   

Asnakech Worku or Asnaqètch Wèrqu: Krar player and poet

       Asnaqetch Werqu was born an orphan who went on to become the first actress to appear on the Ethiopian stage. However, her musical talent garnered her attention that outshone her acting career in the National Theatre. Reportedly, she initially worked as an actress and dancer in the Haile Sellassie I theatre troupe and was actually the first woman to be part of this troupe. At an early age Asnaqetch taught herself to play the krar and eventually went on to become famous as a master of the krar (lyre) and a singer who was considered to be the last great storyteller to engage in the tradition of poetic jousting, following in the traditions of the Azmaris or artist caste.

       A five (sometimes six) stringed lyre with a gut resonator, the krar was an ancient Ethiopian instrument frequently used by the Azmari or musician class. It has been said the the Japanese koto has a sound similar to that the krar. Azmari, can be male or female, and are skilled at singing spontaneous verses while playing the krar or masenqo (one-stringed fiddle). They play in drinking establishments known as 'tejbeit' that serve 'tej' (honey mead). They are also often invited to perform at private parties where they would improvise lyrics based on a theme suggested by the host. This poetic jousting not only relies improvisation but the art of poignant verses, wit, imagery and sarcastic puns.

       Following Haile Selaissie's removal from office by the Derg in 1974, artists in Ethiopia were often forced underground to perform or had to attempt to create their music in a very hostile environment. This repressive regime slaughtered hundreds of thousands and fuelled subsequent unrest. Nevertheless a brief period of artistic freedom existed in the 70's between Selaissie's imperial rule and the military junta of the Derg.

Asnakech Worku

       The French label Buda Musique, was able to select 22 songs to compile an album for Volume 16 of the acclaimed Ethiopiques series - named The Lady With The Krar. These songs were chosen from two LPs recorded in 1974 and 1976. Buda Musique acquired them from their previously-acquired Kaifa Records archive (1973-77). Apparently, the first 12 songs on this album were released during the beginning of the revolutionary disorder and were banned almost immediately afterwards, as many records were simply taken off of store shelves. It didn't help that the krar was often regarded as a 'devil's instrument' by certain segments of the population.

       Werqu's verses evoke epic tales and her love ballads are tinged with longing and melancholy. Surprisingly, during her time as an musician and actress, artists in general were frowned upon, and this was especially true for female ones. This contributed to many hardships and suffering in Werqu's life, which she often expressed in her music, as she recorded her struggles against the conventions of established society. Ironically enough, it is from the depths of this emotional angst that we see the emergence of a profound spiritual beauty that resonates with her 'serenely-emotional' vocals as they meld with the hypnotic melodies of the krar.

Alemu Aga

       (born 1950) is an Ethiopian musician and singer, a master of the bèguèna.

Born in Entotta, near Addis Ababa, Alemu became interested in the begena (a ten-stringed member of the lute family, also known as "King David's Harp") at the age of twelve, when a master of the instrument moved in next door to his family, the Aleqa Tessema Welde-Emmanuel. Aleqa Tessema began teaching at Ras Desta school, where Alemu was a pupil. As well as studying the begena at school, Alemu carried his master's instrument to and from school, and thus benefited from more of Tessema's time.

       He went on to study geography at Addis Ababa University, and after graduation went to work as a geography teacher at the Yared Music School, where for seven years he also taught begena. Alemu went on to become an acknowledged master of the instrument, first recorded in 1972 by Cynthia Tse Kimberlin for a major UNESCO collection, and performing and broadcasting around the world. In 1974, however, the Derg military junta came to power in Ethiopia; their anti-religious policies also included the banning of the begena from radio broadcasts, and the closing down of the Yared School's teaching of the instrument. As a result, Alemu Aga decided to give up his teaching post in 1980, and opened a souvenir shop in Addis Ababa's Piazza district.

For a time he played only in private, but the collapse of the Derg's régime led eventually to a change in state policy, and Alemu again began to teach and perform in public.

01. Asnakech Worku/Alemu Aga - Tizita (7:40)

02. Asnakech Worku/Alemu Aga - Arada (5:27)

03. Asnakech Worku/Alemu Aga - Ende Jerusalem (6:59)

04. Asnakech Worku/Alemu Aga - Mela Mela (6:18)

05. Asnakech Worku/Alemu Aga - Wogene (4:31)

06. Asnakech Worku/Alemu Aga - Abet Abet (6:30)

07. Asnakech Worku/Alemu Aga - Besmeab (12:39)

08. Asnakech Worku/Alemu Aga - Wanen (3:52)

09. Asnakech Worku/Alemu Aga - Yibelahala (3:04)

10. Asnakech Worku/Alemu Aga - Alayenim Belu (3:49)

11. Asnakech Worku/Alemu Aga - Girf (0:56)

12. Asnakech Worku/Alemu Aga - Selamta (12:30)