Eritrea, ancient province Ethiopia became independent at the beginning of the 90's and has lived a painful history. But nothing has ever prevented the people of Eritrea from singing, and not even the numerous famines. The People of the plain of Zula (Afar, Tigré and Saho) give rhythm to their everyday life in simple, repetitive singings. The leader, man or woman, throws a comment on rhythms (handclaps and kebero percussion), the others start again, insisting on the same rhythmic, as an obsessive loop. History the concern of protecting the culture and politics, stimulates more than a singer. " On one hand, he killed you, whereas on the other one he fed you " tells a Saho about Haile Sélassié. A kebero is a double-headed, conical hand drum used in the traditional music of Eritrea and Ethiopia. A piece of animal hide is stretched over each end, thus forming a membranophone. A large version of the instrument is also used in Orthodox Christian liturgical music, while smaller versions are used in secular celebrations.
The disc recorded by Stephanie Weisser between March 2002 and December 2005 in Addis Ababa is the fourth CD of traditional Ethiopian music in the backup program intangible heritage of this country, "Ethiopia: Traditional music, dance and instruments , a systematic survey "led by Olivier Tourny. Indeed, following the disk Polyphonies Ari published by Ocora (Fournel 2002) as well as two discs of Unreleased collection of Maale Music (Ferran 2005) and 'aqwaqwam (Damon 2005), Stephanie Weisser shows us one of three famous Ethiopian chordophones the bagana, it has specifically studied in his thesis.
Alemu Aga - "Besmeab - Abatachin Hoy"
playing the Begenna, the Harp of David from Ethiopia
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The disc echoes of hope for the revival of the instrument in Ethiopia for the interest of its author for bagana, which was endangered in Addis Ababa, allowed its rehabilitation and the foundation of schools and transmission structures while promoting the creativity of musicians, since all the compositions on this disc are original. It also pays tribute to the greatest performers of Ethiopian bagana, including Tafese Tesfaye (tracks 1 and 2) between deceased time.
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Recordings that Stephanie Weisser introduces us was collected in Addis Ababa among the performers themselves, which reports to a tour de force in this large African capital where the activity never stops and where is hard to find a silent place. The extensive research that the author has synthesized here illuminates the amateur as professional, who may be interested in the specifics of sound bagana. Indeed, the leaflet, synthetic and clear, in French and English, allows to approach the musical characteristics of bagana songs, their formal structure, rhythm that underlies them, the contents of the texts or vocal techniques specifically associated with these religious songs.
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The first piece, the listener is swept away by the individual sound bagana, big ten-stringed lyre whose sizzling character is the result of adding leather pieces between the strings and the bridge, but also by the vocal stamp both soft and veiled that seeks to mimic that of the instrument. On this disc tour de force also lies in its ability to make sensitive to both the emotional power of the songs of bagana and intimate character. Indeed, the live performance of songs by Alem Marefia Na'at Alemu Aga (track 9) or of Sebsebo by Yetemwork Mulat (track 8) is very moving. The quality of the recordings and the balance between voice and bagana are very successful and music acts on us as if the interpreter was facing us. This emotional capacity bagana songs is also recognized in Ethiopia, and it contributes to their specificity. Thus, any provision of Alemu Aga brings tears of auditors and participates in a form of collective devotion.
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The wealth of different facets of bagana songs highlighted in this record gives it a special interest. Indeed, six performers follow one another, with two compositions each, giving a glimpse of their dexterity and their vocal timbres. In addition, two female performers, Gebre Yesus Sosenna and Yetemwork Mulat, highlight the rare successes of women in the interpretation of traditional music Ethiopian, who often remain the prerogative of men.
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ON also noted the diversity of instrumental timbres, including the difference between the instrument of Tafese Tesfaye (tracks 1 and 2), whose sound box is made entirely of wood, and that of Alemu Aga (tracks 9 and 10), the soundboard is skin.
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The professional master of Alemu Aga, the most famous master of bagana, known worldwide thanks to the disk 11 of the Ethiopiques collection, is also highlighted in this record because we propose two techniques for game. Exhibit 9 is interpreted bare hand and begins with the traditional invocation before the first song of the provision: "In the name of Father, Son and Holy Spirit, Amen." Exhibit 10 is against extremely rare since it involves playing with plectrum (megrafia) goat horn. This technique is extremely difficult endangered and only Alemu Aga practice yet. It is therefore interesting to compare the two game modes to capture the virtuosity of mixed game.
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The variety of musicians playing techniques contributes to the interest of this disc. It may well linger compared virtuosity and technical skill of the masters of the instrument are Tafese Tesfaye, Alemu Aga and with the game slower but still very expressive women (tracks 3, 4, 7 and 8) or even with the strong play of young Abiy Seyoum (track 5 and 6).
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Enfin, the last piece on this disc gives us an original interpretation since it involves a chorus of two deacons, which is extremely rare for bagana songs which are, as the disk we heard, very intimate. Moreover, this final piece, Manimeramere, has many vocal ornaments similar to those of the Ethiopian Orthodox song or secular pieces of azmari, the troubadours of this country.
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To his faculties to make us travel to unveil a part of the Amhara imagination to move us and also, in some way, to elevate our soul, this drive is to listen. However, it would have been interesting to see the whole texts in Amharic accompanied by a translation in order to highlight the particular taste of Ethiopians for word games and semantics research. But as we explained Stephanie Weisser, poetic forms of bagana songs are very elaborate and remain impenetrable to the uninitiated and therefore have no place in a disc. Comments are effective and photos and help inform the listener about this fascinating instrument. Be transported by yebagana mezmour (bagana songs) and their ostinati always renewed.
01 - Tafese Tesfaye - Ergebe na Wane (The Dove and the Pigeon) (6:03)
02 - Tafese Tesfaye - Wodadje Wodadje (You Who Take Good Care of Me) (5:59)
03 - Sosenna Gebre Yesus - Adeneyn Kemote (Save Us from Our Death) (6:11)
04 - Sosenna Gebre Yesus - Dengel Sele Esbe (When I Say Your Name) (6:16)
05 - Abiy Seyoum - Deggwa Tsome Deggwa (The Last Judgement) (2:56)
06 - Abiy Seyoum - Nastemaselke (We Are All Mortals) (3:44)
07 - Yetemwork Mulat - Semayi na Meder (Heaven and Earth) (5:45)
08 - Yetemwork Mulat - Sebsebo (The Second Coming of Christ) (4:58)
09 - Alèmu Aga - Alem Marefia Na'at (The World Is But a Place of Survival) (4:42)
10 - Alèmu Aga - Selamta be Megrafia (Song of Praise Played With a Plectrum) (3:51)
Tekle Kiflemariam - Wedi Tukul, an Eritrean musician who is best known for being one of the most visible supporters of the Eritrean War of Independence from Ethiopia, and is so popular that he is known as the Bob Marley of Eritrea.
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