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Yá! 1 L.LAMO
Saltón
Del Medio ·
Alborada D’A Allunquía ·
Marcha De L.lamo
6:00 |
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FELPEYU
Bodhrán
RUMA BARBERO Bodhrán
Curdión
XUÁN NEL EXPÓSITO
Accordion
Bouzouki,
Guitarra, Baxu Pedal, Voz
ÍGOR MEDIO Bouzouki,
Guitar, Bass Pedals, Vocals
Vigulín
FERNANDO
OYÁGÜEZ Fiddle
Gaita
Asturiana, Flauta DIEGO
PANGUA Asturian Bagpipes,
Flute
Vigulín,
Voz LISARDO
PRIETO Fiddle, Vocals
Baxu,
Guitarra, Voz
CARLOS REDONDO Bass,
Guitar, Vocals
Vigulín
ELÍAS GARCÍA Fiddle
Soníu
Técnicu, Hammond, Shaker
SALVA LÓPEZ Sound
Engineering, Hammond, Shaker
Lletres
BONI PÉREZ Lyrics
Producíu
por ·
Produced by
FELPEYU
Grabao,
mezclao y masterizao por ·
Recorded, mixed and mastered
by SALVA
LÓPEZ&FELPEYU,
estudios
Sinergia Digital, Madrid, 02-10 2002.
Diseñu
gráficu ·
Graphic design
FELPEYU
Semeyes
·
Photos JORGE
CHACHERO,
RUMA
BARBERO
Traducción
EDDIE WOOD DE DIEGO Translation
Tolos temes tradicionales d’Asturies sacante · All tracks traditional from Asturies except Saltón Del Medio, Alborada De Porcía, Xirandiyes De Fresno, Marcha'l Campu Vieyu Í. Medio; Pasucáis De La Ronchina L. Prieto; Los Fayeos De Mayo, Desfile De Veriña trad./Í. Medio; Alborada De Llunquía trad./Felpeyu; Corrido De Encinas trad. Segovia/F. Oyágüez; Charrada De Bercimuelle trad. Salamanca. Lletres · Lyrics: D'Equí A Somió trad. Asturies; Los Fayeos De Mayo Í. Medio; La Pongueta R. Barbero; Nun Quiero Coyer La Flor, Faltosa trad./Boni Pérez. Tolos temes arreglaos por · All sets arranged by Felpeyu.
Gaita Asturiana en Bb · Asturian Bagpipes in Bb Carlos M. García; Curdiones · Accordions Castagnari (Alain 12, Benny), Cairdin; Guitarra · Guitar Larrivée; Bouzoukis Stefan Sobell (8/10 string); Baxu · Bass Tobias · Bodhráns Jim McWhinnie, Víctor M. Barral; Flauta en Eb · Flute in Eb Gilles Léhart.
Saltón Del Medio (Í. Medio) · Alborada D'A Allunquía (trad/Felpeyu) · Marcha De L.lamo (trad)
We begin with a saltón in the style from central Asturies that Ígor takes advantage of to dedicate to his father, Luis Medio, in a stunning play on words. We continue with the Alborada of A Allunquía, that we learned from Rubén Arias and Antón Barquero. They collected it from the piper Sergio Carbajal, born in Folgosa (Grandas) now living in Avilés, who heard it from the piper of A Allonquiña (A Fonsagrada, Galicia); 'A Allunquía' is how the people from Grandas name that village. Our version is quite unique, in that we composed two additional parts in the purest central style. The third tune is adapted from a xirandiya from L.lamo (Riosa) found as #341 in the Asturian Torner Songbook, that we play as a march.
Dancia de Cenera (trad) · La Xeringosa (trad/Í. Medio)
Some of us more, some of us less, yet we all await impatiently the arrival of spring. Because it means the light at the end of the tunnel for many people, and when spring is late, the heart withers. The structure of this tune is the result of the combination of two songs: one created by us and inspired by the Xeringosa, a very well known song in Asturies that we also use for the instrumental part; and the other, a dance from Cenera (Mieres) found as #4 in the Asturian Torner Songbook.
THE BEECHWOODS OF MAY
The lights of the city
lead me towards the sea
shore
to the lonely beach
where the coal and the
sand
embrace once again.
The present stays past,
imprisoned by the twilight.
Centuries pass in a moment,
and I hear, as if in
a lament,
the voice of
loneliness.
Swallow, you are late in coming,
swallow, you are late
in coming,
dressed in sun and drizzle;
you bring gold, and you
bring silver
to the beechwoods
of May.
Amidst ruby clouds
I feel my soul as mineral,
worked into disillusionments,
extinguished as the lighthouse
of
a sea of grey slag.
Fatigued by the journey,
withered by the rage
of countless winters,
I dream the days eternal,
I
awake through endless nights.
Swallow, you are late in coming,
swallow, you are late
in coming,
shining like a sunbeam.
The emerald dawn begins
to show
over the beechwoods
of May.
Through streets made of glass
thunders the song of
the Nordés*
with
words of a poet,
invoking
in me an idea,
taking me to the land
where I am anxious to return,
among
the southern forests,
where my home town lies.
Where everything makes
sense.
Where I am who I want
to be.
Swallow, you are late in coming,
swallow, you are late
in coming,
wrapped in your song.
Already the dew is sparkling
over
the beechwoods of May.
You brought many promises
with that spring,
and they went away in
summer.
It has taken me an entire
life
to come back by your
side,
and to the beechwoods
of May.
Swallow, you are late in coming,
swallow, you are late
in coming,
dressed in sun and drizzle.
It is time now for me
to rest
underneath the
beechwoods of May.
Swallow, you are late in coming,
swallow, you are late
in coming,
shining like a sunbeam.
The emerald dawn begins
to show
over the beechwoods of
May.
Ígor Medio
*Nordés: a strong wind that blows from the Northeast, associated in Asturies with good weather.
Muñera'l Centro (trad) · Marcha'l Campu Vieyu (Í. Medio)
The Central Muñera, in any of its versions, appears as the core muñera of all that are played by the pipers of central Asturies, and it can have as many as 50 parts in different combinations. We selected this one for dance, exactly as done by the late Xosé Mariño 'El Xarreru' (famous dancer and drummer), adapting it for accordion and fiddle. The set concludes with a march inspired by lively Asturian wedding marches.
4. I DON'T WANT TO PICK THE FLOWER (trad)
Without a doubt, one of the most beautiful songs from the Asturian tradition, for which we created this arrangement. The only traditional verse that remains today is the first; Boni developed the rest of the song from this verse in his own style.
I DON’T WANT TO PICK THE FLOWER
I don't want to pick the flower,
for its spines prick
me.
I don't want to gather
romances
to avoid healing
myself of its wounds.
I don’t want courage
to go find my way in
life.
I don’t want more
hearts
beating together
at the romería*.
I'm never going to look for
love again ,
nor eyes that captivate
me,
nor kisses that lull
me
nor more words that
are lies.
If it were for ambition,
I would like to jump.
Better to stay still
so
as not to fall into the brambles.
I’m never going to gaze
at the sea again,
that once we saw together.
The sea is a dream that
begins,
now alone, I will
not cross it.
I don't want to pick the flower,
for its spines prick
me.
I don't want to gather
romances
to avoid healing myself
of its wounds.
Trad/Boni Pérez
* romería: traditional outdoor festivity held in a grassy area.
Marcha D'Ancadeira (trad) · Xirandiyes De Fresno (Í. Medio) · Alborada De Porcía (Í. Medio)
The first tune we learned from the piper Antón de Fonduveigas (Degaña), born in Ancadeira (Santalla d'Ozcos), a former religious march which he named L'Altísimu'. We continue with some Asturian xirandiyes of our own making, and we finish off with an alborada that we dedicate to Porcía, remembering the festival nights of partying that all too many asturians have enjoyed for the last twenty years.
Cantar De Següencu (trad) · Xota Pixuata (trad)
Asturies, its culture and its language, are represented here by a female worker from the mountains of Ponga. This song attempts to be a tribute to all the women of Asturias who keep alive our identity as a people, besides being a rebuke to our governments who wreak cultural genocide upon us. The melody comes from Següencu (Cangues D'Onís), and was taken from the Asturian Torner Songbook #184. We added a xota in 6/8 that Lisardo brought us from Cuideiru; he remembers when he was little seeing the women dance this tune during the festivities of San Pedro, and that it was a point of pride to dance the 'bailles pixuatos' (local dances of Cuideiru).
THE WOMAN FROM PONGA
On the way down to Sellañu
you were leaving your
life behind,
climbing up, hiking down,
goxes, macones and paxos*
from
Cazu to Les Arriondes.
On the way down to Sellañu,
from a viewpoint, all
of Ponga,
climbing up, hiking down,
your wisdom in your language
and
a load of sorrows.
I don’t know what I saw
in the skirts
that enfolded me as a
child:
nostalgia, kisses, affection,
tenderness,
warmth and conscience.
I yearn to see you
in the streets, in the
signs,
and in the talk of the
elders.
They want to erase you
from my eyes and my hands,
but they are incapable.
Throughout the nooks of Ponga
the basketmaker passes no more,
climbing up, hiking down,
her wisdom already lies
heading to oblivion.
From El Suanciu, all of Ponga
is a foreigner in her
own home,
climbing up, hiking down,
with its names distorted
into
some foreign language.
I don’t know what they
may sense
to fear the words,
those that hold the last
gasp
of your breath in
their hands.
I yearn to see you
in the streets, in the
signs
and in the talk
of the elders.
They want to erase you
from my eyes and my hands,
but
they are incapable.
I yearn to see you
in the streets, in the
signs
and in the talk
of the children.
They want to erase you
from my eyes and my hands,
but they are incapable.
Rumaldo Antón Barbero
For my grandmother Felisa
Alonso, basketmaker from Cazu
and for my mother Felisa de Diego, "la Pongueta".
*different types of baskets made in the County Ponga area.
Pasucáis De Veriña (trad) · Desfile De Veriña (trad/Í. Medio) · Pasucáis De la Ronchina (L. Prieto)
Our arrangement for accordion of the well known tune by the piper of Veriña. The second is based on two of seven parts of another pasucáis played by the same piper, which he names 'Desfile'. We conclude with a pasucáis composed by Lisardo in Porrúa, while waiting for the children to arrive for his fiddle class. The 'ronchina'... well... is a cutaneous response due to diverse circumstances: springtime, autumn, a boy, a girl... you know what we mean!
From what we know, this music song comes from the folklore of Castilla (central Spain). However, it is difficult to be absolutely certain due to the fact that today it is sung across the entire northern Iberian peninsula, from Euskal Herria to Galicia. In Asturies, it is found above all in the repertory of choirs and 'ochotes' (eight-member male choirs). The traditional lyrics play on the conflicts of couples, and how love is blind in determining certain relationships. We wanted to keep singing about this topic that we enjoy, and Boni gave it an Asturian touch with his lyrics.
FOOL
Even though you are a fool
you know where it hurts,
my saucy brunette,
you know where it hurts.
You catch me distracted,
you don’t tend to
fail, my saucy brunette,
you
don’t tend to fail.
Me, what do you want me to
tell you,
I’m a good boy,
my saucy brunette,
I’m a good boy;
but if you turn me on
I’m going back with
my mother, my saucy brunette,
I’m
going back with my mother.
I spent all night long
girl, thinking of you,
that love is a bitch
and I’m a poor wretch,
my saucy brunette,
and
I’m a poor wretch.
I’ve got several ideas
to avoid work, my saucy
brunette,
to avoid work;
and you, how you like
to see me get up early,
my saucy brunette,
to
see me get up early.
Since I’ve met you
I have no time to myself,
my saucy brunette,
I have no time to myself.
I curse the night
that I went to court
you, my saucy brunette,
that
I went to court you.
I spent all night long
girl, thinking of you,
that love is a bitch
and I’m a poor wretch,
my saucy brunette,
and I’m a poor wretch.
Boni Pérez
Charrada De Bercimuelle (trad Salamanca) · Corrido De Encina (trad Segovia/F. Oyagüez)
As an exception, a Castilian arrangement of two popular dances, specifically a charrada from Salamanca and a Segovian corrido. Fernando taught us these tunes, popularized by the group Los Talaos, which have in common a time signature in 5/8 known in that area as baile 'a lo cojo' (dancing 'as if lame').
D'Equí A Somió (trad) · Dancia De Grandas (trad)
Our version of this very well known song from Xixón. We added a short dance from Grandas which we have been playing here and there since we formed the band, taught to us by our comrades, and 'Felpeyos' forever, Cástor and Félix Castro.
FROM HERE TO SOMIÓ
Oh, Pinín, marry me,
as my father will give
a good dowry.
I have many farm properties,
I
have them all in my head.
From here to Somió all
is mine,
from Somió back
to here, all is my father’s.
See how lucky you will
bewhen you take me as
your wife.
I have a great farm
right in the middle of
Perlora,
with a few other lands
that
I, Pinín, have memorized.
I have a garden, I have a garden,
that all year gives me
parsley,
and an apple tree, and
an apple tree
and its
apples are worth a penny.
As soon as I get married, my
father is going to give me
a bed made of wood,
and it's only missing
the bolsters
and two posts
for the headboard.
He also gives me a good mattress,
that has no wool, nor
leaves, nor horse hair,
and with it a pillow
made
from straw stolen from a strawloft.
Of corn, stringbeans and potatoes
I harvest two thousand
celemines* per year,
but all I gather in the
andecha*
when my neighbors
call for me.
And in the pigsty I also have
a hundred year old sow,
I have a piggy, I have
a piggy,
that I must feed,
it’s Mr. Pachín’s.
Oh, Pinín, marry me,
as my father will give
a good dowry.
I have many farm properties,
I
have them all in my head.
From here to Somió all
is mine,
from Somió back
to here, all is my father’s.
See how lucky you will
be
when you take me as your
wife.
* celemín: 14 kilos
*
andecha: labour done as a collective on behalf of an individual or for
the community as a whole.
Polka D'Antón De Fonduveigas (trad) · Xiringüelu (trad) · Saltón De Samartín (trad)
A polka we heard from the piper Antón of Funduveigas (Degaña) who told us that he learned it, along with a great part of his repertory, from two fiddlers who used to frequent the area. The xiringüelu that follows is based on the one that the piper Xosé Ángel Hevia used to play in the first round of the Macallan competition for Asturian bagpipes, and that he himself made up with parts of xiringüelos that were played by the pipers of the La Villa area. Finally, a saltón from Samartín del Rei Aurelio that Lisardo got from
Octavio Trapiella, accordion player from Morea (Ayer).
This xota for fiddle was collected by L'Andecha Folklor d'Uvieo. It was played by the fiddler Ramón de la Cueste, from La Riera (Cangues d'Onís), and popularized in Asturies by Elías, who offers us this version.