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The Ensemble Marani presents “Sharatin” (Polyphonies from Georgia)

The Ensemble Marani will unveil "Sharatin", their third album, upon its release on March 21st, 2025, under Buda Musique / Socadisc, following the release of "Soupra, le banquet géorgien" (Musidisc, ARB in 1998) and "Ertad" (Buda Musique in 2016). The artists will perform at the Église du Val de Grâce (Paris 5th) on April 6th, 2025, at 5:30 PM, accompanied by Nino Barkalaya (piano). Furthermore, here are the dates of their upcoming performances: 05/03/2025: Église Saint-André de l’Europe (Paris 8th) 08/08/2025: Festival Internazionale Musiche della Terra, Ceriana (Italy) 08/09/2025: Festival Appennino Futuro e Remoto, Vegni (Italy) 08/10/2025: Genova Palazzo Tursi (Italy) Registered on UNESCO's Representative List of the Intangible Cultural Heritage of Humanity in 2008 (originally declared in 2001), Georgian polyphonic singing is one of the masterpieces of Georgian culture. In Georgia, polyphonic singing accompanies the community at all stages of life, including wedding and funeral ceremonies, healing rites, liturgy, work, children's lullabies, dances and banquets (supra). These polyphonic songs have different characteristics depending on their regional origins. Polyphonic singing is practised by both men and women, but the male repertoire is far more extensive. The practice has traditionally been transmitted orally, within families and communities. Today, many singers are trying to get as close as possible to this method of transmission by learning directly from the singing masters (lotbari). This is the case in the greater Paris region with the Marani Ensemble, which has made several study trips to Georgia and invited Georgian singing masters as guests. Over the years, the Marani Ensemble has performed on many stages, presenting traditional songs from all regions of Georgia, as well as Orthodox liturgical chants. Its repertoire has grown out of its roots in the Georgian community, as well as through the links it has forged with a number of outstanding singers who are experts in the traditions, skills and customs associated with singing in Georgia.
13 March 2025

Buda Musique presents “John Wright – Promenade”

"John Wright (1939-2013): The man who made the jew's harp sing The jew's harp is an idiophone whose vibrating element is a reed operated by pinching, using the musician's mouth cavity as a resonator. This was the little musical instrument, often regarded as a toy or gadget, that became a favourite of, and admirably played by, an Englishman living in France: John Wright. “Tradition is a permanent revolution.” This phrase, which John Wright was fond of uttering in his splendid accent, sums up a musical career that overturned the world of popular music in France by encouraging a generation to discover and play traditional instruments and songs. In December 1969, together with Catherine Perrier and a few friends, he set up “Le Bourdon”, a now-legendary association which organised a folk club every Monday in different venues in Paris, enabling musicians to come and present their music, as well as giving “folkies” the chance to take their first steps. It was there that he met, among others, the Vietnamese musician Tran Quang Hai, a master of the jew's harp, spoons, and diphonic singing. For John, music meant singing, crwth, violin... But always with a special fondness and wonder for the jew's harp. “It works like this: you select an initial sound while listening to what's going on in the background. When another, distant sound appeals to you, you go and find it and bring it to the foreground in place of the first, and so on, which, with the successive sounds and their combination, gives the impression of ‘walking’ the sound of the jew's harp through your mouth and down your throat. That's how it's been through the years I have played the jew's harp, or rather lived with the couple it forms with the oral cavity.” Throughout his life he and his partner, Catherine Perrier, travelled to many countries, meeting traditional musicians and demonstrating the technique, complexity and richness of the jew's harp. In 1984, he took part in the first International Jew's Harp Congress organised in the USA. For many musicians, meeting John Wright was a revelation, transforming their approach to the music of the people of the world and the playing of the jew's harp.Today, we can rediscover the power and acoustic technicality of the jew's harp thanks to John Wright's recordings, such as the CD Promenade: 11 pieces recorded in 1989 by Patrick Georges, with illuminating commentary by numerous specialists and friends of John (Buda Musique - 860399). His followers are numerous and grateful for the work and open-mindedness of this musician who, during long evenings, would quickly sweep you away on another of his many passions: steam locomotives! Breath, as they said, was his life.". Philippe Krumm
13 March 2025

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