Wulfin Lieske & Fu-Zhu Meng | Dajabur

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World: Throat Singing Avant Garde: Free Improvisation Moods: Type: Improvisational
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by Wulfin Lieske & Fu-Zhu Meng

Improvisations of Mongolian voice, horse head fiddle and acoustic nylon guitar - encounter of Mongolian traditional music and Western ethno, classical and contemporary elements.
Genre: World: Throat Singing
Release Date: 

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  Song Share Time Download
1. Pas de deux
Wulfin Lieske & Fu-Zhu Meng
7:51 album only
2. Als-in Baraa
Wulfin Lieske & Fu-Zhu Meng
9:20 album only
3. Dajabur
Wulfin Lieske & Fu-Zhu Meng
7:06 album only
4. La chasse
Wulfin Lieske & Fu-Zhu Meng
6:37 album only
5. Borulei
Wulfin Lieske & Fu-Zhu Meng
6:48 album only
6. Naiman Sharg
Wulfin Lieske & Fu-Zhu Meng
19:51 album only
Downloads are available as MP3-320 files.


Album Notes
1 Pas de deux 7’49
Geige/Gitarre - Violin/Guitar
2 Als-in baraa 9’18
Fernblick/Looking out
Voc., Gitarre/Guitar
3 Dajabur 7’04
Voc., Gitarre/Guitar
4 La chasse 6’35
Die Jagd/Hunting
Vocalise, Gitarre/Guitar
5 Böruulei 6’46
Voc., Gitarre/Guitar
6 Naiman Sharg 19’51
Die achte Rosse des Dschingis Khan
The eight horses of Dshingis Khan
Voc., Geige, Gitarre
Voc., Violin, Guitar

After a spontaneous concert we both shared the enthusiasm for improvising together: without arranging anything, we offered our completely different musical traditions and experiences a chance to mingle. The Mongolian overtone singing blends with the slide of the guitar, the spherical sound of the horse head violin mixes with the filigree micro-tonality of the guitar. The diversity of the Mongolian singing styles combines with the classical bel canto.
Wulfin Lieske

What exactly is overtone or throat singing? It is a special sound made in unison with the tongue, teeth, larynx and palate. The technique of throat singing may be easy to write about - but it is almost impossible to actually try to perform. To perform the higher tune, the singer should bend (or fold) the tongue, and tap skilled sounds with the tongue point and whisper through the front teeth. At the same time the converged melody is made by making lips conical. As the basic tune resonates, a melodic buzzing sound also reverberates.
A master of this kind of singing, traditionally accompanied by a Horse Head Violin, is Fu-Zhu Meng, born in Inner Mongolia, China, in 1972. He studies at the Musikhochschule Cologne/Wuppertal and masters the traditional singing technique of his native country as well as the European singing technique. He was the prize-winner of the national singing competition for European singing in China, and he was soloist of the choir of Radio Inner Mongolia. After several tours in China, Fu-Zhu Meng made his European debut in 2003 in Cologne/Germany. In 2004, he was co-founder of the Trio Nomin Tala, giving concerts all over Europe. They were part of the „Soundcolour“-Event (Cologne) during the 2006 FIFA World Cup in Germany. In addition, Fu-Zhu Meng is an expert player of the horse head violin.
The Horse Head Violin (morin khuur, meaning fiddle with a horse's head) is a Mongolian bowed stringed instrument. It produces a sound which is poetically described as expansive and unrestrained, like a wild horse neighing or like a breeze in the grasslands. It is the most important musical instrument of the Mongolian people, and is considered a symbol of the Mongolian nation. The instrument is held nearly upright with the sound box in the musician's lap or between the musician's legs. The strings are made from hairs from horses' tails, strung parallel, and run over a wooden bridge on the body up a long neck to the two tuning pegs in the scroll, which is always carved into the form of a horse's head. The larger of the two strings (the "male" string) has roughly 130 hairs from a stallion's tail, while the "female" string has roughly 100 hairs from a mare's tail. Traditionally, the strings were tuned a fifth apart, though in modern music they are more often tuned a fourth apart. Traditionally, the frame would have been covered with camel, goat, or sheep skin, in which case a small opening would be left in back, but in modern times, an all-wood sound box is more common, in a style similar to European stringed instruments, including the carved f-holes.

Wulfin Lieske (guitar)
“Wulfin Lieske approaches his listeners with a boundless capacity for making music come to
life. His phrasing is always beautiful; he has convincingly logical agogic and dynamics, and
an exceptionally immediate tone. He is able to give this music everything it needs as regards
emotion, lightness of touch and virtuosity. Warmly delineated melodies of breathtaking
lyrical beauty combine with sometimes dizzying arpeggios and runs. A strong instinct for
timing and rhythmic articulation allows the music’s pulse to be clearly evident at all times.“
(Gitarre Konkret/Germany)
Born in Linz, Austria, Lieske made his concert debut at 14 in the famous abbey on the Scottish island of Iona. Works by Bach and Villa-Lobos figured in the program together with improvisations and compositions by himself. Lieske went on to study at the state music school in Cologne, playing electronic guitar alongside classical, and amassed his early performing experience in very contrasting fields, which demanded great stylistic
versatility on the one hand and on the other hand stimulated in him the curiosity which has
influenced his work ever since. Today, as guitarist and composer, he is among the leading
international musical personalities in his field. His conception of music-making opens up completely new insights into traditional guitar music. Lieske’s playing is full of sensitivity, with finely-chiseled detail and a vast spectrum of dynamics and coloring, combined with complete mastery of his instrument. The guitar as conveyor of the Mediterranean love of life, regularly combined with a well-chosen Latin-American repertoire perfectly within the instrument’s tradition, appears again and again in his programs. In addition Wulfin Lieske likes to give the „old masters“ their due. He therefore took an intensive interest in the legendary guitar maker Antonio de Torres and made a crucially important contribution to the rediscovery of the old Spanish guitar. The closest possible identification between performer and instrument, music and physical context, is created, going beyond stylistic boundaries and epochs and awakening a unique emotional need for the sound of the guitar and its chameleon-like ability to draw on all styles. This becomes apparent in his many CD recordings.
To date he has worked with outstanding artists such as Gidon Kremer, Astor Piazzolla, Juan
José Mosalini and the Hilliard Ensemble. In 1994 he founded the quartet „Bronsky Ritual“,
with which he has performed contemporary chamber music and thematic program cycles,
sometimes enhanced by imaginative lighting. His repertoire covers a span from Bach to free
improvisation. In his solo recitals he likes to highlight the contrast between popular music
in the border area between classicism and the folk traditions of Latin America and Spain on
the one hand and the pioneering works of old and new music on the other.
As a composer Wulfin Lieske draws from „the wealth of possibilities“ offered by his instruments. They have made him experiment with the human voice, different instruments, with motion and with the elements; his music alternates constantly between „expressivo“ and “meditativo“. Examples are compositions such as “Cinq tableaux sur Schubert”, “Nymphéas”
d’après Claude Monet or “Taqsim” I - III and „Luxor Guitar Concerto“ for amplified guitar,
percussion and string orchestra. In 2000 his oratorio “Über den Wassern” was premiered at
the Hanover Expo with the Hilliard Ensemble and the performance artist Saâdia.
Wulfin Lieske has devoted himself to combine old traditional instruments with the guitar, thus developing quite new tonal pattern - with William Barton, the world’s leading didgeridoo
player from Australia (VMS 185), or on this CD with the Mongolian vocalist and morin khuur (horse-head fiddle) player, Fu-Zhu Meng.
Translated by Celia Skrine

2 Als-in baraa,  
Fernblick, Fernblick...
Looking out …
3 Dayaa böör
Altan kinggan uuland deer
Alhaad garaad ujhuleer höy
Aab-yin nutag monggoljin hoschuu
Ujegdej baymar sanagdana.

Altan kinggan uulan deer-es
Alhaad buugaad irhuleer
Arban nasutay dayaa böör
Uyljel baymaar sanagdana.

Wenn ich auf das Altangebirge steige,
scheint es, als ob ich meine
Heimat Mongoljin Hoshu sehe.
Wenn ich wieder vom Altangebirge
scheint es, als ob ich fühlte,
dass der zehnjährige Dajabur weint.

When I climb up the Atlan Mountains
I seem to see my native
Mongoljin Hoshu.
Climbing down again
From the Altan Mountains
I seem to feel
That ten year old Dajabur is weeping.

5 Böruulei
Örliin saihan modoor
Ölgei schaaj ögsen aab min
Örlöö üdschin kööten deen
Ujej anghaarsan eji min

Eji deen
Aab daan
Böruulei buu uylaa
Mömön bainuu dee

Der Vater hat mir die
schönste Wiege gemacht.
Die Mutter hat in der Mitternacht mir
die schönsten Wiegenlieder leise

Borulei, nicht weinen,
Mama ist da,
Buwei, buwei, buwei...

My father made the most
Beautiful cradle for me,
My Mother at midnight
Was singing the most beautiful
Lullabies for me.

Borulai, don’t weep,
Mam is here,
Buwei, buwei, buwei...

6 Nayman scharg
Kök möngen tengrin door
Körset delkeyin örtschin deer
Nayiman scharg min
Davkaed irlee
Gang dürven turai tay
Garhan hoyar nudutay
Gal butarsan deltay
Galdzhuu salkin suultay
Undur undur uulud-yi
Önggered önggered garsan yum-aa
Örgan örgan muren nuud-yi
Ketleed ketleed garsan yum-aa

Naiman Sharg
(Die acht Rosse des Dschingis Kahn)
Unter dem blauen Himmel,
auf der grünen Erde
rannten die acht Rosse
des Dschingis Kahn.

Die haben eiserne Hufe,
glänzende Augen,
feurige Mähnen
und stürmische Schweife.

Hohe, hohe Berge
wurden von ihnen überquert
weite, weite Flüsse
wurden von ihnen durchschritten.

Naiman Sharg
(The eight horses of Dshingis Khan)
Under the blue sky
On green soil
The eight horses
Of Dshingis Khan
Were running.

The have iron hoofs
Sparkling eyes
Fiery manes
And stormy tails.

High, high mountains
They passed,
Deep, Deep rivers
They crossed.



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