SUGGESTED ALBUMS:ALAN STIVELL'S "BACK TO BREIZH" by Eliseo Mauas Pinto
"Back to Breizh" / "Return to Brittany" (Breizh: Breton for Brittany) We face in this case a very introspective album, we may discover an Alan "Stivell" Cochevelou diving in the spiritual essence of his breton roots , unlike his earlier "One Land / 1 Douar" from the '98 more ethnic, and universal. A Return to Brittany with good management of creative tension with acoustic sets, with the band, and the unforgettable Biniou (highland bagpipe), a high musical level, revealing, reactionary, accompanied by very good session musicians from Ireland, Scotland and Britain. Through the album he shares a journey undertaken both in music as in politics, an awakening of nationality as a rejection of globalization, with the hands of an Stivell flying high the Breton flag against the French advance. (Let us recall that Breton separatists are federated with other nationalities and are not recognized by France as independent). The message of this new work takes us back to earlier albums like "At Langonned / E Langonned" of the year '74 dedicated to the traditional Breton music, and perhaps even closer to the "The Mists of Avalon " an album full an Arthurian Spirit for Freedom. Ever since the graphic design, which is prevalent blue-green water, Stivell conveys his desire to reunite with the sea, an element that Celts have received from our Mother Nature, and which are inevitably linked to, the sense of the unknown, the open space to the conquest of freedom in new lands. The album opens with an Stivellean Journey of Initiation to "
A Glass Island" - Breton conception of Paradise, emerging with the departure, memories of childhood, a return to roots, the womb of their identity, the legend of Ys the submerged city. "Day and night my thoughts lurking in Britain, was not my love for her desperate? All things submerged under the blue" Then occurred the "Dreams": "... sometimes dreams come true, the third Millennium, a hopeful humanity, hope for the children. As a child I dreamed I would be in a theater performing a new music .... I dreamed that Breton would return to themselves, their music, their language, that would truly love their country "And again the sea, with a poem in favor of the ecosystem," Sowing the death at sea "," are killing birds and fish, harming our work and footprints in the sand, human indecency so blind, deaf, and selfish, its oil is in our hands. " Then becomes "-Celtic-, land in the sea - the love," a term that encompasses all Celts, a geopolitical abstraction, another meaning of the Breton Keltia to which Stivell has sung all his life and dedicated to his art , creating "new music" that longed for a child (it is noteworthy that Stivell began implementing the harp at the age of 5 years old, and Scottish bagpipes at 9, among others), a music sharing power with the cultural patterns, the root that makes Breton tunes vibrate as if they like Irish or Scottish. "Here come the Celtic pipers .... The alliance strengthens the breath of life, the alliance of Celtic blood runs by our bodies." An alliance which expires at the centuries of oppression and revealed in the nex
t track "Strike the ground with their feet": "... we are keepers of the sun, protect the treasure in the land and sea, inheritance without borders, before barbarian oppression that only knows of destruction, 1000 bodies united at the end of the night. " The tension decreases, and now we come to "Irwazh, the Gaelic Breton Sea", "from the Celtic Brittany to Ireland, for 200 or three hundred years our people have lived here with the gulls, fighting without election against French and English, and between old brothers, the borders remain. " Curiously Stivell drive us back then "At the center and all around," a piece that reveals like instrumental, but slips into the alleged insert a lyrical deliberately absent and with patriotic high-voltage"... continue, with anger in their hearts , Discoverers, pioneers, skippers, sailors, pipers, fishermen, adventurers, saviors, the true heroes, that the soul of Britain will never die, that the humble and the bold claim back our ancestral rights. In 2000 years never entirely defeated by French, British, or Normans. In 2000 years, unharmed, we will be here armed with harps and luggage. " We arrived well in the triumphant "Return to Britain": "... and young adults, browser forward, with winds from the north and west ,.... not resign because victory is coming .... We have earned our place of privilege, and tell them to those damned Parisians, we will not renounce our purposes, Britain is back and will stay here. " Almost a new anthem in which Stivell, under the clothes of a prophetic Merlin leaves the harp to intone the original melody with his martial Scottish bagpipe (noting that the Scottish bagpipe is used by Bagads or Breeton Piping Band) Perhaps motivated by current trends in marketing or for being remakes of old compositions, Stivell renders us for the first time in his vast discography two "Extra Tracks" One is "Brian Boru in French," new musical version with lyrics in French extended his original '95 included with the album "Brian Boru", the melody is a central settlement of the traditional composition so beloved by Celtic harpists. We find here a desire of Stivell to enhance the participation of this legendary king of Ireland as a leader in the fight against oppression (historically was the one who expelled the Vikings in S. X
I)
It is followed by "Armoricain Suite," a curious version of a theme premiered in '72 as "Suite Sud-Armoricain." We note the clear intention of Stivell pentatonicism playing with the melody of the traditional Breton employed by inspiring others in the name of the piece ( 'South' for South America and 'Armoricain' for 'Armor' in France) and the use of the 'quena 'in the instrumentation. This is one of the most beloved melodies by Stivell (you can also find a live version on his album "In the Olympia / A l'Olympia" from '73, and other more modern "Again / Again" unusual album of remakes old songs of'94. Once again, verses in French enhance a direct message: "You think we are stupid because we speak in Breton language ... why this hatred? Like water and air, we love freedom" "Return to Britain" is an unforgettable album with three instrumentals and nine songs that reveal an artist too young in spirit and with a high quality creative level, which keeps Celtic solar spiral on -and-on for our pleasure । Constant movement, with the same freshness of his musical beginnings.
Author's note: Unfortunately I do ignore the Breton language, but it is noteworthy that the versions of the songs are edited in a trilingual version, and curiously the verses in French often differ from the verses in English and vice versa.
A Glass Island" - Breton conception of Paradise, emerging with the departure, memories of childhood, a return to roots, the womb of their identity, the legend of Ys the submerged city. "Day and night my thoughts lurking in Britain, was not my love for her desperate? All things submerged under the blue" Then occurred the "Dreams": "... sometimes dreams come true, the third Millennium, a hopeful humanity, hope for the children. As a child I dreamed I would be in a theater performing a new music .... I dreamed that Breton would return to themselves, their music, their language, that would truly love their country "And again the sea, with a poem in favor of the ecosystem," Sowing the death at sea "," are killing birds and fish, harming our work and footprints in the sand, human indecency so blind, deaf, and selfish, its oil is in our hands. " Then becomes "-Celtic-, land in the sea - the love," a term that encompasses all Celts, a geopolitical abstraction, another meaning of the Breton Keltia to which Stivell has sung all his life and dedicated to his art , creating "new music" that longed for a child (it is noteworthy that Stivell began implementing the harp at the age of 5 years old, and Scottish bagpipes at 9, among others), a music sharing power with the cultural patterns, the root that makes Breton tunes vibrate as if they like Irish or Scottish. "Here come the Celtic pipers .... The alliance strengthens the breath of life, the alliance of Celtic blood runs by our bodies." An alliance which expires at the centuries of oppression and revealed in the nex
t track "Strike the ground with their feet": "... we are keepers of the sun, protect the treasure in the land and sea, inheritance without borders, before barbarian oppression that only knows of destruction, 1000 bodies united at the end of the night. " The tension decreases, and now we come to "Irwazh, the Gaelic Breton Sea", "from the Celtic Brittany to Ireland, for 200 or three hundred years our people have lived here with the gulls, fighting without election against French and English, and between old brothers, the borders remain. " Curiously Stivell drive us back then "At the center and all around," a piece that reveals like instrumental, but slips into the alleged insert a lyrical deliberately absent and with patriotic high-voltage"... continue, with anger in their hearts , Discoverers, pioneers, skippers, sailors, pipers, fishermen, adventurers, saviors, the true heroes, that the soul of Britain will never die, that the humble and the bold claim back our ancestral rights. In 2000 years never entirely defeated by French, British, or Normans. In 2000 years, unharmed, we will be here armed with harps and luggage. " We arrived well in the triumphant "Return to Britain": "... and young adults, browser forward, with winds from the north and west ,.... not resign because victory is coming .... We have earned our place of privilege, and tell them to those damned Parisians, we will not renounce our purposes, Britain is back and will stay here. " Almost a new anthem in which Stivell, under the clothes of a prophetic Merlin leaves the harp to intone the original melody with his martial Scottish bagpipe (noting that the Scottish bagpipe is used by Bagads or Breeton Piping Band) Perhaps motivated by current trends in marketing or for being remakes of old compositions, Stivell renders us for the first time in his vast discography two "Extra Tracks" One is "Brian Boru in French," new musical version with lyrics in French extended his original '95 included with the album "Brian Boru", the melody is a central settlement of the traditional composition so beloved by Celtic harpists. We find here a desire of Stivell to enhance the participation of this legendary king of Ireland as a leader in the fight against oppression (historically was the one who expelled the Vikings in S. X
I)It is followed by "Armoricain Suite," a curious version of a theme premiered in '72 as "Suite Sud-Armoricain." We note the clear intention of Stivell pentatonicism playing with the melody of the traditional Breton employed by inspiring others in the name of the piece ( 'South' for South America and 'Armoricain' for 'Armor' in France) and the use of the 'quena 'in the instrumentation. This is one of the most beloved melodies by Stivell (you can also find a live version on his album "In the Olympia / A l'Olympia" from '73, and other more modern "Again / Again" unusual album of remakes old songs of'94. Once again, verses in French enhance a direct message: "You think we are stupid because we speak in Breton language ... why this hatred? Like water and air, we love freedom" "Return to Britain" is an unforgettable album with three instrumentals and nine songs that reveal an artist too young in spirit and with a high quality creative level, which keeps Celtic solar spiral on -and-on for our pleasure । Constant movement, with the same freshness of his musical beginnings.
Author's note: Unfortunately I do ignore the Breton language, but it is noteworthy that the versions of the songs are edited in a trilingual version, and curiously the verses in French often differ from the verses in English and vice versa.
No comments:
Post a Comment