Music with a Message!

"Aural gold!

Program Notes

Our programming strives to represent equally three palatable manifestations' of the Andalusian legacy: Andalusi', Judeo-Spanish (Ladino) and Flamenco musics. The Banzi's coined the term 'Contemporary Andalusian' (c. 1987) to describe their unique, informed approach to Andalusian music that melds the past with the present to create historically informed and esthetically pleasing renditions of traditional musics and new compositions which embrace rich treasures of the past and bring them into the present.

2005: We are touring as duo, trio, quartet + quintet ensemble

Tarik Banzi (oud, ney, percussion)	Nourdinne Chekara (vocals, kamanja, percussion)
Julia Banzi (flamenco guitar, viola, percussion)	Virtudes Sanchez (multi-lingual vocals)
	Ana Montes, Maria JoseFranco (Jerez-Spain) and/or Zahra Banzi (dance) optional

SAMPLE PROGRAM

1. Oud solo: The oud is the parent of the renaissance lute and guitar. The oud's unique possibilities as a concert instrument gleam in this improvised solo by artistic director Tarik. Banzi.

2,3,4. Nawba excerpts: The current repertory of Moroccan Andalusian music consists of eleven nawbat (song cycles) of vocal and instrumental suites each based on a specific principal mode and a varying number of secondary modes. As in the Andalusi tradition, within this program we will perform sections of the Nawba, together with vocal and instrumental improvisations. The poetic texts come from the 1786 collection on Andalusian songs compiled by the scholar from Tetuan, Morocco, Muhammad ibn al-Hasan al-Haik, an invaluable source in demonstrating continuity with the past and documenting the unbroken chain of ear witness accounts.

5. A La Una Yo Naci: A Judeo-Spanish (Ladino) love song from Sephardic Jews of Al-Andalus.
A la una yo naci At one I was born,
A las dos, me engrandaci at two I grew up
A las tres tenia amante At three I fell in love,
A las cuatro me casi at four I married.
Alma, vida y corozon Soul, life and heart

6. Cantiga de Santa Maria #100 (codice b12-E1 fol 162 r) The Cantigas of Santa Maria were made for the thirteenth-century scholar-king, Alfonso el Sabio (the wise, or learned) of Castile and Leon who lived in Spain from 1252 to 1284 a.d. Bound in four magnificent manuscripts, the Cantigas are over four hundred songs, beautifully illustrated with miniatures regarded as perhaps the most outstanding example of the depiction of performance of secular music of the thirteenth century.

The Cantigas are as unique as they are beautiful. Particularly fascinating is that they provide important evidence, both musical and pictorial about the multicultural past of Christian Spain as well as providing a glimpse of the many influences and much neglected contributions of Jewish & Arabic civilization on Medieval Europe. The Cantigas reflect "side by side, both Christian and Moslem tradition in some of the pictures Moslem and Jewish musicians compete with Christian Spaniards. Lute and rebec still appear in their Arabic shape alongside instruments of occidental origin."
Esta e de loor. This is to give praise (thanks)
Lo-ar de-vemos a que sem-pre faz ben, Give praise we should, that everything turns out well,
et en que to-da me-su-ra jaz. & in that everything has its reason why.

7. Granadina: Granada, with its Alhambra palace was the jewel of the Arab empire in Al-Andalus. Here Flamenco, art form of the Spanish Gypsies was born and emerged a Moorish inspired song form in flamenco known as Granadinas. This is a piece composed by Tarik & Julia that merges Andalusi', Ladino & Flamenco to create something new and beautiful.

1. Lamma Bada: The muashshah is an early Arabic classical form that emerged in Al-Andalus and later spread to the opulent courts of Baghdad, Damascus, Cairo and other urban centers between the 9th & 13th centuries. The rhythm is a slow 10/4 called Samaii Thakil.

2. Ya Leilu Tul: This traditional piece is a muashshah based on a 4/4 rhythm called wahda. The muashshah is an early Arabic classical form that emerged in al-Andalus and later spread to the opulent courts of Baghdad, Damascus, Cairo and other urban centers between the 9th & 13th centuries. An example of Eastern Andalusian music.
Oh night be long or not, I wont sleep tonight!

3. Barakah: The fabric of time is explored in this original piece for percussion, inspired by the Hadra or Sufi meditation session (Sufi brotherhoods in zawiyas have been very instrumental in preserving Andalusian music). A solo on drums including the darbuka (precursor to the kettle drum) exemplifying the immense range of sounds available on this clay drum.

8. Suspiro: A piece showcasing the ney. Neys (reed flutes) have been discovered in Egyptian tombs and Mesopotamian excavations. and as such is one of the most ancient & well preserved instruments. The sound of the ney conveys its antiquity. Original composition accompanied by a pre-Islamic poetry recitation in classical Arabic (Fusha).

I. We have come from the giant dunes II.We have come from the giant dunes
From which the pharaohs were born Where the green oases are more
We weren't frightened of their tombs beautiful than the gardens of paradise

4. Song of the Water: Water is our first music even before we are born. Throughout the Arab world water has always been cherished. The peoples of Al-Andalus were well aware of the beauty & music of water, and utilized it wherever possible throughout their homes and palaces in the form of water clocks, fountains, pools and even handrails cascading with water.

7. Labyrinth: Islamic art is frequently a play of enlacing mosaics and intricate calligraphy. Islamic designs are created with rather humble aspirations; to enrich an environment or to beautify an object. They seek to enhance rather than to dominate. Islamic artists are not trying to reveal their own personality or to create art which tells a story of its own. In surveying many Islamic art pieces, one is struck with the labyrinth of patterns. We seek to tell a similar story with this musical composition.

6. Jinete: Set to the poetry of one of Spains poets, Garcia Lorca, this piece is both sung and danced. Lorca was very inspired and modeled much of his poetry on translated poets of Al-Andalus, the imagery is unmistakable
Cordoba, far away and alone.
Black pony, big moon, and the olives in my saddlebag.
Although I know the roads, I'll never reach Cordoba.
Through the plain, through the wind...death is looking at me from the towers of Cordoba.
Cordoba, far away and alone.....