Index
Introduction...... 4 1.- The Middle Ages...... 5 1.1.- Liturgical song...... 5 Monastery of Ripoll ...... 6 Escaladei...... 6 1.2.- The Monody ...... 7 Tropes and sequences...... 7 Drama and Mysteries...... 7 Troubadours, fools and minstrels...... 8 1.3.- Polyphony...... 8 2.- The Renaissance...... 9 Mateu Fletxa...... 9 3.- The Barroque ...... 10 Francesc Valls (1665-1747)...... 11 4.- Classicism...... 12 4.1.- Josep Ferran Sors (Barcelona 1778 – Paris 1839)...... 12 4.2.- Romanticism...... 13 4.3.- Scenic music...... 14 4.4.- Nationalism...... 15 4.5.- Catalan nationalist music...... 15 4.6.- The 'Renaixença' (Rebirth)...... 16 5.- The Renaixença and the Íntim, two cultural associations with over 100 years of history...... 17 6.- La Nova Cançó (The new song)...... 19 6.1.- Joan Manuel Serrat...... 20 6.2.- Lluis Llach...... 23 6.3.- Raimon...... 25 6.4.- Maria del Mar Bonet...... 28 6.5.- Marina Rosell...... 30 7.- Catalan Rock...... 32 7.1.- Sopa de Cabra...... 32 7.2.- Els Pets...... 33 7.3.- SAU...... 34 7.4.- Gossos...... 35 7.5.- Lax’n Busto...... 36 8.- The New Trends...... 38 8.1.- La Carrau...... 44 8.2.- Antonia Font...... 46 8.3.- Cheb Balowski...... 48 8.4.- Dusminguet (La trova Kung Fu)...... 50 8.5.- Obrint pas:...... 51 9.- Our picture album...... 54
1 Introduction
This dossier represents the work done by the students of Third and Fourth Year of the SES Montsant who participated in the Comenius project “Let's talk about Culture” in the school year 2008-2009. The theme of the exchange project this year was music, and we had the task of telling our partners in Turkey and Poland all about Catalan music.
In the first trimester we prepared the section on modern music, because we had to present it to the work meeting of the three schools in Poland in November and post it on our blog. During the second trimester we worked on classical, traditional and earlier popular music. We decided to give some background information about the different epochs in music in Europe and in Catalonia, and then to focus on the types of music and musicians that were most relevant in our villages, like Mateu Fletxa in Prades. In the third trimester we concentrated on preparing a concert with traditional Catalan songs which we performed in June in Poland.
2 1.- The Middle Ages
1.1.- Liturgical song
Catalonia was the first region that adopted the Carolingian rite and the song that accompanied it, Gregorian chant. It was a prayer to be sung and it was for God. Gregorian chant can’t be understood without the text, because it is more important than the melody. It is a vocal music; that means it is sung in “Chapel” without instruments. They sing in unison, one note at once, and all the singers voiced the same melody. This is the Monody.
This chant is written on tetragramme, on four lines. The notes are called “punt quadrat” (square point) or virgin if they appear individually, and Neumes if they are grouped. The liturgical chant is a prayer. The themes are difficult to concrete.
The name of this chant is called after Pope Gregory I. The notes in the Gregorian mode are written in a different musical scale. For the Gregorian singers the note “si” was forbidden because it was considered the note of the devil, because it excited them. The Christian music since its inception has been sung prayer and Christian people have to sing it with open heart for Good.
Some authors affirm that it shouldn’t be sung in mixed choir because men and women can’t sing in the same tone of voice.
The text is usually written in Latin. The texts were taken from the Bible from the Old Testament. However there are texts in Greek .
3 Monastery of Ripoll
It is a Benedictine monastery, situated in Ripoll, at the right of the river Ter. It was founded by Count Guifré el Pelós in 879, in his task of repopulation of Catalonia. The monastery grew with the new possession acquired in the wars in 935. The best moment of the Monastery was in 1008 with abbot Oliba. Ripoll was the origin of fundamental documents of Catalan history and also of poetry in Latin and Provençal. Most of the part of the old documentation was destroyed in the big fire there was in the Monastery but some manuscripts were saved. The monastery is called too “ The cradle of Catalonia”. Now the Monastery is opened for visits.
Escaladei
In this part of Catalonia the most important monastery was in Escaladei. It was founded in the 11th century by Carthusian monks. They introduced wine and Gregorian chant to this area.
4 1.2.- The Monody
In the Medieval period, the culture was sung in the monastery’s, cathedrals and castles, because the Christian church accumulated material, spiritual, political and social.
The families worked in the field and that reason they didn't have a high level of formal culture.
The Church had property in a big part of the Catalan lands and most of the farmers worked for this land.
The monody is that music which only has one melody or melody line.
Tropes and sequences
The Latin language was going to divided into different languages and from there were born the vernacular languages and the civic music. In that evolution the Tropes had a big importance , because at the start they were lyrics for the Melismes and for a time after music for the new texts in important popular music.
The difference between Trope and sequence is that the Trope is an invariable part of the Mass and the sequence is to Aleluyas.
The Tropes appear in Spain in XIX century, in the monastery of Ripoll.
Drama and Mysteries
The drama is a semi theatrical representation with text about Christ, The Virgin Mary, or the saints. It was represented in the Church, cloisters or in front of the Church doors.
The oldest Spanish drama is “Baltasar” about legends or biblical texts, from Ripoll in 20 century.
5 The mysteries too were a theatrical representation with vernacular texts about legends and biblical texts. They was more longer than the Dramas. The first mysteries were written in monody, based in the Gregorian Chant. Later they were written in polyphonically chant with instruments.
Troubadours, fools and minstrels
The troubadour, poet and musician, was a character who lived among the nobles and queens. Most of the works were burned in the religion wars.
At the same time there were fools and minstrels.
The fools were from the poor part of the social pyramid. They sang the song that troubadours had written. They went to the streets and they play instruments, recited and sang, sold objects and sang news from one place to another place.
The minstrels were musicians who played instruments and sang. The minstrels in permanent positions were paid regularity. In the cities where there were fools they couldn’t play.
1.3.- Polyphony
Polyphony is a form of composition which grows thanks to the human desire to superimpose one voice on top of another and make this a crystalline combination. It needs a philosophy to do this, the Renaissance philosophy of the balance which seeks human perfection. The renaissance offers us the epitome of polyphony, music which is like a garden full of flowers of different colours, each of which represents a melody of the marvellous conuterpoint of this epoch.
6 2.- The Renaissance
At the end of the 15th century, Catalonia was coming to the end of a serious crisis. The economy was in chaos, the plague had decimated the population and a civil war had been fought. The year 1492 saw Catalonia lose power to its larger neighbours, Castille and France. The country was in social conflict. In Prades the people of the village lived in three streets: el Carrer Major, el Carrer de Sant Martí and el Carrer de la Perxera.
Mateu Fletxa
The composer, called Mateu Fletxa the Elder to distinuish him from his nephew of the same name, was born in Prades about 1481. He studied music under Joan Castelló in Barcelona. In 1523, he became choirmaster of the cathedral in Lleida. He held this position for almost three years. Later he became the choirmaster of the princesses of Castille. He died in 1553 in the monastery of Poblet, 34 kilometres from here, where he was presumably also choirmaster.
His nephew, called Mateu Fletxa the Younger, was born in Prades in 1530 and died in Solsona, in the monastery of Portella, in 1604. Like his uncle, he was a court musician, and was choirmaster of Charles the Fifth in Prague and of Princess Maria in Vienna.
!n 1581 he published the innovative type of music which his uncle had pioneered: the 'ensalades', which had a great variety of polyphonies. . Mateu Fletxa the Younger claimed that his uncle had invented this form. Mateu Fletxa's ensalades (like El fuego, La bomba, La negrina, La guerra or La justa) do not have a fixed verse form. In them we find many different languages: Latin, Catalan, Spanish, Portuguese, Gascon, Italian and an African language). The ensalades were intended to amuse the nobles. Some are of a religious nature, talking about Christmas.
7 3.- The Barroque
The period which followed the Renaissance is called the barroque period. The main characteristic of this period, in painting, sculpture, architecture, literature and music, is the amount of ornamentation in the works. The period begins about 1600, with Monteverdi, and ends in the middle of the following century, about 1750. The music of the era was dominated by the Italian scene, though Central Europe also produced important composers, notably the work of Stamick, Bach and Händel. The dominant political model in Europe at this time was the absolutist monarchy, with the court of Louis XIV of France (reigned 1643-1715) the most striking example. In England and Germany, revolution and war weakened the local artistic trends and allowed the Italian styles to dominate.
Although the composers of the period produced a lot of important religious music, civic music became increasingly important in this time. The opera developed a lot in this period, with two important centres, Venice and Naples. The Catalan composer Domènec Miquel Terradellas (Barcelona 1713 – Rome 1751) became a major figures in the Naples' opera, and introduced this style to London.
The organ was one of the most important instruments of the Barroque. Bach composed a great number of works for this instrument. In the Catalan-speaking territories, Joan Cabanilles (Algemesí 1644 – Valencia 1712) and Josep Elias (Barcelona 1660 – Madrid 1750) were important composers. The harpsichord was also important, and in this region, Antoni Soler (Olot 1729 – Madrid 1783) was the most significant composer of the time.
In Catalonia the church played an important role in the music of the period. Some of the most important composers (Joan Marquès, Joan Cererols) came from the Choir School of the monastery of Montserrat, near Barcelona. Many musicians started their studies as choir boys in Montserrat (girls were not admitted) and then went on to become chapel
8 masters in different cathedrals or musicians at the royal court. Although many documents were destroyed in the Napoleaonic wars, the School had an important library and one important surviving work is the Red Book of Montserrat. The monastery is also an important symbol of Catalan nationalism, and a place of pilgrimage. Every day the choir sings in the basilica of the monastery. It is composed of some fifty boys aged between nine and fourteen, whose voices have not yet broken.
Francesc Valls (1665-1747)
Francisco Valls was choirmaster in Girona Cathedral, the Church of Santa María del Mar, Barcelona, and Barcelona Cathedral. He wrote masses, and other religious works, including over a hundred Christmas carols.
His Missa Scala Aretina caused a major musical controversy between 1715 and 1720 because of the dissonance used in it. Many of Valls' other works, use harmony which was highly unconventional at the time .
In retirement Valls wrote a treatise on harmonic theory, Mapa Armónico Práctico. It contains an exposition of the author's views on musical theory and practice and a large number of musical examples from his works.
9 4.- Classicism
In the second half of the 18th Century, the music of the Barroque period gave way to a simpler, purer style of composition, called Classicism. The art and music of this period were inspired by Ancient Greek and Roman styles. The melodies were elegant, but simpler, without the ornementation typical of the Barroque, and the rhythm was regular and uncomplicated.
Classicist music was the soundtrack of the Enlightenment, a school of rational, scientific philosophy which dominated Central and Western European thought at the time. The substitution of the ornate Barroque style was paralleled in the political sphere by the French Revolution, which replaced an absolute monarchy characterised by its extravagance with a bourgeois republic.
The change from Barroque to Classicism is attributed to Gluck, and the most important composers of the period were Haydn, Mozart and Boccherini. The characteristic forms of the period were the sonata, a piece in four parts, called movements, normally composed for one instrument, but sometimes for two or three. The first movement is fast, the second slow, the third a dance or scherzo, and the fourth is fast. Sonatas written for orchestras are called symphonies.As well as this civic music, we also find religious works (masses). Beethoven represents a bridge between Classicism and Romanticism.
Boccherini spent his later years in Madrid, where some of his most famous works were composed, for example the Stabat Mater. The Spanish city was not an easy place for him, however, and he died in poverty. The most important composer of the period to come out of the Catalan-speaking territories was Vicent Martín i Soler, who was born in Valencia in 1754 but subsequently travelled widely, ending up in Saint Petersburg.
4.1.- Josep Ferran Sors (Barcelona 1778 – Paris 1839)
Sors (or Sorts or Sor) received his first musical training in the Monserrat Choir School, and in 1796 he published the opera Telemaco nell'isola di Calipso but then became a soldier. He fought against the French army, but then changed sides and in
10 1813, when Napoleon was defeated, he went into exile in Paris. From 1815 to 1823 he lived in London, where he wrote a comic opera and three ballets. After returning to Paris, where he presented the ballet Cendrillon, he spent two years in Moscow, where he wrote a Funeral March in honour of the Tsar, and a ballet titled Hercule et Omphale. Sors moved back to Paris in 1827, and died there in 1839.
While Sors' music reflects some elements of Classicism, according to Riera, he is considered to be the only Romantic composer of importance to have come out of the Iberian Penninsula. As well as composing music for the guitar, he also performed as a professional guitarist. He also worked as a guitar teacher, and wrote a method for learning to play the guitar, Méthode pour la guitare (1830).
Sors composed large and small scale pieces: among the former we find sonatas, fantasies, variations and etudes. The critic Lawrrence Johnson argues that “Sor may well have been the earliest 19th century creator of concert etudes. Sor's etudes are always musical and show his remarkable gift for melody and form. He wrote 121 etudes In 6 sets; Op.6, 29, 31, 35, 44 and 60.” Among his smaller works we find many waltzes and minuets.
His contemporaries considered Sors to be the finest guitarist in the world, and he was especially admired for his improvisation.
4.2.- Romanticism
At the end of the 18th century, Classicism gave way to Romanticism, a movement which encompassed literature, the visual arts and music. Artists turned away from the rationalism of Classicism and looked for ways to give expression to their emotions in their work. Nature was a major source of inspiration for the Romantics, and ideals of personal and civil liberties were taken to new extremes. In music, the change from Classicism to Romanticism is accredited to the Italian composers of operas, Luigi Cherubini (Florence, 1760 – Paris 1842), and Gioacchino Rossini (Pesaro 1792 – Paris 1868). Ludwig von Beethoven (Bonn 1770 – Vienna 1827) is considered the greatest composer of the Romantics, with other important figures including Schubert, Chopin, Brahms, Liszt, Berlioz and Verdi. The Romantics also looked to popular music for inspiration, and many were motivated by a sense of patriotism. While the Romantics did compose some chamber music and some church music, their preference was for civil music, and the orchestra and
11 the soloist dominate. The operatic diva and the figure of the conductor of the orchestra date from this period. Music and poetry are closely linked, and the Lied ('song' in German) is an important short piece in the period.
4.3.- Scenic music
The precedent of scenic music is found in the 15th century in “ensalades i villancets” which evolved in form until they became ‘sarsueles’ in the 17th century. They are called sarsueles because they were performed in the Zarzuela palace, in Madrid. The sarsuela combines singing and speaking parts. They were written in Spanish and had Italian influences.
The sarsuela was replaced by the “tonadilla” in 1770.
The Catalan composers went to compose sarsueles in Madrid, because a century of cultural domination had started. The music was also affected when Barcelona surrendered to the Spanish troops in 1714. The most important Catalan composer was Amadeu Vives with his sarsuela: Cançó d’amor i Guerra.
He was born in Barcelona in 1871.
He was interested in music from an early age. Then he began with chapel music in the church.
He was a writer and composer and cofounder of the Catalan Orfeó(a choral) too.
He went to compose sarsueles in Madrid.
12 4.4.- Nationalism
In the 19th Century, in Russia, in the field of music, a movement started that returned to traditional forms and searched for musical material in the folklore of each territory.
This had importance in other countries. The composers claimed the popular music of their homelands. From the European revolutions of 1848, the nationalist was fully developed.
The main features of this movement were:
• Selection of national topics for operas and poems.
• Interest in folklore and traditions.
Nationalism makes a bridge between the 19th and 20th centuries.
4.5.- Catalan nationalist music
After the appearance of nationalist music, the Catalan composers started to write the first works in Catalan. The most important figure in the movement in Catalonia was Josep Anselm Clavé, who started the choir movement in Catalonia.
Clavé (1824 – 1874) was a passionate supporter of different social causes. As well as being a journalist, he was an empresario, and he wrote comedies and conducted choirs and orchestras. Clavé moved away from the purist musical circles of the period to create a new form of music, rooted in our way of life and accessible to the workers. The choirs were cultural associations where drinking was not permitted, offering an alternative to the bars.
Clavé founded the first choir in the Spanish state, L'Aurora (The Dawn), which became La
13 Fraternidad (Fraternity), in 1850. The motto of the choir was “Progress, Virtue, Work and Love”. As the choir became well-known, other choirs were set up in Barcelona and other places in Catalonia.
Clavé dedicated himself to organising choral competitions and publishing articles and other material to do with music. He wrote folkloric pieces of music like La font del roure, Les menines del Ter and Les flors de maig, and he intrroduced new topics to Catalan music. He was the first person to introduce the music of German composer Richard Wagner to Catalonia.
4.6.- The 'Renaixença' (Rebirth)
The Renaixença was the Catalan equivalent of the cultural nationalism which appeared in many parts of Europe in the 19th century. It tried to reverse the previous two hundred years of cultural decline in Catalonia, and to promote a new Catalan art, music and literature, and to use the Catalan language in high culture. The Renaixença looked to popular cultural forms for inspiration.
14 5.- The Renaixença and the Íntim, two cultural associations with over 100 years of history.
Cornudella de Montsant has always had two cultural associations, the "Íntim", founded in 1909, and the "La Renaixença", founded about 1880. The two groups reflected the different social and political tendencies in the village, and the rivalry between them has sometimes been intense. The Íntim has always been for right-wing people, and the Renaxença for left-wing people.
Both entities competed with each other in the attempt to put on the best spectacles and the best cinema.In their glory days, they staged performances by first class artists like the
15 Dúo Dinámico and Luís Aguilé, and showed two films every Sunday.
After the Civil War ended in 1939 with the victory of the Fascists, only the Íntim was allowed to continue its activities, because it belonged to the Right. The Renaixença, the theatre where we are now, was turned into a storehouse and the cultural activities stopped until 1955. This was because of its association with left-wing groups in the village. During the Civil War it was the headquarters of the Revolutionary Committee of Cornudella.
The Valentians' dance
This series of dances is one of the precursors of the modern sport of forming human castles. Each village developed their own forms of the dances, and in Prades the 'Valentians' had a special character in their spectacle: the Devil. The dancers of the group, all men, wore a simple uniform of white shirts, black trousers with bells on them and cloths around their waists. They danced in the streets. One dance consisted of dancing through the streets like mad men, a very tiring dance which was often done as a relay. Another one was to accompany the young, single women of the village from their houses to the church, dancing all the way. The tradition of 'Valentians' died out in Prades at the beginning of the
20th century.
16 6.- La Nova Cançó (The new song)
La nova cançó was inspired by the French Nouvelle Chanson, in the second half of the fifties. The aim was to create a contemporaneous Catalan song and it started as a revival movement of the popular Catalan expressions. The song was a response to the university climate and the different social Catalan classes. Of course, it was different from the other kinds of music.
The movement was related to the Catalan language, banned by the dictatorship. They were chronicles, simultaneously tender and ironic, of the social reality of that era.
The name of the first group was Setze Jutges, Sixteen Judges.
This movement opened two important aspects:
Normalizing the use of the Catalan language.
Claiming the freedoms.
They made up current songs.
The Setze Jutges were singer-songwriters; they wrote and composed their songs.
The members of the Setze Jutges :
Miquel Porter, Remei Margarit, Josep Maria Espinàs, Delfi Abella, Francesc Pi de la Serra, Enric Barat, Xavier Elies, Guillermina Motta, Maria del Carme Girau, Martí Llaurador, Joan Ramon Bonet, Maria Amèlia Pedrerol, Joan Manuel Serrat , Maria del Mar Bonet, Rafael Subirach and Lluís Llach.
Decade of the 60s
The movement progressed and expanded.
Since the first moment they counted more singer-songwriters, singers and instrumental and vocal groups.
Folk music goups were set up, devoted to the recovery and adaptation of the traditional song and also featuring adapters of folk songs by Pete Seeger, Joan Baez and Bob Dylan.
17 In the 1970s the New Song kept on multiplying the voices giving step to the Catalan song. Creators and interpreters were consolidated, they increased the versions set to music and interpreted by the singer-songwriters of poems.
It is necessary to highlight the song of protest; it was the desire to be the voice of the people oppressed by any type of injustice; Lluis Llach and Raimon were two representatives. The song of protest was presented with a poetic message that fascinated the listeners and urged them to struggle for the democratic freedoms.
6.1.- Joan Manuel Serrat
No havíem tingut massa temps per aprendre’n,
tot just despertàvem del son dels infants.
En teníem prou amb tres frases fetes
que havíem après d’antics comediants. Paraules d’Amor: D’històries d’amor, somnis de poetes, Ella em va estimar tant… no en sabíem més, teníem quinze anys… Jo me l’estimo encara.
Plegats vam travesear Ella qui sap on és, una porta tancada. Ella qui sap on para. Ella, com us ho podré dir, La vaig perdre i mai més era tot el meu món llavors He tornat a trobar-la. quan en la llar cremàvem només paraules d’amor. Però soviet en fer-se fosc,
de lluny m’arriba una cançó. Paraules d’amor senzilles i tendres. Velles notes, vells records, No en sabíem més, teníem quinze anys. velles paraules d’amor.
18 Comment
We have chosen this song because it is one of the most representative of Joan Manuel Serrat. The song talks about his fist love, a young girl that he met when he was 15 years old, and the innocence of this love.
The instrument that we hear in this song is the guitar, played by the same singer.
Other versions: Gema 4, Tete Montoliu, Llops de Mar, Nina, Max Sunyer, Som la Rumba , Josep Carreras, Peix Fregit, Cobla Costa Brava.
Discography
Ara que tinc vint anys (Edigsa,1967)
Cançons tradicionals (Edigsa, 1968)
Com ho fa el vent (Edigsa, 1968)
La paloma (Zafiro/Novola, 1969)
Dedicado a Antonio Machado, poeta (Zafiro/Novola, 1969)
Serrat/4 (Edigsa, 1970)
Mi niñez, també conegut com Disco blanco (Zafiro/Novola, 1970)
Mediterráneo (Zafiro/Novola, 1971)
Miguel Hernández (Zafiro/Novola, 1972)
Per al meu amic (Edigsa, 1973)
Para vivir, també conegut com Canción infantil para despertar a una paloma morena de tres primaveras (Zafiro/Novola, 1974)
Para piel de manzana (Ariola, 1975)
Res no és mesquí (Edigsa, 1977)
1978 (Ariola, 1978)
Tal com raja (Ariola, 1980)
En tránsito (Ariola, 1981)
Cada loco con su tema (Ariola, 1983)
19 Fa vint anys que tinc vint anys (Ariola, 1984)
En directo (Ariola, 1984)
El sur también existe (Ariola, 1985)
Sinceramente teu (amb María Bethania, Raimundo Fagner, Gal Costa, Caetano Veloso i Toquinho) (Ariola, 1986)
Bienaventurados (Ariola, 1987)
Material sensible (Ariola, 1989)
Utopía (Ariola, 1992)
Nadie es perfecto (Ariola, 1994)
Banda sonora d'un temps, d'un país (Ariola, 1996).
El gusto es nuestro (amb Ana Belén, Miguel Ríos i Víctor Manuel) (Ariola, 1996), publicat en format CD i DVD.
Liliana, Historia de Babar y Viaje a la luna (narracions amb música, Audivis Ibérica, 1997)
Liliana, Història de Babar i Viatge a la lluna (narracions amb música, Audivis Ibérica, 1997)
Sombras de la China (Ariola, 1998)
Cansiones (Ariola, 2000)
Versos en la boca (2002)
Serrat sinfónico (2003)
Mô (2006)
Dos pájaros de un tiro (amb Joaquín Sabina) (2007)
Biography
Joan Manuel Serrat was born in a working family in Barcelona. His father was a Catalan anarchist and his mother was a housewife. His childhood and the place of he lived marked him deeply, and is because of that that a great number of his songs explain the geography of the Catalonia of the postwar period.
20 While he studied he sang and he learned to play the guitar. In 1965 he participed in Radioscope, interpreting his first songs. Little time afterward they called him for offering him a contract and recording his first record. Joan Manuel Serrat was a pioneers of the Nova Cançó, and being part of the Els Setze Jutges, (number 13) and that they give a push very important for the Catalan llanguage to during the Pro-Franco dictatorship.
6.2.- Lluis Llach
L’Estaca:
L’avi Siset em parlava de bon matí al portal mentre el sol esperàvem i els carros vèiem passar.
Siset, que no veus l’estaca on estem tots lligats?
Si no podem desfer-nos-en mai no podrem caminar!
Si estirem tots, ella caurà i molt de temps no pot durar.
Segur que tomba, tomba , tomba, ben corcada deu ser ja.
Si tu l’estires foro per aquí i jo l’estiro foro per allà, segur que tomba, tomba, tomba, i ens podrem alliberar.
Però, Siset, fa molt temps ja, les mans se’m van escorxant, i quan la força se’n va ella és més ampla i mes gran.
Ben cert sé que està podrida però és que, Siset, costa tant que a cops la força m’oblida. Torna’m a dir el teu cant:
Si estirem tots, ella caurà i molt de temps no pot durar.
Segur que tomba, tomba , tomba, ben corcada deu ser ja.
Si tu l’estires foro per aquí i jo l’estiro foro per allà, segur que tomba, tomba, tomba, i ens podrem alliberar.
21 L’avi Siset ja no diu res, mal vent que se l’emporta, ell qui sap cap a quin indret i jo a sota el portal.
I quan passen els nous vailets estiro el coll per cantar el darrer cant d’en Siset, el darrer que em va ensenyar.
Si estirem tots, ella caurà i molt de temps no pot durar.
Segur que tomba, tomba , tomba, ben corcada deu ser ja.
Si tu l’estires foro per aquí i jo l’estiro foro per allà, segur que tomba, tomba, tomba, i ens podrem alliberar.
Comment
We have chosen this song because has been translated into many languages. It was composed in the Franco dictatorship in Spain, and it is a cry for the unity of action, to achieve freedom.
The song is a dialogue between the principal character, that doesn’t know who is he, and grandfather Siset, and he asks:”Do you see the stake where we are all tied? If we can't pull it down, we never will be able to walk. " And he gives an indication, that the only way to get rid of dictatorship is through joint action.
The most prominent instrument is the piano.
Versions: Versions: The Polish Solidarity Union adopts L’Estaca as its anthem, and it has been selected as the unofficial anthem for Perpinyà rugby club.
Discography
Els èxits de Lluís Llach (1968)
Ara i aquí (1970)
Com un arbre nu (1972)
Lluís Llach a l'Olympia (1973)
L'Estaca (1973)
22 I si canto trist... (1974) Ara, 25 anys en directe (1992)
Viatge a Itaca (1975) Un pont de mar blava (1993)
Barcelona, gener de 1976 (1976) Rar (1994)
Campanades a morts (1977) Porrera (1995)
El meu amic, el mar (1978) Nu (1997)
Somniem (1979) 9 (1998)
Verges 50 (1980) Temps de revoltes (2000)
I amb el somriure, la revolta (1982) Jocs (2002)
T'estimo (1984) Junts (conjuntament amb Josep Carreras, 2003) Maremar (1985) Poetes (2004) Camp del Barça, 6 de juliol de 1985 (1985) Que no s'apague la llum (conjuntament amb Feliu Ventura Astres (1986) 2005) Geografia (1988) i. (2006) La forja de un rebelde (BSO)(1990) Verges 2007 (2007) Torna aviat (1991)
Biography
He is the son of a doctor, and his mother was a housewife. She had received a bourgeois education in Barcelona. The person that introduced the music in his house was his mother. At four years he saw enter a piano in his house. Two years later he started composing his first melodies. At nine years old he went to live in Figueres to continue his studies. When he was 16 years old , he went to live in Barcelona to study . Two years later he left the studies and and he integrated into the movement of the Nova Cançó, in the Setze Jutges of which he was the last component.
23 6.3.- Raimon
Al vent:
Al vent, la cara al vent, el cor al vent, les mans al vent, els ulls al vent, La vida ens dóna penes, els ulls al vent, el vent del món. ja el nèixer és un gran plor: el vent del món
la vida pot ser eixe plor; I tots, però nosaltres I tots, tots plens de nit, tots plens de nit, buscant la llum, al vent, buscant la llum, buscant la pau, la cara al vent, buscant la pau, buscant a déu, el cor al vent, buscant a déu, el vent del món. les mans al vent, el vent del món.
Comment
We have chosen this song because it’s one of the most representative of Raimon. With it, he won a prize in the contest of the Mediterranean song . It was inspired with on a day when he went for a walk with a motorbike with his friend, “ I hi anava de paquet.
The most important instrument is the guitar, played by the same Singer.
Versions: Pau Alabajos and Laura Navar. There is a Japonese versión too.
Discography
1964: Disc antològic de les seues cançons
1966: Raimon a l'Olympia
24 1966: Cançons de la roda del temps 1977: Lliurament del cant
1967: Raimon al Palau 1979: Quan l'aigua es queixa
1967: Raimon música sola 1981: Totes les cançons
1968: Raimon en directe 1984: Entre la nota i el so
1969: Raimon a Montserrat 1985: Raimon canta
1969: Sobre la pau. Contra la por 1987: Presències i oblit (Olympia 2) 1989: Canta Ausiàs March 1970: Per destruir aquell qui l'ha 1993: Integral desert 1993: Cançons 1971: Raimon 1995: I després de creure tant 1971: Raimon en Montevideo 1997: Ausiàs March / Raimon 1971: Raimon. Catalonian protest 1997: Cançons de mai songs 1997: Recitals al Palau 1972: En vivo 1999: Dotze cançons 1972: Diguem no 1999: Les cançons d'amor 1972: La noche 2000: Nova Integral 2000 1974: A Víctor Jara 2003: Clàssics i no 1974: Campus de Bellaterra 2003: Raimon-Espriu Poesia cantada 1974: T'adones amic...? 2006: Raimon a l'Olympia (1966- 1976: El recital de Madrid 2006)
Biography
Raimon was born in Xàtiva, Valencia. When he was young he worked two years in a ràdio of his city, and he was introduced to the world of the record.
When he was 21 years old he went to Valencia city to study history.
In 1962, Raimon did his first public performance . Shortly after he sang for the Setze Jutges, and they were impressed. The success was immediate: Raimon was surprised by
25 the form and content of their songs; and the cry for texts in a rebel spirit. He moves away from the way of the Setze Jutges and his vision of the world is not tied to the bourgeoisie, it comes from the working classes of Valencia.
6.4.- Maria del Mar Bonet
L’aguila Negra:
Un bon dia, o potser una nit, prop del mar jo m’havia adormit quan, de cop, el cel s’omple de llum i un ocell negre surt sense venir d’enlloc. imatge del passat, volia tornar amb mi.
Lentament, les ales bategant, Bon ocell, porta’m amb tu al país lentament, ell anava girant. d’altres temps, sigues el meu amic. Prop de mi, el batec s’acabà Com abans, en somnis clars d’infant, i, com caigut del cel, l’ocell es va aturar. collirem tremolant estels i més estels.
Els ulls eren de color robí Com abans, en somnis clars d’infant, i les plomes de color de nit. com abans, damunt d’un núvol blanc, I al seu front, mil raigs de to suau, com abans, tu i jo el sol encendrem l’ocell, rei coronat, lluía un diamant blau. i a l’illa del record la pluja llançarem...
Amb el bec la cara em va tocar, L’ocell negre tombà els ulls al sol, el seu coll em vaig trobar a la mà. cap al cel tot d’una emprengué el vol. Fou llavors que jo vaig saber qui,
Comment
We have chosen this song because it went gold in Spain. This song tells us about striking
26 and a black bird, and this reminds her of a very strong friendship already lost long ago, and requests him to help her find her again.
The most importants instruments are: the piano, drums, a electric guitar, and a trumpet.
Discography
1969: Maria del Mar Bonet
1971: Maria del Mar Bonet
1974: Maria del Mar Bonet
1975: A l'Olympia
1976: Cançons de festa
1977: Alenar
1979: Saba de terrer 1990: Coreografies
1979: Quico-Maria del Mar (amb 1993: El·las Francesc Pi de la Serra) 1995: Salmaia 1981: Sempre 1997: Primeres cançons (reedició) 1981: L'àguila negra 1997: El cor del temps 1981: Jardí tancat 1999: Cavall de foc 1982: Breviari d'amor 2001: Raixa 1982: Cançons de la nostra 2001: Cants d'Abelone (amb Rafael mediterrània (amb Al Tall) Subirachs) 1985: Anells d'aigua 2003: Collita pròpia 1987: Gavines i dragons 2004: Amic, amat 1989: Ben a prop (amb Manel Camp) 2007: Terra secreta 1990: Bon viatge faci la cadernera
Biography
Maria del Mar Bonet was born in Mallorca . When she was little she started learning
27 traditional songs from the Balearic islands. In 1976 arrived in Barcelona and she started singing with the Setze Jutges.
In 1968 Franco’s censorship prohibited her singing her most popular song “Què volen aquesta gent ?“. At the begining of 70 ‘s started in France, Denmark and England her first performances in the abroad.
In 1971 Maria del Mar Bonet published the songs “ L’aguila Negra” and “ No voldria res més ara” . It was a gold record in Spain.
6.5.- Marina Rosell
La gavina
Oh, gavina voladora que volteges sobre el mar i al pas del vent, mar enfora, vas voltant fins arribar a la platja assolellada, ja de dolços records on dia i nit hi fa estada, fins arribar a la platja la nina dels meus amors. on tan dolç ês recordar i veure la imatge bruna
Quan la vegis sola el seu bell despertar de la nina que entre somnis prop la quieta onada és tan grat d'acariciar. dona-li la besada que li envio mes fervent Quan la vegis sola digues-li que sento prop la quieta onada dolça melangia dona-li besada i que en ella penso que li envio mes fervent en tot moment. digues-li que sento
dolça melangia Oh, si igual que tu gavina i que en ella penso el mar pogués jo travessar
28 en tot moment. Oh, gavina voladora…
Comment
We have chosen this song because is the most popular of this of her musical career; this song is on the album: Penyora.
The song tell us that the singer asks in a gull that flies over the sea to take care of a person whom she knew a lot, because she can not.
The instruments are: a guitar, and in the background, a tambourine.
There aren’t any versions.
Discography
1978: Penyora
1982: Cos meu recorda
1985: Barca del temps
1990: Cinema blau
1993: Marina
1996: Ha llovido 2003: Marítim 1997: Entre linies 2005: Nadal 2000: Y rodará el mundo
2002: Cap al cel
2006: Vistas al mar
Biography
She was born in 1954 in La Gornal, in El Vendrell.
She was a key figure of the Nova Cançó, and in her repertoire we find classical, revolutionary and traditional songs. She has carried out numerous tours in Europa, Latinoamerica and north of Africa.
29 Marina Rosell started to act professionally in 1974 as support act to Lluis Llach and Maria del Mar Bonet. In 1976 she edited her first record to collect popular Catalan songs that was accompanied in her first years of performances. Music critics quickly gave her the name: exquisite voice.
30 7.- Catalan Rock
Catalan rock starts in the 70’s. For a long time Catalan was only used at home, and when the dictator General Franco died, it started to be allowed in different cultural and social activities. In the 80's, young musicians who used to listen Spanish or English rock, wanted to play the music they liked, but in their own language, that was Catalan.
The instruments that Catalan Rock includes are: drums, keyboard, guitar and electric bass. These groups didn't play ethnic instruments with the idea of being like typical rock groups like some universal ones.
7.1.- Sopa de Cabra
Sopa de Cabra, was a group of music from 1986 to 2002, and with “Els Pets” and “Sau”, were the most representative groups of Catalan Rock.
They recorded their first album in 1989, with the song “L'Empordà” maybe the most representative of the group. They became very famous with this album. In the 90's they edited an album in Spanish and some of their fans didn't like it at all and the group started to have some problems in the concerts, with the record company, it were hard times for the group. The 1998, with the album “Nou”, they reach again the status they had in their beginnings.
After the separation in 2002, some of the members started new musical projects.
Their members are:
• Gerard Quintana – voice
• Josep Thió – guitar
• Joan "Ninyin" Cardona – guitar
• Francesc "Cuco" Lisicic – bass
• Josep Bosch – drums
• Julio Lobos - keyboard (1994-1999)
• Jaume Soler "Peck" – guitar (1997-2002)
31 • Eduard Font – keyboards (1999-2002)
Discography
• “Sopa de Cabra” (1989).
• “La Roda” (1990).
• “Ben endins” (1991) .
• “Girona 83-87 Somnis de Carrer" (1992).
• “Mundo Infierno” (1993).
• “Al·lucinosi” (1994).
• “Sss...” (1996)
• “La nit dels anys” (1997).
• “Nou” (1998).
• “Dies de Carretera” (2000).
• “Plou i fa sol” (2001).
• “Bona nit, malparits!” (2002) .
• “El llarg viatge” (2003).
• “Podré tornar enrere. El tribut a Sopa de Cabra” (2006).
7.2.- Els Pets
“Els Pets” is a group of Catalan Rock, whose leader is Lluís Gavalda. It was created in “Constantí” (Tarragona) in 1985. They came from an agricultural area and their ly/rics reflected it, they were called “farmer” rock in their beginnings. They continue playing together, and their music has evolved into more intimate and mature songs.
Their members are:
• Lluís Gavaldà: voice
• Joan Reig: drums
• Falin Cáceres: bass
32 Discography
• “ELS PETS” (1989)
• “Calla i Balla” (1991)
• “Fruits Sex” (1992)
• “Brut Natural” (1994)
• “Vine a la Festa” (1995).
• “Bon dia” (1997)
• “Sol” (1999)
• “Respira” (2001)
• “Malacara” (2002).
• “Agost” (2004)
• Això és espectacle (2006).
• Com anar al cel i tornar (2007).
7.3.- SAU
Sau is one of the first groups of Catalan rock, and one of the most popular of the movement.
Its members were Carles Sabater, the singer, and Pep Sala, in the guitar and, sometimes, he played the piano. They played pop-rock.
Carles Sabater combined playing in the group and acting in the theatre and in some TV serials.
The group was born in 1987, and lasted until 1999, when Carles Sabater died.
33 Pep Sala still continue playing music.
Discography
• No puc deixar de fumar (1987)
• Per la porta de servei (1989)
• Quina nit (1990)
• El més gran dels pecadors (1991)
• Els Singles (1992)
• Concert de mitjanit (1992)
• Junts de nou per primer cop (1994)
• Cançons perdudes.
• Set (1996)
• Bàsic (1997)
• Amb la lluna a l'esquena (1998)
7.4.- Gossos
Gossos is a group of Catalan Rock. It was formed in 1993.
They live in Manresa, a city of Catalonia. They started playing acoustic music, they were four voices, three guitars and a bass.
In 2002, a drummer, Santi Serratosa, joined the group, and they introduced electrical instruments.
Their membres are:
• Natxo Tarrés – voice and guitarr
• Roger Farré – voice and bass
• Juanjo Muñoz – voice and guitarr
• Oriol Farré – voice and guitarr
34 • Santi Serratosa – drums (after 2002)
Discography
• GOSSOS (1994)
• En privat - (1996)
• Metamorfosi - (1997)
• Directament - (1998
• De viaje - (2000)
• Cares - (2001)
• El jardí del temps - (2003)
• 8 - (2005)
• Oxigen – (2007)
• 15 Anys a L'Auditori - (2008)
7.5.- Lax’n Busto
Lax’n Busto is a group of Catalan Rock music. It was formed in Vendrell in 1986. The name of the group comes from a laxative medicine. In their first and second albums the lyrics reflect the ages of the members, they were teenagers. With the third one, they start evolving and introducing new subjects in their music.
Their members are:
• Jimmy Piñol Mercader: Drums and chorus
• Jesús Rovira Costas: Bass and chorus.
• Pemi Rovirosa guitar and chorus.
• Cristian G. Montenegro: guitar.
• Eduard Font: keyboards.
35 • Salva Racero Alberch: vocals since 2006.
• Ex-members: Pemi Fortuny Soler: Singer and guitarrist. He left Lax'n'Busto on 20 October 2006
Discography
• “VAS DE PUNT... O QUÈ!!!”. (1989)
• "LAX´N´BUSTO" (1991).
• "QUI ETS TU?" (1993).
• "LA CAIXA QUE PUJA I BAIXA" (1995).
• "A L'AUDITORI" (1996).
• “SÍ” (1998).
• “LLENÇA’T” (2000) .
• "AMB TU“ (2004).
• “RELAX” (2007).
36 8.- The New Trends
New trends: now they are the most popular music.
There are many different groups that are experiencing with different cultures mixting folk music, rock, flamenco, rumba...
The immigration and the influences.
Nowadays the trend of Catalan music comes mainly from the mix of cultures in the country. In Catalonia, it focuses largely on immigration in Spain and that supposed different cultures mixing.
Immigration: A 34.6% of the total legal foreign residents in Catalonia are extra. They are concentrated mainly in the province of Barcelona (70%), specially in the city and its metropolitan area, and are concentrated in a smaller proportion, in Girona (17%), Tarragona (8.7 %) and Lleida (4.3%). The main group of immigrants are the Moroccans (33%), followed by a great distance Peruvians, Gambia, Dominicans, Chinese and Philipins. More of the groups of the new trend take the name of the quarter they are from.
37 8.1.- La Carrau
Biography
The band was founded 1997 as a folk music band to dance. In these years the band took part in festivals in Poland and Belgium. With their first songs the band added new types of music and metal instruments. With their first CD the band travelled around the country and shared stage with artists and bands (Manu Chau, Dusminguet, Obrint Pas, Els Pets...). Their second CD represented the consolidation of the band. With that record the band was represented as one of the references of the music song in Catalan and one of the first bands that made music folk in the country. In the 2005 the band took part in some festivals, parties and concerts. They are recognized as one of the group that have revolutionized the Catalan folk music. Their unique sound and great songs unite essences with other popular Catalan air of world music. The lyrics include, on the basis of authorship itself, fragments of Catalan poets such as Verdaguer Papasseit.
The musicians:
Núria Lozano: diatonic accordion and voice
Carol Durán: violin and voice
Joan Boada: lute, mandolin, guitar and voice
Màrius Clapés: electric guitar, Spanish guitar and voice
David Plaza: bass
Armengol Riera: battery
Roc Albero: trumpet
38 Discography
• ESCALIVADA MECÀNICA (TRAM-2000), model in K7
• UNA DOTZENA (Propaganda pel fet!-2002), Produced by Xavier Batlles and Josep M. Mayol, recorded in Bitstudi. Video clip: VIROLET-ZYDECO
• QIN BON BORI (Propaganda pel fet!--2004), produced by Joseba Tapia and Orbe Ortiz, recorded in the Fournier. Video clip: DJ CAPITAL.
• DINS LA TAIFA (Propaganda pel fet!--2007), Recorded in their studio (The kingdom) and Jordi Armengol
The song: La manta al coll (The blanket the neck)
Els nois de Sabadell Fins i tot n’hi ha alguns que es pensen
S’han comprat un microscopi Que poden comprar les xiques.
Per buscar-se la cigala El puro per fumar,
Quan els pica l’amor propi. La pinta per lliur,
Si vols que te la fiquin I si vols tenir la xica
Posa’t panxa per amunt Hauràs d’apendre a seduir.
I veuràs “que” polseguera I una volta que tornava
Que t’ix del forat del cul. Lo tio Pep de l’horta,
La manta al coll i un cabasset, Es va trovar de casa
Mos n’anirem a fer un xiquet Oberta la porta
La manta al coll i un cabasset, I a sota l’escaleta
Mos n’anirem, mos n’anirem a fer un xiquet. S’hi trobava un senyoret,
Per tres quinzets un poro, Que amb la ragueta oberta
Per quatre una pita, Li ensenyava el cacauet.
39 Comment of the song:
This is a song about humor. It is about some teenagers that want to have a relationship with some girls and make a baby. I chose it because it’s very funny. They use fragments of one traditional song and they modify it to make it funny. The instruments they use are the trumpet, drums and accordion.
8.2.- Antonia Font
Biography
Antonia Font is a group from Mallorca. They were born in 1997 and are known for their festive music and fantastic lyrics. The lyrics of Antonia Font are related to the space, astronomy and everything related to space, but also the most everyday and next, setting up a game between a local, global or cosmic and universal in the world in which we are immersed. They are usually classified as a pop group that at the time of composing the songs are not "prejudice style" and that is something that often arises spontaneously. The composer of the themes is the guitarist of the group, John Michael Oliver.
The singers
• Joan Miquel Oliver : guitar
• Pau Debon : voice
• Pere Manel Debon: drummer
• Joan Roca: low bass
• Jaume Manresa: keyboard
Discography
• Antònia Font (1999)
• A Rússia (2001)
40 • Alegria (2002)
• Taxi (2004)
• Batiscafo Katiuscas (2006)
• Coser i cantar (2007)
The song: Alegria (Joy) ses velles se xapen de riure, es dies s´acaben i es fars il·luminen Cau es sol de s´hora baixa dins s´horitzó, ses gòndoles entre ses cases. damunt la mar arrissada es avions. Cau es sol de s´hora baixa vermell i calent, Alegria, me sala i m´arengada sa pell. ses òrbites en sincronia, i es ovnis se pinyen i deixen un cràter Es penya-segat per sempre dins sa meva vida... i una pluja suau de pols estel·lar. Alegria!
Cau es sol de s´hora baixa i plàcidament Cau es sol de s´hora baixa dins s´horitzó, sa gent se dutxa i ompl es carrers. damunt la mar arrissada es avions. Cau es sol de s´hora baixa dins es meu cor, Cau es sol de s´hora baixa vermell i calent, tothom m´estima i jo estim tothom. me sala i m´arengada sa pell.
Falla sa corrent Es municipals, és evident, ses fireres no vendran cacauets. fan aparcar bé a sa gent.
Alegria, I Alegria...
Comment of the song:
This song is about the sunset and how it affects the people in the street. It’s a fantasy song. I chose it because it is the most popular song of this group and it’s great. The instruments that they use are the guitar, drums and keyboard.
41 8.3.- Cheb Balowski
Biography:
"Cheb" is the nickname that is used in the Maghreb to define the young singers of rai, and "Balowski", in Polish. It is an adjective that means having fun dancing. From its meaning, we can understand it crowd from Barcelona, which proposes an orgy of musical styles committed in equal parts, with comprehensive interculture. Cheb Balowski was revealed at the end of the year 2000, when, apart from acting in the BAM, were selected by the group Joxe Ripiau to accompany them in their acting in Bilbao, Barcelona and Guipuzcoa. In September 2001, they released their first CD, "Bartzeloona," which was produced by Iñigo Muguruza and edited by the Propaganda stamp. Their second album, "Potiner", produced by Stephane Carteaux and published by Propaganda in April 2003, included about 150 performances spread by the Spanish state, Belgium, Italy, Holland, Germany and France. This disc was an artistic breakthrough in the development of the group that is characterized by the "groove" of the items and their density rhythm, melodies that rotate continuously crossing between flamenco, the Balkans, the Arab and Mediterranean, the crossroads of the band . Their third work, "Plou plom (songs that you will love)" is a record "100% Balowski," loaded with 13 items of pace, where the rock takes Mediterranean airs and mixed with complex rhythms and traditional melodies. With this album, Cheb Balowski opened an era of high expectations, launched simultaneously in much of Europe and almost worldwide tour (Morocco, Algeria, Finland, Belgium, Germany, Holland, Jordan ...).
The musics of the band are: • Yacine BELAHCENE BENET: singer, and karkabús bendir.
• Dani CLAVERO FONTQUERNI: drums.
• Santi EIZAGUIRRE ANGLADE: guitar and voice.
• Jordi FERRER SAVALL "TITO": trumpet and voice.
42 • Jordi VIVES MARFA "MARFI": violin, voice and choirs.
• Marc LLOBERA ESCORCA: Low .
• Arnau OLIVERES KÜNZI: drums, bells, guache and the "flag".
• PITARCH Daniel FERNANDEZ: piano and keyboard.
• Marcel PIE WIRE: alto sax, voice and chorus.
• Xabi Requejo COLOMER "REKE": Guitar.
• Isa Vinardell FLECK: dance, voice and chorus
Discography:
• Bartzelona (2001)
• Baercelona Zona Bastarda (2CD’s) (2002)
• Potiner (2003)
• Per Pelestina (2003)
• Barcelona Raval Session (2004)
• Plou Plom (2005)
• RadioChango Añejo Reserva vol.I (2005)
• Barcelona Raval Sessions vol.II (2005)
8.4.- Dusminguet (La trova Kung Fu)
The band
They are called Dusminguet, and they come from the Garriga (Barcelona),
This group takes music from different countries, and transforms it into many colours and forms, and adjust their own world, in their way to see the things. The group was born year 1995, and they
43 started playing tex-mex, rumba, salsa,vals..., music that does not have meaning without the dance and the party, the mixture of the popular music. They sing in Catalan, Spanish, English, French, Arabic and Portuguese. The first record is Vafabundo, appeared in 1998 (Virgin-Chewaka).
They describe it as “ a journey of the world, a passport that lets you travel without papers”.
In the year 2000 they published the second CD “Postrof”. During the tour they acted in concerts in Spain, France, Italy, Morocco, Belgium, Netherlands and Mexico.
The unexpected death of the bassist Carlos Rivolta, in concert in Guadalajara, made them rethink the situation of the group, and concentrate on the recording of the third album, “Go”.
The musics:
• Joan Garriga
• Carlos Rivolta
• Tomás Arroyos
• Oscar Domínguez
• Martí Perramon
• Francesc Capella
Discography:
Dusminguet: Trova Kung Fu:
• Vafalungo (1998) • Clavell Morenet (2006)
• Postrof (2001) • Remixes (2008)
• Go (2003) • Rumbia At Ernesto's (2009) - Live
The song: El teu amor és dolç (Your love) és calor és son El teu amor és abric que mata és son és abric que adorm és mort
44 és abric que em fon Ionqui d’amor sóc Ionqui d’amor sóc para nano que això mata el meu cos vesteix de dol que la vida no t’enganya un somriure per passar la nit Viu, viu i la pena al riu demà et deixo, et deixo al llit El teu amor és trist El teu amor m’adorm sempre taca com la daga em xucla, em torna enrere el teu amor no em vol el teu amor m’adorm sempre mata quan m’atrapa em torna enrere dins del ventre
Comment of the song:
This song deals with love and the different feelings that love produces. The singer says that he is an addict to love and explains that this love is killing him and making him miserable. The instruments they use are the guitar, drums, and accordion.
8.5.- Obrint pas:
The band:
Obrint Pas, was created in 1993, the Institute High School Benlliure de València (L'Horta). In 1994 recorded the first model to Alboraia (L'Horta). With this model, the group is selected from more than forty to participate in the final phase of the strap of Rock III, which went on to win. In the 1995 Obrint Pas incorporates new elements (widgets and percussion) and starts to turn around Valencia, consolidating itself as a group live, festive, but forceful and convincing. In August the group recorded the third model, “Recuperant el somni. In 2004, after the longest tour of the history of the group, more than 70 concerts a year, Obrint Pas recorded his new album: La Flama. After 12 years without a break, Obrint Pas stop their activity in the Catalan for six months and preparing the tour Internationalist Tour in 2006.
The musics:
45 • Xavi Sarrià • Marcos Úbeda
• Albert Benavent • Marc Guardiola
• Jaume Guerra • Ximo Tomas -Maki-
• Robert Fernández • Miquel Gironés
• Miquel Ramos • Jaume Figueres
Discography:
• La Revolta de l’Ànima – 1998
• Obrint Pas -2000
• Terra- 2002
• La Flama - 2004
• En moviment - 2006
The song: Del Sud (The south)
Del sud, d'allà on la terra mor, d'allà on la calor no em deixa veure el sol.
Sóc del sud i el meu caminar s'ha fet tant complicat que ja no veig el nord.
Del sud, la terra dels enganys, la terra d'amargors que sempre assequen plors.
Sóc del sud, país que ja no hi és, que s'amaga del temps dins el cor de la gent.
Sóc del sud del meu cor, sóc del sud del meu món, sóc del sud del record, d'uns països sense nom
Sóc del sud dels sentiments, sóc del sud de les arrels, sóc del sud i porte als ulls llàgrimes de lluita i futur.
Del sud, d'allà on la terra mor,
46 d'allà on la calor no em deixa veure el sol.
Sóc del sud i el meu caminar s'ha fet tant complicat que ja no veig el nord.
Del sud, la terra dels enganys, la terra d'amargors que sempre assequen plors.
Sóc del sud, del front meridional, del parlar refugiat, del somni exiliat.
Sóc del sud del meu cor, sóc del sud del meu món, sóc del sud del record, d'uns països sense nom
Sóc del sud dels sentiments, sóc del sud de les arrels, sóc del sud i porte als ulls llàgrimes de lluita i futur.
Comment of the song:
This song deals with the land that they feel as their own.The instruments they use are the drums, a trumpet, electric guitar, gralla, trombone, bass, and saxophone.
47 9.- Our picture album.
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Ses Montsant
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