HC20039.Booklet.AlbertoHemsi.qxp_PH?????_Booklet_Gamben/Handel 27.05.20 19:56 Seite 1 U1 wird separat im Umschlag angeliefert HC20039.Booklet.AlbertoHemsi.qxp_PH?????_Booklet_Gamben/Handel 27.05.20 19:56 Seite 2 Alberto Hemsi COPLAS SEFARDIES (Chansons Judéo-espagnoles) Alberto Hemsi (1898–1975) CD 1 Volume 3, Op. 13 Volume 1, Op. 7 (Spain 1492 – Saloniki 1932) Coplas Sefardies (Chansons Judéo-Espagnoles) (Spain 1492 – Rhodes 1932) © Edition Orientale de Musique, © Edition Orientale de Musique, Alexandria (Egypt) 1934 CD 1 Alexandria (Egypt) 1932 1 - 6 I. Serie (España 1492 – Rodi 1932) 13. XIII. Una hija tiene el rey 5:12 7 - 12 II. Serie (España 1492 – Rodi 1932) 1. I. Yo tomí una muchacha 5:54 14. XIV. Aquel conde y aquel conde 13 - 18 III. Serie (España 1492 – Salónica 1932) 2. II. Durme, (Mexidéra = Canción de cuna / Total time: 68:39 durme hermosa donzella 5:12 Lullaby) 3:30 3. III. No paséch por la mi sala 5:26 15. XV. Ya salió de la mar CD 2 4. IV. Dicho me avían dicho 5:21 la galana 2:33 1 - 6 IV. Serie (España 1492 – Salónica 1932) 5. V. Mi sposica está en el baño 3:27 16. XVI. Aquel rey de Francia 3:38 7 - 12 V. Serie (España 1492 – Esmirna 1937) 6. VI. Ansí dize la nuestra novia 4:26 17. XVII. Yo me alevantí un lunes 2:57 13 - 18 VI. Serie (España 1492 – Esmirna y Anatolia 1920) 18. XVIII. Ya abaxa la novia 19 - 24 VII. Serie (España 1492 – Esmirna y Anatolia 1920) Volume 2, Op. 8 (Boceto de boda / Total time: 70:50 (Spain 1492 – Rhodes 1932) Wedding sketch) 2:41 © Edition Orientale de Musique, Total time: 68:39 CD 3 Alexandria (Egypt) 1933 1 - 6 VIII. Serie (España 1492 – Esmirna y Anatolia 1920) CD 2 7 - 12 IX. Serie (España 1492 – Istanbul 1933) 7. VII. Como la rosa en la güerta 3:34 Volume 4, Op. 18 13 - 18 X. Serie (España 1492 – Medio Oriente 1928) 8. VIII. El rey por muncha madruga 2:39 (Spain 1492 – Saloniki 1932) 19 - 23 Five Hebrew Songs 9. IX. Tres hijas tiene el buen rey 3:08 © Edition Orientale de Musique, 24 Yom gila yavo, yavo! (Esquisse hébraïque) 10. X. ¡Ah, el novio no quere dinero! 1:55 Alexandria (Egypt) 1935 ʼ Total time: 75:36 11. XI. Vengáx en buen hora, Siñora coshuegra 3:23 1. XIX. Triste está la infanta (Canción de 12.XII. Estávase la mora veladas de paridas / Song of nights en su bel estar 3:33 after the childbirth) 3:25 2 3 HC20039.Booklet.AlbertoHemsi.qxp_PH?????_Booklet_Gamben/Handel 27.05.20 19:56 Seite 4 Alberto Hemsi COPLAS SEFARDIES 2. XX. Estávase la galana (Cancion de Volume 6, Op. 34 22. XL. Reina de la gracia 3:28 7. XLIX. De enfrente la vide venir 3:08 noches de almusáma / Song of nights (Spain 1492 – 23. XLI. Vamos para la urilla 2:34 8. L. Mi padre era de Francia 3:11 of almusáma) 3:10 Smyrna and Anatolia 1920) 24. XLII. Dia de alhad 2:50 9. LI. ¿Quen es este paxarico? 2:01 3. XXI. Bendicho Su nombre © Alberto Hemsi, Total time: 70:50 10. LII. Torondón 2:07 (Plegaria en „ladino” / Aubervilliers (France) 1969 11. LIII. Mi alma triste 3:10 Prayer in „Ladino“) 5:14 CD 3 12. LIV. Onete Bonete 4. XXII. Quién quiere tomar consejo 3:44 13. XXXI. Malaña tripa de madre 3:01 Volume 8, Op. 44 (Cantiga de pasatiempo / 5. XXIII. Tanto fuites y venites 3:08 14. XXXII. Bueno asi biva la coshuegra (Spain 1492 – Pastime song) 2:40 6. XXIV. Mercar vos quiero, (Canción bailada de boda / Smyrna and Anatolia 1920) la mi mujer (Chanson á boire / Wedding dancing song) 2:02 © Alberto Hemsi, Volume 10, Op. 51 Drinking song) 2:27 15. XXXIII. Tres hermanicas eran 2:31 Aubervilliers (France) 1972 (Spain 1492 – Middle East 1928) 16. XXXIV. La Morenica 2:56 © Alberto Hemsi, Volume 5, Op. 22 17. XXXV. ¡Ay! Mancebo 1:40 1. XLIII. Dolores tiene la reina 3:33 Aubervilliers (France) 1973 (Spain 1492 – Smyrna 1937) 18. XXXVI. El buen viar (Canción 2. XLIV. Durmite mi alma © Edition Orientale de Musique, bailada / Dancing song) 2:04 (Canción de cuna / Lullaby) 3:16 13. LV. De la juma sale el moro 5:03 Alexandria (Egypt) 1938 3. XLV. Sentada en mi ventana 3:13 14. LVI. Arboles lloran por luvia 4:49 Volume 7, Op. 41 4. XLVI. Me parto y me vo‘ 2:15 15. LVII. La cantiga de la Ley 7. XXV. De las altas mares traen (Spain 1492 – 5. XLVII. ¿Hombre, en qué te lo (Canzonetta) 1:56 una cautiva 3:37 Smyrna and Anatolia 1920) contienes? (Endecha / Dirge) 2:46 16. LVIII. Munchos mueren de su muerte 8. XXVI. Una matica de ruda 2:00 © Alberto Hemsi, 6. XLVIII. Un cabretico (Canción de (Endecha / Dirge) 4:06 9. XXVII. ¿De qué llóras, blanca niña? 3:24 Aubervilliers (France) 1970 noche de Pascua / 17. LIX. Esta noche es alavada 10. XXVIII. Avrid, mi galanica (Canción de Passover night song) 2:21 (Canción de cuna / Lullaby) 2:21 noches de ajuar / 19. XXXVII. Alevantéx vos toronja 3:01 18. LX. Quen supiense y entendiense Trousseau nights song) 2:31 20. XXXVIII. Al ruido de una fuente 2:29 Volume 9, Op. 45 (Canción de noche de Pascua / 11. XXIX. Cien donzellas 21. XXXIX. Cuando la comadre (Spain 1492 – Istanbul 1933) Passover night song) 3:38 van a la misa 4:50 (Nacimiento de un niño / © Alberto Hemsi, 12. XXX. Abaxéx abaxo, galanica gentil 1:50 Birth of a child) 2:42 Aubervilliers (France) 1972 4 5 HC20039.Booklet.AlbertoHemsi.qxp_PH?????_Booklet_Gamben/Handel 27.05.20 19:56 Seite 6 Alberto Hemsi COPLAS SEFARDIES Five Hebrew Songs, Op. 25 „A Judaeo-Spanish Romancero”: to arrange them for concert performance. its political role, folklore in music always © Alberto Hemsi, Alberto Hemsi (1898–1975) – The 1920s were the heyday of European had an important aesthetic dimension too: Alexandria (Egypt) 1948 Coplas Sefardies neo-folklorism, a style which produced Folkloristic references went hand in hand many new works, including those of Leoš with new, original means of expression ENGLISH 19. Vedibbarti al haneviim / „The few documents I had collected gave Janáček, Béla Bartók, Ahmed Adnan Say- and sources of inspiration, a renewal of When I spoke to the prophets 3:42 me the feeling that I was standing on the gun and Manuel de Falla. The eminent the tonal system (often based on modal 20. Yismekhu / They shall rejoice 2:47 threshold of a wonderful cave, like that of Russian-Jewish composer Alexander Veprik forms) and an expansion of harmonic 21. Yonati / O my dove 3:17 Ali Baba, which I had the opportunity to referred to that period back then as the language that was dependent neither on 22. Im en ani li / explore at will. Since that time I must con- „Renaissance of folklore”. The genre was the conventional major-minor harmonic If I am not for myself 3:08 fess that I cannot remember how many the continuation of a stylistic line that system nor on the atonal systems de- 23. Shir hashirim / people I have contacted, nor communities established itself during the nineteenth veloped later on, such as dodecaphony, The song of songs 3:07 and towns visited, nor how often I have century in a number of different musical serialism and other techniques. stayed, for short or longer periods, in five cultures. National movements, each based At that time, traditional Jewish music from 24. Yom gila yavo, yavo! Op. 17 countries of the eastern Mediterranean. on local folklore, were dominating especi- Eastern Europe was an important source (Esquisse hébraïque) / My investigations were in no way limited ally the musical culture of oppressed of inspiration and a generator of renewal A day of rejoicing to poetry and song. Folklore constitutes a peoples who were fighting for their politi- for the musical language of many Jewish will come! 3:49 whole world, and I was anxious in parti- cal independence and cultural autonomy. composers – such as Alexander Veprik, © Edition Orientale de Musique, cular to know that of my people.” Composers who first introduced such tra- Joachim Stutschewsky, Joseph Achron and Alexandria (Egypt) 1934 Alberto Hemsi wrote these words just two ditions to the world of art music were Alexander Krein. Alberto Hemsi on the years before he died, in a retrospective as celebrated as national heroes. Bedřich other hand was the first – and undoubted- Total time: 75:36 a foreword to the last and tenth volume of Smetana and Antonín Dvořák in the ly the most prominent – musician to achieve his opus magnum, the collection of works Czech nation, Jean Sibelius in Finland and a synthesis of the Sephardi-Jewish music for voice and piano known as Coplas Edvard Grieg in Norway all created music tradition with European art music. The Sefardies. More than fifty years earlier, at which would achieve prominence in their Sephardi style of Jewish art music, which the beginning of the 1920s, he had respective countries – even if countries like includes works by the likes of Léon Algazi begun to collect examples of the folklore Czechoslovakia, Finland and Norway (1890-1971) and a number of other com- of the Sephardi Jews – „his people” – and were yet to come into being. In addition to posers, is even far less well known than 6 7 HC20039.Booklet.AlbertoHemsi.qxp_PH?????_Booklet_Gamben/Handel 27.05.20 19:56 Seite 8 Alberto Hemsi COPLAS SEFARDIES the New Jewish School of music of Eastern Europe.