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CD One

TRACKLIST

1. Griežikai - Tututūtututis . . . . . . . . . . . . . . . . . . . . . . . . . .02:23
2. Trys keturiose - Ratui, ratu, bitel, ratu . . . . . . . . . . . . . . . . . . . . . . .01:48
3. Jievaras - Šalavijas auga. . . . . . . . . . . . . . . . . . . . . . . . . . . . .02:30
4. Griežikai - Skurdutė. . . . . . . . . . . . . . . . . . . . . . . . . . . . .01:23
5. Griežikai - Septynios, arba untytė. . . . . . . . . . . . . . . . . . . . . .01:31
6. Jievaras - Kā palinkai, berželi . . . . . . . . . . . . . . . . . . . . . . .03:38
7. Arvydas Kirda - Tutoj, saduta, sadutoj, oi tūta. . . . . . . . . . . . . . . . . .01:50
8. Trys keturiose - Trep trepo, martela. . . . . . . . . . . . . . . . . . . . . . . . . .04:05
9. Trys keturiose - Pasisėčia linelių . . . . . . . . . . . . . . . . . . .01:31
10. Griežikai - Šešiose. . . . . . . . . . . . . . . . . . . . . . . . . . .01:46
11. Trys keturiose - O kas pražyda?. . . . . . . . . . . . . . . . . . . . . . . . . .02:12
12. Griežikai - Šalnių intakas . . . . . . . . . . . . . . . . . . . . . . .01:39
13. A. Kirda - Aš sodely stovėjau, į gegutę žiūrėjau . .01:27
14. Jievaras - Mes buviemo, tūto . . . . . . . . . . . . . . . . . . . . . . . . . . .03:03
15. Jievaras - Tėvelis kalnely stovėja. . . . . . . . . . . . . . . . . . . . . .02:46
16. Griežikai - Bakšėnų tututis . . . . . . . . . . . . . . . . . . . .01:38
17. Griežikai - Untutis. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .01:51
18. A. Kirda - Augo dygo dobilėlis tarp trijų lazdynų. . . . . . . . . . . .01:33
19. Trys keturiose - Liaj, sese, liaj, pana . . . . . . . . . . . . . . . . . . . . . . . .01:59
20. Trys keturiose - Dobilio, dobilėli, kas laukeliu joja. . . . . . . . . . . . . . .02:26
21. Griežikai - Girsteikiškių katė. . . . . . . . . . . . . . . . . . .01:07
22. A. Kirda - Gegutė sode, sode kukavo. . . . . . . . . . . . . . . . . . . . . . . .01:40
23. Trys keturiose - Kā tu, bitela . . . . . . . . . . . . . . . . . . . . . . . . . .03:36
24. A. Kirda - Dobilėli, kur tu augai? . . . . . . . . . . . . . . . . . . . . . . . .01:37
25. Griežikai - Devenių untytė . . . . . . . . . . . . . . . . . . . . . . .02:27
26. Jievaras - Šakinėja žvirblalis pā pievų. . . . . . . . . . . .01:59
27. Jievaras - Išsivedžiau oželį, taitėla. . . . . . . . . . . . .03:25
28. Griežikai - Katė arba toli katė. . . . . . . . . . . . . . . . . . . . .01:26
29. Trys keturiose - Du dobilėliu, trys ratilėliu . . . . . . . . . . . . . . . .02:53
30. Griežikai - Penkiese . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .01:15
31. Trys keturiose - Saulala sādina, lylia . . . . . . . . . . . . . . . . . . . . . .04:19
32. A. Kirda - Šilo gegutėl kukavo. . . . . . . . . . . . . . . . . . . . . . . .01:44

CD Two

TRACKLIST

1. Griežikai - Ridikas . . . . . . . . . . . . . . . . .01:29
2. Griežikai - Ei, rūta rūtela . . . . . . . .02:38
3. Trys keturiose - Bėk, bare, bėki . . . . . . . .01:18
4. Dijūta - Titity tatatoj . . . . . . . . . . . . . . .00:51
5. Jievaras - Rasa krito, lylio . . . . . . . . . . . . . . .04:23
6. Trys keturiose - Trep trepo, lelijo. . . . . . . . . . . .03:18
7. Griežikai - Svyruoklė. . . . . . . . . . . . . .02:31
8. Griežikai - Našloita rūta . . . . . . . . .01:44
9. Trys keturiose - Sauliułė tekējo. . . . . .02:08
10. Griežikai - Lioj bajoroita. . . . . . . . . . . . . .01:59
11. Jievaras - Trinku trinku tilteliai . . . . . . . . . . . .02:00
12. Griežikai - Kupolė rožė. . . . . . . .03:02
13. Griežikai - Toli katė. . . . . . . . . . . . . .02:20
14. Trys keturiose - Kena ti gaideliai . . . . . . . . . . . .01:57
15. Griežikai - Ailiom susėdom . . . . . . . . . . .01:48
16. Jievaras - Krapas dobiłėlį pamynė. . .03:41
17. Griežikai - Šalnių intakas. . . . . . . . .01:38
18. Trys keturiose - Siaudžia liepa . . . . . . . . . . .02:42
19. Griežikai - Gegutyta sodi . . . . . . . . . . . . . .01:26
20. Trys keturiose - Bic, bitela . . . . . . . . . . . . . . .01:29
21. Jievaras - Nuslaide saulala. . . . . . . . . . . . . . . .03:27
22. Griežikai - Maršas . . . . . . . . . . . . . . .02:15
23. Jievaras - Untinas untałį. . . . . . . . . . . .01:47
24. Visi - Buva dėdė Vilniuj . . . . . . . . . . . .01:03
25. Visi - Ryto rasa krito . . . . . . . . . . . . . . . . . .01:16
26. Visi - Karvelali, gulylia. . . . . . . . . . . . . . . . .00:49
27. Visi - Zur zur melnyčia . . . . . . . . . . . . . . .00:56
28. Visi - Ėjo sesė undėnėlio. . . . . . .00:47
29. Visi - Tėvai, rugiai byr' . . . . . . . . . . . . . .01:13
30. Dijūta - Svočiula pumpura. . . . . . . . . . . .01:27
31. Visi - Turi svočia žųsį. . . . . . . .01:00
32. Visi - Aik, āželi, undenia . . . . . . . . . . .01:10
33. Visi - Ten, už marių mėlynųjų . .01:53

SPOILER (ABOUT)

THE ARCHAIC LITHUANIAN POLYPHONIC CHANT Sutartinė

DAIVA RAČIŪNIENĖ-VYČINIENĖ

Daiva Račiūnaitė-Vyčinienė is head of the Ethnomusicology department at the Lithuanian Academy of Music and Theater. She has written extensively on the sutartinė, produced several CDs of Lithuanian folk music, founded a group of sutartinė singers and is the organizer of the International Folklore Festival in Vilnius.

In many countries, the Lithuanian sutartinė has become Lithuania’s "calling card" – these polyphonic chants are constantly presented to a wider audience abroad by folk music ensembles and papers read at international scholarly conferences. Nevertheless, the sutartinė is relatively unknown in the world: to many foreign listeners, they are exotica of unknown provenance that arose in a small corner of Europe – Lithuania. True, in the middle of the twentieth century, the tradition of collective chanting of the sutartinė died out from Lithuanian villages, so it doesn’t seem any less exotic to a portion of Lithuania’s inhabitants. Incidentally, this portion of inhabitants isn’t made up of younger people ignorant of tradition, but for the most part middle-aged people whose musical tastes were formed in a particular cultural context. Urban youth feel a certain intimacy with the sutartinė. For a number of contemporary people, the sutartinė has become a peculiar form of meditation; for others, it is a means of self-expression as well.

Thus, the traditional chanting of the sutartinė, now completely extinct in villages, is slowly taking root in urban folk music ensembles. The archaic Lithuanian polyphonic music style, or the socalled sutartinė, was once prevalent throughout a small area of Lithuania, the territory of northeastern Aukštaitija. The most characteristic traits of this style, uniting singing as well as instrumental musical traditions, are an abundant, frequently dominating, consonance of seconds and a complementary rhythmical structure. In spite of the originality of Lithuanian polyphonic music, some common features can also be found in the archaic polyphonic traditions of both proximate regions (the Setas region of Estonia; the Kursk, Belgorod, and Vornezh regions of Russia; Serbia; the Shopa region of Bulgaria; Albania; Aromania; Macedonia and others) and distant regions (the Pygmies in the Central African Republic; Papua New Guinea, the Solomon Islands in the South Pacific, the Flores Island of Indonesia, Taiwan and many others).1

It was said of the performance of the sutartinė: "Saugimas... baisus gražumas, bet reikalau tam didelios taikos, idant sukriai ir gražiai sumušti." 2 (The singing of the sutartinė is of great beauty, but it requires a great peace and concurrence, particularly to blend [the voices] beautifully and ingeniously.) This well-aimed remark, written by the historian Mykolas Miežinis around the year 1849, 3 testifies that the beauty of the ancient sutarinė’s sound was always dependent upon concord. Without it, neither the harmony of peoples, nor of man and his world, nor of the universe is possible. This is implicit in the name sutartinė (in dialects, sutarytė, sutartis, sutarinė, sutarytinė), derived from the verb sutarti, susitarti (to live together, to agree) or the noun sutartis (an agreement). Sutarti doesn’t just mean to agree about something or to be at peace, but also to be fitting or to match and be in harmony. So the sutartinė is a harmonious sound, or, in other words, an expression of universal harmony. Many old singers’ statements about striving for a harmonious sound while singing or blowing the panpipes or wooden horns have survived.

Perhaps because of this aim to harmonize, to agree, the sutartinė was not sung in large groups, as were many other traditional Lithuanian songs, but in smaller groups – most frequently of two, three, or four women. Despite the differing number of singers and the various styles of execution, there are almost always only two voices in the sutartinė. For this reason, the most simple and concise way of characterizing the essence of sutartinė music is to describe it as the playing of two different melodic parts at the same time. Most frequently, one musical part is vocalized in one register (that is to say, in one key or mode), and the other in another (for example, G-B and F-A-©; D-E-F and C-D-E; etc.). As they intertwine, the melodies comprise the characteristic polytonal sound of the sutartinė; sometimes harsh (intervals of a second form between the different voice parts); sometimes playful and pulsating; less frequently, lyrical.

read more (http://www.lituanus.org/2006/06_2_03%20Vyciniene.htm

SPOILER (CD 1)

SPOILER (CD 2)