Any Woman’s Blues #27 – Natalia Zukerman

It’s Monday, & the final day 2012. What better way to celebrate than with this month’s edition of Any Woman’s Blues?

The featured artist for December is Natalia Zukerman, an exciting up & coming performer who is comfortable in any number of genres, & blends them all in her strong songwriting. But blues—& slide guitar, which is always near to my heart—is a sound & form that underlies much of her work, as you will hear in evidence in the two video selections.

Natalia Zukerman comes from Manhattan, & she was raised in a musical family: both her parents are virtuoso performers (her father is violinist/conductor Pinchas Zukerman & her mother is flutist Eugenia Zukerman), while her sister Arianna is an opera singer.  Given her background, it’s not at all surprising that Zukerman draws from a number of genres & styles when she composes, utilizing not only blues, but also rock, bluegrass, jazz & classical.

She is a talented singer & songwriter, but make no mistake: her guitar chops are also impressive. The New Yorker proclaimed, “Natalia’s voice could send an orchid into bloom while her guitar playing can open a beer bottle with its teeth.” Her playing is indeed gritty when need be, but she is able to wield a full dynamic palette in her fingerstyle playing.

To date, Natalia Zukerman has released five cds, beginning with her 2001 debut, Mortal Child on Talisman. She followed that up in 2003 with On a Clear Day & Only One in 2006, both on Talisman, then moved to Weasel Records for her 2008 release, Brand New Frame (title track is the second video below) & the 2011 Gas Station Roses (first video is the title track.)

Natalia Zukerman also plays lap steel guitar & electric guitar as well as her acoustic Guild. She’s definitely a significant talent & someone to watch for—in fact, she’s starting to announce dates for her 2013 tour, so check her out if she passes through your town—I certainly will!

In the meantime, enjoy some great songwriting, singing, & guitar playing on these two videos.








Photo of Natalia Zukerman links to its source

“José Embala O Menino”

A happy Sunday, friends. December is winding down to its close.

But I hold by the 12 days of Christmas, which means the season is far from over. So once again, we have the remarkable singer Montserrat Figueras, this month’s featured artist, with a seasonal lullaby, the Portuguese “José Embala O Menino.” It really is a remarkable song—as I understand the lyric, Joseph cradles the baby Jesus while Mary does washing at Bethlehem’s fountain. As she washes, she sings, & as she sings, she weeps—anyone familiar with the overall mythos will recognize she is weeping already for the Christ’s Passion. Montserrat Figueras delivers the song against a very spare backing with an unerring melodic, emotive & lyrical reading. This is a superlative performance, taken from her 2003 Alia Vox release, Ninna Nanna, ca. 1500-2002.

Montserrat Figueras passe3d away in November 2011, at the far too young age of 69. Still, her music lives in its vibrancy & vitality through her recordings, & her legacy in early music is also carried on by her husband, Jordi Savall, her daughter Arianna Savall & son Ferren Savall, as well as by the other members of various early music ensembles she helped to form, including Hespèrion XXI. You can learn more about this talented musician at the Alia Vox website.

Next Sunday we will wrap up the Christmas themed music, though this is the last post in the Montserrat Figueras series. Hope you have a wonderful Sunday.





Image links to its source:
“Christ’s Nativity” from the Niederwildungen Altarpiece (1403): 
Conrad von Soest
Wiki Commons – public domain

"ballade pour l’orchestre"

ballade pour l’orchestre

a flute afloat where buffleheads glide green
and aubergine in F major and it’s already March;
observe, the oboe emerges, this Bb hummed
in some tongue that concedes blue and green are the same
and why does dogwood spring maroon from the clarinet’s bell
under April’s Alice blue clouds and flurries of swans?
while May’s full bassoon and moon modulate up a tone
singing the burden of Time’s impossible color

though June comes soonest, the cello drowsy where willow weeps
and blackbirds do not snooze through dawn’s puce verge
but violas drift on a Sunday drive through
cherry blossom Sunday perfect skies crooning A 440
for the violins to echo come July, oriole brilliant
counterpoint to croquet mallets’ crack, but
the double bass snores terra rosa under August’s umbrella
singing the burden of Time’s impossible color

see here: two French horns in blackberry bramble tangle
where September’s brass beds and wind-up clocks arabesque
though trumpets in any key flash folly red as the last rose
nods her head and another moon’s left hanging,
a whole note sounding throughout October as geese veer past 
and pay no mind to the timpani among November’s
dotted quarter notes and crows on so many fence posts
singing the burden of Time’s impossible color

in winter, theorbos and bangles and raindrops
and Davy’s gray sky and harmoniums in the fog:
ancient music and vox humana harmonic minor
singing the burden of Time’s impossible color


A.K. Barkley
© 2012

 

Image links to its source
"Stilleben mit Musikinstrumenten und Früchten" (Still Life with Musical Instruments and Fruit") - Cristoforo Munari (1667–1720)
Wiki Commons - public domain

“Boquet Mazurka”

Welcome once again to Banjo Friday, final edition of 2012!

Today we wrap up our series with December’s featured artist Rob MacKillop, as he performs another Frank Converse tune, this one dating from 1886 & played on a gut-strung Luke Mercier banjo.  MacKillop’s playing is always first-rate both in terms of technique & feeling, so I’d encourage you to check out more of his music—he also performs on classical guitar, lute (in its various manifestations) & ukulele. MacKillop has also authored several books of arrangements for both banjo & ukulele, & those look really interesting. Please see Rob MacKillop’s website for details on his recordings, performances & books.

Have a happy Friday, friends! Hope this lovely & playful banjo tune adds to your day.



Image links to its source at robmackillop.net

Photo of the Week 12/26/12

Elk Statue with Wreath

SW Main St, Portland, Oregon

12/18/12

"El Cant de la Sibil·la"

A happy Sunday, friends. Christmas is drawing near, & today’s Early Music Sunday post celebrates that fact.

All month we’ve been enjoying the remarkable voice of Montserrat Figueras, & today we have a ten minute extract from one of her most splendid pieces, “El Cant de la Sibil-la.”  According to the Wikipedia entry:

The Song of the Sibyl (Catalan: El Cant de la Sibil·la is a liturgical drama and a Gregorian chant, the lyrics of which compose a prophecy describing the Apocalypse, which has been performed at some churches of Majorca (Balearic Islands, Spain) and Alghero (Sardinia, Italy), and some Catalan churches, in Catalan language on Christmas Eve nearly uninterrruptedly since medieval times. It was declared a Masterpieces of the Oral and Intangible Heritage of Humanity by UNESCO on November 16, 2010.

The original form of the Sybil’s prophecy was a Greek acrostic poem written by the Arian bishop Eusebius of Caesarea, & later incorporated by St Augstine in his The City of God. The song itself dates around the 10th or 11th century in a Latin form named “Judicii Signum” (“Sign of Judgment”), & then was translated into both Provencal & Catalan by the 13th century.  Montserrat also performed “Judicii Signum,” & you can listen to that here.

Wishing all of you who observe the holiday a joyous Christmas.





Image of the the Virgin of Guadalupe links to its source on Wiki Commons; it is in the public domain. The Virgin of Guadalupe is associated with the woman mentioned in the Book of Revelation, 11:19—12:1-18

“The Dream”

Welcome to the all-time latest edition of Banjo Friday ever—"latest" in every sense of the word. Really, I’m a bit sheepish to post this when Friday is almost become Saturday back east. But it will remain the top post on the blog all day tomorrow. I’m also confident we won’t encounter another snafu with this piece as we did with Thursday’s ill-fated Guitarists We Like post; that video, featuring John Fahey’s singular version of “It Came Upon the Midnight Clear,” was blocked by UMG & wouldn’t play on the blog, despite the fact it had played on YouTube itself the evening before.

This evening—or tomorrow, or whenever you come across this—we have more classic banjo with this month’s featured artist, Rob MacKillop, & another piece from late 19th century banjoist & composer Frank Converse, whose works are a staple among classic banjo enthusiasts. It really is a lovely, delicate piece, played with great sensitivity by MacKillop on a  Thomson and Odell banjo from Boston, dating to around 1890. MacKillop is using Aquila Nylagut strings, a brand with a good reputation not only with nylon string banjo players, but with uke players as well.

Enjoy!







Image of Mr MacKillop links to its source at banjocrazy.com

Photo of the Week 12/19/12

Banana Christmas Tree

N. Mason Street, Portland, Oregon

Tuesday 12/18/12

“reflections”

reflections


the mirror is a two sided coin
showing me, as i dress
(up, like the girl i'm not)

but this parody
of someone else's woman
isn't all i don't want to see

behind my lipstick
up-do, pearls
lurk worse things
than prostitution

the shadow watching over my shoulder
spares sardonic sartorial remarks.
it knows where i sleep,
where my children sleep

and i, i am half grateful
for my knowledge
for the dirt beneath my nails
my impatience
and the inelegant wobble
of my heels

half wishing it all away
so what i see in darkness
i could call a nightmare
so i could pin diamonds
without seeing blood 

Mairi Graham-Shaw
© 2012

Image links to its source
Porträt von Wally (1912): Egon Schiele – Wiki Commons – public domain

"Berceuse de Noël"

A happy Sunday, friends.

We have another beautiful song today, sung by the incomparable soprano, Montserrat Figueras.  “Berceuse de Noël” comes from her 2002 Alia Vox album, Ninna Nanna: Lullabies (1500-2002), which also features the accompaniment of her husband, violist Jordi Savall (though not on this track) & her daughter, harpist Arianna Savall, as well as other members of the early music consort, Hespèrion XXI.  The song was written by Estonian composer Arvo Pärt, & it is truly beautiful. The lyrics are Russian, but I haven’t been able to find a translation—no matter: Montserrat’s voice & the music itself imbue them with meaning.

The musicians on “Berceuse de Noël” are listed as follows: Begoña Olavide (Psaltery), Dmitri Psonis (Santur), Arianna Savall (Triple Harp), Sophie Watillon (Viola da gamba), Sergi Casademunt (Viola da gamba), Montserrat Figueras (Soprano).

I know you will enjoy this beautiful piece.




Image links to its source:
“Geburt Christi” (Birth of Jesus) by Geertgen tot Sint Jans, c. 1490
Wiki Commons – public domain

“Gumbo Reel and The Pequot Galop”

Welcome, friends, to Banjo Friday! We sure do have a couple of pretty banjo tunes for you today.

If you’re a regular here, you know that this month’s featured artist is Rob MacKillop, a Scottish banjoist who excels in the classic banjo style (when he’s not excelling on various lutes, the classical guitar, the uke or the 4-string varieties of banjos!) & if you’re a regular you also know that the so-called classic style has its origins in the 19th century, & has two defining characteristics: it is typically played on a gut strung (or nylon/synthetic gut-strung) instrument, & it is played by plucking the strings in the same way as a fingerstyle guitarist, with bare fleshy side of the fingers & thumb. In this, it contrasts quite sharply with the two most prevalent styles in contemporary banjo playing—the so-called 3-finger Scruggs or bluegrass style, which also features “up plucks,” but builds melodies on syncopated patterns & is always played with fingerpicks & thumbpicks & on a banjo fitted with steel strings & a resonator; & the frailing or clawhammer style, which covers a host of techniques, but typically involves striking down on the strings with the fingernail of either the index or middle finger, which then alternates in various patterns & configurations with the thumb. The Scruggs style emphasizes the banjo’s brightness & volume; frailing emphasizes its percussiveness.

But the classic banjo style is a whole different thing altogether, & really makes for fun listening! I’ve always found it most natural to “fingerpick” the banjo myself, coming as I do from playing fingerstyle guitar, though I admit I’ve yet to actually put nylon strings on mine. Some day.

The “Gumbo Reel” & “The Pequod Galop” both come from Frank Converse’s 1865 New & Complete Method for the banjo, & features just the sort of pieces folks love to play in the classic style. As is his wont, MacKillop presents delightful versions for our listening pleasure.

Enjoy!



 
Image links to its source at classicbanjorm.com

“Carmine Street”

Happy Thursday! Sorry to have missed Photo of the Week yesterday, but I’ve been going through a busy patch of late—all good things though.

A short post today with some fantastic guitar music by a contemporary player whose compositions & playing are both fascinating—Kaki King. You can learn more about Kaki King on her website or from the ever-present Wikipedia, & if you're not already familiar with her, I certainly hope this sparks your interest in her music.

“Carmine Street,” which makes extensive use of the “tapping” technique (as do a number of other King compositions), comes from her 2003 debut album on the Velour label, Everybody Loves You. In a review of the album on Allmusic, Thom Jurek writes:

Simply put, Kaki King possesses the most original voice on the acoustic guitar in a generation….Everybody Loves You is the most auspicious, tender, and tough instrumental debut by any guitarist in a decade at least. It is singular in approach and peerless in execution; and in its poetic, raggedly graceful manner, it is simply a treasure of individuality and idiosyncratic virtuosity, visceral truth, and verve.

Since this debut, King has released eight more acclaimed albums, including the 2012 Glow, also on Velour. She just completed a tour (& I missed her Portland show, for which I feel endless chagrin), but if she comes by your town, don’t make the same mistake as me—do go hear her show! I won’t make the same mistake twice.

In the meantime, enjoy this lovely recording.




Image links to its source on Wiki Commons:
Kaki King at the Knitting factory, 2004: by Empress Ericka. 

This file is made available under the Creative Commons CC0 1.0 Universal Public Domain Dedication.  The person who associated a work with this deed has dedicated the work to the public domain by waiving all of his or her rights to the work worldwide under copyright law, including all related and neighboring rights, to the extent allowed by law. You can copy, modify, distribute and perform the work, even for commercial purposes, all without asking permission.

"Trust"

 
Trust

Never having learned to swim myself,
I stood, feet planted firmly in water not quite to my chest,
coaxing him to kick and flail his way to me,
I moved one step back with each attempt.
I had to fight to keep from reaching out to him,
to let him reach for me instead.
He trusted me.

Just as he trusted me when
we stepped into that strange little world called a Hobby Shop,
and the planes and ships and trains dazzled him,
not knowing what to make of it all.
“Why are they here? Are they for sale?”
I muttered something about Santa Claus and his toyshop.
For a moment he looked at me puzzled,
then said, “That’s not for real.”
“Well, it is, kind of,” I said,
and fumbled to explain,
without betraying what his father taught him.
But thankfully his eyes spotted a train traversing a tiny village.
and he dropped the subject.
He didn’t ask if he could have one.
He didn’t object when it was time to leave.
He trusted me then, too.

A week later, when the same train appeared under his tree,
I wondered, as his face lit up,
if it made him think about what was real and what was not,
He shouted, “That’s the one from the Hobby Shop!”
He didn’t mention Santa Claus,
He didn’t try to explain it,
anymore than he’d tried last summer to explain
how he walked on water.
He only knew I was there.
He trusted me. 


(Nick’s KK, Christmas 09)

Carmen Leone
© 2009-the present

Image links to its source on Wiki Commons:
"Photograph of Steve and Susan Ford (children of Gerald and Betty Ford) Playing with an Electric Train at the Ford Residence in Alexandria, Virginia" 

per Wiki Commons:
This work is in the public domain in the United States because it is a work prepared by an officer or employee of the United States Government as part of that person’s official duties under the terms of Title 17, Chapter 1, Section 105 of the US Code. See Copyright. 

“O Lux”

A happy Sunday, friends. We’re here again with some beautiful early music from this month’s featured artist, Montserrat Figueras.

“O Lux-Prosa: Flavit Auster” (“Flavit Auster” is Latin for “the south wind blew”) is taken from the early 14th century manuscript, the Codex Las Huelgas, which comes from the Cistercian convent of Santa María la Real de Las Huelgas in Burgos, Spain.  According to the Wikipedia article:

The manuscript was intended for use in performance, and raises questions regarding performance practice of the pieces it contains, especially the polyphonic repertory. The monastery had a choir of 100 women at one point in the 13th century, and it is believed that this choir of women performed the polyphonic works in the manuscript, despite the Cistercian rules against the performance of polyphonic music.

“Flavit Auster” is a responsory related to Mary Magdalen, & as such is a bit of a departure from Advent/Christmas music, but Montserrat Figueras’ part against the background of the supporting choir members is haunting & beautiful, & it seems an interesting piece to include. The recording comes from Figueras’ 2006 Alia Vox release, Lux Feminae 900-1600—highly recommended, as is all of her music.

Truly sublime.



Image of the convent of Santa María la Real de Las Huelgas links to its source on Wiki Commons. The image is by Lourdes Cardenal, who makes it available under the Creative Commons Attribution-Share Alike 3.0 Unported license.

“Sunflower Slow Drag”

A happy Friday, friends! & a Banjo Friday at that.

A new month is upon us, & so we have a new featured artist. After a fun month with the innovative Danny Barnes in November, we’re going back to the “classic banjo” sound with master Scottish banjoist (& lutenist, guitarist & uke player) Rob MacKillop (& see also this link.) MacKillop has appeared in previous posts here, & I’m a big admirer of his work in genres ranging from early music on the theorbo to Scott Joplin on the banjo!

Obviously, Scott Joplin needs no introduction—he’s one of the truly great American composers, a man who really brought the ragtime form to its true artistic heights. Of course, Joplin’s compositions were written for piano, the banjo is also a great vehicle for expressing his pieces—in skilled hands, the banjo can produce the delicacy of the compositions, while also lending its characteristically “American” sound. The “Sunflower Slow Drag” was co-written by Joplin & Scott Hayden & was copyrighted in 1901. It is a ragtime two-step.

As is typical of “classic banjo” playing, MacKillop is using a gut-strung instrument. His playing is precise, but at the same time is always marked by the sort of verve & panache that’s necessary to truly animate the tune.

I know you’ll enjoy this one!



Image links to its source on Wiki Commons – public domain

"Blues for Herb"

Happy Thursday, friend. We’re here again with another amazing guitar player (& a short post) for your Thursday listening pleasure.

I wish more people knew about Emily Remler, who was an amazing jazz guitar player; that feels important, & I’ll try to do what little I can through this blog to help that along. I knew Emily, though only slightly, as an acquaintance, but I had some insight into her very sad & very untimely end. Emily’s passing in 1990 was a great loss, & not just because of her musical ability. Her guitar playing, at the least, lives on at least in recordings—a small consolation, because she would no doubt have gone on to do beautiful things in jazz. & I would note & underline that the world of jazz guitar is, sadly, very male-dominated, but Emily didn’t have to take a backseat to anyone.

Hope you enjoy these swinging original composition, “Blues for Herb.” Great guitar work by such a talented player.



Image of Emily Remler is from Wikipedia. It’s by Wiki user Brianmcmillen, & is  licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license.

Photo of the Week 12/5/12

Public Art

N Michigan Ave, Portland, Oregon

Monday, 12/3/12

“Insatiable Appetite”

[Be sure to read some exciting news about Barbie Angell’s  book Roasting Questions right after her poem—& stick around for a special treat at the bottom of the post!]

Insatiable Appetite

I had a misunderstanding today
with relish on the side.
I washed it down with courage
but just could not decide…

Do I eat the fat-free plate of guilt?
Or leave room for a grudge?
I guess you probably didn’t know
that irony tastes like fudge.

I’ve swallowed my pride.
I’ve eaten my words,
complete with mounds of disdain.
Did you know that love and chaos
taste pretty much the same?

And if everything’s served with common sense
it's all a little bland.
But the bitter drops of hatred
are more than I can stand.

I’d like to bake a special cake,
filled with happiness.
Serve coffee-covered kisses
with an upside-down apple wish
 
I’d like to buy the world a laugh
and put it in their tea.
All the magic that surrounds us
is found in you and me.
 
Barbie Dockstader Angell
© 2009-2012
As I indicated in the lead-in, there’s exciting news about Barbie’s book of children’s poems Roasting Questions: the pre-sales goal has been met & the book is going to press! I am so happy about this news, because I’m a big believer in Barbie & I’m a big believer in the book. Roasting Questions is a lovely creative act from a lively & lovely imagination, & it will appeal "to kids from one to 92," just as the song goes. Speaking of which: if you have kids who like beautiful, fun drawings & delightful, funny poems, this is a great gift! Or if you or someone you know is like me & just likes children’s poetry & admires Barbie’s gift for writing (& illustrating) children's poems, then it’s also a wonderful gift. The link at the top of the right-hand sidebar will take you right to the Roasting Questions site where you can order a copy (or more!) today.

& now: a really special treat! Here’s Barbie herself:

The Texas Blues #7 – DeKalb Blues – Lead Belly

Monday is here, folks, & you know what that means (at least some of the time): The Monday Morning Blues here on Robert Frost’s Banjo!

We’re back to Texas this week for our continued series on blues artists who called that state home. & today’s featured artist is a true figure, not just in the blues, but in the general history of the folk revival from the 1930s through the 1950s, & indeed, in the larger history of mid century U.S. popular music. I’m talking about Lead Belly, Hudie Ledbetter. Although Lead Belly was born around Mooringsport, Louisiana in either 1888 or 1889, his family moved to Bowie County, Texas when he was five.

Lead Belly began performing while in his teens in the red light district of Shreveport, Louisiana. At first he accompanied himself with the accordion (& he did play the accordion on some of his later recordings), but he eventually moved on to his signature 12-string guitar, tuned down from standard tuning by a fourth (at least that’s the consensus on the tuning.)  He moved to Dallas, & performed with Blind Lemon Jefferson, especially on the streets in the Deep Ellum section of the city.

But, as the story goes, Lead Belly was in & out of jail, often stemming from fights caused or at least made worse by his notorious temper. In 1918 he was jailed for murder following one of these fights in the Sugar Land Penitentiary near Houston—but he was pardoned after a minimum seven-year sentence after appealing to Governor Pat Morris Neff in a song. Then in 1930, he was again in prison for murder following a knife fight, this time in Louisiana’s notorious Angola Prison Farm. This is where Alan & John Lomax first found him, recorded him, & eventually persuaded the governor to pardon him, again after Lead Belly had served the minimum sentence.

Lead Belly traveled with the Lomaxes & later became a celebrity in the New York folk scene. He performed with Pete Seeger, Woody Guthrie, Brownie MacGhee & Sonny Terry, & he was championed by novelist Richard Wright. He recorded for RCA, the Smithsonian& Moe Asch of Folkways during a relatively short but successful career. He was diangosed with amyotrophic lateral sclerosis, or Lou Gehrig's disease, while on tour in France in 1949 & died later that year.

As this brief bio will tell you—if you didn’t know already—Lead Belly was larger than life in many respects, & while the blues underpins his music, he certainly moved beyond the blues into other folk genres—for instance, he was particularly fond of cowboy songs (as was Muddy Waters!) & had some hopes of becoming a singing cowboy in films. His sound is very distinctive—between his powerful tenor voice & the drive & growl of his Stella 12-string, you simply can’t mistake a Lead Belly song!

Here’s “DeKalb Blues,” one of his most straightforward blues numbers, from one of the Lomax recording sessions at Angola Prison Farm. A powerful piece of music—enjoy!




Image of Leadbelly links to its source on Wiki Commons. Wiki Commons states that this photo is in the public domain because it was created between 1923 & 1963 & the original copyright was not renewed.

“La Mare De Déu”

A happy Sunday, friends, & the first Sunday of Advent at that.

I have a very special series planned for this December on Early Music Sunday: songs sung by the incomparable Catalan vocalist Montserrat Figueras, who passed away in November 2011 at age 69—far too young. For those of you who don’t know, Montserrat Figueras was married to Jordi Savall (who appeared in an earlier video, playing viola de gamba, along with their daughter, harpist Arianna Savall), & along with Savall founded the early music group Hespèrion XX (now Hespèrion XXI), as well as La Capella Reial de Catalunya and Le Concert des Nations. Montserrat Figueras also recorded extensively as a solo artist (though typically with backing by members of her other groups.)

Figueras’ singing is as nearly elemental as any I have heard. In the New Yorker in 2005, Alex Ross stated that her “voice falls somewhere between grand opera and rural folk singing, and combines the best aspects of both.” But Montserrat Figueras didn’t rely solely on the native power of her voice—she was also a learned student of early music.

Jordi Savall wrote recently on the anniversary of her passing:

L’âme de Montserrat continuera de nous inspirer toujours, dans toutes les musiques que nous réaliserons et ensemble avec tous ceux qui dans le monde se sont assouvis de son chant, nous continuerons, en travaillant avec ses chers idéaux de paix et d’harmonie, à maintenir son souvenir toujours vivant.

Montserrat’s soul will forever continue to inspire us in all our music-making, and together with all those everywhere who have been nourished by her song, we will continue to keep her memory alive as we are guided by the ideals of peace and harmony that she held so dear.

Both the original French & the English translation are from the Alia Vox site, where you can read the entire text of Savall’s statement, on a memorial page for Montserrat Figueras maintained by the Alia Vox recording label. The page plays selections from her extensive catalog.

Today’s selection is an anonymously composed Catalan lullaby titled “La Mare De Déu,” (the Mother of God) which seems a fitting selection for today. The recording comes from her 2003 Alia Vox release, Ninna Nanna: Lullabies (1500-2002).

This is amazing music by a truly extraordinary artist.  

<iframe width="560" height="315" src="https://www.youtube.com/embed/yOq0IHjnV4s" frameborder="0" allowfullscreen>



Image links to its source


(By the way, here’s a rough English translation of the Catalan by yours truly—only possible because I found a French translation! However, I can find no source to explain the "Garindo, garindeta" line; that's left intact from the Catalan in the French translation as well)

The Mother of God

The Mother of God
When she was young
Went to school
To learn to read
With her pillow
& her little basket

In the basket
She had four apples
A slice of bread
And also some hazelnuts
And she had walnuts
And many raisins

The angels were singing
"Garindo, garindeta !"
Later, when she retired
To her small bedroom
The angel entered
Through a little window

God save you, Mary,
You are full of grace,
On Christmas night,
You, a virgin, will give birth,
You will bear a son, beautiful as a star,
He will be your son,
The son of a virgin.

And the name they will give him.
And the name they will call him
Will be Savior
Of Heaven & Earth
He will be called Jesus
King of Heaven & Earth.