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Velut Luna

MILA, MILA DODEKA - Ensemble Terra D’Otranto

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Il Tarantismo è Altrove

1. LamentoTradizione popolare / Arr. D.Longo 1:41

2. Klafsete, Mane (Piangete,Madri) Anononimo, Grecìa Salentina * 0:38

3. S’è ver la tua partita G. Melcarne “Il Montesardo”, dall’op. XI, Napoli 1612 2:44

4. Zoì (Vita) Tradizione popolare / Arr. L. Tarantino-R.Conte 2:11

5. Aria sopra il Fedele Tradizione popolare / Improvvisazioni 2:13

6. Santu Paulu Tradizionale del Salento 0:55

7.Variazioni per tamburello Tradizionale del Salento 1:09

8. Pizzica “de core”(“di cuore”, di corteggiamento) Tradizionale del Salento 3:47

9. La Vergine Maria Tradizionale del Salento 4:07

10. Battaglia di Tarantelle Improvvisazioni su opere di F.Pico e anon. sec. XVII e XVIII 6:40

11. Nia nia nia- Tradizionale della Grecìa Salentina 2:21

12. Rodrigo Martines Anonimo Spagna sec. XVI 2:09 ”Sulle Pene d’Amore”

13. Improvvisazionisu un basso di N. Matteis (sec. XVII ) 1:42

14. Tarantella G. Greco, Napoli sec. XVII 2:01

15. Pizzica Tradizionale del Salento 1:52

16. Passacaglia Tradizione popolare / Improvvisazioni 0:56

17. Antidotum Tarantula e Anonimo sec.XVI, Tradizione popolare / Improvvisazioni 2:36

18. Tarantella tonum phrygiumAnonimo sec.XVI, Tradizione popolare 3:21

19. Mila,Mila Dodeka(Mele,Mele Dodici) (“moroloja”, nenia funebre), Tradizionale del Salento 1:24

20. ‘Ntartieni, Biumbò Tradizione popolare / Arr. L.Tarantino, D.Longo, A.C.Villani, M.Durante 5:44

Tempo totale 50:31

* Prime quattro strofe tratte da un’elegia in terza rima, di circa 200 versi, composta nel 1556 in morte di una fanciulla di nome Katerini (Caterina).


Doriano Longo direzione; violino R.Duke, Londra 1756 viola da braccio Anon. scuola tedesca, fine sec. XVIII

Anna Cinzia Villani voce solista, tamburello (trac. 15)

Nadia Esposito voce recitante, voce, castanuelas (trac. 10)

Rosario Conte chitarra spagnola P.Busato, Padova 1998 copia scuola franco-belga, seconda metà sec. XVII) tiorba (trac. 3, 11, 12): Lourdes Maria Uncilla, El Escorial, Spagna, 2001

Luca Tarantino chitarra spagnola L. Lovadina, Aralde (TV) 1987, modello “Giustiniani” 1681 di A.Stradivari chitarra battente G.De Iaco, Dorfgasse, Svizzera, 1998

Pierluigi Ostuni tiorba Lourdes Maria Uncilla, El Escorial, Spagna, 2001

Mauro Durante tamburi a cornice (trac. 10, 20); castanuelas (trac. 12)

Roberto Chiga tamburi a cornice (trac. 7, 11, 12)

Pippo Ark” d’Ambrosio perccussioni


Franco Corlianò, voce recitante (Klafsete, Mane)

Gianni de Gennaro, viella (La Vergine Maria)

Nicola Nesta, ud (La Vergine Maria e ‘Ntartieni)

Michele Visaggi, cembalo (Sulle Pene d’Amore)


24 bit 96 kHz original recording at Masseria Torcito – Cannole (Lecce) 2, 3 ottobre 2003

Production: Velut luna

sound engineer Marco Lincetto

recording director Gianni de Gennaro

editing e mastering Matteo Costa

layout L'image

Pr Francesco Pesavento

Special thanks to:

Abele / Antonio Cassano direttore museo provinciale di Lecce

Sandro Mele, autore dell’opera in copertina

Franco Corlianò e Maria Roca Montinaro depositari della lingua grika

Fernando de Lumè presidente cooperativa sociale “La Sorgente” di Masseria Torcito

“Mila, Mila Dòdeka …” Mele, Mele Dodici…” LIt is a symbol of life and death. It is linked to the cult of Persephone, daughter of Demeter, goddess of fertility, kidnapped in the flower of youth by Hades the god of the underworld. For eating a seed of melagra-na, Persephone will not be able to return to the world of the living, except for part of the year. Dividing between light and darkness, will give rise to the continuous cycle of the seasons. A Hellenic religiosity whose myths and rites still live in the Land of Otranto of the seventeenth century, as shown by the stories collected here. Songs that speak in griko, the language of a migrant people, with sounds full of the pain of farewell and anxieties for the journey. Language survives in Salento, land of passage, along with other myths and rites that here are collected according to a succession of moments of life and death. Life and Death go together, in a continuum between what one takes away and offers to the other. So we go from mourning to lullaby, from unbridled dance to lamenting for the bite of the tarantula. In the same way a dirge for the departure of a child turns into a nursery for the unborn, swinging on the knees by the bium-bò of grandparents and accompanied by the reassuring voice of mothers. In the shelter of a fortified farm, with a small chapel on the edge of a sheep track that reverberates like a cathedral, what has come out of scattered plots and insights of the moment has been collected. According to the Baroque practice, and the popular tradition, in fact, each performance has a story to itself; the notes, when there are, are above all signs, directions. For the rest, there is the moment, in this case that of the recording, where, unlike the concert, one turns mainly to oneself. In this context, of recollection and continuous discovery, after four centuries, passages and texts by known and unknown authors of Terra d'Otranto and the cultures still present in Terra d'Otranto in the seventeenth century have been brought back to life:their legacy is like the twelve apples that the mother delivers to her dead son as viaticum. What we hope is to know how to keep it for those who will come ... Ti tuso kosmo presta trapassei"... Because this world soon passes!

Abele e Doriano Longo

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