Laasn

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Laasn
Studio album by Titlá
Cover

Publication
(s)

2008

Label (s) ELCH music

Format (s)

CD

Genre (s)

Folk , new folk music

Title (number)

18th

running time

58 min 58 s

occupation
  • Guitar , vocals: Eduardo Rolandelli

production

Titlá, Erich Feichter (ELCH music)

chronology
stubborn and tamish
(2001) 		Laasn Rienznocht
(2010)

Laasn is the third studio album by the South Tyrolean folk band Titlá . It was released on ELCH music in 2008 , seven years after the last album was released .

background

After the release of their second album stur und tamisch (2001) the band took a longer break. It was not until 2006 that the musicians reunited. In 2008 they finally recorded Laasn within three days, the album was released in December. The title means “tracks” or “ ruts ” and signals the band's search for folk music . Toni Taschler explained that they would treat the music with more respect now, without ironizing it. The Slavic influence is new on this album. For the first time, drummer, double bass player and harmonica player Peter Paul Hofmann can be heard on an album.

Like the previous albums , Laasn was created with the support of the South Tyrolean provincial government .

Contents and special features

Among the 18 tracks on the album are five songs (including a traditional) and 13 instrumental pieces (including four traditionals).

Songs

Mai Herz isch a Ggimpl a klaando (“My heart is a bullfinch, a little one”) is a setting of the poem of the same name by Wolfgang Sebastian Baur from the poetry book Puschtra Mund Art , whereby the text has been greatly expanded. It is a love song in which the singer chases his heart one after the other with a small “Ggimpl” ( bullfinch ), a small “Zaisile” ( siskin ), a proud “Krumpa” ( crossbill ), a black “Omsl” ( blackbird ), one compares free "Schwolwe" ( swallow ) and a "Pfutschiggeinga" (a titmouse ). The last (ninth) stanza ends with the sentence: “Never shut up unt take a heart in a schtaige, wail sem lepp s nimma long” (never ever lock a heart in a bird cage, otherwise it won't live long). This song received particular critical acclaim.

Do Grotte ("The Cart") is the setting of a "Korrnrliad" by Luis Stefan Stecher . This collection of poems in the Vinschgau dialect tells of the Karrner (also Dörcher, Laninger, Jenische), a tribe of traveling traders who roamed Tyrol up to the 1970s and since Maria Theresa (but especially during the Nazi era) under persecution and Attempts at assimilation suffered. Another “Korrnrliad” on this album is A Duzant Kindo (“A Dozen Children”). The translation of the texts into the Pustertal dialect was carried out by Hermann Kühebacher.

In Huunschpiil ("In der Huhnspiel-Hütte") is the setting of a poem written in 1986 by the linguist Egon Kühebacher . It is about the "Chicken Game Hut" on the Helm ski area. It was named after the cockfights that originally took place there ; Kühebacher regrets the development of the area and the subsequent rush of ski tourists.

Dasse mai Liepschta bisch (“That you are my dearest”) is a traditional folk song from Schleswig-Holstein from around 1800, the original Low German title is “Dat du min Leevsten büst”. However, in the original it is addressed by a woman to her loved one. The text was first translated into the Pustertal dialect by Wolfgang Sebastian Baur and then reworked again by Titlá.

Instrumental pieces

The Lotlá-Polka (“Lasst-only-Polka”) by Toni Taschler contains parts of the melody of the Tyrolean folk song The most beautiful in the world . Other pieces by Taschler are Hiasl Bairischo (“Matthias Bayerischer”), Liesl-Landla (“Liesel -Länders ”), Paul-Jodla (“Paul-Jodler”) and Hermans Giburtstogs-Wolzale (“Herman's Birthday Waltz”).

Schnapsflaschl Boarischer ("Schnapps bottle Boarischer") by Klaus Karl is very well known in the folk music scene. The Umfohrungs-Polka ("Umfahrungs-Polka") traditionally comes from Stumm . The title is an allusion to the construction of the bypass road in Niederdorf . Schilch Nannile ("The cross-eyed Anna") comes from the area around Brixen and was originally called "Schilch Annele Mazurka".

Toblana-Eck is the only piece by Peter Paul Hofmann. The title is a combination of Toblach , Lana and Bruneck . The gravel polka comes from Mayrhofen and was mixed with rumba elements. The Puschtra Jodla ("Pustertaler Jodler") was sung for the first time in 1911 by the Bozen watchmaker Franz Pirker.

From the drone scene the pieces originate L'Inconnu de Limoise ( "The unknown of Limoise"; in the booklet falsely L'Innconnu  ...), a Belgian Mazurka of Maxou Heintzen, and Marguerite , a waltz by Philippe Prieur.

Track list

  1. Mai Herz isch a Ggimpl a klaando - 6:01 (Text: Wolfgang Sebastian Baur / Music: Toni Taschler)
  2. Lotlá-Polka - 2:36 (Toni Taschler)
  3. Schnappsflaschl Boarischer - 3:36 (Klaus Karl)
  4. Thu Grotto - 3:29 (Luis Stefan Stecher / Toni Taschler)
  5. Hiasl Bairischo - 3:09 (Toni Taschler)
  6. Umfohrungs-Polka - 2:27 (Traditional)
  7. Schilch Nannile - 2:58 (Traditional)
  8. Toblana-Eck - 2:16 (Peter Paul Hofmann)
  9. A Duzant Kindo - 4:32 (Luis Stefan Stecher / Toni Taschler)
  10. Liesl-Landla - 4:00 (Toni Taschler)
  11. Paul-Jodla - 1:50 (Toni Taschler)
  12. L'Inconnu de Limoise - 2:29 (Maxou Heintzen)
  13. Gravel Polka - 2:18 (Traditional)
  14. In Huunschpiil - 4:35 (Egon Kühebacher / Hermann Kühebacher, Edi Rolandelli)
  15. Puschtra Jodla - 3:06 (Traditional)
  16. Marguerite - 1:48 (Philippe Prieur)
  17. Hermans Giburtstogs-Wolzale - 3:00 (Toni Taschler)
  18. Dasse mai Liepschta bisch - 4:40 (Traditional)

reception

Like the previous albums, the album received good reviews.

Georg Mair wrote in the weekly magazine ff that Laasn was “quaint and refined at the same time and closer to tradition than the earlier albums, with very little enamel, the Irish and Yiddish influence decently present. A melting pot in Tyrolean. ”The music is“ honest and warm, with a dash of melancholy ”. To Mai Herz isch a Ggimpl a klaando , he said that a song couldn't explain more beautifully what makes a human life.

Also in the ff Philipp Elisabeth wrote that Titlá made music “boldly, but with a deep feeling and respect for the inner context.” The CD has a melancholy character, but this melancholy never comes across as weepy, but rather touches “unobtrusive and poetic”. The instrumental alpine pieces formed a lively, funny counterpart to the lyrical vocal pieces. It is impressive how Titlá understands it, "to open traditional ways tied to a certain culture to the present ear".

Christian Zastrow from the web magazine FolkWorld found “[many] beautiful melodies and critical lyrics - far from the superficiality of folk music on television” in the album. The thirds “don't seem trivial, but rather melancholy”. It is about “Alpine music of the fine kind - sometimes thoughtful and always pleasant to hear”.

literature

  • Wolfgang Sebastian Baur: Puschtra Mund Art . FOLIO Verlag, Bozen 2003, ISBN 3-85256-252-X .
  • Luis Stefan Stecher: Corrnrliadr . Poems in Vintschger dialect. FOLIO Verlag, Bozen 2001, ISBN 978-3-85256-502-6 (self-published first edition 1978).

Web links

Individual evidence

  1. ↑ a b c Georg Mair: A Schwolve a fraia . In: ff - South Tyrolean weekly magazine . January 1, 2009, p. 44–45 ( online article [accessed August 23, 2012]).
  2. ↑ a b c Philipp Elisabeth: Titlá - Laasn . In: ff - South Tyrolean weekly magazine . January 1, 2009, p. 48 ( online article [accessed 23 August 2012]).
  3. ↑ Toni S. Pescosta: From the handling of the state with the Tyrolean Karrner
  4. ^ Karl Horak: Zillertaler Musikanten
  5. ^ Karl Horak: Instrumental folk music from Tyrol
  6. ^ Manfred Schneider : Yodelers from Tyrol
  7. ↑ FolkWorld CD reviews. In: FolkWorld. July 2009, accessed March 15, 2015 .