'Songs and Dances with the Brass Band from Lapusnicu Mare — Banat'
(ETHCD017)
Musicians: ILIE CHERA „IUCU" - fligorn sopran/soprano flugelhorn Dionisie Mihailescu - fligorn sopran/soprano flugelhorn Dumitru Romanu - clarinet in si bemol/ B-flat clarinet Coluta Gosa - trompeta/trumpet Nicolae Bihoi - trompeta/trumpet Ion Dragoi - trompeta/trumpet Puiu Frent - trompeta/trumpet Danut Romanu - althorn Ion Gherman - althorn Iosif Ciocloda - trombon cu pistoane/valve trombone Fanica Papistan - fligorn bas/bass flugelhorn Ilie Mihailescu - eufoniu/euphonium Florin Voda - eufoniu/euphonium Petru Iovanel - tromba/cornet He Gosa - helicon Ion Vrabete - helicon bas/bass helicon Petrica Bihoi - doba (toba mare, tambur militar, cinel/bass drum, side drum, cymbal)
Brass Band leader - Ilie Chera, assisted by his Grandson Ilie Mihailescu
Label - Ethnophonie, Romania
Released 2008
With 20 page booklet in Romanian and English, including
photos and information on the music and musicians.
From record label: Doine, cântece si jocuri cu Fanfara din Lapusnicu Mare — Banat / Songs and Dances with the Brass Band from Lapusnicu Mare — Banat
This CD attests the music of our Banatian grandfathers and great-grandfathers, but also the music of a more distant Romanian past which is slowly sinking into darkness. Its protagonist is
Ilie Chera “Iucu” who at 78, when the recordings were made, was in pretty good shape and boasted unrivaled tone, instrumentalist’s technique and phrasing. Like the other survivors of his generation, old
Iucu is happy to know that his music means something in this world, and that his lifetime efforts have borne fruit when he least expected it.
Extract from sleeve notes: The Banatian brass band from Lapusnicu Mare
The story of this rural band is impressive. It was set up in 1911, according to
its birth certificate-a sumptuous standard, often reconditioned and piously
preserved at the local culture club (itself an imposing building built in 1934 by
common contribution of all the inhabitants, and boasting a touching history).
The band was a symbol of community solidarity and at the same time of national aspirations, which were then still burning and unfulfilled. It would
perform at various meetings of the Romanians, but also at the Sunday dance
in front of the church, weddings and other major feasts, funerals, and religious
processions. As a result, its repertoire had, just like today, two branches:
the former included marches, hymns, "national arias" and popular suites composed or arranged by various army band conductors; the latter was made
up of songs, doina (slow lyrical songs), dance tunes, processional marches and
funeral pieces. Its instrumentalists were the village's cream of the crop who,
after tilling the land or tending the animals, in the evening used to gather at
the culture club for rehearsals that would invariably end in parties and dancing.