Musicians:
Victor Argint senior - vioara, violin
Maria Argint - voice
Margalina Cidoiu - voice
Ion Argint - voice, vioara, violin
Marian Argint - vioara, violin
Victor Argint junior - vioara, violin
vioara, accordion
Adrian Pobirci - chitara, guitar, vioara, double bass Florian Argint - accordion, double bass
Pantele „Civit" Rap - vioara
Elena Rap - accordion
Label - Ethnophonie, Romania
Released 2009
With 24 page booklet in Romanian and English, including
photos and information on the music and musicians.
Muzică ţărănească de taraf din Gorj / Peasant Taraf Music from Gorj
This music is played by the members of the family Argint (Silver) from the village of Pârâu de
Pripor, in the ancient district of Gorj, Romania. It contains dance music (sârba, hora de mână) and lyric songs (doine and topical songs), sung and played on violin, viola, guitar and double bass with a special sweetness, distinct to style of the region.
Extract from notes:
PEASANT TARAF MUSIC FROM GORJ
"Seven or eight decades ago, the music from the Gorj region was in great
fashion all over southern Romania. At that time, the peasants from Gorj were
suppliers of vegetables to the capital city. They used to hang their pails and
bundles onto shoulder yokes, get on the train to Bucharest, and sell their
merchandise at the market, or right on the clients' doorsteps, announcing their
offers in melodized calls that drew all the housewives out into the street. The Gorj
sellers would spend the evenings in pubs around the North Station, where they could listen to Gypsy musicians
from their villages, whose lively songs were also enjoyed by the inhabitants of
the neighborhood. Back then, these performances had striking features which nobody could ignore or mistake:
the voices of both the male and female singers were colored with glottal attacks
(especially clear in the case of women), and shifted unexpectedly from the head
register to the chest register; unlike in any other part of Romania, the melodic
phrases of the violinists ended in "mewing," descending glissandos; the harmonizations of the accompanying
groups, simple but efficient, were bathed in a charming tonal ambiguity; the
melodies of the doine and sarbe were generous, free, and had unique profiles.
Years have passed, and with them the fashion of Gorj music. Perhaps the death of the superb
Maria Lataretu, the Gypsy singer from Balcesti turned folkloric music star, was the terminus of
its decline. Official folkloric orchestras emerged that destroyed, one by one,
its distinctive notes, regarded as too rustic and "uncivilized." With help from
orchestras, "arrangers" and folklore singers, the culturniks and the media
invented a new style designed to extend beyond the boundaries of Gorj: the
"Oltenian" style. The musicians took it for a model and began to boldly adopt
melodies, melodic-rhythmic and ornamental formulas, and harmonies specific to folkloric ensembles in their...