Virtuosos from the Mongolian Plateau : King Records World Music Library
King 5177 (August 1992)
Virtuosos From the Mongolian Plateau is a CD mainly dedicated to
the Urtyn Duu (long song) singing of Norovbanzad. It features her singing a 14
minute version of a long song which is unheard of. There are details liner
notes with translations of some of the lyrics, which I have included in full
below. Yavgaan’s khöömii is featured on this CD. He performs some longer
versions of some Magtaal’s, which add to the significance of this release.
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I went to live in Ulaanbaatar, the capitol city of
Mongolia, as an exchange student from 1990 to 1992, a particularly volatile
period in Mongolia's history, when the socialistic system which had continued
70 years came to an end and the country's name was changed to Mongolia. While
there, I studied the techniques of Ms. N. Norovbanzad, the singer who is
recorded on this CD. During that time I heard on a daily basis stories from her
and other musicians about the history and recent development of Mongolian music,
mixed together with stories of their personal experiences. I remember now with
gratitude how everyone greeted me with openness, inviting me into their homes
and rehearsal studios.
But what left the strongest impression on me was the
power of the voices of Ms. Norovbanzad and other Mongolian singers whom I heard
at close range. No matter how many times I hear them, I never cease to be
amazed by the sheer volume, so much that it shakes my entire body, as well as
the shining metallic sound of their voices.
Mongolian traditional music was born of a nomadic
lifestyle: chasing after herds of sheep on horseback, moving he ger, a kind of
tent‑like mobile home, with the changing of the season; in the summer
having celebratory feasts in which songs are sung while people drink a wine
made of horse's milk; and on winter evenings people enjoy listening to the
performance of epic poetry.
Even in today's modernized world this music remains
almost unchanged. Take one step outside the city into the endless grasslands,
and you will find people living nomadic lives just as they did long ago, and
who carry on the traditional music that has been passed down to them.
The Mongolian people's revolution, which occurred over half a century ago in 1921 brought about great changes in traditional music. In order to form a national traditional music ensemble, invited specialists from the Soviet Union began to train ensemble members in 1930. In 1931, the National Central Theatre was established, after that it reformed to the present National Ensemble of Folk Song and Dance. Western musical styles were introduced into traditional, the result of which was that its form was reconstituted. The National Ensemble instrumentalist began to use Western five-line staff notation, even when playing traditional folk songs, and singers began to conduct voice training to the accompaniment of the piano.
This new generation of musicians began to think of
themselves as professional musicians and artist in the Western sense. They
began to consider themselves as set apart from the usual livestock raising
people, and society began to recognize them as such.
There were, however, more than a few among this
group who before entering had spent their lives among the livestock raisers.
Showing superior ability, they became famous by performing their special
talents throughout the country until invited to join the National Ensemble.
They are the virtuosos of the Mongolian traditional music that lives and
breathes in the grasslands. Through their music they represent the nomadic
peoples. While deriving their awareness as professional musicians from the
West, they preserve the spirit and the pride of the nomad.
Throughout its development, this music has exhibited
a dual nature: It is not only a continuation of the indigenous folk-song, it is
also distinct form in and of itself. Remarkably, the Mongolian professional
musicians have been able to strike a balance between these two seemingly
contradictory aspects of their music.
While there are contemporary compositions in the
repetoire of the National Ensemble of Folk Song and Dance, this collection
focuses on the traditional elements. The following pages describe the
instruments used and the genres of music to be found on this CD.
The musical instruments
used:
Morin xuur. Morin means "of a
horse," and xuur is the general suffix for musical instruments, similar to
the Chinese character pronounced "kin" in Japanese and used alone to
represent the koto, or in compounds to denote a kind of musical instrument. The
morin xuur is a two‑stringed, bowed instrument. Both the strings and the
bow are made from the hair of a horse's tail, and the end of the neck is carved
in the shape of a horse's head.
Tovsuur. The Tovsuur is a two‑stringed,
bowed lute. It has an oval wooden resonating body over which goat skin is
stretched. Strings are made of gut. The head of a swan is carved on the end of
its neck.
Xel xuur. A kind of Jews harp. Xel
means "tongue," and refers to the shape of a part of the instrument.
It is also called "aman xuur," the word "aman" meaning
"mouth." The instrument is common throughout all regions of Mongolia.
There are several types, classified according to shape and material. The four
types used here are as follows
1) Xulsan [bamboo]
xel xuur. Consists of a thin bamboo
body to which strings are attached. Sound is made by plucking the strings.
2) Nyaslaa [plucked]
xel xuur. Made of iron. The sound
chamber is decorated with the inscribed heads of a male and female camel.
3)Tömör [iron]
xel xuur. The
outer rim of this iron xel xuur, the most common type, is sometimes shaped like
a flying swan.
4) Böögiin [shaman]
xel xuur. Made of iron. Used for
shamanistic rituals.
The genres of song:
Urtiin Duu. Means “Long song." The
rhythm is non‑metrical, and the singing is free and drawn out. Since this
type of song, requires a rich, large voice and deep breath, the singers of this
genre are highly respected. Lyrics are usually from four-line poetry, often
about such subjects as swift horses, beautiful nature of and love for one's
family or lover. It is sung to the accompaniment of the morin xuur.
Xöömii. A method whereby one person
sings two pitches simultaneously. A single fundamental drone‑like tone
produced with the vocal chords is resonated using the trachea and mouth cavity,
and the resulting harmonic tones are manipulated to play a melody. This genre
is traditionally found in western Mongolia, i.e.present Xovd, Zavxan, Uvs, and
Xövsgöl. According to legend it is said to have originated in Xovd, in the
Candmani area. There are several different methods, varying according to the
way in which the vocal chords are used and the way the sound is resonated, and
singers are thus divided into from three to five categories.
Tuuli [epicpoem] A major form of
epic poetry, played to self ‑accompaniment, and sung in praise of the
ancient Khan, or of heroic deeds. Sometimes the mountains or nature are also
used as subject matter. The singer accompanies himself on a tovsuur in western
Mongolia, and on the moriin xuur in other regions.
Magtaal [song of praise] A song in
which the singer accompanies himself, the lyrics containing praise for the
beauty of Nature or of livestock. As one might expect, the singer accompanies
himself on a tovsuur in western Mongolia, and on the morin xuur in other
regions. In comparison to Tuuli, it is usually, more showy, and has a faster
tempo.
Mongolian traditional music can be roughly divided
into two broad categories: that which is associated with xöömii and the tovsuur, and that which
is associated with urtiin duu and the morin xuur. The former is mainly that of
the Oirod tribe in western Mongolia, and the latter belongs to the Xalx tribe,
which live in all parts of the country. It follows that the use of both groups
were originally kept separate, and a mixture of instruments or song genres from
both groups would be unthinkable in their indigenous forms. But hybrids by the
musicians on this CD have developed as a result of their various attempts to
rethink their traditions and keep them alive in this day and age. It may be for
this very reason that they are professionals.
Then again, it could be that the Mongolian
temperament is revealed by precisely this sort of experimentation. The
broadminded Mongols make no bones over small matters, making use of whatever is
at their disposal. In this respect, they are much like the vast sky and endless
grass land which encompasses everything around them. Their flexible way of
thinking, as if to say, "Whatever we make will be Mongolian
tradition," is astonishing to the Japanese, who are incessantly
preoccupied with formality.
All through this CD you will hear such
experimentation. Their tradition is constantly being created, in the
"present progressive tense."
Profiles of the performers:
Namdžiliin
Norovhanzad‑urtiin duu
Born to a livestock‑raising family in Dundgovi, 1931. Exposed to urtiin duu from infancy, she naturally acquired her vocal technique as a part of her livestock raising lifestyle. She won a gold medal at the 1957 World Youth Festival Folk Song Competition in Moscow. The same year she became a member of the National Ensemble of Folk Song and Dance, and for the next more than thirty years continued to be active as one of this group's central figures. As the number one singer of urtiin duu she holds many awards and titles, including National Meritorious Artist, People's Artist, and the National Honorary Award of Excellence. She has performed in over twenty different countries including Japan. Presently, in addition to her activity as a singer, she is advising the next generation as a lecturer at the National Junior High School of Song and Dance and as a professor at the University of Culture and Art.
Tsendiin Batčuluun‑morin
xuur
Born in the city of Ulaaribaatar in 1952. Currently
a lecturer at the National Junior High School of Song and Dance. National
Meritorious Artist. In 1978, he performed in Japan with Norovbanzad,
introducing urtiin duu to this country for the first time.
Gūndenbiliin
Yavgaan ‑xöömii, xel xuur, tovsuur
Born in Zavxan in 1947. Singer with the National
Ensemble of Folk Song and Dance. Won First Prize at the 1989 World Youth
Festival Folk Song Competition, held in Pyongyang. Won First Prize at the Asia
International Symposium, Folk Art Division in 1984. One of a select few xöömii
performers in Mongolia. Excellent researcher and performer of xel xuur. Also
famous for his self‑accompaniment on the west Mongolian Tuuli and
Magtaal.
Pieces
1. At the zeergen‑grassy
mountain.
Urtiin duu. Lyrics are based on an old tale that
goes:
"Genghis Khan was raising a pair of sibling
horses. In spite of the fact that these two horses worked for Khan, he forgot
to perform a ceremony in their praise. Dissatisfied with the situation, the two
horses ran away from Khan. When the two horses became homesick and returned,
Khan gladly welcomed them. Admitting his negligence, Khan held a grand ceremony
in their praise." The melody is in a short form called besreg urtiin duu.
Two lines of poetry correspond to number one of the melody. Many urtiin duu,
including this one, have lengthy lyrics of ten or more stanzas, but due to the
limit of the singer' s endurance it is normal to sing only until number three
or four.
There are also small variations in the lyrics from
one singer to another. In this case, one of the purposes was to record
Norovbanzad's style of lyric, and she thus sings here up to number eight of the
melodv. To do this is unheard of, and the fact that she pulls it off without
giving any impression of her age is astounding. The interlude and postlude by
the morin xuur were both specially added for this occasion.
On the mountain where the zeergen (*1) grass grows
Wild deer eat the grass
Two sibling zagal (*2) horses were raised together.
Wait, younger brother zagal,
Why hurry off to unknown
lands.'
Wait, older brother zagal,
Why hurry back to the land
to which we are so accustomed?
Melt then, if you wish,
Mountain Snow!
Bend to the cold then, if
you wish, my Back!
Sing then, if you wish,
Cuckoo Bird!
Stand there, if you wish,
blue fog!
The snow on the ridge will
melt
Saddles, wet with sweat will
dry,
The mountain snow, will melt
And we siblings will have
communion with our homeland.
(* 1) A kind of grass of the
ramie family
(*2) This word refers to a kind of horse with reddish-yellow
hair.
2. At the peak
of Altanbogd
This urtiin duu is medium in length in comparison
with the rest of the urtiin duu repertory. The melody, of this song has many
regional variations, the version used here being that of the Bordzgin clan. It
is a song about border patrol police who guard the Altanbogd region, located in
the Altan mountain system). It tells of their longing to be with their parents
back in their home town.
At the peak of Altanbogd a nightingale chirps
Whenever he remembers his while haired father to
whom he is indebted.
3. Xel xuur medley
1) Rising Sun (xulsan xel xuur)
2) The Xotgoid's Colt (nyaslaa xel xuur)
3) Sketch of Sounds of Nature (tömör xel
xuur)
4) A Shaman's Prayer (boogiin xel xuur)
4. Xöömii Vocal Solo
Yavgaan sings the following three types of Xöömii:
1) Flexing the throat so as to press against the
larynx, sound is created from below the larynx. This method is used by the
Xotgoid tribe.
2) A method of producing sound from above the
Adarn's apple.
3) A method of resonating sound with the nose and
mouth.
While playing the tovsuur he sings the folk song,
"The Xotgoid's Colt while alternating between these three styles of
singing.
5. Clouds trailing from Mount Xangai.
This is a kind of urtiin duu. A song about the
fertile land of Xangai, in Central Mongolia, where water and grass are
plentiful. It is a song in praise of nature's bounty, and a prayer that the
people might live long and prosper.
Clouds trailing from Mount
Xangai
The tall mountain
overflowing with gladness
May ice the people of this
land
Together live happily in
peace.
6 Epic Poem in
Praise of Altai Mountains
The Altai Mountains, which run through western Mongolia, are an object of the Mongolian people's reverence. Before the recitation of a long epic poem, which lasts anywhere from several hours to several days, there is always a song sung in praise of the Altai Mountains. This is one such song, which has come to be considered a part of the present collection of epic poetry.
Above the Suural, Sulbar and Sundaarii rivers
Which belong to the multicoloured plains,
Above the fifty hills there lies perpetual snow
That sparkles like crystals like holy treasure
The red Altai Mountains with thirteen al (* 1),
Thirty peaks, seventy‑seven branches and
trails of clouds.
Arranged in this manner the thirteen favours
Land of Altai, my treasure
Rolling fog in the morning
Streaming clouds in the middle of day
Eternally rich, Wide, high, precipitous, pure white
Our Altai and Xangai mountains.
Light yellow‑stained boulders on the ridge
Little birds chirp at the seven borders
The Plain is fertile and rich
The five cattle (* 2) multiply and fill the land
Precious and noble Our Altai and Xangai mountains.
Once there were wild sheepand goats
Light brown deer sang, ran and played
On the thirteen peaks of Altai
Truly, magnificent The Altai and Xangai mountains.
(* 1) The flat portion of a mountain ridge (* 2) The five kinds of cattle are: horse,
sheep, cow, camel, and goat.
6 Song in Praise of the
Xangai Mountains
The
Xangai Mountains, running through north western Mongolia are also highly
revered. The Magtaal of western Mongolia is often mixed with xöömii.
Mount Zandan can be seen sparkling
In the majestic Xangai Mountains
A river flows slowly pouring into the grassy, ravine
Peaceful by nature
Pure white like the hair of a venerable old man
Xangai, my homeland.
Patting the back of a tired ball
Climbing up
The five meandering portion of river
The thickly growing sandalwood rustles in the wind.
A three year‑old black
hawk takes away
A brown rabbit with a white
forehead and triangle spots
Peaceful by nature
Pure white like the hair of
a venerable old man
Xangai, my homeland.
Where the horse with
shackled legs
May find bountiful
Provisions
Xangai my homeland.
Gently surrounding
The lonely and weak
Xangai my homeland.
8 An old man and a bird
This song is an aizam urtiin duu, a particulary long
form Of urtiin duu. One stanza of
the poem corresponds to number one of the melody.
There is a surprising and sudden change in mood at
the end of the piece. There are several urtiin uu which have this sort of
modulation, called xög soligdol.
The song is a conversation between a migratory bird and an old man in the land
to which the bird is going, with the speaker alternating each stanza. Because
of the length and content of this song, it is usually sung by a man.
O ye countless birds
Why do you come from far
across the sea
Fluttering and frolicking
In the pleasant summer months of fertility
O ye birds.
0 Thou old man,
In the Passing of the four seasons
In this powerful summer month
We come to this beautiful land
By the power of ancient prayers.
9. Song in
Praise of Mount Dǔndzingarav
A Magtaal sung in praise of Mount Bogd, which towers
over the land to the south of the capital city of Ulaanbaatar. Dǔndzingarav means "white
mountain" in Tibetan. The influence of Tibetan Buddhism can be seen in the
Mongolian race's peculiar worship of mountains. For accompaniment, the morin
xuur is played in the fashion of bowed instruments of western Mongolia.
There is an ovoo (* 1) at
the mountain's peak, which gather people from many lands to worship
The sacred relics of Ocir
Saan (* 2)
It is Mount Dǔndzingarav
of the Xangai mountains
The king Dǔndzingarav.
The holy Dǔndzingarav
Boulder faces showing, Dǔndzingarav.
The king Dǔndzingarav.
This Dǔndzingarav
The great Dǔndzingarav
Lord Dǔndzingarav
In the four pure white mountain chains of Xangai
We praise Dǔndzingarav.
Looking from the south, one
can see
The mausoleum of Manjusri
Bodhisattava
Decorated with coral and
pearls
Nine layers of treasures can
be found
O the splendour of the
Xangai mountains.
Looking from the West,
one can see the eternal relics
Bountiful Dǔndzingarav
Heroic Dǔndzingarav
Looking from the north, one can see
Xangai's mountains covered in thickly, growing,
bronze‑coloured trees
Bucks and dos playing about
Water overflowing from the springs
The clear blue water of the Tuul River with its many
boulders.
Looking from the East, one can see
A red boulder resembling a heart Bucks and dos
running about
Beautiful trees standing
Springs like crystals.
This Dǔndzingarav
We say Dǔndzingarav
In the four pure white
mountain chains of Xangai
We praise Dǔndzingarav om mni mani maha
mani shanchoo mani sowakha (*3)
Prosper in the country of
Mongolia
For all living things
Urai Urai (Hurrah! Hurrah!)
(* 1) A pile of stones in
which multicoloored flags attached to tree branches are erected. An object of
worship as well as a guidepost.
(* 2) Meaning unknown.
(*3) A chant from Tibetan
Esoteric Buddhism
10 Erdene Zasag's Colt
Erdene is a person's name, and Zasag is the title of a position in medieval Mongolia's regional beaurocracy. The lyrics speak in praise of a horse raised by the hometown zasag, and about longing to be with one's family. This is a famous besreg uttiin duu, but specially for this recording it is used simply as a motif in order to blend the styles of several major genres of Mongolian music into a kind of collage.
E'rdene Zasag's colt
Is clever and agile, a džoroo (*1) horse.
Tovuu Zasak's colt
Runs lightly. He is a džoroo horse.
(* 1) A kind of horse, which alternately throws out
its right and left legs while running. It is easy to ride since this way of
running reduces vibration.
Mongolian traditional music, the urtiin dun and
xöömii song and vocal techniques are highly advanced. The voice of the nomadic
people, trained by the pure and sometimes harsh air of the plateau, seems to be
the result of searching for all outlet for its energy.
Their art of singing is at a fairly high standard,
even in comparison with the rest of the world. In the future, there will Likely
be a rise in the level of interest in Mongolian traditional Music, which shows
us the power of the human voice.
I would like to take this opportunity to thank
Professor Hasumi Haruo Of Tokyo University of Foreign Languages for his
guidance during the translation of these lyrics.
Translated by
Larry Richards
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