RIENCD36
Carlo Faiello: Le Danze di Dioniso
1. Mantiké 1:38
2. Sia beneritto 4:12
3. Guainella 3:25
4. Lena le' 3:23
Prelistening:
5. Algeri 3:24
6. Ausonia 3:49
Prelistening:
7. Mnemosyne 3:30
Prelistening:
8. Rota rota 3:20
9. Ela Dionysé 3:20
10. Stella Diana 3:59
11. As salamu 3:17
12. Devoto a te 3:30
total playing time: 41:09
All tracks written by Carlo Faiello
except "Ausonia" and "As Salamu": co-written by Carlo
Faiello and Paolo Raffone
Recorded by Massimo Volpe and Carlo Faiello
at "Popularia Studio", Cercola, Napoli,
and "Mnemosyne Studio", Pozzuoli, Napoli
Mixed and mastered by Robert Fix, Napoli
except track 5 & 9: mixed by Carlo Faiello
Produced by Carlo Faiello
CARLO FAIELLO & TAMMURRIATA REMIX:
Carlo Faiello: vocals, acoustic guitar,
double bass, bouzouki, programming
Paolo Raffone: keyboards, accordion, programming
Maurizio Saggiomo: drums, percussion
Peppe Sannino: percussion
Gianfranco Narracci: tambourine
Luciano Russo: clarinet, whistle, ciaramella,
chalumeau
Mimmo Maglionico: flute
Agostino Oliviero: violin
Michele Montefusco: oud, acoustic guitar
Cristiano Califano: classic guitar, chitarra
battente
Rachele Cimmino, Kolligri Vassiliki, Peppe Pirone, Antonio Testa: background
vocals
GUEST VOCALISTS:
Giovanni Coffarelli (Mantiké, Ausonia)
Enzo Gragnaniello (Ausonia, Stella Diana)
Rachele Cimmino (Ela Dionysé, As salamu)
Giovanni Mauriello (Sia beneritto)
Eugenio Bennato (Lena le')
release date: 01/10/23
The dances of Dionysus
Theseus killed the Minotaur in the labyrinth
in Crete. With the help of a string laid out by Ariadne in advance, he was
able to escape form the maize which had been built by King Minos. The wise
men tell us that the labyrinth was not only a prison for the monster but also
a centre for dance, and of initiation rites of the Dionysian cult: Dionysus,
God of wine and fertility, God of trance and hallucination, God of ecstasy
and obsession.
As the centuries passed the Gods faded into obscurity, making way for religion
and philosophy. Dance now came to be seen not as associated with magical rituals,
but as an art form and a means of transient entertainment, and as the occasion
for performances of folklore. Nevertheless, in the great melting pot of Mediterranean
culture, examples of ancient classical choreography have been passed down
to us. These dance forms are closely associated with the spirit of Dionysus.
Examples of these ancient dance forms:
- The Tammurriate are dances that were repeated at certain festivals, in honour
of the those mothers, who had been entrusted with one's destiny …
- The Pizziche Tarantate are dances with a therapeutic meaning, danced by
those who have been bitten by the tarantula. The dance frees them from the
poison of the tarantula's deadly bite ...
- In the dance of the turning Dervishes , the dancer turns endlessly until
reaching that point of rest that is almost impossible to reach and which is
defined as ecstasy ...
- The tribal dance of the North African Gnawa is used to drive out evil spirits
and to call forth the healing Gods ...
- In addition to the above are the Tarantelle, the Sirtaki, some more North
African rhythms, and finally the Moresche. While these dances has been used
unscrupulously by a dominant pseudo culture only interested in attracting
tourism, it nevertheless contains age-old gestures and movements belonging
to an archaic civilization.
We learn these dances to maintain a sense of balance that is constantly threatened by modern life. In following the steps of these dances we escape the chaos of the modern world and enjoy, if only for a moment, that cosmic harmony which the world seems to have forgotten.
1. Mantiké
In Mantiké elements of the traditional song dedicated to the Madonna
dell' Arco is brought together with a hymn to Demeter, Goddess of earth, and
a Greek orthodox prayer.
2. Sia beneritto
A Tammurriata in the Naples dialect, which praises God for creating the world
so successfully and for even creating the drum that accompanies this song.
3. Guainella
Guainella is the Naples word for Guerilla. In this song young men are called
to arms from all parts of Naples, to fight against the corrupt rulers. The
word fronne that is repeated in the refrain stands for the (free) leaf of
the tree, but also for the song of freedom.
4. Lena Le'
A Pizzica Tarantata in the Naples dialect. The singer demands that the tarantula
bite the dancer. As she, the dancer, becomes drowsy from the sting of the
spider, the tarantella plays and she begins to dance. Gradually she forgets
her melancholy in a trance.
5. Algeri
A song in the style of the Algerian Raï, which celebrates the Maghreb
rhythms, "bringing me to the earth of Africa."
6. Ausonia
A classical Tammurriata in the ancient dialect of Naples. Ausonia is the old
name for Naples and the surrounding countryside before Greek times. The text
consists of incantations to the Gods and rituals of devotion, in which farmers
thank mother earth for the harvest.
7. Mnemosyne
An instrumental in the Sirtaki rhythm, dedicated to Mnemosyne, the wife of
Apollo. She is the Goddess of memory and mother of all the Muses.
8. Rota rota
A Ballo tondo (circle dance) sung in the Naples dialect. Rota is local dialect
for the Italian gira (Turn around!) and is used here as an interjection in
the song that attests to the magical form of the circle.
9. Ela Dionysé
A Dithyrambos, a song in praise of Dionysus. He is called upon by his many
names (e.g. Bacchus, Taurus) and is praised, since he has returned after a
12 month absence, and is making the flowers bloom.
10. Stella Diana
A Tammurriata in combination with North African rhythms that is sung in the
Naples dialect. The song includes thanksgiving to Diana, the Goddess of the
moon, the hunt, and the forest. When she appears the waters of the seas are
sweetened and peace spreads through the world.
11. As salamu
A Moresca (Dance of the Moors), an old dance that is thought to be the origin
of the tarantella rhythm. An incantation to the Arabic world, the world of
the turban and the shador, the djembe and the nargileh, but also to the world
of refugees, illegal immigrants, nomads and the homeless.
13. Devoto a te
A tender love song in the Sirtaki rhythm that has an almost religious character:
"I'm so devoted to you without knowing why. When it is dark, I will offer
you somewhere to shelter. Come right close to me, for you have nothing to
fear."