DONA DUMITRU SIMINICA AFARA E INTUNERIC DOWNLOAD

La Salul cel negru Cantec de petrecere With his dramatic falsetto voice Dona Dumitru Siminica could hardly sing cheerful dance tunes. For his best recordings Dona Dumitru Siminica assembled a Lautari dream team around himself, including Marin Marangros cymbalom , the Bebe brothers and Costica Serban acc. Afare e intuneric

dona dumitru siminica afara e intuneric

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Afare e intuneric His family came from this provincial lautari stronghold not far from Bucharest and was zfara to the capital by the building boom between the wars. Ce mi-e drag pe lume Foiae verde trei smicele He has many children to feed and doesn’t know how he will cope.

As early as the late forties the Bucharest public wended their way to a restaurant at “Amzei” market, more to hear Siminica’s high voice than his skill on the violin: It was not until the 20th century that the Romanian middle classes began to orient themselves culturally towards Western Europe, before the mainstream then radically veered towards cheaply produced Orient pop after Intre-o vinere la targ Dona Dumitru Siminica was first called upon to make recordings for the radio in the fifties -he was also part of the inner circle of informants on the repertoire of the urbane Gypsy orchestras known as tarafs in the Bucharest Institute for Folklore.

Lambru, the great Maria Tanase’s favourite accompanist, played classics with Dona Dumitru Siminicca such as “Afara e intuneric” and “La salul cel negru”, which are released outside Romania for the first time on this CD. As far as known: At that time Dona Dumitru Siminica was the most widely exposed singer of muzica lautareasca and only he and dumihru lesser-known singer were able to record a few songs in Gypsy language at Electrecord.

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Dona Dumitru Siminica – Sounds from a bygone age – vol. 3

For that reason he enviously sings of the “forest that is beautiful, healthy and bursting with energy”. Cantec de petrecere Cine are fata mare La Salul cel negru Other singers, such as Victor Gore or Gabi Lunca, didn’t trust themselves to sing in Gypsy language, but Siminica afqra gently resisted the increasing pressure towards assimilation in the seventies and eighties.

Until this day hardly anyone in Bucharest attempts to sing these songs, which Dona Dumitru Siminica made so famous, that “Cine are fata mare” turned up on a Bregovic soundtrack at the beginning of the nineties. It was a sensation that a few records of urbane music with Gypsy lyrics found their way into shops in Romania in the seventies. His death did not make the headlines in the Romanian party-controlled press and to this day he is only known abroad by insiders.

Nothing can tell us more about the phenomenon of Dona Dumitru Siminica than his recordings, which bring back the sound of old Bucharest before it is completely forgotten.

dona dumitru siminica afara e intuneric

For his best recordings Dona Dumitru Siminica assembled a Lautari dream team around himself, including Marin Marangros cymbalomthe Bebe brothers and Costica Serban acc. With his dramatic falsetto voice Dona Dumitru Siminica could hardly sing cheerful dance tunes. For his best recordings Dona Dumitru Doja assembled a Lautari dream team around himself.

dona dumitru siminica afara e intuneric

This repertoire of quiet suburban songs muzica lautareasca ideally suited the cultivated musician’s introverted character. Faramita Lambru, Maria Tanase’s favourite accompanist, played classics with Dona Dumitru Siminica such as “Afara e intuneric” and “La salul cel negru”, which are released outside Romania for the first time on this CD. Cine are fata mare Siminica had a disturbing, androgynous falsetto voice and a large number of female fans who hung on to every word uttered by the man in the bespoke suit with the immaculate hairstyle and carefully clipped moustache for nights on end.

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Dona Dumitru Siminica sang songs which offered consolation to the lonely, tended the wounds of the lovesick, and prepared those newly-infatuated for the end of their love. Dona Dumitru Siminica sang songs which offered consolation to the lonely, tended the wounds of the lovesick, and prepared those newly-infatuated for the end of their love. His songs fell out of time, creating a soulful centre of peace countering the noise of the factories.

Dona Dumitru Siminica

After all he mainly sang melodic, richly ornamented melismatic love songs there, which had been fashionable in the salons of Wallachian boyars back in the 18th and 19th century.

At that time the Siminica family lived in the same yard as the Gore brothers, who Dona Dumitru Siminica later performed with at weddings. Siminica had a disturbing, androgynous falsetto voice and a large number of female fans who hung on to every word uttered by the man in the bespoke suit with the immaculate hairstyle and carefully clipped moustache for nights on end.

For Dona Dumitru Siminica sang Romanian blues from the suburbs, delicately ornamented songs weaving between sorrow and trance, slow, never-ending ballads such as “Cine are fata mare”. His sudden death in the eighties did not make the headlines in the Romanian party-controlled press.