'Scuzà-ou aquì - Trigomigo CD
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cd cover Trigomigo
Scuzà-ou aquì (FolkClub Ethosuoni)

In Varaita Valley, Southern Piedmont, many songs end with ‘scuzà-ou aquì! (excuse me!) to thank the audience for its patience. Trigomigo would also like to thank the audience for the patience awaiting for this recording. Their extensive long research, transcriptions, corrections and careful comparisons, has produced versions of traditional lyrics extremely respectful of the sources, re-dressed in the band’s personal re-arrangements. Patrick Vaillant is their special guest on a few of the tracks.

1 - Trài vin, Trài trài e Gigo viéio
2 - Barbo Tisto Pasquier
3 - La chansoun di espouze


More info:
  • Elisa Testa: voce
  • Chiara Cesano: violino
  • Emiliano Borello: organetti
  • Alexander Parise: ghironde
  • Dario Littera: chitarra acustica e classica
  • Patrick Vaillant: mandolino acustico in 6 e 9; mandolino elettrico in 6; voce, chitarra basso e caxixis in 9
  • Saverio Miele: contrabbasso in 4 e 8
  • Silvia Marino: violino in 7
  • Ivan Cavallo: viola in 7
  • Micol Gagia: violoncello in 3 e 7
  • Laura e Monica Estienne: voci recitanti in 1
  • Tounin Galion: voce in 2
  • Jan Péire de Bousquìe: voce in 13
Please forgive us if you feel we've disturbed you. It was not our intention to be a pest… We are in love, and it's all the fault of barbo Barnadin and barbo Chezarin Levet (father and son, active between the end of the '800s and the mid '900s) from Borgata Pieiné, in Bellino, in Varaita Valley, who have composed and arranged most of the lyrics and songs which you will find in this record, adapted to extant tunes from the French area.

The long and careful research, aided by renown experts like Jan Pèire dë Bousquìer and Jean-Luc Bernard, comprised of transcriptions, corrections and careful comparison, has produced versions of lyrics extremely respectful of the sources, re-dressed in the band's personal re-arrangements.

We find, in random order: Barbo Tisto Pasquier (Mr. Battista Pasquier), father with a golden heart who accepts the marriage of his daughter Talino. Vouai que rigoulado! (Oh, what fun!), based on the French classic “Valse brune” and enhanced by the mandolin of the great musician from Nice Patrick Vaillant, speaks to us with irony and joy of the lives of the inhabitants of Bellino. J'avais juré dans ma jeunesse… (I had sworn in my youth…) and La chansoun di espouze (The song of the betrothed), in French, represents the strong emotions of a young woman who is about to leave the home of her childhood to enter, as a woman, in the new reality of marriage, among inevitable woes and torments. La chansoun nouvelo (New Song), arranged, played and sung by Patrick Vaillant is a French-Bellinese contrasto in which a young and steadfast washerwoman from Bellino threatens a would-be suitor. The Courenta Quiribiriquin and the Balet Gai gai, dances from Gilba, express a girl's disappointment for her dancer which is a biriquin (cheeky fellow) and the Balet recounts the amorous activities of a jay (gai). The Mésquio (of which the first part is here presented) is comprised of a series of dances mixed together, according to the way laid down by Juzep da' Rous (Giuseppe Galliano, 1888-1980), great violin player from Sampeyre, and who also played: the Mazourco, which we arranged for hurdy-gurdy and string quartet, the Poulcros, Courente and two Balet alongside the interesting and yet unpublished La paio dal froument, recalled by Ieto dal Sendic, from Bertine. Mandion (in the speech of Bellino: the beggar) perhaps identifiable with Mandrin, an XVIII century Delfinat highwayman, is a character with extravagant customs, but who is also an undisputed king: he never changes his shirt and, whenever he goes to Church with his army of lice, everyone gives him way. Gamàoucho, a dance which originated in the territory of Sampeyre - Frassino. Moun ome (My man), a partial translation from a French original “Mon homme”, is the voice of a woman who loves a man who mistreats her, along the lines of certain kinds of love for which one would give up everything, between passion and violence. The Litanio dla valado (The litany of the valley), according to Jouann Bernardi (Giovanni Bernardi, 1904-1979), is a sing-song which travels through all the towns of the valley and explains, among others, who has lou nas e lou cul qui freto (a nose and an itchy back-side). Trài vin and Trài trài are playful rhymes from Bellino, used to amuse children and to cause a smile with the cheerful endings recassanho and coucouloucoù. How old is the Gigo viéio? Very, so it is simply an “old” dance. Not enough?

Many songs end with 'scuzà-ou aquì! (excuse me!) to thank the audience for its patience, and so please accept our apologies without getting angry. Ours is not an archive, and in the name of love we do not tell of myths and legends, but true stories, ironic and beautiful, made of people. Forgive us, but music does not spring from the earth, but it rather is a reflection of the lives of those who sung with present faces and spirits, like Batistin Galion or Jacou de bar' Carlou, who made us fall in love, even if we never met them. And we fell in love, young, and a bit careless.
'Scuzà-ou aquì!

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