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RADIK TYULYUSH- Singer, composer, Master Of Traditional Tuvan Throat Singing Member of Huun HuurTu

Radik Tyulyush - Altay Mountains

Radik Tyulyush – Altay Mountains

 Radik Tyulyush, Tuvan singer and musician, began his career with rock music (“UER”, from 1993 till present, and “Yat-kha”, 2000–2004) but craving for ethnic roots and traditions prevailed, and in 2005, together with Carole Pegg in England (University of Cambridge), Radik recorded his debut album “Tuva: Spirits of my Land”, after which he was invited by the world-renowned group “Huun-Huur-Tu” and works with this group so far.

A new stage in Radik’s career will be the solo album  “Chalama” which will be released in late 2012 or beginning of 2013. “Chalama” are colored ribbons that are tied up to the branches of a tree in a sacred place called “ovaa” as a sign of reverence for the universe, the grandeur, beauty, wisdom, nature – everything that we are happy to behold around us. The music written by Radik is like ribbons in the branches of the World Tree of Music and Harmony.

Chalama  includes both Radik’s own compositions and traditional Tuvan songs arranged by him.

What is the role of traditional clothing?

THE MYSTERY OF TUVAN KHÖÖMEI
What is the role of traditional clothing?
For outerwear, the Tuvan ton, a robe-like garment made of silk, was traditionally considered to be the most practical and functional. Silk is a very strong and durable material. The tradition of making tons from silk goes back centuries. Belts were usually made of either leather or silk. Silk belts are 5-6 meter-long strips of silk that are wrapped around the waist of ton several times. The method of tying a silk belt helps to prevent injury because it offers additional support when riding on horseback. A similar method is still used to protect the spines of post-operative patients in neurosurgical departments of hospital, but they use a cotton sheet instead of a departments of hospital, but they use a cotton sheet instead of a silk belt. Historically, nomads used a very strong, non-stretchable fabric as a belt or corset. Men most often used red silk, but with the penetration of Buddhism into Tuva, the belt gradually started to “yellow”
Snug-fitting ( but not too tight ) clothing will allow one to work comfortably, to be able concentrate on oneself, and to be able to breathe calmly and in a relaxed fashion using the pectoral muscles. You can see this among most of the professional khöömei masters-Sergei Ondar, Kaigal-ool Khovalyg, Igor Köshkendei, Andrei Mongush, Möngün-ool Ondar, Aldyn-ool Sevek, and others. When they are performing khöömei they close their eyes and joyfully immerse themselves in a creative state of inspiration as their innate natural energy awakens.
 
Consequently, the ethical value of ethnic music does not depend on the musician’s clothing, but rather on this moral make-up. Do not try to dazzle your listeners with the brilliance of your clothing. Good taste is like a good ear for music-you either have it or you don’t. You must respect your audience and show this respect both through your behavior and your dress. Learn how to smile, how to greet people. You have free will; learn how to use it to to change your surroundings. As a creative person you should be confident in your abilities. And you should strive to achieve your goals.
 
To reach the consciousness of your listener with your performance, you must be able to express the best side of your individuality. Learn to serve the art; do not try to make the art serve your own worldly purposes.
 
ZOYA KYRGYS
THE MYSTERY OF TUVAN KHÖÖMEI ( THROAT SINGING)
INTERNATİONAL SCIENTIFIC CENTER “KHÖÖMEI” REPUBLIC OF TUVA
This publication is protected by the law of the Russian Federation ob avtorskom prave ( ” On copyright”) .
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TUVAN LEGENDS AND TALES, THE CAMEL

THE CAMEL

Believe it or not, the camel was once the most magnificent of all the animals! It’s true! He had beautiful big horns with golden tips, and a long thick, bushy tail.
Day after day the camel used to stand beside the river, admiring his reflection in the water.
One day while he was standing there, down from the hills came the Siberian stag. ” Ekii, Teve!” said the stag. This is the way to say, “Hi camel!” in Tuvan. ” My brother,” he went on, ” you have the most magnificent horns I have ever seen. Won’t you loan them to me? I’m going to a party and I’d like to get dressed up.” ” My horns? ” said the camel. ” I’d hate to give away my horns.” ” Dont worry,” said the stag, ” I’ll bring them right back tomorrow.” ” Tomorrow? All right,” said the camel, ” But make sure that you do.” And so Teve the camel took off his magnificent horns and loaned them to stag. The stag ran off into the mountains.
Teve stood beside the river, admiring what was left of his reflection. Pretty soon along came the horse. “Ekii,Teve!” said the horse. ” My brother, you have the most beautiful tail I have ever seen. Won’t you loan it to me? I’m on my way to a horse-race, and I’m sure I’d win if ı had your tail.” “Chock!” said the camel. That is the Tuvan way to say, ” No!” ” I already loaned out my horns and I just can’t load my tail too.” ” Don’t worry, brother. I will bring it right back after the race is over.” ” You’re sure?” said Teve. “All right, but make sure you bring it right back.” He took off his long, thick, bushy tail and gave it to the horse. The horse galloped away across the steppe.
The camel stood there beside the river, peering off into the distance, looking for his friends. He waited all day. He waited the next day, and the day after that. Neither the stag nor the horse ever came back. The stag stayed far away in the mountains and forests. As for the horse, whenever he meets a camel, he shies away.
And from that day to this, the camel has remained the angriest of all the animals!

KYZYL 2010,TUVAN LEGENDS AND TALES, Konstantin Khlynov

Photo : szepkepek.hu

Photo : szepkepek.hu

The Nomad’s Blog for Nomads / Radik Tyulyush

Radik Tyulyush is an outstanding musician from The Republic of Tyva. He was born in Solchur, Övür province of Tuva, on the border with Mongolia.

Already in his late school years and with schoolmates, Radik’s started a pop rock band YER. It became extremely popular in Tuva in 1993. Later there were a five-years long break, and YER returned to the stage in 2009. Radik says: “I write songs and arrange them for YER. The band attracts me with the possibility to share my own vision of the contemporary music.”

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A LEGEND OF THE IGIL

A long time ago there was Ösküs-ool, who lived with his aged father and whose entire wealth consisted of three goats. Early in the spring, one of the noyon old mares foaled and died of exhaustion. The noyon ordered the foal to be taken to the steppe and thrown to the wolves, saying that losing one foal wasn’t going to make him poor. Ösküs-ool took pity on the foal, taking him as his own and feeding him on the milk of his own goats. The foal grew up to be a wonderful grey racer with a white star on his head. In the races Ösküs-ool’s horse began to beat all the noyon’s horses and won fame throughout Tuva. Out of hatred and spite the noyon ordered his men to kill Ösküs-ool’s horse, and they drove her over a high cliff.

Ösküs-ool, not finding his beloved horse anywhere, passed out from fatigue, dreaming of his horse who spoke to him with human voice. ” You will find my remains at the bottom of great cliff. Hang my skull on an old larch tree, the wood of which you will use to make musical instrument, and its face ill be the skin of my muzzle, and its strings will be of the hair of my tail. When you begin to play on this instrument, my double will come to you from the upper( heavenly ) kingdom.” Ösküs-ool did all this as his horse had said in the dream and began to play. He remembered his horse, how was a small little foal and how they played together, he remembered how they won the races, and he played and wept, and it was as if the instrument wept together with him. Ösküs-ool become angry thinking of the evil noyon, and all of his longing and anger found reflection in his playing, and that’s why it is said that the igil is such a complex instrument, with such great expressive possibilities.

Öksüs-ool played for a long time, and the people listened for a long time and laughed and cried together with him as they listened. Suddenly on top of a high mountain the clouds parted and there came down from the heavens a beautiful grey foal – an exact copy of his horse, and he wasn’t alone but with him was an entire herd of black and white horses.

From them on, so they say, Tuvans do not throw the skull of a horse on the ground, but always hang it on a tree. This tradition was strongly preserved in Tuva until the 40s.

Konstantin Khlynov

Radik Tyulyush painting by Azhykmaa

Radik Tyulyush painting by Azhykmaa

THE MYSTERY OF TUVAN KHÖÖMEI

Is there a connection between khöömei and shamanic rituals?

The shaman acts as the physical manifestation of supernatural forces. As a representative of an animistic religion, the shaman, like ancient priests, used to heal people with the melodic, droning sounds of khöömei and with the khomus, which was known as aza dyly – the “devil’s tongue.” A few small silver bells were sewn onto the back of the shaman’s robe. According to the Tuvan shamaness Dürzü from Tsengel sumon (county) in the Bayan-Ölgii region of western Mongolia, simply the glint of the silver bells made all the evil spirits which are around immediately fly away.

The khomus a sounds of khöömei were traditionally considered to be paraphernalia of female shamans. Tuvan shamans believed that the ringing of the bells made black clouds disappear and evil spirits go away. Tuvans always thought of the bells that were attached to the back of shamanic robes as living beings, in many ways similar to humans.The belief in the beneficial effect of the bells sewn on the back of a shaman’s robe is based on the fact that humans’ inner organs are attuned to certain tones, and the whole body is a sensitive musical instrument that resonates with the surrounding sound field. The lower tones of khöömei have a calming effect, while the higher tones have a stimulating effect. The ringing of bells heals children with mental disorders. It was even a custom in Tuva to put people “possessed” by spirits “under the shaman’s robe,” as the evil spirits that beset such people could not endure the sound of bells. The same would be done to children who had suffered a severe fright. And when a woman gave birth to a child, the shaman would sing kargyraa.
Why were khöömei and kargyraa, when performed as part of shamanic rituals, associated with treating women during childbirth? Could it be that khöömei is a central energy “channel,” the “core* of the human body or of the spinal cord? The problem is how to teach every person to turn his attention inward, inside himself. Our internal being is the manifestation of that energy that is called the energy of the universe.

ZOYA KYRGYS

THE MYSTERY OF TUVAN KHÖÖMEI ( THROAT SINGING)

INTERNATIONAL SCIENTIFIC CENTER “KHÖÖMEI” REPUBLIC OF TUVA

This publication is protected by the law of the Russian Federation ob avtorskom prave ( ” On copyright”) .

Photo by  Alexandr Kryazhev

Photo by Alexandr Kryazhev

THE MYSTERY OF TUVAN KHÖÖMEI

 

THE MYSTERY OF TUVAN KHÖÖMEI ( THROAT SINGING)

What is the history behind the developement of khöömei?

The phenomenon of Tuvan throat-singing, with its various styles of performance, continues to amaze people. The spiritual world of the Tuvans, like their lifestyle itself, consolidated and embodied the freedom-loving impulses of the steppe dwellers, the inhabitants of Inner Asia.

If one imagines how endless a steppe road is, how unhurried a Tuvan horse’s tread or pensive a camel’s step is, how far steppe roads and mountain paths stretch, then it will not be difficult to realize that the life of a Tuvan in the steppe is inconceivable without sygyt-khöömei, a symbol of the Tuvan steppe that is as quiet, measured, and interminable as life itself. It is not without reason that Tuvans puzzled ethnographers when they could not answer the question: “How old are you?” The matter was not that they were unable to count. This question itself made no sense to them because time per se was an abstract notion.

Nature created a striking acoustic effect in the mountains and steppes of Tuva, where every loud word echoes with deafening reiterations. Over time Tuvans learned how to extract from these sounds the incomparable melodies that are the hallmark of the Tuvan national singing tradition. This is why from time immemorial Tuvan throat singing has been the eternal companion of singers and storytellers.

A khöömeizhi was a welcome and honored guest in any yurt, who always gave his listeners the gift of his music, born in the heart and soul of his people. The melodies of khöömei accompanied the Tuvan people in all their joys and sorrows.

Khöömei Is a phenomenon close to the soul of the Tuvan people a means of expressing the Tuvan worldview, a symbol of Tuvan spirituality, and the key to the spirit of the Tuvan people. It is in khöömei that Tuvans found consolation in their hour of need ancient times khöömei has helped Tuvans persevere, overcome hardships with dignity, and preserve their humanity.

If a nation loses its own unique identity, it will disappear from the face of the earth. Current data make it abundantly clear that not only of researchers, but also members of the younger generation are trying to preserve the art of singing, as well as the customs, rituals, and traditions of the Tuvan people. By exploring and researching Tuvan throat singing, we are able to revive all genres of musical culture long songs (uzun yrlar), short songs (kiska yrlar), refrains and ditties (kozhamyktar), as well as instrumental works for such traditional instruments as igil, byzaanchi, doshpuluur, khomus (mouth harp), and other bowed, plucked, wind, and percussion instruments

Khöömei is an art that attracts the attention not only of connoisseurs of folk music, but also of all those who would like to learn about the history of the music and the spiritual world of the Tuvan people, and of their lyrical and ritual songs. Every ethnic group has contributed to the development of human civilization and global cultural heritage. Tuvans likewise have their own contribution of great value, which has been passed down for centuries from generation to generation, and that is khöömei. Locals have preserved in memory several techniques of this art, including khöömei, ezengilleer borbangnadyr kargyraa, and sygyt.

ZOYA KYRGYS

THE MYSTERY OF TUVAN KHÖÖMEI ( THROAT SINGING)

INTERNATIONAL SCIENTIFIC CENTER “KHÖÖMEI” REPUBLIC OF TUVA

This publication is protected by the law of the Russian Federation ob avtorskom prave ( ” On copyright”) .

 

Radik Tyulyush on SVOIO RADIO by Semion Chaika ( Moscow – Chalama Project )

Радик Тюлюш (Radik Tyulyush) — певец, композитор, исполнитель традиционного тувинского горлового пения. Организатор и участник группы Уер, Экс-солист группы Ят-Ха (2000-2004), солист группы Хуун-Хуур-ту (2006 — по настоящее время). В 2005-ом был записан первый сольный альбом «Tuva: Spirits of my Land» совместно с этномузыкологом Керол Пег из Кембриджского университета. В 2012 Радик записал второй сольный альбом «Чалама».

Listen The Program on SVOIO RADIO

HUUN HUUR TU EUROPEAN TOUR 2015

12.03.2015 – Bremen
12.03.2015 – Berlin
14.03.2015 – Halle/Saale
15.03.2015 – Göteborg
16.03.2015 – Prag
17.03.2015 – Litomyšl
18.03.2015 – Wien
19.03.2015 – Salzburg
20.03.2015 – Bleiburg
21.03.2015 – Graz
25.07.2015 – Nyon
26.07.2015 – Nyon
31.07.2015 – Rona
01.08.2015 – Eze zur Mer
02.08.2015 – Sylvanes
04.08.2015 – Meschede
08.08.2015 – Kattowice
17.11.2015 – Dresden
18.11.2015 – Wolfsburg
19.11.2015 – Brugge
20.11.2015 – Salisbury
21.11.2015 – Leeds
22.11.2015 – Bradford on Avon, Wiltshire
23.11.2015 – Bristol
25.11.2015 – Vilvoorde
26.11.2015 – Utrecht
27.11.2015 – Brussels
28.11.2015 – Kufstein
29.11.2015 – Budapest
01.12.2015 – Fulda
04.12.2015 – Frick

Get More Info & Buy Tickets

HUUN HUUR TU EUROPEAN TOUR 2015

March 12th – Bremen
March 12th – Berlin
March 14th – Halle
March 15th – Göteborg
March 16th – Prague
March 17th – Hradec Kralove (CZ)
March 18th – Wien
March 19th – Salzburg
March 20th – Bleiburg
March 21th – Graz
March 22th – Wroclaw

Huun-Huur-Tu (Tuvan: Хүн Хүртү Khün Khürtü, Russian: Хуун-Хуур-Ту) is a music group from Tuva, a Russian Federation republic situated on the Mongolian border.
The most distinctive characteristic of Huun Huur Tu’s music is throat singing, in which the singers sing both the note (drone) and the drone’s overtone(s), thus producing two or three notes simultaneously. The overtone may sound like a flute, whistle or bird, but is actually solely a product of the human voice.
The group primarily uses native Tuvan instruments such as the igil, khomus (Tuvan jaw harp), doshpuluur, and dünggür (shaman drum). However, in recent years, the group has begun to selectively incorporate western instruments, such as the guitar. While the thrust of Huun Huur Tu’s music is fundamentally indigenous Tuvan folk music, they also experiment with incorporating not only Western instruments, but electronic music as well.

RADİK TYULYUSH CONCERT & WORKSHOP – AGA KHAN MUSEUM/ TORONTO

March 4th, 13:00pm Workshop
March 5th 19:00pm Hive, live jam with Tanya Tagaq
March 6th 20:00pm Showcase Performance
March 7th 20:00pm Showcase Performance

Two master throat singers highlight the similarities between their culturally distinct singing traditions. Radik Tyulyush, who hails from Tuva on the border of Mongolia, opens the program. Inuit throat singer and Polaris prizewinner Tanya Tagaq concludes with live accompaniment for a screening of the historically important — but highly controversial — silent film Nanook of the North (1922), directed by Robert Flaherty. Be prepared for spellbinding performances and the rare opportunity to experience two indigenous contemporary throat singers in a single venue!

Tickets

Image

CHALAMA PROJECT – MOSCOW 2015

“CHALAMA” is the second Radik’s solo album. Chalama is a respect and tribute for Spirits of the Land.This album is a tribute for World Cultural Tree.
It contains traditional Tuvan tunes and songs with Radik’s arrangement and songs written by him and his relatives.

Only traditional Tuvan instruments was used.

Chalama project - Moscow 2015  Photos by Valentin Monastyrsky

Chalama project – Moscow 2015 Photos by Valentin Monastyrsky

 

 

Chalama project - Moscow 2015  Photos by Valentin Monastyrsky

Chalama project – Moscow 2015 Photos by Valentin Monastyrsky

 

 

Chalama project - Moscow 2015  Photos by Valentin Monastyrsky

Chalama project – Moscow 2015 Photos by Valentin Monastyrsky

 

 

 

Chalama project - Moscow 2015  Photos by Valentin Monastyrsky

Chalama project – Moscow 2015 Photos by Valentin Monastyrsky

 

 

 

Chalama project - Moscow 2015  Photos by Valentin Monastyrsky

Chalama project – Moscow 2015 Photos by Valentin Monastyrsky

 

 

Chalama project - Moscow 2015  Photos by Valentin Monastyrsky

Chalama project – Moscow 2015 Photos by Valentin Monastyrsky

 

 

Chalama project - Moscow 2015  Photos by Valentin Monastyrsky

Chalama project – Moscow 2015 Photos by Valentin Monastyrsky

 

 

Chalama project - Moscow 2015  Photos by Valentin Monastyrsky

Chalama project – Moscow 2015 Photos by Valentin Monastyrsky

 

 

Chalama project - Moscow 2015 Photos by Valentin Monastyrsky

Chalama project – Moscow 2015 Photos by Valentin Monastyrsky

 

 

Chalama project - Moscow 2015 Photos by Valentin Monastyrsky

Chalama project – Moscow 2015 Photos by Valentin Monastyrsky

 

 

Chalama project - Moscow 2015 Photos by Valentin Monastyrsky

Chalama project – Moscow 2015 Photos by Valentin Monastyrsky

 

 

Chalama project - Moscow 2015 Photos by Valentin Monastyrsky

Chalama project – Moscow 2015 Photos by Valentin Monastyrsky

 

 

Chalama project - Moscow 2015 Photos by Valentin Monastyrsky

Chalama project – Moscow 2015 Photos by Valentin Monastyrsky

 

 

 

Chalama project - Moscow 2015 Photos by Valentin Monastyrsky

Chalama project – Moscow 2015 Photos by Valentin Monastyrsky

 

 

Chalama project - Moscow 2015 Photos by Valentin Monastyrsky

Chalama project – Moscow 2015 Photos by Valentin Monastyrsky

 

 

Chalama project - Moscow 2015 Photos by Valentin Monastyrsky

Chalama project – Moscow 2015 Photos by Valentin Monastyrsky

 

 

Chalama project - Moscow 2015 Photos by Valentin Monastyrsky

Chalama project – Moscow 2015 Photos by Valentin Monastyrsky

 

 

Chalama project - Moscow 2015 Photos by Valentin Monastyrsky

Chalama project – Moscow 2015 Photos by Valentin Monastyrsky

 

 

Chalama project - Moscow 2015 Photos by Valentin Monastyrsky

Chalama project – Moscow 2015 Photos by Valentin Monastyrsky

 

 

Chalama project - Moscow 2015 Photos by Valentin Monastyrsky

Chalama project – Moscow 2015 Photos by Valentin Monastyrsky

 

 

Chalama project - Moscow 2015 Photos by Valentin Monastyrsky

Chalama project – Moscow 2015 Photos by Valentin Monastyrsky

 

 

Chalama project - Moscow 2015 Photos by Valentin Monastyrsky

Chalama project – Moscow 2015 Photos by Valentin Monastyrsky

 

 

 

Chalama project - Moscow 2015 Photos by Valentin Monastyrsky

Chalama project – Moscow 2015 Photos by Valentin Monastyrsky

 

 

 

Chalama project - Moscow 2015 Photos by Valentin Monastyrsky

Chalama project – Moscow 2015 Photos by Valentin Monastyrsky

 

 

Chalama project - Moscow 2015 Photos by Valentin Monastyrsky

Chalama project – Moscow 2015 Photos by Valentin Monastyrsky

 

 

Chalama project - Moscow 2015 Photos by Valentin Monastyrsky

Chalama project – Moscow 2015 Photos by Valentin Monastyrsky

 

 

Chalama project - Moscow 2015 Photos by Valentin Monastyrsky

Chalama project – Moscow 2015 Photos by Valentin Monastyrsky

 

 

Chalama project - Moscow 2015 Photos by Valentin Monastyrsky

Chalama project – Moscow 2015 Photos by Valentin Monastyrsky

 

 

Chalama project - Moscow 2015 Photos by Valentin Monastyrsky

Chalama project – Moscow 2015 Photos by Valentin Monastyrsky

 

 

Chalama project - Moscow 2015 Photos by Valentin Monastyrsky

Chalama project – Moscow 2015 Photos by Valentin Monastyrsky

 

 

Chalama project - Moscow 2015 Photos by Valentin Monastyrsky

Chalama project – Moscow 2015 Photos by Valentin Monastyrsky

 

 

Chalama project - Moscow 2015 Photos by Valentin Monastyrsky

Chalama project – Moscow 2015 Photos by Valentin Monastyrsky

 

 

 

Chalama project - Moscow 2015 Photos by Valentin Monastyrsky

Chalama project – Moscow 2015 Photos by Valentin Monastyrsky

 

 

Chalama project - Moscow 2015 Photos by Valentin Monastyrsky

Chalama project – Moscow 2015 Photos by Valentin Monastyrsky

 

 

Chalama project - Moscow 2015 Photos by Valentin Monastyrsky

Chalama project – Moscow 2015 Photos by Valentin Monastyrsky

 

 

Chalama project - Moscow 2015 Photos by Valentin Monastyrsky

Chalama project – Moscow 2015 Photos by Valentin Monastyrsky

 

 

RADİK TYULYUSH: Vocal, Throat Singing, Igil, Byzaanchy, Shoor, Doshpuluur, Chadagan, Percussion, Deer Decoy.

Sound recording by Sergey Kalugin,Alexandr Kostarev, Alexey “Mapa” Ivanow.

Mixing,mastering and keyboard (5,9,10) by Alexey “Mapa” Ivanow.
Sound effect by Sergey Kalugin, Alexey “Mapa” Ivanow.
Sound producing by Valery Atanova and Radik Tyulyush.
Executive producing by Valery Atanova.
Design by Natalia Atanova.
Color photos by Semen Amanatov.
Watercolor images by Valery Atanova.

Photos taken by Valentin Monastyrsky

 

HUUN HUUR TU CONCERTS IN TEL AVIV / 27th, 29th November

Dates
November 27th (thursday)
November 29th (saturday)
at 9:00pm

Place

Elma Arts Complex Luxury Hotel

Ticket

Huun-Huur-Tu

Huun-Huur-Tu

Huun-Huur-Tu (Tuvan: Хүн Хүртү Khün Khürtü, Russian: Хуун-Хуур-Ту) is a music group from Tuva, a Russian Federation republic situated on the Mongolian border.
The most distinctive characteristic of Huun Huur Tu’s music is throat singing, in which the singers sing both the note (drone) and the drone’s overtone(s), thus producing two or three notes simultaneously. The overtone may sound like a flute, whistle or bird, but is actually solely a product of the human voice.
The group primarily uses native Tuvan instruments such as the igil, khomus (Tuvan jaw harp), doshpuluur, and dünggür (shaman drum). However, in recent years, the group has begun to selectively incorporate western instruments, such as the guitar. While the thrust of Huun Huur Tu’s music is fundamentally indigenous Tuvan folk music, they also experiment with incorporating not only Western instruments, but electronic music as well.

HUUN HUUR TU WITH JAMES CARSON

Hailing from the high pastures of the Altai Mountains in south central Siberia, the Tuvan acoustic quartet Huun Huur Tu’s trademark sound derives from the use of overtone or “throat-singing” techniques which were invented by the nomadic hunter-herders of the Tuvan steppes and mountains. Traditionally, these were largely performed a cappella, but Huun Huur Tu were one of the first groups to combine them with ancient acoustic instruments such as the cello-like two-stringed igil, the four-stringed byzaanchi, the three-stringed doshpuluur and thekhmomuz – a local equivalent of the Jew’s Harp. Using these with percussion and voice, they create eerie harmonics and other worldly noises, even mimicking animals. As they began touring in the West seventeen years ago, Huun Huur Tu almost single-handedly introduced the outside world to the boundless wealth of Tuvan traditions, thanks in great part to their superior musicianship.

Canadian-American pianist James Carson has developed a striking new style of piano music and for the last four years has been directing Cabin Music, a feature film, to share it with the world. While studying at the New England Conservatory, James was struck by a spiritual epiphany which sparked a twelve year search to create and share this music with the world. He subsequently spent two years backpacking from Spain to Japan and then spent five years designing, building, and practicing in a remote strawbale cabin in Northern Alberta. The music result was a new piano technique that is blindingly fast but at the same time meditative and harmonious, similar to the leaves on a tree in the wind. He has since moved to New York and been collaborating with different artists on his film. This concert holds a particular importance to James as he traveled extensively in Tuva during his travels and survived a near-fatal car accident in the Altai Mountains.

RADIK TYULYUSH- Singer, composer, Master Of Traditional Tuvan Throat Singing Member of Huun HuurTu

Radik Tyulyush learned throat singing and playing folk instruments from his grandfather. Every summer he went to his grandparents in far taiga site. Listening performance of throat singing by grandfather and uncle he learned the words and melodies of ancient Tuvan songs.

He is a graduate of Kyzyl School of Arts (Tuvan national instruments department) and East-Siberian State Academy of Culture and Arts. He plays from school in Tuvan rock band “Uer”, which released four albums. In 1999-2000 he worked in the folk group “Tyva”, then in the group “Yat- ha”, during the work in which 2 CDs were released and an award “The BBC Radio 3 Award for World Music” was won.

In 2003 he also joined the orchestra in Tyva National Orchestra, where he was the director for some time. In 2005, in England, he released his first solo audio disc “Tuva: Spirits of my Land” together with Cambridge University ethnomusicologist Carole Pegg. In February 2013 it was released the second album entitled “Chalama”, which means colored ribbons tied to the branches of a tree in a sacred place “ovaa” in Tuva. It contains his own compositions as well as traditional Tuvan songs, performed by Radik Tyulyush.

He is the youngest member of the “Huun Huur Tu”. He is in the group since 2006.

RADIK TYULYUSH- Singer, composer, Master Of Traditional Tuvan Throat Singing Member of Huun HuurTu

RADIK TYULYUSH- Singer, composer, Master Of Traditional Tuvan Throat Singing Member of Huun HuurTu

RADİK TYULYUSH CONCERT in MOSCOW / 12th OCTOBER

RADİK TYULYUSH CONCERT in MOSCOW / 12th OCTOBER ( 12 Ekim Moskova konseri)

12.10.2014 on Sunday at 8:00pm

CHALAMA PROJECT : Chalama is the title of the second Radik’s solo album. Chalama means colourful tapes tied to the tree’s branches in a sacred place “Ovaa” in Tuva. For tuvan people Chalama is praying, offering, tribute to the nature and ancestors. Album Chalama is musician’s offering to the world cultural Tree, his own contribution to the legacy of the world music. Such project of the same name like Chalama is the tandem of three professional musicians: Radik, Gennadyi Sergei who has their own musical experience, own views on music and that’s why the project becomes interesting and alluring. Radik Tyulyush – vocals, throat singing, igil, doshpuluur, shoor, khomus; Sergei Kalachev – fretless bass; Gennadyi Lavrentiev – violin, tambourine, tabla tarang take part in this project.

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В студи Tengri FM репетиция Радика Тюлюша и группы “Чалыма”.

В студи Tengri FM репетиция Радика Тюлюша и группы “Чалыма”.
Уже завтра с 17:00 на площади перед Дворцом Республики грандиозный концерт Фестиваля Современной Этнической Музыки The Spirit of Tengri!

В студи Tengri FM репетиция Радика Тюлюша и группы "Чалыма".

В студи Tengri FM репетиция Радика Тюлюша и группы “Чалыма”.

RADIK TYULYUSH / Journées des Cinq Continents

Samedi 14 juin 2014
DE 14H00 À 15H00
Atelier de voix diaphonique

Samedi 14 juin 2014 à 19H00
Concert RADIK TYULYUSH

Radik est né dans la région d’Ovur, en République de Touva, près de la frontière Mongole. Passionné de musique traditionelle, qu’il pratique depuis l’enfance, il apprend la technique du chant diphonique auprès de son grand-père.

İl étudie l’art du igil (vièle à pique) à l’institut Chyrgal-ool de Kyzyl, dont il sort diplôme. Il participe à plusieurs aventures de collectifs de rock et de folk Touvains, dont l’ensemble Yat-Kha, célèbre dans le monde entier. Radik enseigne aujourd’hui l’igil à l’instituts Kerndenbilija de la République de Touva.İl fait partie de Huun Huur Tu depuis 2005.

Informations et réservations

Radik Tyulyush

Radik Tyulyush

Huun Huur Tu, Ces 4 chanteurs musiciens dont le nom signifie littéralement « Propulseur de soleil », perpétue les traditions vocales et instrumentales de Touva, petite région basée entre la Russie et la Mongolie. L’ambiance sonore des grandes steppes et des montagnes qui forment le paysage de Touva ont inspiré à ses habitants l’une des plus étonnantes musiques vocales de notre planète. La technique vocale dite « chant de Gorge » ou KHOOMEI permet au chanteur d’imiter ces sons ambiants. Par des mouvements précis des lèvres, de la langue, de la mâchoire, du palais et du larynx, les chanteurs produisent deux à trois notes à la fois laissant surgir des mélodies fascinantes. On y reconnaît le chant des oiseaux, un cheval au galop, le ruissellement de l’eau, le sifflement du vent… Le chant de gorge est intimement lié à des traditions animistes et à des rituels chamaniques.

Radik Tyulyush will have a solo concert and workshop at “Festival des 5 continents ” in Martigny/Switzerland

 

WORKSHOP:
14.06.2014 Martigny/Switzerland
from 2pm to 3pm ( places are limited, registration required)

 

CONCERT:
14.06.2014 Martigny/Switzerland
Venue: Grand Salon du Manoir 
Time: 19:00h

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Radik Tyulyush - US tour, spring 2014

Tuvan singer and musician Radik Tyulyush began his career with the rock (“UER”, from 1993 – present, “Yat-kha”, 2000-2004) but craving for ethnic roots and traditions prevailed and in 2005 together with Carole Pegg in England (University of Cambridge) Radik recorded his debut album “Tuva: Spirits of my Land”, after which he was invited by the world-renowned group “Huun-Huur-Tu” and works with this group so far.
New stage in Radik’s career will be solo album “Chalama” which will be released in late 2012- beginning 2013. “Chalama” – colored ribbons that tie up the branches of the tree in a sacred place called “ovaa” as a sign of reverence for the universe, the grandeur, beauty, wisdom, nature – everything that we are happy to behold around us. Music written by Radik – like ribbons in the branches of the World Tree of Music and Harmony.

Album “Chalama” include Radik’s own compositions and traditional Tuvan songs arranged by him.

 

Journées des 5 Continents

POUR LE BIEN-VIVRE ENSEMBLE ET LA DÉCOUVERTE DES CULTURES DU MONDE
Les Journées des 5 Continents 2014 proposent une programmation riche en musique et en découvertes culturelles. Pour la première fois depuis 1994, le festival se déploie et sollicite votre soutien. Cinq concerts de haute qualité intitulés « Authentik Music » et des animations sont proposés du 26 avril au 15 juin 2014.
Au programme du week-end de soutien « Les Jardins des 5 Continents » du 13 au 15 juin 2014 : les « pique-niques du monde », le traditionnel marché ainsi que des concerts au Manoir et sur la scène du Manoir.

 

 

 

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Мастер горлового пения из Тувы выступит на The Spirit Of Tengri

RADİK TYULYUSH

RADİK TYULYUSH

Мастер горлового пения из Тувы Радик Тюлюш приедет в Алматы для участия в фестивале The Spirit Of Tengri, передает корреспондент Tengrinews.kz. Мультиинструменталист и певец выступит со своим проектом “Чалама”.

Уникальность горлового пения состоит в том, что человек может извлекать от двух и больше тонов одновременно. Происходит расщепление звука на основной тон, бурдон, и мелодический тон – обертон. Складывается впечатление, что поют два человека, а не один. Радик Тюлюш годами оттачивал свое мастерство. Он уверен, что этому искусству может научиться любой человек, если будет практиковаться.

Горловому пению и игре на народных инструментах тувинский музыкант научился благодаря своему деду, у которого гостил каждое лето в далекой таежной деревне. Как отмечают мастера голосового пения, их композиции – не что иное, как имитация природных звуков – человек их облекает в художественную форму.

 

Тюлюш является выпусником Кызылского училища искусств и Восточно-Сибирской Государственной академии культуры и искусств. Радик Тюлюш также является солистом всемирно известной тувинской группы “Хуун-Хуур-ту”. С 1998 по 2003 год Тюлюш был участником популярного тувинского этно-рок-коллектива “Ят-Ха”.

Выступление виртуозного музыканта и певца на фестивале современной этнической музыки The Spirit Of Tengri поистине является уникальным событием для Казахстана.

Ранее сообщалось, что концерт пройдет 7 июня на площади перед Дворцом Республики. На фестивале выступят этнические исполнители из Бурятии, Якутии, Австрии, Японии, Эквадора и многих других стран. Это артисты, поющие по всему миру в жанре этнической музыки, мастера горлового пения и виртуозы игры на самобытных инструментах. На сцене также выступят казахстанские артисты. Генеральным партнером фестиваля выступил Kaspi Bank. Мероприятие проводится при поддержке акимата Алматы.

 

http://tengrinews.kz/music/master-gorlovogo-peniya-iz-tuvyi-vyistupit-na-The-Spirit-Of-Tengri-254776/

 

 

Radik Tyulyush will have a concert (Chalama) at Festival “The Spirit of Tengri” on 7June, 2014

 

07.06.2014 ALMATY/Kazakhstan
Venue:Republic Square

Festival The Spirit of Tengri

The festival will feature ethnic performers from Buryatia, Yakutia, Austria, Japan, Ecuador and many other countries. These artists will sing songs from around the world in the genre of world music, masters of throat singing and virtuoso playing on traditional instruments. On stage Kazakh artists will also perform. Ethnic music lovers can listen to the work of 12 teams.

 

The Spirit of Tengri

The Spirit of Tengri

 

"CHALAMA" is the second Radik's solo album. Chalama is a respect and tribute for Spirits of the Land.This album is a tribute for World Cultural Tree. It contains traditional Tuvan tunes and songs with Radik's arrangement and songs written by him and his relatives. Only traditional Tuvan instruments was used.CHALAMA Web-Site:http://chalama.kroogi.com/en/download/2831022-Chalama.html

“CHALAMA” is the second Radik’s solo album. Chalama is a respect and tribute for Spirits of the Land.This album is a tribute for World Cultural Tree.
It contains traditional Tuvan tunes and songs with Radik’s arrangement and songs written by him and his relatives.
Only traditional Tuvan instruments was used. http://chalama.kroogi.com/en/download/2831022-Chalama.html