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France - Landes de Gascogne. La Cornemuse

Bagpipes throughout France are so diverse that a territorial situating of them is in itself a means of distinguishing

between immensely different musical instruments. The distinction is all the more important to make since the bouhe.

the bounloure, bouhaussac or tchalemine with the many names it goes by in local dialect, nowadays called in French a

'cornemuse landaise', is in itself a whole branch of organology distinct from other traditional French bagpipes. But

what is curious, is to find this organology present in certain Central European countries..Did it spread there@ Or was it

the result of a parallel evolution? An enigma which promises to go unresolved for some time and which helps to shroud in

mystery this poorly known but imaginatively simulating bagpipes. A cultural heritage is fed on strong imagery. In Cas of

the 'cornemuse landaise', the world is one of shepherds isolated at land's end. in 'a magnificent desert which enchanted

our ancestors, unfolding its primeval nudity beneath a barren sky in a straight, limitless expanse where the eye is

prepetually dazzled by nothingness and the soul enlarged, intoxicated, brimming with novel, childish joys which lose

themselves in ineffable, tender moments of sadness.' Thus wrote Felix Arnaudin in 1912, distraught at the sight of his

beloved Landes disappearing with the onslaught of pine forest. 'Industrial forest! in all its ugliness, a suffocating curtain,

an eyesore to the view, stifling thought and suppressing any flowering in its path.' Late 19th century cultural and social

mutations are suffered here like a real fracture: there is a 'before', the former agro-pastoral civilization, and an 'after',

industrial society, Of course the 'cornermuse landaise' ineviably harks back to that former age, forever lost and therefore

glorified, dreamed, and this, even more so since it had been less and less used in the course of the 19th, thanks to the

efforts of the elergy who were opposed to it ('A bagpiper is a beast blowing into the skin of another beast' stormed from

his puplit the Cure of Commensacq around 1880). It became part of folklore, and was finally replaced by other musical

instruments like the accordion, which Felix Arnaudin called 'painful, odious and stupid', an opinion shared by the pipers

of his day. 'The accordion is like the oinking of a pig', was to say Pierre Lescommeres in 1907.

It is easy to understand that this bagpipes was one of the fontrunners of the post- 1968 revivalist movement that occurred

in the Landes of Gascony. Although research has been able to exhume the instruments, no recording of a musician playing in

what could be deemed the 'old style' can be found, the last bounlourayre being Jeanty Benquent who dies in 1957.

Musicians had to develope their own technique, inspired by Slavonic practices and to invent or commission new instruments:

in a sense, the absence of historical evidence is conducive to creative imaginative development.

Now, a single recording, made by Jeanty Benquet in 1939 in Bazas (Gironde), has been found, a good way to learn about

bagpipes playing technique at the end of the 19th century and turn of the 20th, Although comparison is temting, nothing

could be more futile: recreation will always occur, the study of other musical instruments whose playing techniques have

remained more constant can testify to this. The 'cornemuse landaise' has evolved, notably in its musical scale, equal

temperament was crucial to playing with other instruments. The uniting of these different musical practices on the same

recording is a sign of the present-day musicians' desire to be part of a historical tradition.

France: Landes de Gascogne, La Cornemuse [Ocora C 560051] is another CD that focuses on the bagpipes of a particular French

region. Unlike Chabretas, it features five different pipers. Four of these are what we would call “revivalists”: people who,

in the 70s, learned to build and play the bagpipes of the Landes, reinventing the tradition as they went. The fifth piper

featured on the disc is Jeanty Benquet, considered the last of the traditional Landes pipers; Benquet died in 1957, leaving

behind only one recording, from which three selections appear on this collection. While we must imagine that Benquet’s

playing is closer to the “old style” of Landes piping, we know that he was a cosmopolitan traveler and a semi-professional

entertainer, and thus subject to outside influences. No other recording of a traditional Landes piper was ever made, and

this one was discovered only recently. Therefore, the post-1968 revival of Landes piping is based much more on

Slavic models, and on personal creativity, than on the Landes past. It is an excellent example of a creatively

invented tradition. The four revivalists all play their instruments with aplomb, some alone and others with accompaniment

from fiddlers, hurdy-gurdy players and clarinetists. Most of the melodies are intended for dancing, and they have a breezy

lift that makes for most pleasant listening — provided one likes the sharp tones of the bagpipe to begin with. One

interesting feature of the Landes pipe is a short pipe for accompaniment of the melody. It can be sounded more or less

continuously as a drone, or used rhythmically like the regulators of the Irish uillean pipes and the trompette of the French

hurdy-gurdy. It adds a bit of texture and complexity to several of the tunes on this disc, and is especially noticeable in

Benquet’s playing. Like Chabretas. (Rootsworld)

01. Patrice Bianco - Suite De Rondeaux

02. Patrice Bianco - Rondeau 'A Grenade'

03. Michel Harismendy - Valse 'Quoan V (is Ganhar')

04. Patrice Bianco - Scottiche

05. Patrice Bianco - Marches Du Bazadais

06. Michel Harismendy - Polka

07. Michel Harismendy - Rondeau

08. Robert Matta - Valse 'Cervesca'

09. Robert Matta - Fandango Et Arin-arin

10. Robert Matta - Rondeau 'Dessus Le Noste Trilhe' (Sur Notre Treille)

11. Robert Matta - Polka 'Marie Melody'

12. Bernard Desblancs - Suite De Congos

13. Bernard Desblancs - Noel 'Deche Me Droumi' (Lassie-Moi Dormir)

14. Bernard Desblancs - Scottiche

15. Bernard Desblancs - Rondeau 'Nid De La Lebe' (Le Nid Du Lievre)

16. Bernard Desblancs - Suite De Courantes

17. Bernard Desblancs - Suite De Trois Rondeaux

18. Alain Cadeillan - Margot/Janeton/Son D'eau/Cego Aderaldo (Suite Varie medley)

19. Alain Cadeillan - Miqueu Qu'a Nau Topins De Meu/Debat Mon Pe I'a Nau Junquets (airs De Noce Suvis De Deux Rondes medley)

20. Alain Cadeillan - Mazurka

21. Alain Cadeillan - atan Qu'aue/M'i an Balhat Un Mariton (Rondeaux medley)

22. Alain Cadeillan - Suite De Scottiches

23. Alain Cadeillan - Rondeau 'A Lo Coquin De Pire' (A Le Coquin De Pire)

24. Alain Cadeillan - Valse Monica

25. Jeanty Benquet - Congo

26. Jeanty Benquet - Ronde 'Au Barricot Du Novi' (Au Tonneau Du Marie)

27. Jeanty Benquet - La Bazadaise

Total time: 67'04

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