Untitled - Institut Guillem de Berguedà

Profesors:
- Queralt Santandreu
- Victor Esgueva
- Pere Camprubí
Alumnes suecs:
- Ellinor Kjellén
- Hjalmar Grahn
- Emilia E-Jansson
- Sofia Hasselquist
Alumnes catalans:
- Laura Figols
- Laura Tomasa
- Eva Marceló
- Èlia Macià
ÍNDEX/CONTENTS
Editorial......................................................................................................................................... 1
Our Song/Nuestra canción.............................................................................................................3
Los instrumentos de la cobla/Instruments of la cobla................................................................... 4
Articulo donde se comparan las realidades suecas y las catalanas/ Article that compares the swidish and
catalan realities............................................................................................................................. 6
La sardana.................................................................................................................................... 7
Articulo critico ( La Trinca )/Critic article (La Trinca)..................................................................... 8
Entrevista a Lluís Coma/Interview to Lluís Coma..........................................................................9
Cartas al director/Letters to the director....................................................................................... 11
.
Gobalización Musical/Music Globalization....................................................................................1 3
La Cobla....................................................................................................................................... 1 5
Entrevista de los alumnos suecos/Interview of Swedish students................................................1 7
Agenda cultural/Cultural activities.................................................................................................1 9
Midsuumer.................................................................................................................................... 21
Enquesta/ Surney......................................................................................................................... 23
Puzzles........................................................................................................................................ 25
E D I TO RI AL
In Catalonia there are a lot of different popular music. But in particular there are one that in my opinion
is the most famous around the world, this is la “Sardana“.
I think that is important to speak about sardana because is a very important tradition in Catalonia. Few
years ago the sardana was the absolute protagonist in all the great festivities in all the towns and cities
in catalonia, but now we are losing this tradition and other music substitute la sardana. I think that it’s a
pity because we are losing our traditions. We must do something for the young people learnt to
appreciate the music and the dance of the sardana, because it’s a important part of our culture.
The majority of cities in Catalonia have a sardana dedicate to them. In our cace, in Berga there are few
sardanes that link the our town traditions and our music. For example “Corpus a Berga “ it’s a very
beautiful sardana made with the Patum’s music.
I think that the government will do something to promotion sardana and maintain one tradition so
antique as la sardana.
1
2
AMAZING!
Uoh uoh!
There you go again, You will know new people.
Yeah you!
the Comenius...
got everybody star struck
We must, enjoy it the experience
Because it’s a big opportunity to learn a lot of E-English!
We fly over Europe, cause we hope need more freedom,
If you want, we will be friends, dancing and singing.
We will travel to Västervik, we will travel to Berga.
cause we want see your face another more t-i-ime. Yeeah.
Yeah Yeah!
We are working a lot, Everything will go out well.
Oh sure!
Wanna see me, and soo-oon it was coming.
We must, enjoy it the experience
Because it’s a big opportunity to learn a lot of Spa-anish!
We fly over Europe, cause we hope need more freedom.
If you want, we will be friends, dancing and singing.
We will travel to Vastervik, we will travel to Berga.
cause we want see your face another more t-i-ime.
Wish I could tell you “It will be etern”
All this time hasn’t been one dream.
It’s a real thing that it haves end.
I miss you.
Maybe, distance it’s a problem but I promise that we see-again.
I think it has been amazing
We fly over Europe, cause we hope need more freedom.
If you want, we will be friends, dancing and singing.
We will travel to Västervik, we will travel to Berga.
cause we want see your face another more t-i-ime. ( BIS)
Lyrics: Èlia Macià and Laura Fígols
3
THE INSTRUMENTS
OF THE COBLA
that is even longer.
In “La Cobla” there is only one.
Powered by a switch that changes the length of the
tube and allows for all notes. You must be very
precise position of the rod to tune the note
CONTRABAIX
correctly.
The” Contrabaix” is a stringed instrument.
Have a sound more serious than the trumpets,
In “La Cobla” there is only one which is what plays a bright heroic character with a dark low register.His
crucial role, is the rhythmic basis.
tone is in the gift.
It is a pear-shaped instrument that can be called
Early trombones were built year 1 825.
"Berra" and has three strings.
In the early twentieth century it was common to see
It is a great tool and a deep and resonant sound very verses without trombone but it went forward to
serious.
incorporating all, was the last instrument to join.
The role of the trombone in “La Cobla” is almost
always done accompaniments, reinforcing the
grave acts of trumpets or the acute of flugelhorn.
TIBLE
It is a wind instrument, the “Cobla” there are two of
these.
It has characteristics similar to those of “tenora” but
is shorter, measuring 55 cm.
The “tible” has a shrill and piercing sound can be
considered the second protagonist in the “Cobla”
This instrument was created in 1 850 specifically for
the ”Cobla” .
La Tenora
The tenora is aerofono double reed instrument
from he family xeremies. Its name come from the
fact xeremia tenor. It is one of the most
characteristic of the couplet. The tenora consists of
thirteen metal keys copied the oboe because the
musicians playing different notes.
Consists of five pieces, the cane, the tudell the top
of the cylinder body, lower body and hood. It is
basically made of wood Jujube red date tree is less
than the bell metal.
The current size is about 85 cm and vibrates
through the action of a double reed cane.
TROMBÓ
It is a brass instrument mouthpiece of dosing, and
body incurvat conic section in the cylindrical portion
of the pavilion and the rest, much like the trumpet
4
TAMBORÍ
FLUGELHORN
The flugelhorn is an instrument that belongs to
the family of saxhorns. This family of brass
instruments is different from the trumpets and
trombones that his pipe is conical rather than
cylindrical, which gives a very different sonic
texture. The family has a large number of
instruments ranging from acute and more like
the trumpet and the largest espectacular.
Adolph Sax invented in the nineteenth century.
In the couplet the flugelhorn with one hand
harmonic and rhythmic role, and there are also
other passages solo passages usually entrusted
transition and its role is crucial when giving
personality to the sound of the training .
FLABIOL
The flabiol is a musical wood and wind, the
family of the flutes. Excels with its short and
tailored to handle with one hand, the left.
Measures approximately 20 to 25 centímetros
long and has five or six and three holes reaches
beneath. In the salsa was accompanied by a
flute Tamborí stand with the codon that is left
and right side with the Coup. All sardanas start
with an introduction played by a flute.
The “tamborí” is the only percussion
instrument of “La Cobla”. It is a small drum
(about 1 2 cm in diameter) is made of wood
and leather is your diaphragm.
In “La Cobla”there is only one.
The “tamborí” is an instrument with little
volume of sound.
The tone of this instrument makes the
acomapnyament in “Sardanes” along with the
bass.
It is played by the same person as the
“flabiol”.
Usually the musician who played the leads
attached to the left and right utilitzan played
with a wooden bench, with the left hand plays
the “flabiol”.
TRUMPET
The trumpet is a musical instrument
belonging to the family of brass instrument or
metals, fabricated metal alloy. The history of
the trumpet goes back to the origins of human
history.Almost as old as the flute, which is
reputed as the most ancient and widespread,
they should be the trumpet and cornet,
derived from ox horn can still serve as a
hunting horn.
5
COMPARING THE
SWEDISH
REALITIES WITH
THE CATALANS
them grow up. In Sweden the vegetables
growing is much more difficult.
These are the main differences and similarities
between Sweden and Catalonia.
Sweden, being a northern country , has lower
temperatures tan Catalonia, but it has many other
similarities that we are going to see for example the
Swedish economy is directed to the export, the
same that the Catalan economy.
They also have big very developed nets of
communication.
But they have something very different. It is the
currency. They don use the Euro. They use the
SWEDISH KRONA /sek/. 1 e is about 9,6 SEK.
They sleak Swedish. They even have English like a
second language, like we have Spanish. We also
speak English.
There are different religions in Sweden, but most
of the people belongs to the Swedish Church,
/72,9%/ in 2008. Some 275,000 Swedes are today
members of various free churches and immigration
has meant that there are now some 92,000 Roman
Catholics and 1 00,000 Eastern Orthodox Christians
living in Sweden. Because of immigration, Sweden
also has a significant Muslim population. Almost
half a million are Muslims by tradition, but
approximately 5% (25,000) of these actively
practice Islam (in the sense of attending Friday
prayer and praying five times a day.
In Sweden there are different types of music, like
the SAMI music, from the SAMI people, and known
as joik.
The Swedish folk music has got traditional
interpretations that it incorporates elements fromthe
jazz and rock. Chorus is a very popular activity
specially in their churches, where people sing
choral music.
But in Catalonia, the traditional music is the Cobla.
They play the music en the traditional dances and
choirs. Of course, both Sweden and Catalonia take
music from other countries.
About food, we are very nearly the same. Its food
is, mainly, based in meat and fish, mixed with
sauces , but we eat much more vegetables
because of the temperature in our country that let
6
LA SARDANA
HISTÓRIA
La sardana es una danza popular catalana y
es el baile nacional de Catalunya. Se baila
en circulo siguiendo la música interpretada
por una cobla. Los participantes se cogen de
las manos por parejas, entendiendo como
pareja un hombre que coge con la mano
derecha a una mujer, que resulta por lo tanto
en un patrón alterno de hombre-mujerhombre-mujer.
La sardana tiene su origen en la isla de
Cerdeña donde se baila un baile típico hace
siglos que se llama "Su passu torrau" entre
otras modalidades. De allí se la trajeron los
catalanes en sus viajes junto a Alfonso el
Magnánimo en pleno renacimiento.[. Su
popularidad y extensión crecieron
considerablemente en las últimas décadas
del siglo XIX.
Pep Ventura se estrenó como a musico
coblaire (1 837). A él es debido el acertado
ajustamiento de instrumentos que, con
ligeras alteraciones, se ha consagrado:
flabiol i tamborín, dos tibles, dos tenoras, dos
trompetas, un trombón, dos fiscornos y un
contrabajo. Reformó y adoptó el conjunto de
cuatrocientas cardanes, escritas en mano, se
conserva a la biblioteca de l’Orfeó Català.
Miquel Pardàs que publicó el 1 850 a
Figueres el primer Mètode per a aprendre a
ballar sardanes llargues. El nombre de
coblas aumentó. La peculiaridad musical i la
curiosidad coreográfica daban a la sardana
un sello de catalanismo. Salvo esporádicos
bailes en el verano del 1 859, las coblas no
acudieron a Barcelona hasta doce años más
tarde, con motivo de las fiestas de la Mercè.
La sardana es tocada actualmente por una
cobla que consta de 1 2 instrumentos tocados
por 11 músicos. Cuatro de estos
instrumentos (tenora, tible, flabiol y tamboril)
son instrumentos típicamente catalanes o
versiones diferenciadas sólo usadas en
Cataluña. Los otros (trompeta, trombón,
fiscorno y contrabajo) son más
convencionales.
ESTRUCTURA
La sardana se compone de una determinada
sucesión de compases, cada compás es un punto
o paso que se tiene que hacer. La componen dos
partes, una que se llama curts, variable de
dieciocho a cuarenta compases, y la otra se llama
llargs, de cincuenta y cinco a ochenta y cinco
compases. Las dos partes juntas son llamadas
tirada y el orden en que se hacen figura en
organigrama. Por lo que se refiere a la longitud de
una sardana, hay sardanas de 7 y de 1 0 "tirades",
que tienen unas estructuras definidas de pasos
"curts" (cortos) y "llargs" (largos).
Al principio de la sardana siempre hay un preludio
de un flabiol; el mismo instrumento hace el
contrapunt al inicio de la quinta i de la sexta tirada
de llargs; Estas sonadas son para que la gente
preste atención y no se bailan. La tirada de cortos
tiene un nombre impar de compases, de dieciséis
a cuarenticinco, y se caracteriza porque en estas
tirades los bailarines mantienen los brazos abajo.
En el primer compás de la tirada el pie izquierdo
avanza, hace un punto en el suelo y retrocede. En
el siguiente compás se desplaza hacia la derecha
y seguidamente marca un nuevo punto con la
derecha. Lo sigue un nuevo desplazamiento y un
punto hacia la izquierda y así sucesivamente
alternándolos. Cada cuatro compases se vuelve al
mismo lugar.
Habitualmente la tirada de llargs tiene un nombre
impar de compases, de cincuenticinco a
noventicinco, en este caso los bailarines levantan
los brazos. Los desplazamientos a derecha i a
izquierda son idénticos a la tirada de curts, con la
diferencia que en la tirada de llargs el nombre de
puntos a marcar es tres, en vez de uno. Cada
ocho compases vuelve al mismo lugar.
7
COMO ERA LA TRINCA
Y COMO ES AHORA
DESDE
EL PUNTO DE VISTA
DE LOS JOVENES
La trinca es uno de los primeros grupos
musicales que se crearon en Cataluña en la
década de los 70.
Estaba compuesto por 3 cantantes, Josep
Maria Mainat, Miquel Àngel Pasqual y Toni
Cruz.
En esa época había la dictadura de Franco, en
esos tiempos la libertad de expresión era muy
limitada y aun mas si era en catalán.
Creo que este grupo tenia la genialidad de
crear canciones de doble sentido, un lado
parecían canciones de berbena i de fiesta por
sus melodías divertidas,i por sus temáticas
cercanas a su generación como la canción de
“sexe,droga i rockandroll” y por otro,
canciones vinculadas con la representación.
A través de su letra nos damos cuenta de la
gran critica contra el régimen franquista que
prohibía hablar abiertamente de muchas
cosas, sobretodo de las relacionadas con la
política y la libertad.
Las letras de las canciones de la Trinca eran
importantes porque reivindicaban la sociedad
liberal de una manera divertida y cercana que
llegaba a todo tipo de público.
Por ejemplo una de sus muchas canciones es
la de “Prim,prim,prim i mort de gana” que creo
fue una canción escrita para la baja sociedad
Catalana que vivía un tiempo de pobreza pero
con un ritmo y una letra divertida para
sobrellevarlo.
En esa época era impensable y estaban mal
vistas muchas cosas de las que ahora son
normales y ya a nadie sorprenden.
Las letras de la trinca aun hoy son utilizadas
en diferentes situaciones políticas o sociales.
Ahora sus personajes se han hecho mayores,
y han realizado un programa para elegir a una
nueva generación de la Trinca. Ahora
podemos revivirla de forma un poco diferente,
pero igual en sus momentos alocados y
divertidos.
Han salido elegidos para representar a este
nuevo grupo: Marc, Dídac y David que harán
una recopilación de los momentos más
representativos y los recibirán en una película.
8
ENTREVISTA A LLUÍS COMA
Somos un grupo de cuatro alumnos del
instituto Guillem de Berguedà que estamos
realizando un trabajo de música dentro del
marco de un Proyecto Comènius. Este
proyecto lo estamos haciendo conjuntamente
con los alumnos de un instituto de Suècia. El
tema de nuestro trabajo es la música popular
catalana. Por este motivo hemos creído que
era muy importante explicar una de las
formaciones típicas de Ctalunya, "la cobla".
Hemos establecido contacto con el Sr. Lluís
Coma que es un músico que hace más de ......
años que forma parte de las coblas más
importantes de nuestro país. Él nos ha
respondido la siguiente entrevista que nos
proporciona muchíssima información acerca
de lo que significa tocar en una cobla.
-Señor Coma, en primer lugar, ¿de dónde es
usted?
Abans de començar, disculpeu-me per
contestar les preguntes en català, ja que em
será més fácil expressar-me. Si us convé pel
vostre treball podeu traduïr les respostes.
Em dic Lluis Coma i Coll, tinc 62 anys i vaig
néixer a l’Hospitalet de Llobregat on havien
anat a viure els meus pares quan es van
casar; ells provenen de pobles de la Catalunya
central: Sant Feliu Sasserra el pare i Santa
Maria d’Oló la mare.
-¿Qué instrumento toca y en que cobla?
El flabiol i el tamborí; són dos instruments que
els toca un sol instrumentista, el flabiol amb la
mà esquerra i el tamborí amb la mà dreta. La
Cobla actual és La Principal de Terrassa.
-¿Cuándo aprendió a tocar este instrumento?
Quan tenia divuit anys em vaig comprar el
primer flabiol marca Romero, de Gavà, per
acompanyar els balls de bastons de la colla
del poble, i vaig aprendre a tocar de manera
autodidacta fins un nivel bàsic. Als trenta-un
anys em vaig engrescar a tocar sardanes i
aleshores durant dos anys vaig fer els estudis
de flabiol i tamborí de manera sistemática
seguint el mètode del mestre Narcís Paulís i
els exercicis de mecanisme del mestre Jordi
Leon. I em vaig comprar el segon flabiol construit
per en Reig, de Torelló.
-¿Dónde aprendió usted a tocar?
El meu mestre va ser el flabiolaire de Sabadell en
Santiago Olzina, que em rebia a casa seva els
dissabtes al matí per passar els exercicis que jo
havia estudiat a casa cada dia de la setmana.
Abans no hi havia cap Conservatori on
s’estudiessin els instruments de cobla
(especialment flabiol, tenora i tible) i t’havies de
buscar un mestre que te’n ensenyés a casa seva.
-¿Cuánto tiempo hace que toca en la Cobla?
Com us he dit abans els estudis d’instrument els
vaig començar força gran, de manera que no vaig
debutar a la Cobla fins els trenta-tres anys; ara fa,
doncs, vint-i-vuit anys que toco sardanes.
-¿Podría explicar-nos la estructura que tiene
(músicos, instrumentosa)?
La formació de Cobla més freqüent es d’onze
músics colocats en dues files: cinc a la fila del
davant que toquen asseguts (un flabiol i tamborí,
dos tibles i dues tenores) i sis a la fila del darrere
que toquen drets (duess trompetes, un trombó,
dos fiscorns i un contrabaix).
-¿Cuántas Coblas similares a la suya cree usted
que hay en Cataluña?
Tinc entès que arriben a unes 11 0 entre el
Principat i la Catalunya Nord.
-¿Qué tipo de música interpreta la Cobla?
El repertori tradicional es composa de quatre
grans grups que practiquen la majoria de Cobles:
. Sardanes (ballades, aplecs i concursos)
. Acompanyaments de Festa Major (cercaviles,
Misses i concerts)
. Ballets (les dances dels Esbarts)
. Balls vuitcentistes (balls de saló
instrumentats per a Cobla)
En els últims anys algunes Cobles de primera
categoria s’han endinsat també en el camp
simfònic (poemes simfònics, cantates i obres de
càmera) amb molts bons resultats, però de
moment es una activitat minoritària.
-¿En qué lugares actúan?
La sonoritat de la Cobla està pensada per actuar
9
a l’aire lliure, es a dir, a qualsevol plaça de
qualsevol poble on hi hagi un mínim espai per
ballar sardanes, o bé a les places Majors per a
Concursos de Colles Sardanistes i per aplecs
de vàries Cobles, o també a allunyats llocs
boscans on es cel.lebren aplecs d’Ermites.
Normalment només és en cas de mal temps
que aquestes activitats es desplacen a llocs
tancats (sales d’actes i pabellons
poliesportius) on la sonoritat de la Cobla perd
molta qualitat.
En quan a l’àmbit geogràfic, algunes Cobles
recorren tot el país i també fan esporàdiques
sortides a Espanya i a l’extranger, però la
majoria tenen un àmbit només comarcal o
provincial.
Cobla mai les he près com un treball sinò com
un esbarjo; es guanyen diners però no per
viure’n. Només deuen ser els músics de 7 ó 8
Cobles molt professionalitzades en tot Catalunya
que poden viure exclusivament de la música de
Cobla.
-Y para finalizar, ¿tiene previsto tocar muchos
años más en la Cobla?
Doncs no gaire més perquè ultimament m’estic
embolicant en altres activitats musicals al meu
poble, i cada vegada tinc menys temps. I també
perquè ja tinc una edad que aconsella deixar pas
a altres músics joves amb molta empenta i
qualitat.
-Usted, ¿en qué sitios ha actuado?
Us diria que a les places Majors de quasi la
meitat de pobles de Catalunya; seria
interminable anomenar-los.
-¿Cuál recuerda en especial?
Per suposat la primera actuació, que va ser a
Alella, on no sé si era més gran la por o la
il.lusió. I una llarga llista de llocs emblemàtics
com a dalt a Montserrat, la Plaça Sant Jaume
de Barcelona, el Parc Güell, etca
-¿A qué edad empezó usted a tocar?
L’activitat musical la vaig començar de molt
jove en camps diferents, però com a músic de
Cobla soc una mica tardà, doncs vaig
començar als 33 anys.
-¿En cuántas Coblas distintas ha tocado?
He fet bolos (actuacions esporàdiques) amb
1 0 ó 1 2 Cobles, però com a músic de plantilla
només he estat a tres Cobles: Cobla Verneda
(ja desapareguda), Cobla La Principal de
Collblanc (que actualmente es diu Cobla Baix
Llobregat), i Cobla La Principal de Terrassa.
-¿Puede un músico como usted vivir de la
música?
Ni molt menys; jo, com la majoria de músics
de Cobla, sempre he tingut una altra feina
professional durant la setmana per obtenir la
part important dels meus ingressos, i les
actuacions del dissabte i diumenge amb la
10
CARTA AL DIRECTOR
LETTER TO THE DIRECTOR
Señor director, quería hacer un comentario
sobre la programación de actos festivos, que
este Corpus hemos tenido en Berga.
Como es sabido cada año al finalizar la Patum
del jueves y del domingo por la noche, en la
plaza Viladomat “el Vall” se bailan sardanas y
muy especialmente se acaba la audición con la
sardana típica de la Patum “Corpus a Berga”.
Este año por falta de presupuesto municipal se
han suprimido estas audiciones nocturnas.
Como ciudadana de Berga expreso mi firme
rechazo ante este hecho, ya que considero que
el Ayuntamiento Municipal destina dinero a otros
actos que no son tan significativos para los
ciudadanos de Berga, como una de sus
tradiciones más preciadas.
Quiero proponer que si el próximo Corpus tiene
que pasar lo mismo, tendremos que ser los
ciudadanos los que nos movamos para poder
financiar esta audición de sardanas que, es muy
importante para los “berguedans”.
Mr Editor.
I want to tell you about “the Sardanes” at the
last weekend I think they were in a not very
suitable place,because it was really terrible and
“the Cobla” made many mistakes while they
were playing.
I would appreciate that these mistakes don’t
happen any more.
Att: Eva Marceló
Firmado : Laura Figols Isach
11
LETTER TO THE DIRECTOR
CARTA AL DIRECTOR
Dear Sir,
Last Sunday while I was walking in the center
of Barcelona, near the cathedral, I listened to
some music in the street. I went in front of the
cathedral and I saw a group of ten musicians.
Five of them were sitting and five were
standing behind them. They were playing a
typical song of Catalonia, “La Sardana”. There
were a lot of people dancing in front of them.
They were dancing in a round with their
hands joined. It was very beautiful and all the
people enjoyed dancing this song. But my
surprise was that there were only old people
dancing. I didn’t see young people there.
Why? What is happening with the tradition?
Aren’t these traditions enough interesting for
the teenagers? Where were the young people
this beautiful Sunday of April? We must do
anything. School has something to do about
this. I think that it’s important for a country that
people don’t forget the traditions. I hope that
someone will do something, because if we
don’t do something, this traditional dance will
disappear.
Hola, hace días que voy a ver a las coblas y a las
agrupaciones sardanistas, y últimamente no hay
gente joven, ni adolescentes.
A los chicos jóvenes ya no les interesa ni las
sardanas ni tocar para coplas, y eso es malo, ya
que la sardana es la danza típica de Cataluña y
sino la fomentamos, se va a acabar perdiendo.
Desde el ayuntamiento tendrían que hacer
cursos, para informar a la gente y enseñarles lo
bonito que es este baile, y lo importante que es
conservarlo. Así los jóvenes pondrían más
interés.
Laura Tomasa
Èlia Macià Puig
12
MUSIC
GLOBALITZATION
Many years ago, when the communications
around the world were very difficult, the music
and the dance were very specific in every
country. All the communities have different
musical traditions and dances. For example,
people in Catalonia listened to and danced
Sardana’s music, ball de bastons,a and in
Sweden /the polka/.
But nowadays, people have similar likings in
many aspects of their lives, because it’s
easier to access to the media like Internet,
television, radio, a and music isn’t an
exception.
When the Swedish teenagers go to the disco,
they dance the same music than Catalan
teens. We have to think that Sweden is the
third country in the world that exports pop
music, after the USA and Great Britain.
The Swedish people like the same musical
groups than Catalan people. For example>
Lady Gaga, Britney Spears, Elvis Presley,
Riana, a.
It’s important to note that the role of music is,
in today’s world, a key tool in the process of
globalization.
However this does not necessarily provide
us with any reasons that would make us
believe that music has a homogenizing effect
on the world .
Every culture will continue having its own
traditions although the general globalization.
13
14
QUE ÉS LA COBLA
La cobla és una agrupació instrumental d’onze
persones que acompanya les sardanes. Toquen
bàsicament instruments de vent (flabiol, tible,
tenora, trompeta, trombó i fiscorn) de percusió
(tamborí) i de corda (contrabaix).
COBLES DE BERGA
A Berga hi ha diverses cobles, que toquen
habitualment:
-La Cobla Pirineu
-La Cobla Principal
-La Cobla Ciutat de Berga
LA FORMACIÓ DE LA COBLA
La cobla com a conjunt instrumental a Catalunya
ja existia al segle XVI. Però no tenia cap
formació específica ni evidentment els
instruments actuals, que són tots originaris del
segle XIX.
PEP VENTURA
Pep Ventura va ser un home carismàtic i ha
passat a la història de la sardana per la gran
tasca musical que va portar a terme i pels canvis
introduïts a la cobla. Transformà i estabilitzà la
cobla en les seves característiques essencials,
incorporà el contrabaix i donà a la tenora el seu
paper predominant.
LA COLOCACIÓ DE LA COBLA
Normalment la cobla és col•loca sobre un
enterimat de fusta a l’aire lliure i els intèrprets
ocupen un lloc determinat segons l’instrument
que toquen.La distribució dels instruments en
aquesta formació manté un ordre semblant al de
l’orquestra simfònica. Així d’esquerra a dreta és
situen des dels més greus,al primer esgraó els
de fusta (flabiol,tible i tenora) i al segon els de
metall (trompeta,trombó i fiscorn).Finalment el
contrabaix a l’extrem deret i el tamborí a
l’esquerre percudit pel flabiolaire.
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WHAT IS THE COBLA?
The Cobla is a musical group typical from
Catalonia in which wind instruments
predominate, which runs the popular music of
different dances, especially the Sardana.
The COBLA CATALANA was born to unify the
Cobla provensal, stylistically and
structurallywhich consisted, without a fixed
pattern, of nine lines per cobla. Cobles with the
same composition, except the final tornados. It
became a fixed structure of eight lines. Their
origins data back to a former strucuture named
THREE QUARTANS and it was formed by three
musicians who played four instruments>
bagpipes, the tarot, the flute and the drum. This
medieval musical group grew and gave rise to
modern COBLA, as we know it today.
PLACING THE COBLA
The Cobla is usually placed on a wooden
platform in the open air, and the performers
occupy a special place attending the
instrument they play.
The instruments distribution in this group
remains on a similar order than the symphony
orchestra. It is located, left to right from the
lowest on the first wood step /flute and tenor
tible/ On the second, metal .trumpet,
trombone and flugelhorn/. Finally on the left,
the Bass and drum struck to the flabiolaire.
COBLES IN BERGA
There are some diferents cobles,that they
usually perform in Berga
-Cobla Pirineu
-Cobla Principal
-Cobla Ciutat de Berga
THE FORMATION OF THE COBLA
The Cobla as a instrumental group existed in
Catalonia in the sixteenth century. But it had no
specific structure on the current instruments,
which originated in the nineteenth century.
The current Cobla is usually composed of 11
musicians playing 1 2 instruments. Some of
these instruments are native and typical of
Catalonia and other are used in different groups
such as bands, orchestras, rock, jazz, a That
is, we could say that the Cobla combines
instruments from different cultures to create a
musical culture itself.
The instruments of the Cobla that are typical of
Catalonia have developed from ancient
instruments that existed in medieval Catalonia
during the Middle Ages. The rest, which are not
typical, have been incorporated from another
groups.
PEP VENTURA
Josep Maria Ventura Casas was born in Alcala
la Real in 1 81 7. Popularly known by the name
of Pep Ventura, he was a a musician and
composer who reformed and consolidated long
SARDANA giving it the Cobla amplitude.
He was a popular figure at the same time as a
performer of the Cobla, a prolific composer and
skilled tenor.
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ENTREVISTA
DE LOS
ALUMNOS SUECOS
Linnea
¿Qué música escuchas?
Escucho todo tipo de música.
Otto
¿Qué música escuchas?
Escucho Elvis Presley
¿Cuál es tu cancion favorita?
Elvis Presley – Got a lot of living to do
¿Te gusta bailar?
Un poco
¿Cuál es tu cancion favorita?
Mi canción favorita ahora es Paparazzi de
Lady GaGa
¿Cuál es tu artista favorita?
Elvis Presley
¿Te gusta bailar?
Si, me encanta
¿Miras programas de baile?
A veces
¿Cuál una artista favorita?
Lady GaGa
¿Como cuáles?
Let’s dance
¿Miras programas de baile?
Si
¿Como cuáles?
Let’s Dance, So you think you can dance
Josefine
¿Qué música escuchas?
Escucha hip-hop y r&b
¿Cuál es tu canción favorita?
Mi canción favorita ahora es Colours of the
rainbow
¿Te gusta bailar?
Si, un poco
¿Cuál es tu artista favorito?
Akon
¿Miras programas de baile?
Si, algunos
¿Como cuáles?
America’s best dance crew
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18
CULTURAL AGEND
BERGA.
assistance of the authorities, the administrators
and other people who take part in the Patum.
When the Mass is finished, in Saint Peter
square, the brilliant Patum is celebrated, which
is called “de lluïment” in Catalan, because
people are very responsible and want to do
things correctly.
At 9.30 in the evening: The are four jumps of
Patum, but it is the moment of the Great Feast
of fire, because the most interesting are the firejumps and the Full Demons (“Plens”).
Friday 4th of June
-PATUM. The Patum will be celebrated from
2nd to 6th of June in Berga. This festivity
has been considered “oral and immaterial
heritage of the humanity” by UNESCO.
Wednesday 2nd of June
At 1 2.00 at noon: The drummer (“tabaler”)
and two giants (“gegants”), accompanied
by the sound of the popular Pyrenean
instrumental group (“cobla”), meet the
people on the traditional parade, while they
invite them to take part.
At 8.00 in the evening: The drummer, the
demons (“maces”), the great mules
(“guites”) and the old giants, accompanied
by the Pyrenean instrumental group, leave
Saint Peter square and make a lot of jumps
on the streets and squares of the town, in
front of the local authorities houses. They
end with the fire-jumps (“tirabols”) in Saint
John and in Saint Peter squares.
Thursday 3rd of June
At 1 0.00 in the morning: Rockets and the
typical parade by the Pyrenean instrumental
group start.
At 11 .00 in the morning: In the Saint Eulalia
church, there is the significant Mass with the
At 1 0.00 in the morning: Parade of all the
children groups of the Patum with the Band of
de Berga School of Music.
At 11 .00 in the morning: Mass will be celebrated
in Saint Eulalia church with the assistance of the
authorities and the administrators. People who
attend will receive some carnations and sweets
with pine nuts (“panallets”).
At 1 2.00 at noon: We celebrate brilliant Patum
for children with the Band of the Berga School of
Music in Saint Peter square.
Saturday 5th of June
At 1 0.00 in the morning: Parade of the Pyrenean
instrumental group around the town centre.
At 11 .00 in the morning: We celebrate the Mass
in Saint Eulalia church with the assistance of the
authorities and of the administrators.
At 1 2.00 at noon: In the town hall, the Mayor
deliveries the titles of “Patumaire” and
“Patumaire d´honor” and the prizes of the 36th
posters competition.
At 8,30 in the evening: There are jumps of
Patum in front of the houses of the
administrators with fire-jumps in Saint John and
Saint Peter squares, all of them accompanied by
the Pyrenean instrumental group.
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At 1 0.30 at night: Fireworks in Peace Avenue
(“Passeig de la Pau”).
Sunday 6th of June
At 1 0.00 in the morning: Rockets start and the
typical parade accompanied by the Pyrenean
instrumental group.
Other events in June in Berga
On 1 3th of June: There are “Les Musiquetes de
la bressola” (something like lullaby in English),
which are a group of musicians that sing different
typical songs for children.
On 1 6th of June: There is “Tale timetable”, which
is a show where a man tells some typical Catalan
stories.
SWEDEN
On 24th of June: They celebrate Midsummer.
In modern Sweden, Midsummer´s Eve and
Midsummer´s Day were formerly celebrated
on 23rd of June and 24th of June, but since
1 953 the celebration has been moved to the
Friday and Saturday between 1 9th of June
and 26th of June. It is one of the most
important holidays of the year in Sweden,
and probably the most uniquely Swedish in
the way it is celebrated. The main
celebrations take place in Friday, and the
traditional events include raising and dancing
around a huge maypole. Before the maypole
is raised, greens and flowers are collected
and used to cover the entire pole.
On 1 8th of June: We celebrate The European
Master Handball Championship 201 0.
On 1 9th of June: There is an audition of Catalan
typical dances (“sardanes”) interpreted by the
popular Pyrenean instrumental group.
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FESTIVAL IN JUNE
Midsummer is a holiday which is celebrated around the summer solstice. Midsummer, we celebrate by
dancing around the maypole, and usually there are herring and potatoes on the dinner table. We make
beautiful wreaths of flowers and leaves that we have in our hair. Almost everyone celebrate midsummer
with the there relatives. We play games, eat good food and singing.
We eat:
o Meatballs
o Sausage
o Potatoes
o Herring in different flavours
o Eggs
o Bread
o Various sauces
As for dessert, we always eat strawberries with milk, ice cream, sugar and cream. Down on the town, it is
always a huge maypole so anyone can go there and dance around it.
Food
People are dancing around the maypole
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22
ENQUESTA/ SURNEY
We decided to make a surrey about “la sardana“ a traditional Catalan dance , to see if our opinion about
“La sardana” is missing in our society, is true or false.
We asked: “Can you dance sardanes ? “
We interviewed 240 people, divided in 6 groups according to their age.
Age
People can dance “sardanes”
1 5-24
24 of 40
25-34
25 of 40
35-44
30 of 40
45-54
35 of 40
55-64
38 of 40
65 and +
40 of 40
Blue - YES, they can dance sardanes
(79 % of the interviewed people)
Red - NO, they can’t dance sardanes
(21 % of the interviewed people)
We are really surprised of the high number of people that can dance sardanes. It`s superior to 45 % of
the population.
23
We see that there are a progressive knowing of “the sardana” direct proportional to people age. The older
people knows a lot of “sardana” and the younger people knows few about it.
_______________________________________________
Do you think, that sardanes, are only for old people ?
This is other survey that we have done.
We interviwed 1 00 teenagers and they said :
34 people think sardanes are only for old people.
66 people think that “sardanes” are for all the ages.
Some weeks ago we thought that young people thought that sardanas were only for the old people, but
our survey have been demonstrated that the young generations value “la sardana” and they think that
it’s important for Catalonia, but they don’t dance it because they think that it isn’t fashionable to dance
“sardanes”.
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PUZZLES
SUDOKU
SOUP OF LETTERS
You will find 8 Catalan musical instruments that
appears in a “cobla” . You will remember that the
words can be in all the directions:
-
Tible
Flabiol
Tenora
Tamborí
Fiscorn
Trompeta
Trombó
Contrabaix
CROSSWORD
Horizontal
1 . Instrumento responsable de fragmentos
contundentes.Parecido a la “tenora”
2. Conjunto de instrumentos de “la sardana”.
4.Instrumento de viento-metal,muy conocido y
el mas utilizado.
5. Instrumento que se toca junto al “tamborí”
Vertical
1 .Instrumento mas importante de la
cobla,lleva normalmente las melodias en las
“sardanes”
3. Típica danza de Cataluña.
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CROSSWORD
ACROSS
22-H: typical dance in
Catalonia
1 7-J: orchestra that plays
in the Sardana
1 4-J:instrument of windmetal.
9-M:instrument more
appraised in the Cobla
1 9-N:instrument that it is
played for the same
person than the flabiol
5-A: A very known Cobla in
Berga
1 2-I: Traditional party
celebrated in Berga for the
Corpus Cristhi
3-I:Catalonian flag
DOWN
20-L:instrument played
together with the Tamborí
1 -U:the dancers of the
Sardana sustain the arms
down
1 7-I:small pause in the
dance of the Sardana
2-M: creator of the “Cobla”
1 0-K:Musical group of the seventies very known in Catalonia compound for 3 humorist singers
1 6-N:Someone who goes out days before the Patum, the popular festival, to announce its arrival and
plays in some moments of the party
26