Resta-nos festejar a estreia do duo NOA NOA, [Língua, Vol. 1, *****, Arte das Musas], formado pelos multi-instrumentistas Filipe Faria e Tiago Matias. Com um pé na música tradicional, com o outro na música antiga (medieval e não só) e com o coração aberto às músicas do mundo (ao lado de adufes, chocalhos, guitarra barroca, viola beiroa ou vihuela também se podem ouvir um udu ou uma flauta bansuri), os Noa Noa servem-nos uma filigrana, inesperada e em tamanho gigante, de canções antigas e tradicionais de quase toda a Península Ibérica (pela voz de Filipe Faria podem aqui ouvir-se temas em português, catalão, basco, castelhano, galego, asturiano e mirandês), interpretadas com um amor e uma sabedoria assombrosas.
— António Pires in BLITZ n.º105, Março 2015, Crítica *****
 
 

@ Bozar (Bruxelles, Belgique) © Filipe Faria 2015

@ Vlaamse Opera (Ghent, Belgique) © Filipe Faria 2015

@ Antiga Sé Idanha-a-Velha © Nuno Capelo CMIN 2016

Em suma, neste Noa Noa o bom gosto impera sem descanso, e por isso só me ocorre o topo da escala, umas 5 estrelas bem viçosas, para descrever o meu agrado (...) A meu ver são coisas destas que nos animam e fazem correr.
— João Almeida, Director Adjunto de Programas de Rádio (RTP)

Filipe Faria voice, adufe, drum, chalumeau, medieval fiddle, jew's harp, melodica...
Tiago Matias theorbo, vihuela,
lute, baroque guitar, romantic guita, colascione

 

@ Opéra de Lille (France) © Filipe Faria 2015

Na justa fronteira entre o tradicional e o erudito, os Noa Noa, duo de Filipe Faria e Tiago Matias, estreiam-se com um disco surpreendente, que vagueia por territórios pouco explorados da música da península – a meio caminho entre Jordi Saval e o também excelente trabalho da sua filha Arianna.
— Manuela Paraíso in Jornal de Letras

@ Hamamatsu (Japan) © Filipe Faria 2016

@ Hamamatsu World Music Festival 2016 © HWMF 

O som dos Noa Noa parte de uma afinidade simples e eficaz entre os cordofones de Tiago Matias e a voz delicada de Filipe Faria. Perante esta base elementar constroem tudo o resto, com os mais variados tipos de instrumentos e efeitos.
— Manuela Paraíso in Jornal de Letras
Eu amo esse disco! (…) Esse é um grande, grande disco! (…) É absolutamente admirável. É um daqueles trabalhos que nos faz pensar em tudo o que andamos a desperdiçar na nossa história musical.

— João Gobern in “Hotel Babilónia”/Antena 1 (12/7/2014)
“Lingua, Vol. 1” é erudito e contemporâneo, antigo e moderno, arcaico e inovador. Aqui respira-se uma enorme cumplicidade entre dois multi-instrumentistas, respeita-se o silêncio, os espaços (do terreiro ao salão de baile) e a doçura ou a pujança dos instrumentos, sejam percussões de barro, flautas doces ou cordofones trovadorescos.
— Luís Rei in Crónicas da Terra - 1.º lugar TOP Música Tradicional/Folk 2014

Videos

 

BABEL

BABEL © Filipe Faria 2015

BABEL © Filipe Faria 2015

Founded by Filipe Faria and Tiago Matias in 2012 in anticipation ofthe 110th anniversary of the death of the post-impressionist artist Paul Gauguin’  (1848-1903) ? Noa Noa is a musical exploration ofthe frontiers of creative freedom that the artists from the 18th to the 19th century were aspiring to.

The kind of creative freedom that existed in Europe at that time has parallels in the history of the western music of the 18th century during which period a musician was educated to sing, play more than one instrument, improvise, compose or conduct his or her own piece of music. The tradition of a free response to the creative appealis as old as Man himself, and it seems to be felt again in recent modern practices of Early Music, as evidencedby the multifaceted education of the musician, in comparison to the super-specialization in the 20th and 21st centuries. The rediscovery of historical instruments themselves and techniques required to play them have highlighted the past but at the same time served as an inspiration for contemporary composers.

É extraordinário: cheio de delicadeza mas sempre com energia, com uma espontaneidade que quase parece gravado num concerto ao vivo. Além do lado musical é também um maravilhoso arco iris do falar ibérico. (...) Adoro não apenas a minúcia dos meneios (dos sentimentos, estados de alma) na voz (...), mas também o permanente dedilhado tão bem medido, expressivo, das cordas. E depois o tempero da percussão (...) com um inesperado e irresistível bamboleio.
— João Almeida, Director Adjunto de Programas de Rádio (RTP)

In the Noa Noa project, Filipe Faria and Tiago Matias assume the role of the ancient musician, multifaceted and multi-instrumentalist, drawing on their substantial professional experience of more than a decade in the Early Music domain, coupled with their penchant for such risky projects and the intimacy the music can reach.

From this uninhibited informal interpretation of the 16th, 17th and 18th European repertoire for voice and lute, to the Iberian and European folkloric music, along with its inevitable own taste and scent of the journeysa watermark ofsea adventures ? the music of Noa Noa assumes a modern construction starting from the essential dialogue of the voice with the multiplicity of ancient string instruments.

In 2014 Noa Noa released its first CD dedicated to the collective memory of the different Iberian cultures and languages, a plaid of sounds “beyond the river Ebro” resulting in the Portuguese, Castilian, Mirandese, Galician, Asturian, Basque or Catalan languages. With the support of Ministry of Culture o Portugal, the General-Directorate for the Arts and the Municipality of Idanha-a-Nova, this project, called “Lingua (vol. 1)” (Lingua = Language/Tongue), ranges from the most common to the most distinctive aspects of the history of the Iberian culture. It explores the geographic, cultural and conceptual frontiers of the tradition and ancestrally, along with contemporary and intercultural concepts.

This CD achieved the first place of the TOP FNAC in the area of Classical Music/ World Music/Jazz for three months and was one of the best selling albums in Portugal between July and November 2014. The first edition sold out in four months being prepared the second edition.

Noa Noa afasta-se assim, com um dinamismo erudito, de outros projectos que trabalham a música tradicional, usando ferramentas opostas para evitar a sua cristalização.
— Manuela Paraíso in Jornal de Letras

In the Season 2012/2013 Noa Noa performed in Idanha-a-Velha (Palacio Marrocos), Aveiro (Museu de Aveiro), Braga (Festival “Musica nos Claustros”), Agueda (Fundacao Dionisio PInheiro), Monsanto (Festival Internacional de Musicas Antigas, Fora do Lugar) with special guests Artur Fernandes (Dancas Ocultas) and Joao Hasselberg (Luisa Sobral, “Whatever It Is You’re Seeking, Won’t Come In The Form You’ re Expecting”), etc…

In 2013 Noa Noa was invited to be a partner and special guest in the installation art “A Manta” (“The Blanket”) by Cristina Rodrigues, an iconic piece of the 21st Century Rural Museum/Idanha-a-Velha, resulting from the partnership with the project Design for Desertification DfD, City Council of Idanha-a-Nova (CMIN), Manchester Metropolitan University, MIRIAD and Oralities Project/UE, exhibited in the Idanha-a-Velha Cathedral until September 2013.

In 2014 Noa Noa presented the tour for the album “Lingua, vol.1” “Language, vol.1” in Centro Cultural Raiano (Idanha-a-Nova), Festival Fora do Lugar (Idanha-a-Nova) - with special guests Cardo-Roxo and Adufeiras de Idanha-a-Nova -, Centro Cultural de Cascais (Cascais) - with special guests Joana Espadinha e Joao Hasselberg -, Teatro Aveirense (Aveiro) - with special guests Ana Bacalhau and Jose Pedro Leitao (Deolinda) and Miguel Calhaz -, Grande Auditorio do Conservatorio de Coimbra (Coimbra) with Joao Hasselberg -, and Festival Fora do Lugar (Monsanto, Idanha-a-Nova) - with Joao Hasselberg.

Uma coisa é certa: nunca se escutaram arranjos como estes de modas, cantos de devoção, de Tierras de Miranda (...), da Baixa Baixa (...) ou dos Açores. Venha rapidamente o Volume II de “Língua”.
— Luís Rei in Crónicas da Terra - 1.º lugar TOP Música Tradicional/Folk 2014

In 2015 Noa Noa released the second volume of the projecto “Lingua” - Lingua, vol.2” - and presents a concert season in Portugal: CCB- Centro Cultural de Belem (Lisbon), ISA (Lisbon), FNAC Chiado (Lisbon), Teatro Joaquim Benite (Almada). Festival Sons de Almada Velha (Almada), Museu de Aveiro (Aveiro), Oliveira do Bairro (Quartel das Artes), etc... and a European tour in the Flemish Opera (Ghent, Belgium), Bozar (Brussels, Belgium), DeSingel (Antwerp, Belgium) and Opera de Lille (Lille, France) with the project “Babel” in partnership with e Zonzo Compagnie (Belgium) and integrated into the Big Bang Festival.

In 2016 Noa Noa will release their third CD dedicated to the Sephardic songs sung in Ladino and has a scheduled season at the Festival Lua Cheia, Arte na Aldeia (Coedo, Vila Real), Antiga Se de Idanha-a-Velha, BTL (Lisbon), Festival Pascoa Judaica e Crista (Medelim), Festival Fora do Lugar (Idanha-a-Nova), etc... and an international tour to Japan (Hamamatsu World Music Festival) performing in the Main Hall of the ACT CITY.

Os Noa Noa saltitam nas fronteiras da música tradicional e erudita, utilizando línguas e dialetos, reconfigurando a música antiga com práticas modernas. Para isso recorrem a grande panóplia de instrumentos, que acompanham a voz mágica de Filipe Faria.
— Luís Pedro Cabral in Revista VISÃO

In 2017 Noa Noa will publish it's fourth CD, the second volume of the project  lança o seu quarto CD, o segundo volume do projecto dedicado às canções sefarditas em ladino.

In partnership with the City Council of Idanha-a-Nova and the Arte das Musas in 2013, Noa Noa assumes the title of Artists-in-Residence in this region ensconced in the historical village of Idanha-a-Velha. This partnership will evidenced by the promotion of regular artistic residences along the season in partnership with the Municipality of Idanha-a-Nova. These residences will reflect a point of view of the musical heritage, very close to the population, the musicians and other local artists, along with their spaces and habits.

Noa Noa also assumes the role of partner in the Fora do Lugar Festival, Early Musics International Festival, at Idanha-a-Nova.

Its name is inspired by the 1901 book by Paul Gauguin, in which the artist describes the time spent in creative retirement in the French Polynesia, in particular, Tahiti. Both polemic, Gauguin and his Noa Noa are still synonymous with creative freedom.

Noa Noa is supported by the Ministry of Culture and the Directorate-General for the Arts (Portuguese Government) and represented by the Arte das Musas productions.Translation: Tiago Cassola Marques/Diana Gonsalves

 

@ Centro Cultural Raiano (Idanha-a-Nova) © Filipe Faria 2016

@ Hamamatsu (Japan) © Filipe Faria 2016

© Filipe Faria 2016

 

Noa Noa Projects

 

DE LA MAR

Sephardic Songs in Ladino

”De la mar” offers a selection of Sephardic songs. These were remodelled in modern, creative fashion by Noa Noa, who intended to underline in this repertory its connection to Iberian culture. 

Song is a generic term; here, in fact, most songs are love songs; but there are also two wedding songs and a fragment of the narrative ballad La partida del esposo, starting “Por qué llorax blanca niña”. The adjective “Sephardic” refers, in a strict sense, to the Jewish Diaspora of Iberian origin: both the multitudes expelled at the end of the 15th century, and those forcibly converted to Christianity, or their descendents, who later left the Spanish Peninsula and embraced the Jewish religion. In short, these are traditional songs of a geographically dispersed Jewish population, yet with common Iberian roots.

The language of these songs is the “ladino” (or Judeo-Spanish) taken in its wider sense. It is a dialectical variety built upon Castilian as spoken around 1500, but with Aragonese and Portuguese influence and also words and turns of expression taken from the languages that were current where Sephardim established themselves (including the Arabic, the Albanese, the Servo-Croat, the Turkish and the Persian). Occasionally, there are even syntactical borrowings from the Hebrew. The “ladino”, spoken today by a minority of Sephardim, often reminds in its pronunciation the Portuguese rather than the modern Spanish, because Castilian in the Renaissance was in its sonority closer to Portuguese than it is today. 

The texts of the songs survived in multiple versions; since starting lines do not always coincide, scholars baptized with reference titles the more widely circulated texts: thus,  “A la una yo nací” is a version of Las horas de la vida, and “Durme, durme” corresponds to La hermosa durmiente. Some poems have an archaic form, modelled on medieval precedent; most of them, however, follow the conventions of Iberian poetry of the modern era, using quatrains (sometimes expanded with an extra, nonsensical line, as in “Hija mia, mi querida”). It is among the ballads (romances) that most archaic features can be found. The form comprising a distich plus short refrain (as in La galana y la mar) is older, however: in romance poetry it dates at the latest from c. 1200, when the first cantigas d’amigo surface in the historical record. Similarly old is the parallelism found in “Avrix mi galanica”, version of Todos son inconvenientes. 

In what concerns subject matter, wedding songs may use ideas of ancient stock and refer to social practices and expectations that no longer apply. La llamada a la morena (beginning “Morena me llaman”) talks of a bride that, in some versions, will eventually sail off in a nef, and here is upset by the typical girl’s dream of marrying a prince. The hidden background of La galana y la mar is the pre-nuptial bath; the lyrics draw on the Iberian pagan tradition of a social bath, with girl-friends, in a sea inlet; some versions also draw on the Islamic tradition of a long session of beauty care in the public bath, in the company of girl-friends, family and musicians, before the bride is returned by her following to her parents’ place. 

Finally, music is normally the most recent dimension of Sephardic songs gathered from oral tradition in the 20th century. In secular genres, and especially in love or entertainment songs, melodic taste was very permeable to the surrounding musical traditions. No recordings or transcriptions of Sephardic songs were made before 1911; the first significant efforts were carried by Manuel Manrique de Lara in the Eastern Mediterranean and in Morocco, and Alberto Hemsi in the East. Those who believe that in such songs a sound world from before 1500 can be found, may be disappointed. In order to be kept alive, tradition renews itself and music has been the main modernizing factor. One can conclude that from the historical point of view, Noa Noa are in excellent company. (translation: Manuel Pedro Ferreira)

Manuel Pedro Ferreira

[more info]

Língua

All language changes with time. Languages evolve and adapt themselves to the innovative use of their communities, their habits and idiosyncrasies. Language cannot be understood as a changeless and settled entity, drawn during Time and drawn by it. On the contrary, it is the result of huge dynamics , in the way acommunity or Humanity itself would do… slowly but relentlessly.

Língua is the title of the new project dedicated to the collective memory defined by the different Iberian cultures and languages, a plaid of sounds “beyond the river Ebro” resulting in the Portuguese, Castilian, Mirandese, Galician, Asturian, Basque or Catalan languages. This project goes from the most common to the most distinctive aspects in the History of the Iberian Culture. It explores the geographic, cultural and conceptual frontiers of tradition and ancestrally, along with contemporary and intercultural concepts. (translation: Tiago Cassola Marques/Diana Gonsalves)

* Língua = Language/Tongue

[more info]

Babel

or WHEN WE ALL SPEAK THE SAME LANGUAGE

... and after the first tower we built another. Despite our differences - those with which we have created our worlds - we eventually built another tower. To this we called art... and from confusion we built beauty. Together we built a new tower going too high and around the world ... in this one, we speak the same language: the music... or the organized sound. 
This is the importance between truth and falsehood. Between light and darkness. Inspired by these organized sounds that we created from a both emotional and intellectual program, we built our own soundtrack, since the beginning of time, inventing new ways to make nice sound to fill the days and nights of new colors ... to understand each other. Proof of this is a small stone raft* that is beyond the Ebro. Here we speak seven different languages but together we understand each other dancing and singing ... Bordered in the east by the Pyrenees Mountains and in the north, south and west by the sea, the Iberian Peninsula, is a huge small tower ... a place where we all speak different languages and where we all speak the same language. 

Ohne Musik ware das Leben ein lrrtum ** 
(Without music, life would be a mistake) 

* Jose Saramago (1922-201 O) 
**Friedrich Nietzsche (1844-1900) 

Filipe Faria, Lisboa 2015

 
 
apoiosartedasmusas.jpg
 

 
 

Discography

DE LA MAR (MU0117/2016)

Sephardic Songs in Ladino

”De la mar” offers a selection of Sephardic songs. These were remodelled in modern, creative fashion by Noa Noa, who intended to underline in this repertory its connection to Iberian culture. 

Song is a generic term; here, in fact, most songs are love songs; but there are also two wedding songs and a fragment of the narrative ballad La partida del esposo, starting “Por qué llorax blanca niña”. The adjective “Sephardic” refers, in a strict sense, to the Jewish Diaspora of Iberian origin: both the multitudes expelled at the end of the 15th century, and those forcibly converted to Christianity, or their descendents, who later left the Spanish Peninsula and embraced the Jewish religion. In short, these are traditional songs of a geographically dispersed Jewish population, yet with common Iberian roots.

The language of these songs is the “ladino” (or Judeo-Spanish) taken in its wider sense. It is a dialectical variety built upon Castilian as spoken around 1500, but with Aragonese and Portuguese influence and also words and turns of expression taken from the languages that were current where Sephardim established themselves (including the Arabic, the Albanese, the Servo-Croat, the Turkish and the Persian). Occasionally, there are even syntactical borrowings from the Hebrew. The “ladino”, spoken today by a minority of Sephardim, often reminds in its pronunciation the Portuguese rather than the modern Spanish, because Castilian in the Renaissance was in its sonority closer to Portuguese than it is today. 

The texts of the songs survived in multiple versions; since starting lines do not always coincide, scholars baptized with reference titles the more widely circulated texts: thus,  “A la una yo nací” is a version of Las horas de la vida, and “Durme, durme” corresponds to La hermosa durmiente. Some poems have an archaic form, modelled on medieval precedent; most of them, however, follow the conventions of Iberian poetry of the modern era, using quatrains (sometimes expanded with an extra, nonsensical line, as in “Hija mia, mi querida”). It is among the ballads (romances) that most archaic features can be found. The form comprising a distich plus short refrain (as in La galana y la mar) is older, however: in romance poetry it dates at the latest from c. 1200, when the first cantigas d’amigo surface in the historical record. Similarly old is the parallelism found in “Avrix mi galanica”, version of Todos son inconvenientes. 

In what concerns subject matter, wedding songs may use ideas of ancient stock and refer to social practices and expectations that no longer apply. La llamada a la morena (beginning “Morena me llaman”) talks of a bride that, in some versions, will eventually sail off in a nef, and here is upset by the typical girl’s dream of marrying a prince. The hidden background of La galana y la mar is the pre-nuptial bath; the lyrics draw on the Iberian pagan tradition of a social bath, with girl-friends, in a sea inlet; some versions also draw on the Islamic tradition of a long session of beauty care in the public bath, in the company of girl-friends, family and musicians, before the bride is returned by her following to her parents’ place. 

Finally, music is normally the most recent dimension of Sephardic songs gathered from oral tradition in the 20th century. In secular genres, and especially in love or entertainment songs, melodic taste was very permeable to the surrounding musical traditions. No recordings or transcriptions of Sephardic songs were made before 1911; the first significant efforts were carried by Manuel Manrique de Lara in the Eastern Mediterranean and in Morocco, and Alberto Hemsi in the East. Those who believe that in such songs a sound world from before 1500 can be found, may be disappointed. In order to be kept alive, tradition renews itself and music has been the main modernizing factor. One can conclude that from the historical point of view, Noa Noa are in excellent company. (translation: Manuel Pedro Ferreira)

Manuel Pedro Ferreira

De la mar
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LÍNGUA, VOL.2 (MU0114/2015)

All language changes with time. Languages evolve and adapt themselves to the innovative use of their communities, their habits and idiosyncrasies. Language cannot be understood as a changeless and settled entity, drawn during Time and drawn by it. On the contrary, it is the result of huge dynamics , in the way acommunity or Humanity itself would do… slowly but relentlessly.

Língua is the title of the new project dedicated to the collective memory defined by the different Iberian cultures and languages, a plaid of sounds “beyond the river Ebro” resulting in the Portuguese, Castilian, Mirandese, Galician, Asturian, Basque or Catalan languages. This project goes from the most common to the most distinctive aspects in the History of the Iberian Culture. It explores the geographic, cultural and conceptual frontiers of tradition and ancestrally, along with contemporary and intercultural concepts. (translation: Tiago Cassola Marques/Diana Gonsalves)

* Língua = Language/Tongue

Língua, vol.2
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LÍNGUA, VOL.1 (MU0112/2014)

All language changes with time. Languages evolve and adapt themselves to the innovative use of their communities, their habits and idiosyncrasies. Language cannot be understood as a changeless and settled entity, drawn during Time and drawn by it. On the contrary, it is the result of huge dynamics , in the way acommunity or Humanity itself would do… slowly but relentlessly.

Língua is the title of the new project dedicated to the collective memory defined by the different Iberian cultures and languages, a plaid of sounds “beyond the river Ebro” resulting in the Portuguese, Castilian, Mirandese, Galician, Asturian, Basque or Catalan languages. This project goes from the most common to the most distinctive aspects in the History of the Iberian Culture. It explores the geographic, cultural and conceptual frontiers of tradition and ancestrally, along with contemporary and intercultural concepts. (translation: Tiago Cassola Marques/Diana Gonsalves)

* Língua = Language/Tongue

Língua, vol.1
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