01 MUORA

mora hodi priko moga dora
mora hodi priko dora     

mora hodi priko moga dora
mora hodi priko moga dora

po tića po miša priko* vokna je shlepeta
aj na čelu potnega srha 
vitar šviče doj će dan
i na bot je dan

ki zna skud po noći zgora 
ćuk je huka z brista aj u korti je mora           

ki zna skud po noći zgora 
spuštila se j’ mora
aj na dubu škriplje kora, dojti će nan mora

po tića po miša priko vokna je shlepeta
spod ponjave peteh viče 

biži mora doj će dan
i na bot je dan

M.Rakovac / T. Obrovac

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Stihovi su nastali reinterpretacijom i nadogradnjom stihova Milana Rakovca iz pjesme Muora.

Muora je imaginarno noćno stvorenje kojim su u Istri plašili djecu; “ko budeš poredan** dojti će ti Muora…” moja slika u glavi je ljetna noć obasjana mjesečinom, otvoren prozor, šumovi noći i moj otac kao dijete u svom krevetu na selu koji u polusnu vidi pokret zavjese i osluškuje da li je došla Muora.

* “po tića po miša” je istarski izraz za šišmiša

** zločest

01 NIGHT HAG

The night hag walks across my courtyard
The night hag walks across the courtyard

The night hag walks across my courtyard
The night hag walks across my courtyard

Half bird half mouse* rattled outside the window
Ay the sweaty chill on my forehead
The wind whistles, day will come
And suddenly, it is day

Who knows wherefrom, in the night, from above,
A little owl hooted from the elm, ay the night hag is in the courtyard

Who knows wherefrom, in the night, from above,
The night hag descended
Ay the bark creaks on the tree, the night hag will come to us

Half bird half mouse* rattled outside the window
Under the blanket the rooster screams

Run, night hag, day will come
And suddenly, it is day

M. Rakovac / T. Obrovac

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I wrote the verses as a reinterpretation and addition to the verses of Milan Rakovac’s poem The Night Hag.

The night hag is an imaginary night creature that the grown-ups used to scare their children with in Istria: “If you do not behave the night hag will come”. I have this image in my mind: it’s a summer night, lit by the moonlight, there is an open window, one can hear the night noises and my father, as a child, is in his bed, in the country, half-asleep and he can see the movement of the curtain and he is all ears, waiting to hear if the night hag has come.

*Half bird half mouse is an Istrian expression for a bat.



02 GALIOTOVA PESAN

Pokle su me prikovali zlizane za (ove) daski
(ja) nisan već doma (si) videl
ni svoje (si) zagledal majki
si l' cela mi, kuća bela
si l' mi, majko prebolela
More, more sinje

pokle su me zakopali va (ovu) drevenu rakvu
videl nis' bora va šume,
ni na nebe sunce žarko
si l' se, drevo, osušilo
si l' se, sunce, ugasilo
more, more sinje

pest zemlji mi prinesite, struk bašelka dajte
suho veslo će procvast mi
i duša (bolna) će utešit se
pak ću onput mirno slušat,
ča mi šapćeš skroz galiju
more, more sinje!

V. Nazor

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Stihovi su izabrani iz pjesme Vladimira Nazora, a govore o velikoj tuzi i patnji galiota Ilije, koji zatočen i zakovan u trupu venecijanske galije, vesla i pjeva o moru, o svom domu, majci, suncu i nebu, koje više nikada neće vidjeti.

“Postoje legende o veslačima na galijama, o galiotima i njihovoj nesretnoj sudbini. Oni su dio stvarne povijesti premda su prisutniji u legendi. Bili su raznoga roda i koljena, svrstani po snazi i učinku. ‘Među veslačima, koji se nazivaju ‘ciurma’, razlikuju se kažnjenici, robovi i dragovoljci. Kažnjenike su sudovi osudili da veslaju na galijama. Robovi su dijelom Mauri, dijelom Turci, dijelom Morlaci. Turci i Mauri koji su zarobljeni na brodovima bolji su od onih koji su uhvaćeni na kopnu. Morlaci većinom umiru od melankolije i tvrdoglavosti.’ To je zapisao Bartolomeo Crescenzio 1602. godine…” (Predrag Matvejević, Druga Venecija)

02 GALLEY-SLAVE'S SONG

After they have chained me to these worn out planks
I have not seen my home
Nor have I seen my mother
Are you still standing, my white house
Have you mother, gotten over me
Sea, dark blue sea

After they have buried me in this wooden grave,
I have seen no pine in the woods
Nor bright sun in the sky
Have you, tree, dried up
Have you sun, burnt out
Sea, dark blue sea

Bring me a handful of earth, give me a bunch of basil
The dry oar will blossom
And my ailing soul will find comfort
And then I will quietly listen
What you whisper to me through the galley
Sea, dark blue sea!

V. Nazor

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The lyrics have been borrowed from the poem "Galley-Slave’s Song" by the Croatian poet Vladimir Nazor.

The song describes the suffering and sadness of Ilija, a galley-slave, detained and chained in the hull of a Venetian galley, who rows and sings about the sea, his home, his mother, the sun and the sky which he will never see again.

"There are legends about oarsmen on the galleys, the galley-slaves and their unhappy fate. Even though they are part of real history, they are more greatly represented in legend. They were of different classes and ranks, ranked by strength and efficiency. 'Among the oarsmen, called the 'crew', one differs between convicted criminals, slaves and volunteers. Convicted criminals were sentenced to work at the oar. The slaves are part Moors, part Turks, part Morlachs. Turks and Moors taken on ships are better than those caught on land.  Morlachs mostly die of melancholy and stubbornness.' This was written by Bartolomeo Crescenzio in 1602 ..." (Predrag Matvejević, The Other Venice)



03 M’HANNO FERITA

m’hanno ferita
al buio di sorpresa

ora il mio sangue goccia
come autunnale pioggia

dentro me stessa
ne l’abisso profondo

ove sta l’acqua
a specchio del mio cielo

Carmela Ronchi (1905-1978) da M’hanno ferita, versi 1-8

03 I’VE BEEN HURT

They wounded me
In the dark, by surprise

Now my blood drips
Like autumn rain

Within me
In the deep abyss

Where water lies
Like a mirror to my sky

Carmela Ronchi (1905-1978) from “M’hanno ferita”, verses 1-8

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I read these verses on Marmolada, the highest peak of the Dolomites (at the last cable car station,  by which I was transported from the sunny mountain floor to full fog at 3343 meters above sea level) … and they instantly made me cry.

03 RANILI SU ME

ranili su me
u mraku, iznenada

sada moja krv kaplje
poput jesenske kiše

unutar mene same
u dubokom ambisu

gdje se nalazi voda
ogledalo moga neba

Carmela Ronchi (1905-1978) iz M’hanno ferita, stihovi 1-8

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Stihove sam pročitala na najvišem vrhu Dolomita, Marmoladi (na posljednjoj postaji žičare, koja me u času premjestila iz osunčanog podnožja planine u potpunu maglu na 3343 mnv)… i u trenutku se rasplakala.



04 AFRO BLUE ISTRA           

zemlja moja skuda san ja
tana na naj tamo se kanta
tana na naj ojaj naj
ta na na naj tana
tanana naj                                  

ki zna skuda smo došli mi
ki zna skud ste došli vi
ki zna kamo će sve to poj
ki zna ki će nan joped doj
zemlja moja ojaj naj
zemlja moja tanana naj      

T. Obrovac

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Napisala sam riječi na istarskom dijalektu na glazbu jazz standarda autora Monga Santamarie, čija mi je ritmičko melodijske struktura bila zanimljiva, osjetila sam u toj univerzalnosti poveznicu s Istrom koju sam uvodom i aranžmanom nastojala dodatno utemeljiti.      

04 AFRO BLUE ISTRA

In my land, where I come from
We sing tana na naj
tana na naj ojaj naj
ta na na naj tana
tanana naj                                  

Who knows where we came from
Who knows where you came from
Who knows where it is going to lead us
Who knows who will come yet again
My land ojaj naj                               
My land tanana naj      

T. Obrovac

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I wrote the lyrics in the Istrian dialect for the jazz standard composed by Mongo Santamarie whose rhythmic melodic structure I found to be interesting. I felt in that universality a link to Istria that I endeavoured to strengthen further with the introduction and the arrangement.



05 MRIŽ ZVIZDAMI (INTERSTELLAR)

vitar me nosi
vrime me kosi
h tebi ću pojti                         
mrež zvizde dojti
visoko                               

jeli me još duša toja
zgor pozna
aš vajka za te duša moja
zdol kanta oja na na naj nana naj na

u zjeni voka moga sunce će zaj
u zipki ud vrimena ću te ubaj

sunce kad zajde
misec te najde
na drugen kraju
glasi kantaju
visoko

T. Obrovac

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Tamara pjeva baki Uliki, a pjesma govori o ljubavi kao petoj dimenziji, koja nadilazi prostor i vrijeme... može li se kroz glazbu i ljubav doprijeti do svojih voljenih koji su "otišli"?

05 AMONG THE STARS (INTERSTELLAR)

The wind carries me
Time reaps me
I will go to you
I will come among the stars
High

Does your soul, still,
Up there, know me
Because my soul, ceaselessly, for you
sings from below oja na na naj nana naj na

In my eye’s pupil the sun will set
In the cradle of time, I will visit you        

When the sun sets
The moon finds you
At the other end
Voices sing
High

T. Obrovac

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Tamara sings to her grandmother Ulika and the song speaks of love as a fifth dimension that transcends space and time... can one reach his loved ones who passed on through music and love?



06 SLAVUJ PIVA

slavuj piva daleko se čujeee
slavuj piva daleko se čuje         

neka piva ja mu ne virujen
neka piva ja mu ne virujen

a ja a

dok ne vidin kitu o jasenu
i čobanu torbu o ramenu                                           

a ja a

Narodna

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Skladba inspirirana tradicionalnim pjevanjem "ojkanjem" u izvedbi Marije Prelas iz Srijana, Gornja Poljica. U ovom specifičnom načinu pjevanja zrcali se surova divljina i kamenito okruženje Dalmatinske zagore, južnog kontinentalnog dijela Hrvatske.

06 A NIGHTINGALE SINGS

A nightingale sings, it can be heard from afar
A nightingale sings, it can be heard from afar

Let it sing, I do not trust it
Let it sing, I do not trust it

A ja a

Until I see the flower on the ash
And the bag on the shepherd’s shoulder

A ja a

Traditional

---

Inspired by the original and traditional Croatian singing form ("ojkanje") performed by Marija Prelas from Srijane, Gornja Poljica. This very particular vocal expression evokes the wilderness of the rocky and rough Dalmatian hinterland, the southern inland region of



07 GRANO TURCO  - TRUKINJA

tu che vieni dal mar
ci fai sognar, ci puoi consolar

grano turco mi vestirò di te
di te latino grano turco
giallo tu ridi da lontano
da quel destino vano
tu ai latino grano, ci salvi da lontan

tu straniero dal mar
ci fai sognar, ci puoi conquistar

grano turco si canterò di te
di te latino grano turco
forte tu stringi la mia mano

o variopinto grano
con quel dolor invano, ci tendi la tua man

Rosanna Turcinovich

07 MAIZE

You that come from the sea
You make us dream, you can console us

Turkish grain, I will wear you,
You Latin Turkish grain
Yellow, you laugh from afar,
From that futile destiny
You, ay Latin grain, you save us from afar.

You, stranger from the sea
You make us dream, you can conquer us

Turkish grain, I will sing about you
About you, Latin Turkish grain
You hold my hand tight

Oh colorful grain
With that pain, in vain, you hold out your hand to us

Rosanna Turcinovich

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Maize, originating from South America, came to the north Adriatic on the sailing routes from the Levant. Since often, what was "strange” or unknown, was dubbed "Turkish", the maize began to be called "Turkish grain", "foreign sorghum", "Turkish sorghum", "turkey" (by metathesis “turco” - "trukinja" is still in use in Istria). The song is inspired by this error. It toys with the imaginarium of the Levant in the eyes and ears of the average Istrian resident of the time, to which (by sheer coincidence) the verses of Rosanna Turcinovich are a perfect match.

07 TRUKINJA  - doslovni prijevod

ti što dolaziš s mora
nosiš nam snove i utjehu

zrno tursko, u tebe ću se odjenuti
u tebe zrno latinsko
ti, žuto zrno što se smiješ iz daleka
iz uzaludne sudbine
ti latinsko zrno, nosiš nam spas izdaleka

ti, stranac s mora
činiš nas sanjati i možeš nas osvojiti

zrno tursko pjevati ću o tebi
o tebi latinsko zrno tursko
stisni čvrsto moju ruku

o ti šareno zrno
s tom uzaludnom boli, tvoja nas ruka privlači

Rosanna Turcinovich

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Kukuruz, podrijetlom iz Južne Amerike, plovidbenim putevima na sjever Jadrana dolazio je s Levanta. Kako se često ono što je bilo “strano”, nepoznato, nazivalo “turskim”, kukuruz se počeo nazivati “Grano turco”, “sorgo forastiero”, “sorgo turco”, “turkinja” (metatezom - “trukinja”, naziv koji je i danas u upotrebi u Istri). Skladba je inspirirana tom tzv. zabunom, poigrava se imaginarijem Levanta u očima i ušima prosječnog stanovnika Istre onog doba, u što su se izvrsno uklopili stihovi Rosanne (koincidencijom) Turcinovich.



08 U DNOLU SRCA MOGA      

u dnolu srca moga
meko gnizdo san zavila
meko kako svila, meko kako svila
i u njega ljubav ja san za te skrila

le ro ra ri ra                                    

da počiva, po nebu se razliva
da te kako zlatan prah prekriva

aj u špeglju voka mooga
kaplju rose ja san skrila
meku kako svila, meku kako svila
i u nju san mrvu sunca za te skrila

le ro ra ri ra                       

da počiva po nebu se razliva
da te priko neba kroz vrime zaziva

T. Obrovac

--

Uspavanka za malega Raula od Elene, štabele istrijanke ud krijancije, ritkega stvorenja i preteljice ka je vajk uz mene kad je potriba.

08 AT THE BOTTOM OF MY HEART

At the bottom of my heart
A soft nest I have weaved
Soft as silk, soft as silk
And in it, my love for you I’ve hidden                   

Le ro ra ri ra                                    

To repose, to spill itself across the sky
To cover you as golden dust

Ay in the mirror of my eye
A drop of dew I have hidden
Soft as silk, soft as silk
And in it, a speck of sun for you I’ve hidden

Le ro ra ri ra                       

To repose, to spill across the sky
To call you across the sky through all time

T. Obrovac

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A lullaby for little Raul, son of Elena, a true and honourable Istrian woman, a rare being and friend that stands by me when needed.



09 SUZA SJAJNA

jena suza sjajna
na nebu stoji
jena suza sjajna
u oku blišti
najtuznija, najčistija
na suncu svitli, na suncu svitli

jena suza sjajna
u oku gori
najlipši koluri
z kojima svitli
ko ud smiha aj ko ud plača
najlipše blišti, blišti

suza sjajna, suza sjajna
sjajna mi

T. Obrovac

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Osjećajnost ili osjetljivost je za mene jedna od najvažnijih ljudskih osobina koju u ovoj pjesmi simbolizira suza koja nam dolazi na oči od tuge, sreće ili ganuća.

Istinska osjećajnost traži čistoću i otvorenost duše i srca koju rijetki ljudi imaju u pravom smislu te riječi. Za moju dragu prijateljicu koja nesebično brine o meni i mnogim drugima.

09 A SHINY TEAR

One shiny tear
Stands in the sky
One shiny tear
Glows in the eye
The saddest, the cleanest
Shines in the sun, shines in the sun

One shiny tear,
Burns in the eye
The most beautiful colours
With which it glows
Whether it be from laughter or from crying
Most beautifully glows, glows

Shiny tear, shiny tear
Splendid to me

T. Obrovac

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Sensibility or sensitivity is for me one of the most important human traits that is symbolised in this song by the tears that well up in our eyes with sorrow, happiness or something deeply moving.

True sensibility requires cleanliness and openness of heart and soul that few people possess in the true sense of the word. For my dear friend who unselfishly cares about many others and me.

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