Category: Araba (page 1 of 3)

Naiara de la Puente – A Basque at the Latin Grammy Awards

The Latin Grammy Awards will be held tonight, November 17, in Los Angeles, and this year the accordionist Naiara de la Puente, a native of the capital Vitoria-Gasteiz, is up for the Best Latin Children’s Album award, thanks to her collaboration on Canciones y Palabras, organized by Veleta Roja Editions.

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De la Puente is quite an accomplished musician. She holds a degree in Accordion Pedagogy from Musikene (the Conservatory of the Basque Country) as well as a Master’s in Music from the Sibelius Academy in Helsinki and she undertook a graduate course at the Royal Danish Academy of Music in Copenhagen. She is currently pursuing her PhD at the Sibelius Academy. She has won awards at the Certamen Nacional de Arrasate, the V Concurso Instrumental Sant Anastasi, the Grand Prix de Andorra, and the Certamen Internacional Jóvenes Intérpretes Pedro Bote. Alongside her solo performances, she is a member of the Krater and SMASH Ensembles.

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The album Canciones y Palabras is based on 10 poems by Cuban writer Aldo Méndez. The format is more than just a recording: it includes an illustrated book that contains each of the songs and poems alongside activities designed to spark youngsters’ musical creativity. Carlos Cano and Henrán Milla, both professors at the Marcos Redondo Conservatory in Ciudad Real, were in charge of putting together the project and making the poems into music, while Inés Vilpi illustrated the book. Dozens of musicians are present in the project. Overall, the album represents a greater collaboration between musicians and artists and we wish them luck, zorte on!

For more information on Naiara de la Puente, please visit her Facebook page: https://www.facebook.com/naiaradelapuenteaccordionist/

EITB has a short video up (in Spanish) about Naiara and the album, available at: http://www.eitb.eus/es/cultura/videos/detalle/4488045/video-la-vitoriana-naiara-puente-nominada-premios-grammy/

Lastly, be sure to visit Veleta Roja’s website: http://www.veletaroja.org/#

 

Cross of Gorbeia 115-years-old

On Saturday, November 12, the emblematic Cross of Gorbeia, one of the most distinct features in the Basque Country, will be 115-years-old. Mount Gorbeia, straddling the border between Bizkaia and Araba, is 1,482 meters (4,862 feet) high. It remains an important symbol, especially for Bizkaians, for whom it is their highest mountain. It is equally known for the imposing metal cross that stands at the summit, measuring around 17 meters (56 feet) high.

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The third cross of Gorbeia, erected some time around 1910. Photo of Indalecio Ojanguren by Ojanguren himself, c. early-20th century. Courtesy of Wikimedia Commons.

In 1899 Pope Leo XIII ordered that crosses be erected on the highest Christian mountains to herald the coming of a new century. As a consequence, a work commission was established in Zeanuri, Bizkaia, organized by the town priest, Juan Bartolomé de Alcibar, and presided over by the archpriest of Zigoitia, Araba, José María de Urratxa, to implement the pope’s orders by erecting a cross on the peak of Gorbeia. The construction project was headed by the architect Casto de Zavala y Ellacuriaga and had a budget of 50,000 pesetas. The original cross was 33 meters (108 feet) high. Delays to the project, however, mean that the cross was not installed in 1900, as originally planned, but a year later, on November 12, 1901. What’s more, the original cross only lasted a month and half, before collapsing as a result of the notoriously strong winds that are common on Gorbeia (local shepherds are reputed to have warned of this possibility from the outset). A second cross was then put up in 1903, although it, too, succumbed to gale-force winds in 1906. A third and final cross, which took much of its inspiration from the Eiffel Tower and was designed by Serapio de Goikoetxea and Alberto de Palacio y Elissague, was erected some time around 1910, this time measuring much less than the first two attempts.

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Mount Gorbeia, as seen from Vitoria-Gasteiz. Photo by Zarateman, courtesy of Wikimedia Commons.

Shortly afterward, on October 13, 1912, following the recent creation of the Sporting Club of Bilbao, it organized a hiking excursion to the top of Gorbeia attended by 145 hardy individuals. This set in motion a tradition, that lasts to this day, for Bizkaians of all ages to make at least one visit to the emblematic summit of Gorbeia. This excursion is especially popular on both New Year’s Eve and New Year’s Day.

Information sourced from: http://www.deia.com/2016/11/05/bizkaia/costa/la-cruz-de-gorbea-115-anos-guiando-a-los-montaneros

Green Basque Country

There was an interesting article in the Noticias de Álava newspaper recently about a woodland and lumber fair held in Amurrio, Araba, last Sunday. It included the piece of data that, in the Basque Autonomous Community (BAC, made up of Araba, Bizkaia, and Gipuzkoa), there are 106 trees per person , with a woodland area covering 396,700 hectares, or 55% of the total terrain. It is estimated, moreover, that the lumber industry accounts for 12 billion euros annually. This all points to the lumber sector being an important part of the Basque economy.

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The Irati Forest, Navarre. Photo by Juanma juesas, courtesy of Wikimedia Commons.

In “The Landscape of the Autonomous Community of the Basque Country: The Evolution of Forest Systems” by Lorena Peña and Ibone Amezaga, a chapter in Sustainable Development, Ecological Complexity, and Environmental Values, edited by Ignacio Ayestarán and Miren Onaindia, the authors address in detail the complex issues surrounding land use in woodland areas in the Basque Country.

See the original article in Noticias de Álava (in Spanish) here: http://www.noticiasdealava.com/2016/10/24/araba/euskadi-un-total-de-106-arboles-por-habitante

Atharratze to join Association of Bastides

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Town Council Square in Bastida-Arberoa/La Bastide-Clairence. Photo by Asp, courtesy of Wikimedia Commons.

Bastides are a particular urban feature of South-West France: new fortified towns built in the medieval era, between 1230 and 1350, which were located on or near sensitive border areas and which served as more robust defensive mechanisms against potential attackers.

These were planned towns, with a central square and church surrounded by a well organized street layout. People were encouraged to settle in  these new towns and cultivate the land around them with incentives such as being granted a “free” status, meaning they would no longer be considered vassals of local lords. Today, they are a special feature of the region and an important destination for architecture enthusiasts as well as visitors more generally.

Bastides64 is an association of these bastides in the département of the Atlantic Pyrenees, incorporating Iparralde. It was established to protect and promote these historic sites. To date, Bastida-Arberoa (La Bastide-Clairence in French; La Bastida de Clarença in Gascon) in Lower Navarre has been the only Basque member of the association. As Philippe Veyrin comments in The Basques of Lapurdi, Zuberoa, and Lower Navarre, “Bastida (Labastide-Clairence) and Izura (Ostabat) are a case—here exceptional, though very widespread in Gascony—of towns created all of a piece to a preconceived plan. Baiona and Donibane Garazi were almost from the start fortified towns built on a key position.”

It has, however, just been announced that Atharratze (Tardets) in Zuberoa will also join as a full member in 2017.

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A panoramic view of Bastida, Araba. Photo by Imamon, courtesy of Wikimedia Commons.

Interestingly, there is also a Bastida, (Labastida in Spanish) in Araba, which is also a fortified medieval town.

In his classic study The Basques, Julio Caro Baroja also discusses the history and architecture of Basque settlements.

Three Basque producers make 2016 Winners List in Great Taste Awards

The Great Taste Awards, organized by the Guild of Fine Food, is the acknowledged benchmark for fine food and drink and has been described as the ‘Oscars’ of the food world. In 2016 over 400 judges, including specially trained food writers inputting judges’ comments, came together at 49 judging days from March through early July. The judges, from all corners of the food world, blind-taste in teams of 3 or 4 ensuring they get a balance of expertise, age, and gender.

Over 10,000 products were entered for the 2016 awards, with only 141 foods achieving the highest and most coveted rating, three stars; 878 foods received 2 stars and 2,520 were awarded a 1-star rating. That means only 35% of entries were accredited.The Golden Forks (the big winners) will be announced at a celebration dinner at the Royal Garden Hotel, London on the September 5.

In the sheep’s cheese category, there were 21 awards, 3 of which (including the only 3-star rating) went to Basque producers.

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The famed Idiazabal cheese. Photo by Xavigivax, courtesy of Wikimedia Commons.

The coveted 3-star rating was awarded to the smoked Idiazabal sheeps’ milk cheese of the Mausitxa baserri in Elgoibar, Gipuzkoa.  This means that it made the prestigious top 50 foods list, which for the organizers “quite simply are the best fifty foods in the world each year.” As regards the Mausitxa smoked Idiazabal, in the judges opinion, “Although smoky on the nose and in the mouth, the flavour of the cheese is never overpowered and those who try it will be rewarded with a fresh, crumbly and slightly sweet finish.” Mausitxa also received a 2-star rating for its regular Idiazabal sheeps’ milk cheese.

The La Leze baserri in Ilarduia, Araba, received 2-star ratings for both its normal and its smoked Idiazabal sheeps’ milk cheeses, while the Etxetxipia baserri in Elizondo, Nafarroa was awarded a 2-star rating for its regular sheeps’ milk cheese.

Check out the Basque sheeps’ milk association here. What’s more, if you haven’t yet done so, you can download Hasier Etxeberria’s great introduction to Basque gastronomy, On Basque Cuisine, free here.

Study suggests genetic link between Late Bronze and Iron Age inhabitants and current Basque population

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A recent study published in the open access journal Plos One by the BIOMICs research group at the University of the Basque Country suggests a possible genetic link between people who lived in the Late Bronze Age and Iron Age settlement of La Hoya and the current population of Guardia/Laguardia in Araba.

In the words of the authors’ abstract:

La Hoya (Alava, Basque Country) was one of the most important villages of the Late Bronze and Iron Ages of the north of the Iberian Peninsula, until it was violently devastated around the 4th century and abandoned in the 3rd century B.C. Archaeological evidences suggest that descendants from La Hoya placed their new settlement in a nearby hill, which gave rise to the current village of Laguardia. In this study, we have traced the genetic imprints of the extinct inhabitants of La Hoya through the analysis of maternal lineages. In particular, we have analyzed the mitochondrial DNA (mtDNA) control region of 41 human remains recovered from the archaeological site for comparison with a sample of 51 individuals from the geographically close present-day population of Laguardia, as well as 56 individuals of the general population of the province of Alava, where the archaeological site and Laguardia village are located. MtDNA haplotypes were successfully obtained in 25 out of 41 ancient samples, and 14 different haplotypes were identified. The major mtDNA subhaplogroups observed in La Hoya were H1, H3, J1 and U5, which show a distinctive frequency pattern in the autochthonous populations of the north of the Iberian Peninsula. Approximate Bayesian Computation analysis was performed to test the most likely model for the local demographic history. The results did not sustain a genealogical continuity between Laguardia and La Hoya at the haplotype level, although factors such as sampling effects, recent admixture events, and genetic bottlenecks need to be considered. Likewise, the highly similar subhaplogroup composition detected between La Hoya and Laguardia and Alava populations do not allow us to reject a maternal genetic continuity in the human groups of the area since at least the Iron Age to present times. Broader analyses, based on a larger collection of samples and genetic markers, would be required to study fine-scale population events in these human groups.

Read the full article here.

First stop on your Rioja Alavesa wine experience

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The main building, Villa Lucía. Picture taken from the center’s website.

If you are planning a trip to the Basque Country and one of your interests is the great Rioja wine of Araba, Rioja Alavesa, then an excellent starting point is the Villa Lucía Thematic Center of Wine. The center is located in Guardia/Laguardia, Araba, in a mansion that belongs to the family of the renowned neoclassical fabulist Félix María de Samaniego (1745–1801).

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The museum. Picture taken from the center’s website.

Visitors to the center can take an interactive tour of the wine-making process, visit the center’s museum and library, take part in an enogastronomic gymkhana–a fun way to find out more about food and drink by playing group-based games revolving around guessing the different aromas and characteristics of wine as well as trying to create your own pintxos–or just taste different grapes and take a crash course in wine tasting. There is also ample room on this country estate to stroll around its gardens (with over 200 plant and flower varieties) and have a drink and a meal or a snack while planning your visit to this fascinating and historic part of the Basque Country.

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A view of the gardens in the grounds of the estate. Picture taken from the center’s website.

For more information, click here.

5,000-year-old Livestock Pens Found in Araba

117205_webA join research and exploration initiative between the University of Basque Country (UPV-EHU), the University of Barcelona, and the CSIC-National Research Council, led by UPV-EHU Professor of Prehistory Javier Fernández-Eraso, has discovered 5,000-year-old livestock pens in Araba.

The find demonstrates the use of rock-shelters as encloses for sheep and goats by agropastoral communities during the Chalcolothic period (also known as the Copper Age) in the Basque Country and across the northwestern Iberian Peninsula. The find also complements previous research conducted by the same team, which documented the presence of livestock enclosures dating back to the Neolithic Era, approximately 6,000 years ago.

arqueologia_700Ana Polo-Díaz, a researcher at the University of Basque Country’s Department of Geography, Prehistory, and Archeology added, “This is a piece of pioneering work in the studies on agropastoral communities on the Iberian Peninsula. We have evidence that the human groups that occupied San Cristóbal during the Chalcolithic used the shelter as a pen for goats and/or sheep and that this use, although repetitive throughout hundreds of years, was not ongoing but of a temporary nature linked to a seasonal exploitation of the rich natural resources available on the Sierra de Cantabria. We also know thanks to the microscopic study of the sediments that every now and again they used to burn the debris that had built up, probably to clean up the space that had been occupied and that this combustion process was carried out in line with some specific habits: they used to pile up the debris and on top of them pile up wood remains, perhaps to help to get the fire going before going on to burn the debris.”

See a report on the find here.

 

A “21st-Century Michelangelo” Basque Artist Paints Floor-to-Ceiling Murals in Church

0612_500w_0005_arts-255x255With the approval of Bishop Miguel Jose Asurmendi, the bishop of the Diocese of Victoria-Gasteiz, and the pastor of the Iglesia de San Miguel in Antezana/Andetxa, Araba,  the Basque muralist Xabier Egaña is painting the walls, floors, and ceilings of the church in the style of a contemporary Michelangelo. The mural includes a three-level scene that follows Jesus in the Garden of Gethsemane (at the bottom) to the Last Supper (in the middle) and Christ ascending the cross (at the top). In addition, the mural also encompasses reflections of war, peace, and social justice. Egaña further explains the narrative of his mural, which incorporates upended towers from a nuclear power plant and tombstones from a Jewish cemetery in Prague, positioned alongside Jesus in prayer in the Garden of Gethsemane, the Last Supper with Roman soldiers as ominous shadows, and Christ appearing to fall and rise simultaneously from the cross.

rsz_arts_spanish_muralThe 72-year-old Egaña, from Getxo (Bizkaia) though resident in Zarautz (Gipuzkoa), works alone and unpaid with his brushes and buckets of paint, although some volunteers do also offer assistance. Egaña further elaborates his enthusiasm with his project: “It gives me great satisfaction at my age to do such a work at this grand scale. It is gratifying that the humble townspeople value all that I am doing and make it their own.” The goal of the project is to demonstrate religious, cultural, social, and spiritual themes, while at the same time incorporating the human condition. The color, figures, and forms applied on the painting serve as a pathway for enhancing one’s individual beliefs, regardless of any specific religious attachment.

For further reading please visit the following websites:

http://cadenaser.com/emisora/2015/07/08/ser_vitoria/1436359758_695765.html

http://www.noticiasdealava.com/2015/06/20/araba/puesta-de-largo-de-la-asociacion-ormandetxea-reabierto-por-obras-en-antezana

May 22, 1920: Guridi’s opera Amaya performed for first time

On May 22, 1920, Basque composer Jesús Guridi‘s opera Amaya o los vascos en el siglo VIII (Amaya or the Basques in the eighth century) was performed for the first time at the Coliseo Alba opera house in Bilbao. The premiere starred Spanish soprano Ofelia Nieto in the title role, Polish soprano/mezzo-soprano Aga Lahowska, Basque tenor Isidoro Fagoaga, Italian bass-baritone Giulio Cirino, and Basque bass Gabriel Olaizola as well as the Bilbao Choral Society (conducted by Guridi himself), with music by the Barcelona Symphony Orchestra, conducted by Ricard Lamote de Grignon. It is an opera in three acts and an epilogue. The Spanish libretto was written by José María Arroita Jauregui, with a Basque version by Brother José de Arrúe.

The opera was based on a Romantic historical novel of the same title by Francisco Navarro Villoslada, originally published in journal installments from 1877 onward, which combined elements of Basque folklore, mythology, and historical fact. The setting is Navarre in the eight century and the plot surrounds a twofold power struggle: on the one hand that of Basque pagans and Christians, and, on the other, a more earthly conflict among Basques, Visigoths, and Muslims, in which the noblewoman Amaya, the descendant of the Basque ancestral patriarch Aitor, is the central character. She ultimately marries the Basque resistance leader García/Gartzea and together they establish the royal house of Navarre.

Listen here to Parts I, II, and III of the Epilogue (with score).  And see the famed Ezpatadantza or sword-dance, also part of the opera, in a 1992 performance here:

 

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Jesús Guridi in 1915. on the occasion of a performamce of his opera Mirentxu in Madrid. Courtesy of Wikimedia Commons.

Embracing a Wagnerian aesthetic and clearly rooted in Basque folklore, Guridi gave each character in the opera their own melody, rhythm, and instrumentation. Thought and structure coincide completely in the work, which proved a triumph for the composer from Araba, earning him a great reputation for his attention to dramatic composition.

His other Basque-themed works include Mirentxu (1910), El caserío (The farmstead, 1926), and Diez melodías vascas (Ten Basque melodies, 1940). Curiously, he was also the author of Homenaje a Walt Disney (Homage to Walt Disney, 1956). He died at the age of seventy-four in 1961.

If you’re interested in this topic, check out Basque Classical Music by Karlos Sánchez Ekiza, free to download here, courtesy of the Etxepare Basque Institute.

Be sure to also take a look at the website of the marvelous Basque music archive, Eresbil, which features a comprehensive record of all kinds of Basque music, musicians, and composers, and at which  you can listen to original recordings, download scores, and so on.

 

 

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