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Наследие
Автор: Город
: Baku Страна : Azerbaijan
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From Bukhara, during his 1911 recording trip, Edmund Pearse wrote home that "in Samarkand we made some records of harem women, a thing that has never been done before. We had to take the machine to the house of the chief magistrate and set up there, who thereupon brought forth the women, and gave them permission to uncover themselves (only their faces however). It was quite romantic, especially as it all had to be done after ten oclock at night".
The Gramophone Company"s motives for recording in the region were purely commercial. In recording such a vast catalogue of indigenous music, their first thoughts were of the increased sale of gramophones it would encourage. Nonetheless, in deliberately setting out to record a representative selection of local music, they created what would later become an invaluable resource for different cultures who, following the breakup of the Soviet Union, feel a strong need to reconnect with their pre-Soviet heritage.
It is not known how many of these discs have survived in their respective localities, but it seems unlikely that many have. Over the past few years, researchers from former Soviet territories including Georgia and Adygea (Circassia) have visited the NSA and the British Library, consulting the discs and microfilmed documentation relating to the GramophoneCompany. Some of those musicians recorded have become national folk legends, such as Magomet Khfgfudzh, an Adygean accordionist recorded on several trips, who, along with all the adult males in his village, was shot by the Russian army during the war in 1918. One recording of his survives in the IMC (NSA Ref ICS0055110). His story, and those of a great many others are waiting to be researched and told, and there has never been a better time to unearth them.
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