In that record are pieces already talked of present events, even though they were sung with ancient sing-song. But we have since carried on, convinced that tenor singing could be enjoyed not only by fans, but by a more vast public of youngsters. So, slowly, slowly we have flanked our ancestral forms: su ballu tundu, su ballu torrau, su passu'e trese, su ballu tzopu, sos mutos, sa seria, sos gocios, and also, other musical forms interpreted singing accompanied by traditional and non-traditional instruments, obviously always within our choir.
The remind me of our processions and the prayers which we then sang, wedding accompaniments, shepherd songs, typical rhythms of leuneddas etc. It is in this way that even traditional, complimentary and other songs of present flair, may be accepted and appreciated by all kinds of public. These credentials have made it possible for us to travel the world, presenting our traditions with great esteem, meeting different kinds of artists, giving us exceptional contamination although if sometimes seemingly "daring".
Which, we can honestly and proudly say, we have never passively undergone or accepted without giving our contribution of ideas and creativity. Those who know us, know very well our concerts, our projects, our "contamination" don't come about by change. Our choices are made gradually by wise, prudent people seeking for new ideas.
Today, whoever listens to us understands that we have a rich and varied background, with a sound base and frequency. In fact, the Neoneli choir most attentive supporters won't find it difficult to remember our dated artistic collaboration with other Sardinian colleagues, above all the previously mentioned Peppino Marotto with whom we collaborated for 10 years, taking our songs round the world. It has been a question of collaboration brought with enthusiasm and knowledge, which in the Sardinian's opinion have proved us to be an extremely versatile group, whilst still a strict guardian of authentic traditions.
We have continued in this direction, pushing ourselves towards a contamination beyond suspicion, that has turned up the noses of some absent-minded observers. This is this case for example, of the meeting with Elio of the "Storie Tese" "stretched stories" , going back to the summer of We planned the first song to be sung, Amazzonia, together with Elio, the first non-Sardinian singer who sings in Sardinian, in quite a dignified manner, and then we even rewrote his ingenious "Terra dei cachi", which became the Sardinian Sa terra 'e su entu the land of wind.
Obviously, in both the songs the choir doesn't exceed it's traditional canons: it result is that the choir is legibly included in a plot, restoring it with artistic dignity and making it appreciated by Caltanissetta in Bolzano, as happened during the ten concerts already held with Elio.
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Another case of contamination with regards a project already brought to light by Oslo in The result was a concert in which the tenor singing came over enframed by a surely effective musical covering. This was enjoyed above all by the Norwegians, during our live concerts, then enjoyed at Polygram, the biggest record company world-wide, who produced the CD internationally. Vinaccia found and bought our "Choeur de Neoneli, chants et musiques des bergers de Sardaigne", in a record shop in San Francisco.
Then things sprung in to action, the desire to make a project, a concert. Not bad for four chorists who way back in started timidly make their way in the world of the so called "folk-reproposal", to use a definition dear to poor old Franco Coggiola who died recently, he who was the first to foretell that the Neoneli choir would have a rich, satisfying artistic future, and the first to contribute to our achievement on an international scale. Really not bad if one thinks of the stages performed on, the people met, the applause we received half way round the world, all starting from a kitchen in a small house in Carragu, an old district of Neoneli, where in summer , we practised every day before to debut at the baptism of fire which was held on 25 September at Samugheo.
In fact every so often the quartet puts forward different proposals, different performances, depending on the occasion and on the organiser's needs. Those who are fans of unchanged and ancient traditions may listen to the Neoneli choir in it's smallest form, or rather just the tenor singers quartet. In this case, as well as tenor singing, we propose Su ballu cantau accompanied by the rhythm of the Jew harp sa trunfa. Having said that the group also performs on it's own, confirms that to give one's best may avail oneself to other artist's collaboration.
Artists who contribute into making the concerts more interesting, should it be necessary. Musicians who play Launeddas, guitars, mandolins, percussion instruments, mouth harmonicas, benas, with first class techniques.
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Such artists also, accompany some of the groups polivocal songs, making them harmonically attractive and new, and therefore appreciated both by the young and the old. Songs in which the tenor singers' peculiar timbre is strictly unaltered, but enjoys the presence of different harmonies which make it, without a doubt, richer. These internal "contamination" tentatives arose from the fact that nowadays even tradition can and must be influenced by that which is made available by techniques and possibilities in comparison with other artistic expressions.
Moreover, our concerts are never short of invented songs, that follow fashion, making the purely traditional pieces more enjoyable. The Neoneli choir concerts provides traditional text but above all texts composed by us which speak about diverse subjects, which people appreciated very much: piromancy and environment, drugs, old age and childhood, love, bandits, exaltation of our naturalistic and touristic pearls.
Of course there are also both famous and less well-known songs included in our performance. The choice and placing of these songs during our concerts makes the public pay attention throughout the entire performance for example: "Su ballu 'e su fogu", "Barones sa tirannia", "Unu sonnu", "Anninnia", "Amore lontanu", "Finas a cando", "Nanneddu meu", "Su inu", "Epuru andat", "Amistade", "Fulanu", "Maumone", "Ite cheres chi ti cante", "Deus ti salvet Maria", "A ballu a ballu", "Ma comente", "Bella mia non bandes When possible slides related to the songs being performed are shown during the concert, making "the Neoneli folklore tenor choir" more interesting and original.
The concerts. One can say: the more musicians involved, the richer the performance. The Neoneli Choir in concert. A tenore. The quartet sing tenor songs with some monodic songs accomplished with the accompanying triangle triangulu and the Jew harp sa trunfa. A performance in which all the traditional rhythms of typical Neoneli tenor singing, together with other songs readapted by the group are presented.
The group holds concerts alone, with this small formation, or otherwise participates in evening performances with other artists groups and tenores. The concert lasts about one hour and three-quarters. What more are our solo voice songs, accompanied by the many instruments mentioned, if not but a harmonic sum of capable of intercepting the tastes of the old and the young? The performance lasts about two hours. It begins invariably with the most pure tenor singing, but this time the concert is definitely richer and more varied.
With guitars, mandolins, benas , launeddas , accordions, Jew harps and so on, we are in possession of a practically complete sample from the vast collection of the most widely known and used musical instruments. However, at the same time the Istentales rock music was placed in a container, and, since it was full of modern and old sounds, offers a varied public three hours of a real entertainment. Breccia relative both we and the Istentales intend to open a breccia, to go along a piece of road together.
Luke III Highlights
The last part of the concert is dedicated to contamination , of a pleasant and overwhelming kind. The launeddas will duet with the sax, the jew harp with the drums, the accordion with the electric guitar.
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A set where a series of well-known and admired folk dances are sung in traditional style, but where the musical accompaniment is a mixture of traditions and modernity, performed to the most heterogeneous public that one could imagine. NeonElio begins exactly in this way, with forty-five minutes of original Sardinian music without changing the kind.
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