WOMEN EN MI
Women en Mi
There are a lot of women who have fought very hard to achieve things that I take for granted. The vote, equal pay, equal treatment in the home, and the freedom to pursue their dreams. Women have had to write under male pseudonyms, or publish music in their husbands´ names. We live today in a world where God is a “he” and where the overwhelming majority of our heroes are men. So I wanted to share with you some marvellous women that have been important idols in my life. These are people who ignored the voices within and around them, that tried to convince them that they couldn’t. They chose to listen to their inner need to write and compose, to venture and discover, to fight for what they believed in. They have enriched our world, and they leave me in awe. Here are some of the women in us... Bettina Flater, Madrid 2012
BIRDSONG Love I know, you’re afraid to lose me Do you know, how much I’m suffering away from you? Love I know, you’ll be faithful to me Do you know I want only only only you? Bird in a cage, longs for flight Longs for you, you’re out of reach you’re out of sight All she can do, is sing to you Hope that her song reaches you she says I Love you
Flamenco guitar: Luis Miguel Manzano; Bass: Pablo Carretero; Palmas: Karen Lugo & La Tacha; Cajón: Ivan Méllen; Tabla: Niraj Kumar
Wangari Maathai (Kenya 1940 – 2011)
Got an angel in my pocket Reach out, I’m sending her to you To whisper sweet nothings in your ear Honey over you Bird in a cage...
Got a devil in my pocket Watch out, I’m sending her to you To whisper naughty nothings in your ear Honey over you
I don’t like it You have seen me cry You have seen me, in my... Oversensitivity How it ices in my teeth Overprotectivity Sunblock 60 Keeps the sun out Sun’s been known to burn I’m outside my comfort zone I’m in emotional wilds The storm of my own I Desperately building walls Rowing to shore Fears invade me try to trap me Hypnotize me, petrify me I curl up, I flee Open a window here I need to breathe I’m outside my comfort zone You have seen me cry You have seen me in my... Oversensitivity, How it ices in my teeth Overprotectivity
So afraid to fail that I Barely dare to try Without fear there is no true courage So ride The storms of your I Your emotions most wild Rapturous to be In sensitivity
String arrangement: Héctor González & Victor Guadiana; Violin: Victor Guadiana; Cello: Marina Barba; Bass: Javier Colina; Drums: Guillermo Yuste; Palmas: Karen Lugo & La Tacha; Percussion: Moy Natenzon
Scheherezade Courage, life teachings through stories “Scheherezade became the prototype of the woman who triumphs with her ingeniousness, her shrewdness, ultimately, with subtle arts where strength cannot do it.” Rosa María Santidrián Padilla, Mujeres malas y perversas de la historia, 1998, Edimat Libros SA.
This piece is the marriage of the flamenco Rondeña with two melodies from Norwegian folk music. The one I sing (called “Jentestev” which I heard sung by Gunhild Tømmerås) is from Setesdal in southern Norway. The instrumental one which is repeated at the end of the piece is a folk dance (“Springdans”) that Grieg collected and included in his Opus 17, Norwegian folksongs and dances.
Percussion: Ivan Méllen
The rondeña is a flamenco style created by Ramón Montoya, inspired by the mountains around Ronda in Malaga. Yet the style has always transported me to a series of majestic peaks much further north – a mountain range steeped in the magic of Norwegian folklore, replete with memories of my own childhood and, curiously enough, called Rondane.
(Assyrian and Babylonian mythology)
Tara The feminine in the divine, the divine in the feminine
(Celtic mythology) Yer Tanr覺
(East asian buddhism) Moomba
(Turkic mythology) Eingana
Music and lyrics: Cowboy Junkies There are witches in the hills Calling my name Saying come join us, sister Come kiss the flame
So I turn to my lover and ask What do I do? Do I answer the call, or stay here with you?
Come dance in the moonbeams Ride the night winds Make love to the darkness And laugh at man’s sins
But under the spell of deep sleep He moans and turns away Taking his protection And my desire to stay
I shiver with delight I shiver with fear My heart wants to go But my soul’s filled with fear
So I rise to the hills I ride the night winds I make love to the darkness And I laugh at man’s sins
Vocal arrangement: Héctor González; Vocals: Alana Sinkey, Tove Karine Flater, Celia Mur & Nieves Canta
Lisbeth Nypan (Norway, ca.1610 â€“ 1670) Death-defying truth, healing A local wise woman who insisted, even under torture, that she never used her abilities to hurt anyone. Several people testified during her trial to having been cured by her. She showed no remorse and did not confess - this was probably part of the reason for her harsh punishment. She was convicted as a witch and burned at the stake.
Funny how words can be so telling It’s interesting how words can say more than they say I guess I take it all too seriously but I can’t help it I take it all to heart and fall into a pit of anguish, fear and self-doubt But I I don’t want your condescension I’m not into hipocrisy I don’t want your infuriating patronizing magnanimity A wise man once told me ”If he loves you he simply will delight in your laughter” So if you are a ship and I am your anchor cut me free That I may watch you sail away bright and breezy As I sink into the depths of my see My sea, my sea, because I finally see Funny how eyes can be selective How we don’t see what we don’t want to see I guess I was blind but I don’t regret it And now I see right through you you were never even close to being mine And I I don’t want the crumbs from your table I don’t need your charity I don’t want your infuriating moralizing generosity
Violin: Victor Guadiana; Laúd: Hames Bitar; Bass: Pablo Carretero; Palmas: Karen Lugo & Lucía de Miguel; Percussion: Ivan Méllen
Harriet Tubman (USA, 1821 – 1913) Uncompromising dedication to justice, fearlessness “I had reasoned this out in my mind, there was two things I had a right to, liberty and death. If I could not have one, I would have the other, for no man should take me alive.” extract from: Scenes in the life of Harriet Tubman by Sarah Bradford, 1869
DON’T HOLD ME BACK This was not the reaction I expected Those were not, the words I’d hoped What happened to ”I’m so proud of you baby, Congratulations, congratulations” Is this what it comes down to? A woman’s success is a man’s worst fear... Is this what it comes down to Between us, between you and me? Please, don’t make me choose I love you, I’m nothing without you You must know I couldn’t bear to lose you Pitch in with me on this one I know myself and I cannot stop here, I know myself and I’d hate you for it I know myself and I will not be Will not be held back Don’t ask me to rip my very heart out Don’t ask me, to throw away The dreams, that I’ve fought and cried and bled for for so many years
String arrangement: Héctor González; Cello: Marina Barba; Percussion: Ivan Méllen
(Germany 1819 â€“ 1896)
The need to create
â€œClara has composed a series of small pieces, which show a musical and tender ingenuity such as she has never attained before. But to have children, and a husband who is always living in the realm of imagination, does not go together with composing. She cannot work at it regularly, and I am often disturbed to think how many profound ideas are lost because she cannot work them out.â€? Robert Schumann in the joint diary of Clara and Robert Schumann
MALABARES SOBRE TANGOS Violin: Victor Guadiana Percussion: Ivan Méllen Palmas: Karen Lugo & Lucía de Miguel
(UK, 1759 – 1797) Astuteness, indomitability “Taught from infancy that beauty is woman’s sceptre, the mind shapes itself to the body, and roaming round its gilt cage, only seeks to adorn its prison” A vindication of the rights of women, 1792
Adventure, passionate living
RECOVERING Recovering my balance Slightly spinning still Trying to discern What it is I feel Carried away by a moment’s magic A connection so deep, so wild Playing reckless with fire Like some curious child You were honey seeping through my skin A breath from deep within You touched some ancient chord and yes... I wanted more of you Woman, frailty is thy name How you crave attention, play your games Ever fickle, ever changing Always wanting what you cannot have The grass is greener Temptation smiles, glistens Where do I draw the line? Where does infidelity start? Wherein lies my heart In all these games my mind plays?
Recovering my being Peeling shell by shell Trying to discern The truth behind her veil
String arrangement, Programming and Piano: Héctor González; Violin, Viola: Victor Guadiana; Violin solo: Hege Rimestad; Cello: Marina Barba; Bass: Pablo Carretero; Percussion: Ivan Méllen
Beryl Markham (Kenya, 1902 – 1986)
Flamenco dance: Marco Flores; Flamenco guitar: Antonia Jimenez; Jaleos: Lucía de Miguel; Palmas: Héctor Gonzalez
Viervand is a Norwegian folksong from Vinje in the province of Telemark. The song describes four herbs that farmers can give to their cows to promote good milking.
Antonia Jimenez Arenas (Spain, b. 1972)
Soniquete Soniquete is a word often used in flamenco – in English it translates loosely as ‘swing’ or ‘groove’. Antonia Jimenez is soniquete personified. Knowing her has been an inspiration to me. Olé tú!
This project has been surrounded by countless angels. I cannot express enough my gratitude to all those who have contributed with their magic to make this cd possible.
THANK YOU THANK YOU THANK YOU To the best two producers in the world, for having put your heart and soul into this, for your excellent work and for being the perfect team. Victor’s explosive creativity and Hector’s attention to detail are the key to the quality of this production. To everybody at the studios - Rodri and the crew at Radiológica, Celia and Guzmán at Cinearte, Rober and Roger at Retroestudios. To my teachers - to Enrique Vargas for always pushing me to be more than I think I can be, and for having been invaluable on this production. To Maestro Sanlucar for having been one of the first to believe in me and for having inspired me infinitely. To El Mami for being so flamenco. To Celia Mur, Florencia Begue and Eduardo Rebollar. To all the musicians who have collaborated: I cannot express how thankful I am. To Charles for your gorgeous, elegant design, for your clay photos and videos, for your excellent eye for everything and for being so patient with me. To Raquel for your inspired and inspiring paintings. To Anya for the cover photo of me. To Annette Linløkken for your photo of Rondane. To Luca Fiaccavento for the photo of Antonia Jimenez , and to Right Livelihood Award Foundation for allowing us to use their photo of Wangari Maathai. To my family. Tove, for being such a beautiful creature, inside even more than outside! Dag Erling, thanks to you I’m a fighter☺ Anne Karine, for being one of the kindest and most generous people I know. Mamma, this cd would never have been made without you. Pappa for your infinite love – and for letting me, even now, feel the strength of it. To all of my friends who have shared this process with me – you know who you are – I love you! To Alastair for always having pushed me to sing and write, and for being a catalyst for the creation of this cd. To all the men and women who have dared to raise their voices, and who have inspired me on the way. And to the Universe, for conspiring for me to realize my dreams. THANK YOU.
Production Hector Gonzalez – Bettina Flater – Victor Guadiana All Music and Lyrics Bettina Flater (except 4: Margo Timmins and Michael Edward Timmins) Flamenco guitar and vocals on all tracks Bettina Flater Translation Rondane Bettina Flater Recorded and mixed at Radiologica Estudios, Estudios Cinearte, Glocal Sound and Retroestudio by Victor Guadiana and Héctor González Mastering by Victor Guadiana Graphic design Charles Olsen Original paintings Raquel Yunta Cover photo Anya Bartels-Suermondt Original idea and concept Bettina Flater
WeMCD 121 © 2012 WeM Records ℗ 2012 WeM Records
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