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Alemu Aga "Keto Aykerim Motu", playing the Begenna, the Harp of David from Ethiopia

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Uploaded on Mar 4, 2011

Alemu Aga was born in 1950 in Entoto, near Addis Ababa. He has played the Ethiopian traditional lyre Begenna since he was 12, having been trained by a famous master, Aleqa Alemayehu Wolde-Ammanuel, who was his neighbour and teacher at his school.

After graduating from the Addis Ababa University (with a degree in geography), he taught the Begenna at the Yared Music School until 1980.

He now teaches on a voluntary basis and focuses on his research about the Begenna.

Alemu has published numerous audiotapes and several CD's and appeared in concert worldwide. Nowadays, he is the most highly respected Begenna player of Ethiopia.

DISCOGRAPHIE:
Artist: Asnakech Worku / Alemu Aga
Title: Ende Jerusalem - Traditional Music from Ethiopia
Label: Acoustic Music
Time: 73:49
CD, 1995
Cat No: 31910982

To download the CD go to: http://itunes.apple.com/at/album/ende...


Artist: Alemu Aga / Seyoum Mengistu/Admassu Fikre / Tafesse Tesfaye
Title: „The Begenna of Elders" (The Harp of David in Ethiopia)
Label: Laika Records
Time: 49:41
CD / Digipak +booklet, 2009
Cat No: 3510255.2

To download the CD go to: http://itunes.apple.com/us/album/the-...


„Alemu Aga ist der heute wichtigste Begenna-Interpret in Äthiopien."

Geboren 1950 in Addis Abeba, begann er mit zwölf Jahren seine Ausbildung in der seltenen Kunst des Spiels auf der Davidsharfe, der Begenna. Bereits zehn Jahre später nahm die UNESCO eine LP mit traditioneller Musik aus Äthiopien auf, auf der er die Begenna spielte.

Das Instrument ist seit wenigen Jahren wieder ins kulturelle Leben der christlichen Äthiopier zurückgekehrt, die Musik der Davidsharfe ist vor allem während der Fastenzeiten zu hören. Die Begenna selbst soll - dem Glauben der Äthiopier nach - von Gott auf die Erde zu König David gebracht worden sein, damit dieser ihn mit frommen Liedern preise. Bauweise und Stimmung haben sich seit biblischen Zeiten nicht geändert.

Nach wie vor darf die Begenna nicht gleichzeitig mit anderen Musikinstrumenten erklingen, nicht einmal mit den kirchlichen Instrumenten, dem Sistrum, der Kebero und dem Gebetsstock.

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