Goadec sisters – Wikipedia

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The Goadec sisters (Eugénie known as Tanie, Maryvonne known as Tanon, and anastasia called Tasie)

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The Goadec sisters (in Breton: Ar C’hoarezed Goadeg ) are a trio of Breton singers from Treffrin (Côtes-d’Armor).
Three sisters constitute the trio: Maryvonne (1900-1983), Eugénie (1909-2003) and Anastasie Goadec (1913-1998). They are starting to animate Festoù-NOZ In 1956, among the couples of ringers and the singers. Accompanied until 1964 of their two other sisters, Louise (1903-1964) and Ernestine (1911-1964), their repertoire is mainly made up of quay . In trio, they try to integrate the song to dance and develop a new technique of right ha .

The “pop Celtic” wave and the craze for folk music propelled them in 1972 and 1973 to the front of the stage, following Alan Stivell, one of their great admirers. The three sisters have brought a lot to Breton culture and its sustainability [ first ] .

Born at the beginning of XX It is A century to Carhaix (the Poher in Center-Bretagne), the three Goadec sisters are initiated from a very young age in the art of traditional Breton song: wolse , right ha … Born in Nantes then sacristan in Treffrin, their father Jean-Louis Goadec did not know the repertoire of peasants [ 2 ] But becomes a renowned singer and naturally transmits his passion to his thirteen children [ 3 ] . Their mother Victorine Claude and their aunt are seamstresses and sing at home, in the church or at work [ 2 ] . They have two other sisters and eight brothers, including one of their brothers, very good singer, is killed during the war of 14-18 [ 4 ] . Later, work, weddings and family constraints separate them as a singing family [ 5 ] .

A career of traditional singers in the festoù-noz [ modifier | Modifier and code ]

In 1956, the Festoù-NOZ (night celebrations) modernized “reappear” and gain momentum. Future “sisters goadec” (under the name of their spouses: Maryvonne the hospital, Eugénie Ebrel and Anastasie le Bras) then animate, with their sisters Ernestine (Ernestine Gouesnou dit Tine) and Louise (Louise le Bournot) les les les les les les les les les Festoù-NOZ from the Center-Brittany region. The first of these evenings takes place in In Châteauneuf-du-Faou where Louise lives [ 6 ] . As early as 1958, they also accompanied the Celtic circle Ahès de Carhaix in its trips, at the request of Albert Trévidic, first president of this circle [ 7 ] . In addition, they participate in several singing competitions set up during the revival of the Fest-Noz; in the competition organized in Gourin by Loeiz Ropars the , they win a prize for their interpretation of Gousperoù ar raned [ 7 ] .

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The song to listen to is their area, at the base, but it is frequently requested by the organizers in Haute Cornouaille in order to spare a break for the public in the dance evening. This means that they share the poster of Festoù-Noz with singers to dance and ringers throughout the 1960s [ 7 ] . But in 1964, Louise and Ernestine died. The three remaining sisters form a trio, the Goadec sisters, and animate new dancing nights. Their fame, just like that of the Morvan brothers, is such that they go almost every weekend to a night party. Singers of melodies and wolse Originally, they successfully tried singing to dance, creating in a personal version of Right ha , with three voices.

A status of “stars” on stage among the electrified groups [ modifier | Modifier and code ]

Traditional singers, they are restored to the time of revival Breton (late 1960s and early 1970s), notably by Alan Stivell, which was inspired by their repertoire for the Bagad Bleimor. A bond is born between them [ 8 ] . He accompanies them several times on stage. As Jacques Vassal points out in his work on the Breton song, “They represent a typical, extremely rare example in France, of artists of rural tradition,” rediscovered “on the occasion of an urban” revival “movement” [ 9 ] .

When the craze for Breton music points, at the very beginning of the 1970s, the Goadec sisters already had a good experience of the scene. They occur in To Mutuality In Paris, in the company of Glenmor, Leprechauns and Bagad Bleimor. In 1972 and 1973, they were invited to perform at the Kertalg Festival in Moëlan-sur-Mer, where several groups of the 1960s were present, such as Leprechauns, Happy Traum, Alan Stivell, among others; The two concerts give rise to recordings [ n 1 ] . During the second edition, they interpret Elysa -derived from Jean-Pierre Le Scour’s song Eusa plac’his ( Ouessant’s daughter ) -, accompanied by Alan Stivell with the harp.

That same year, they sing in Bobino, legendary “Temple of Music-Hall” in Paris Montparnasse, for an exceptional recital, benefiting from a recording reflecting the atmosphere brought by the dancers who fill the aisles [ 4 ] . They occur three evenings in a row in a room more used to receiving Georges Brassens but success is there, despite the skepticism of some [ ten ] . For René Abjean, in an article published in the review Otherwise In 1979, this show of the fest-noz touched the absurd and by bringing to Paris “the three old peasants of Carhaix […] folk has become folklore again”. For Yann Le Meur, “This extravagance offered to Brittany the opportunity to show how foreign it was to aesthetic normality, and how it could stand out from the cultural uniformity imposed by this totalitarian twentieth century” [ 11 ] .

A cultural heritage in family inheritance [ modifier | Modifier and code ]

Their popularity did not affect their daily life, refusing the status of “stars” [ twelfth ] . They continue their career and animate a quantity of Festoù-NOZ Until the trio stops in 1983, on the death of Maryvonne, the elder of the three sisters. Thasia dies in turn in 1998. The singers left behind a very important discography at the time for traditional singers: three 33 laps recorded in the Mouez Breiz collection in 1967 and 1972, a 33 laps recorded during their visit to Bobino In 1973, another published by Keltia III (Alan Stivell label) in 1975 and a 45 -round disc published by Barclay in 1975, not to mention many presences on collective albums or compilations as well as the many sound archives gathered by collectors [ 13 ] .

Eugénie re-hinders on stage at the CLC of Guilvinec during her eighty-fifth anniversary in trio with her daughter at the initiative of the ceremony and denestive a great admirer of the Goadec sisters (it is in particular Eugènie Goadec who, during A visit to her home in Carhaix, orally transmits the famous Gwerz E you an elise behind that he will then sing in many concerts around the world).

The singer re-records a disc with her daughter in 1994 ( Quay ) [ 14 ] . In , Eugénie and Louise participate in the twenty-five years of stage by Yann-Fañch Kemener. THE , Eugénie Goadec died in turn, at the age of 93, leaving her family trio to definitively enter the legendary [ 15 ] . Denez Prigent will compose the same year in their tribute a Kan-Ha-Diskan having the title Gavotenn an Aeled (La Gavotte des Anges) which will subsequently interpret Louise Ebrel on her latest album Tre Tavrin Ha Sant Voran .

The Goadec sisters interpret quay , complaints that evoke historical facts most often tragic or sad and sometimes mythological. Among the most famous of their repertoire, there is Gousperou AR RANED (The Vespers of the Frogs), E you an elise behind (The house of Eliz Iza), Ar Sorserez , Would gornadonez , Ahyredig arz … some of their songs will be taken up and widely disseminated by various artists or bagadoù, as E you an elise behind And Deus see-what Plac’h Yaouank [ 16 ] .

The Donatien Laurent researcher notes that over the years, their repertoire is expanding: “Childish songs, dance songs, satirical and lyrical songs, dialogue songs, quay of all ages ”. He himself recorded them singing songs of circumstance as Igenane et Boked eured . They also practice the singing song, punctuated for the dances, by animating in cappella Festoù-NOZ with the technique of Kan-ha-dian , tiled song for which the end of the sentence is taken up by one or more other singers [ 17 ] .

The specialist René Abjean highlights the particularities that constitute their way of singing: “When you hear singers like the Goadec sisters of Carhaix, one wonders in very good faith if they sing just. We will indeed tend to judge as just what conforms to widespread music every day and every night by dint of speakers, radios, transistors and others. But when the lack of temperate range always falls in the same place in the same way, it is allowed to doubt … and to dream by what miracle, certain ears however sensitive have so far been preserved from the standardizing rule ” [ 18 ] . And the acoustician physicist Emile Leipp explains: “These music is obviously neither better nor no less good than Western music. They are something else and exploit other scales, quite simply ” [ 19 ] .

  • 1967: Carhaix Goadec sisters , Mouez Breiz, 33523, 33 rpm Keltia Music, CD 33523, 2014
  • 1967: Carhaix Goadec sisters , Mouez Breiz, 522, 33 rpm
  • 1972: Ar c’hoarezed Goadec , Mouez Breiz 30370, 33 rpm Keltia Music, CD 303370, 2014
  • 1973: Ha bo Jabino, the bobino , Song of the world LDX 74 535, 33 laps / re -edition in 1997 Public recording , Song of the world CD 2741081
  • 1975 : Elysa, Barclay, 71480, 45 tours
  • 1975: AR C’HARAREZED GOADEC, Kanerezed Deus Trefffrin, Kernew-Hel , Kelti ii – Elel 03 / Rçanser cell Ap. Moueziou Bruded in Vreiz, the legendary voices of Brittany , Keltia Musique [ 20 ] , KMCD 11
  • 2012: The Goadec sisters: Center-Brittany singers , coll. Great performers of Brittany vol. 5, Coop Breizh, 2 x CD + Booklet, 10052

Participations [ modifier | Modifier and code ]

  • 1961: Via Brittany , Vega, F 35 s 3015, 33 rpm – 25 cm, recorded on 25/11/1961, also under Ricordi 25 s 041/reissue, Fest-Noz Cadoudal , in 1975, Arion, RNA 3314, 33 laps
  • 1964: Le pardon des may have the disk , Mouez Breiz, 33 Tours, 30347 / Reissue in 2015, CD Keltia Music
  • 1972: Premier Festival Kertale de Pop Celtic ’72 , Song of the world, 33 towers, LDX 74513
  • 1973: Second Kertalg 73 festival , Barclay, 2 x 33 tours, 920453
  • 1976: Skoosll Vreizh, Support for families of Breton political prisoners , HLB 7612, 33 rpm in CD in 2013
  • 1978: They die our birds ( Konskried Sant Nikolas ), Mn 04, 33 laps
  • 1994: Quay , Eugénie Goadec with Louise Ebrel, Coop Breizh, CD 429

Filmography [ modifier | Modifier and code ]

Compilations, tributes … [ modifier | Modifier and code ]

  • 1989: The sources of Barzaz Breiz today (2 titles: An Aotrou Kont Har on cornandonez And En marc’hadour bihan ), ArMen / Dastum, 2 x CD
  • 1991: Brittany music ( AR PLAC’H DIW WILL BE ENGLOCUATION )
  • 1994: Living tradition of Brittany 2 ( His ar Patatate )
  • 1997: The Celtic soul of Brittany and Ireland ( Konskriad Sant Nikolaz )
  • 1998: Fest true – Breton music ( Ar believe )
  • 1998: Alan stiffel, 1 Douar ( Human memory )
  • 2000 : Roland Becker, Er wheel Morvan
  • 2007: The Ramonaurs of Menhirs and Louise Ebrel, Dañs An Diaoul ( Theñs , Theñs )
  • 2008: Red Cardell, Les Frères Guichen et Louise Ebell, LE CRYSTAL BANQUET ( Fich fich logodn )
  • 2009: Alan stiffel, Emerald ( Goadec Rock )
  • 2009: Brittany, recordings made between 1900 and 2006 ( The omp the and on )
  • 2009: Breton music for dummies ( On martolod dead )
  • 2012 : DJ Miss Blue, Breath’n Are (Remix : Breizh Roots , Amzer ‘Zo Gant Ma Pado , Burzhudus , Inunniboom )
  • 2012: Pat o’may, Celtic Wings ( Eliz behind )
  • 2012: Red Cardell et Bagad Kemper, Falling in Love ( Ar sorcerez )
  • 2014 : The Celtic Social Club, IC Will et Louise Ebrel, The Celtic Social Club ( On martolod dead , Goadec in Da Club )

Many artists have benefited as an example of the oral heritage of the sisters. The Goadec sisters, a RAM of an entire culture, “Princesses of memory”, are “among the important treasures to safeguard if we want the musical expression of the new Brittany to be really Breton” assures Alan Stivell [ 21 ] . For the bell ringer Roland Becker, they have “Bring significant complementarity to the rise of” young “Breton music. They personified the mythical past which each claimed then ” [ 22 ] . In 2016, he concretizes his project to replay the melodies of their repertoire in the quartet on stage [ 2 ] .

In 1994, a tribute was paid to them by the Kevrenn Alré, directed by Roland Becker, at the Moustoir Stadium, during the Lorient Interceltic Festival [ 23 ] . Denez Prigent wrote Gavotenn an Aeled , the “Gavotte des Anges”, air created in his car, while crossing the Arrée Mountains on the return from the burial of Eugenie, who went to join her sisters [ 24 ] . Alan Stivell pays tribute to them with the title Goadec Rock , appearing on his album Emerald .

In 2012, Dastum devoted a double CD to them from his collection “Great Interpreters of Brittany” co -published by Coop Breizh. The two CDs are accompanied by a large 145 -page booklet, abundantly illustrated with photos mostly taken during their strong media coverage after 1972, by professional photographers such as Hervé Antoine and Claude Jarroir. It includes all the texts of the songs and their French translation, a biography, a tribute from Donatien Laurent to “Marivon Goadeg and his sisters” dating from 1986, the testimonies of Louise and Renée Ebrel, daughters of Eugénie Goadec, or by Jeannot Le Coz, who regularly rubs shoulders with them in Fest-Noz [ 16 ] .

Several streets in Brittany today bear their names, as in Quimper (allée des sisters Goadeg) or Pontivy (rue des Sœurs Goadec – Straed Ar C’hoaarezed Gwadeg). The city of Carhaix has had the Rennes artist Annick Leroy sculpts the effigies of the three singers in bronze on a 1.25 scale. The statuary work, installed on the Place du Champ-de Foire, is inaugurated the [ 25 ] . A poem, signed Garlonn, is dedicated to them ( An Eured , 1975).

Notes [ modifier | Modifier and code ]

  1. ↑ The organizer of the first Kertalg Pop Celtic Festival, Gwen Ar Goarnig, an admirer of the Goadec, writes about them: “The Goadec sisters are very” big ladies “, they have politeness, the exquisite simplicity that only the peasants still know. »» . In a magazine file Best , devoted to the second edition of the Pop Celtic festival, Christian Lebrun will say about them: “The Goadec sisters were for us, poor French French people, the great revelation of this festival. We would never have thought of taking such a slap. Their gathered or alternating voices have the most electric efficiency and swing of hard-rock groups. The refrains slam dryly, the keywords are tirelessly hammered and the whole contains an incredible rhythm. »» , Christian Lebrun, Best , No. 62, Septembre 1973, “Le Second Krtalg Festival”, p. 28

References [ modifier | Modifier and code ]

  1. ↑ Anarvorig.com “The legendary voices of the Goadec sisters”
  2. ↑ A B and C Éliane Faucon-Dumont, ” Goadec Project. Roland Becker and his musicians touch the goal », The telegram , ( read online )
  3. ↑ Elegoet 2006, p. 333
  4. ↑ a et b Vassal 1980, p. sixty one
  5. ↑ Jacques Vassal, album booklet Public recording in Bobino .
  6. ↑ Fanch Postic, at the origins of the Fest-Noz, Poor n O 93, April 1998
  7. ↑ A B and C IFIG Troadec 2012, p. 40
  8. ↑ Stivell “Sisters Goadec”, on Dailymotion
  9. ↑ Vassal 1980, p. 60
  10. ↑ Armel Morgant, “Eugénie Goadec” , Breton music , N ° 177, Mars-Vril 2003, p. 11
  11. ↑ “When the five Goadec sisters sang”, Ar zones , n ° 345, October-December 1997, p.14
  12. ↑ Jean-Yves Quemener, “Sisters Goadec: towards a” Breton pantheon “? “, West France , July 14, 2014
  13. ↑ IFIG Troadec 2012, p. 41
  14. ↑ Elegoet 2006, p. 336
  15. ↑ “Death of the Last Sister Goadec” , Release , January 20, 2003
  16. ↑ a et b IFIG Troadec 2012, p. 42
  17. ↑ “The atypical kan-ha-diskan of the Goadec sisters” , West France , December 12, 2012
  18. ↑ René Abjean, Breton music , Ed. Jos Le Doaré, Châteaulin, 1975, p. 6
  19. ↑ Acoustics and music , Emile Leipp, 1971, Ed. Masson, Paris
  20. ↑ Ar c’hoarezed Goadec , Breton music (review) , n ° 105, September 1990, p. 21
  21. ↑ André-Georges Hamon, Chants of all Brittany: 20 years of Breton song , Jean Picollec, Paris, 1981, p. 232
  22. ↑ “Interview with Roland Becker”, Ar zones , n O 330, September-October 1994, p. 7
  23. ↑ Nicolas Milliot « The Kevrenn Alré », Poor , n O 105, , p. 2-13 (ISSN  0297-8644 ) – See in particular p. 8 .
  24. ↑ Jean-LUC Padelc, Music: Louise and Ifig capture the Bigouden air , The telegram, April 10, 2004
  25. ↑ Breton cultural heritage. The Goadec sisters immortalized in Carhaix , West France , June 12, 2014

Bibliography [ modifier | Modifier and code ]

  • Roland Becker ( pref. As it is), The Goadec sisters: how three sisters in the center of Brittany have become legendary singers , West France, , 352 p. (ISBN  978-2-7373-8116-4 And 2-7373-8116-9 )
  • Didier Covenant , Celtic music: Brittany, Ireland, Scotland, Wales, Cornwall, Asturias, Galicia, Man Island , Paris, Hors Collection, , 76 p. (ISBN  2-258-04446-4 ) , p. 20
  • Ronan Gorgiard , The amazing Breton music scene , Plomelin, Palantines, coll. “Culture and heritage”, , 255 p. (ISBN  978-2-911434-98-3 ) , “Memory passers”, p. 22-25
  • Thierry Jigourel ( pref. Pascal Lamour), Festoù-Noz: History and news of a popular festival , CPE, coll. “Reflections of terroir”, (ISBN  978-2-84503-683-3 And 2-84503-683-3 ) , “Ar c’hoarezed goadec: Celtic !!! “, p. 76-77
  • Jacques Vassal , Breton song , Paris, Albin Michel, coll. «Rock & People», , 190 p. (ISBN  2-26-00974-4 )
  • Patrice Elegoet , Breton music and song: from tradition to modernity , Anrt, thesis in Celtic studies at the University of Rennes 2, , 468 p. (ISBN  2-7295-6987-1 ) , p. 333-336
  • Ifig Troadec, ” The Goadec sisters: a double CD tribute », Breton music , n O 233, , p. 40-42 ( read online )

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