Su corru ‘e boe in Tumbu by Piero Marras

by Piero Marras

Corru ‘e boe: Maurizio Puxeddu 

In 1994/95 I received a phone call from Piero Marras. Those were years in which I carried out intense dissemination activities in schools and municipalities in Sardinia with the exhibition / conference of traditional Sardinian and Mediterranean instruments called “AMMENTOS DE SONOS – Mostra sonora itinerante di strumenti musicali sardi”. Piero asks me to participate with traditional Sardinian instruments in the recording of some sounds for his next record work. I bring the instruments, a small representation, in the recording studio in Sassari and Piero seeing the ox horn, su corru ‘e boi, he chooses to insert it as the first sound of the album TUMBU in the track ISTRALES. Here is the track.

Is launeddas

When you return to Sardinia after years of distance from the island you have understandable emotions and very strong sensations. Every Sardinian knows what it means, on his return, to feel the wild scents of his land, he knows how it feels to observe the open and natural spaces, not fenced (the choice is wide, between sea, mountains, hills, lakes, rivers ), all of which can be used a few kilometers from the town or village centers. Not to mention the gastronomy, the people, the customs and traditions, the culture deeply rooted and felt by the Sardinians, the music.

On the occasion of my recent visit to Sardinia, thanks to my past as a popularizer, musician and composer, I was invited by the ISCANDULA Association to hold a conference on the launeddas, on the Danish researcher WFABentzon who in 1969 published THE LAUNEDDAS, works in two volumes, deriving from his research on the autochthonous island instrument, between ’56 and ’69. The relative projection of the documentary film “IS LAUNEDDAS – La musica dei sardi” by Fiorenzo Serra, produced by Dante Olianas, made up of films by Bentzon himself, formed the core of the initiative.

At the end of the meeting I was able to perceive and verify, thanks to the many questions from the audience, very specific and relevant, the profound interest of the listeners towards the topic presented: the launeddas.

I feel that there is a renewed interest in young people, towards the music of Sardinia, a music with a capital M, still not understood by everyone. I was very heartened to see the listeners attentive and involved and who have given me back an important energy.
Thank you all

26 febbraio 2020
Associazione ISCANDULA
CPIA1 Cagliari – Sede di SESTU (CA)
Prof.ssa Tiziana Pireddu

Relatore: Maurizio Puxeddu

Le launeddas
Il ricercatore W.F.A.Bentzon
Proiezione del film documentario IS LAUNEDDAS
Esercizi pratici con la respirazione circolare
Domande del pubblico

ISLANDS – Musical performance by Maurizio Puxeddu for ILLADOR

ISLANDS – Musical performance by Maurizio Puxeddu
Traditional Sardinian musical instruments used: launeddas, sulittu, bena, bena ‘e corru, ghitarra, corru marinu, trunfa, pitiolus, ischiglittos

It is an initiative created within the ILLADOR photographic exhibition by Marina Anedda, set up in suggestive contexts.

“Retracing the places described by the German philosopher Ernst Jünger, who in 1954, during a trip to Sardinia, stopped in Villasimius, fascinated by the primeval essence of the place, the author of “Illador”, through intense photographic research he autonomously reinterprets the the work of the philosopher, using black and white to prevent the use of color from altering the philological sense of the operation.”

SPOLETO – 12 July 2002
in conjunction with the Festival of Two Worlds

TORTOLI ‘ – September 14, 2002
Museum of Contemporary Art Su Logu De S’Iscultura

Spoleto – Maurizio Puxeddu with sardinian guitar

A text of almost twenty years ago, from 2002, accompanying the performance.


Il primo pensiero va’ all’acqua.
Che lambisce le terre.
Acqua di mare duro contro la roccia.

Instancabile nel sovrumano scontro all’ultimo grano di materia,
all’ultima goccia di lagrima salina.
Dove l’abisso si prende la rivincita,
su quei natali incandescenti ed infuocati.
Di eruzioni e di lave.
Fumanti di liquido esalato.
Con molta calma, dando tempo al tempo.
Nei secoli e nei millenni. Erodendo.
Perché la roccia, ormai raffreddata,
non può fuggire e avere scampo.
L’acqua. Trova la sua vendetta.
Nelle isole il tempo è un altro.

Scoprendole sulla linea del tramonto
mutano in approdo di cabotaggi stanchi.
Riferimento per navigatori di antiche rotte.
nella perdita dell’orizzonte liquido.
Poi si aprono mondi interni.
Possibili spazi limitati e limitanti,
ma profondi di conoscenza del se.
Dove scavare interiormente.
Quelle più piccole,
si contengono in uno sguardo.
La loro storia, in un pensiero,
in una sensazione.
Dalla creazione all’oggi.
Quelle più grandi,
ricche di storie tortuose,
riempiono i polmoni di vento profumato.
Generose di sole.
Ma tutte hanno il sentore
della condivisione
della particolare condizione geografica con gli altri, che vivono in altre isole.
Solitudine e separazione,
mista a condivisione.
Situazione ricercabile.
Consapevolezza del non essere solo.
Nelle isole il tempo è un altro.

Ma il primo pensiero va’ all’acqua.
Che lambisce le terre.

Abbasalìa, I can’t even read it!

When you read the title Abbasalìa you have the feeling of facing an unknown word and not knowing where to place the accent. It is like when you enter the water, the sea, and you go a little further where it is not touched. The water supports you but not too much, you falter.

It’s like walking on the tightrope rope. You have to decide in fractions of a second where and how to put the weight of your body balancing it with open arms, under penalty of the most ruinous fall.

Reading the title Abbasalìa makes your neurons move, because you also start asking yourself “what will it mean?”.

And try to decline the term with different inflections and accents, trying to reason about its specific and etymological origin: Abbasàlia, Abbàsalìa, Àbbasàlia, Abbasalià, Àbbasalìa …

I like this so much. 🙂