Timbila Ta Venâncio - Ecos do Legado: Chopi Timbila Music from Southern Mozambique (LP)

We are in the presence of what is probably the Chopi people's greatest cultural expression. What you hear on this recording is nothing less than an outpouring of feeling: joy and resolve, love and defiance. This way of being reaches back beyond recorded memory. Some say that timbila may have emerged around 1800; others argue that it is far older. What is certain is that its rhythms have endured with undiminished vitality to the present day, faithful to their origins and nuances while, at times, embracing the inevitable versatility of an ever-changing musical universe. The timbila tradition does not depend on formal music schools or conservatories; it is inherited. Its performers are born with it in their blood, passed down by those who gave them life. From a very early age, they begin to handle the instruments and carry them throughout their lives in a tireless pursuit of perfection. This is why the great timbila masters are inimitable, almost beyond reach. Yet all the rhythmic energy bubbling through this recording is more than a ritual. It follows a cadence that begins within the family. The group’s members are all brothers. That is hardly surprising: they are the sons of the celebrated Venâncio Mbande, a true master of timbila. An icon and the focal point of timbila festivals through 2007, he died on 25 June 2015, leaving us the legacy presented here. The order of the pieces is not random: they are interconnected and tell a coherent story. It may seem strange that the recording includes several Mtsitso (introductions), but their arrangement follows principles established over the long history of timbila, in which each member has the prerogative to introduce a theme within an orchestra that never loses its unity. Indeed, the score is conceived primarily for live performance, where technique and precision are essential. This album stands as a monument to the master Venâncio Mbande, a tribute to the Chopi people, and an interpretation of Mbande's unforgettable work. The pieces do not have individual titles in the conventional sense. Instead, they follow a sequence shaped by that distant, unknown moment when timbila became a form of catharsis, a bulwark against ill omens. Everything follows a precise order: 1. Mtsitso wo kheta (first introduction) 2. Mtsitso wa wumbidi (second introduction) 3. Mtsitso wa wuraru (third introduction) 4. Mtsitso wa wumune (fourth introduction) At first, this may seem difficult to understand, but there are things that only enigmas reveal, and only subtly. The titles are branches of the same line. Mtsitso prepares the ground for the dancers. Ngenisso (entrance) is exactly that: the entry of those who later divide into two groups, giving way to Mwenisso. Then Chibudu (lively dance) resounds, summoning all the energy of the instrumentalists and dancers. Yet this is not the performance's climax. That height is reached with Mzeno (apotheosis), the moment when the orchestra's degree of refinement becomes clear. Finally, everything ends with Mabandla (the final dance movement) and Mtsitso wo Gwita (the closing mtsitso). Timbila is one of Africa's great orchestral traditions. Each performance follows a defined musical structure rooted in rural life and a strong sense of community. Tradition remains the foundation of the orchestras, even as modernity gradually brings visible change to society. Young people are turning their attention towards new aspirations shaped by contemporary life. Even so, the tradition endures. The timbila tradition lives in Zavala, in Inhambane Province, continually reminding us of the glory of the Vatxopi (Chopi) ancestors. In the past, entire communities took part in the orchestras. In the mid-twentieth century, there were more orchestras than there are today, drawing members from neighbouring districts. Performances were held regularly, keeping pace with the events of social life, and orchestra members were respected within the community. Timbila culture flourished. MWENJE Mwenje is the name of the tree given to bring light to the Vatxopi. Its wood is used to make the instruments, and the tree now appears to be endangered. No mwenje remain in the woodlands around the communities; people must walk great distances to find this precious resource, and even then it is scarce. Replanting may be the only solution. Some have begun this work, although it is said that the results will not be seen for about fifty years. Mwenje does not grow strong in nurseries. Its natural home is the untended bush, where its thorns help shape the tree that will one day give voice to the timbila. Those concerned with its survival are therefore called upon to act quickly. Learning the basics of timbila construction can take six months or more. Once the knowledge has been acquired, the craft enters its most delicate stage, beginning with the selection of the wood itself. A craftsperson may need around thirty days to make an instrument, depending on the dexterity of their hands and the sensitivity of their ear, for each instrument is tuned by ear. Nature is generous. Almost all the materials needed to make a timbila can be found within the community. The exceptions are glue and cow gut, which are needed to fit the membranes. The quality of the instruments varies from one ensemble to another; each has its own talent and its own standards of craftsmanship. A well-made timbila can last for twenty years. Learning to play begins very early and unfolds naturally, since children are in constant contact with the instruments. Women, too, are now beginning to take an interest in this cycle of learning. This is a clear sign that the tradition remains vibrant among the Vatxopi, who regard timbila as the heart of their culture.