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Tafese Tesfaye, Admassu Fikre, Seyoum Mengistu & Alemu Aga
Elders of the Begena: The Harp of David in Ethiopia
Death Is Not The End - Cat No: DEATH114LP
- updated:2025-12-23
Deeply soulful Ethiopian exotica with a folky, utterly distinctive melodic character and tone — and a tension, groove, and presence all its own: little-known, timelessly enchanting traditional music played on the begena, the Ethiopian lyre with a history stretching back more than 5,800 years. A cultural treasure. Volume two in the series! The previous installment, "The World Is But A Place Survival: Ethiopian Begena Songs," was superb, and this one is every bit as astonishing. Another essential release from the ever-reliable Death Is Not The End. This edition is a 2LP vinyl pressing. Perfect for both DJ play and home listening.
Track List
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A1. Tafese Tesfaye - About the Suffering of Christ
03:49 -
A2. Admassu Fikre - The Futility of Life
04:08 -
A3. Seyoum Mengistu - Went to Hermitage
03:11 -
B1. Alemu Aga - The World Is a Place of Rest
04:25 -
B2. Seyoum Mengistu - Worship for Peace
02:44 -
B3. Tafese Tesfaye - In the Name of the Father
03:05 -
C1. Alemu Aga - The Sacred Names of the Begena
06:36 -
C2. Seyoum Mengistu - Unwillingly
04:27 -
C3. Admassu Fikre - Sunday Night (The Resurrection)
02:55 -
D1. Alemu Aga - Cry of Praise and Adoration to God
04:09 -
D2. Admassu Fikre - The Praise of the Lord
05:31 -
D3. Tafese Tesfaye - The Praise of the Virgin Mary
04:34

The ten-string begena lyre was the only melodic instrument used in the prayers and sacred church repertoire of the Amhara, long the politically and culturally dominant people of Ethiopia. With its mythical origins, it was always an instrument of kings and nobles, and to play it was to enter into direct contact and dialogue with God and the Virgin Mary — a special, noble instrument akin to prayer itself, a means for the Amhara to commune with the divine. Partly for that reason it never spread widely among the general populace, and this strand of Ethiopian music has remained little known until now — yet the groove here carries a remarkable intensity, and there's a comforting presence to it that somehow recalls the traditional Ainu music of Hokkaido. The uniquely Ethiopian melodic tones drawn from the begena's ten strings, the expansive, flowing singing that shares something with traditional folk music the world over, and the whispered voices that alternate with it as if answering the instrument's low register — together they make you feel as though you can hear the very breath of the people who live rooted in that land. Quietly, deeply, thoroughly captivating. Recommended!!! (Original Japanese text by COMPUMA)