In the direct descendants of the Arribillaga family of the Musumielenia de Senpe, the last is Marie-Jeanne Arribilized-Mauchamp, the only one who remains in the five nephews of Marcel Arribillaga. Marie-Jeanne is an elderly wife of engoi. He has confirmed to us, as in the art of dreams, that he has felt “yes, a great pleasure” knowing that the book is in the square. Because he knows that in order to get drunk, it has been necessary to interconnect several hands and two centuries.

Marcel Arribillaga Musumielenia St Pée s/r Nivelle. That's what Marcel's dock says. The careful writing of the school of the early twentieth century is a challenge to time under dark covers. The notebook of Musumielenia, whose first pages contain the lines of the bridge, has just turned one hundred years old. Musumielenia is a house that has lived on the border of the Senpere street and the farmhouse, next to the Urdazuri river. It was there from mouth to ear, from ear to pen, as the Arribillaga quay began to take shape, and for half a dozen years it had passed a hundred songs. Marie-Jeanne’s uncle, Marcel Arribillaga, was the third of four siblings, ex officio labrador. A fine singer and singer, on the other hand. His brother, Jan Battitt, is said to have milked the cows by singing with Marie-Jeanne's late father. And the Arribillaga didn't seem to be the only public four-legged strawberry. Unbeknownst to them were the first saving princes of the quayside. Because the day the popular song ran out was jin, jin too, both Lapurdan and all over the Basque Country at Senpe. But it stopped once in a corner of the collective memory, that Musumielenia gave a collection of hymns. With trumilka songs inside, a short or long verse, of truffle, of good morals, of love or of memory of war. The older ones remembered the beautiful voices of the Arribillaga brothers. Everyone else's mystery notebook. From generation to generation. No one could have said that the twenty-first century would bring forth the kiss of modernity.

What was supposedly lost

In the 19th century. The forgotten songs of the century, in the preface to the book of the Kahiera song by Marcel Arribillaga, from Musumielenia, Piarres Xarriton Ehulatei recalls that “my good friend Xarles Arribillaga, who was far from us in the region of Bordeaux, I walked, recommended by Xarles’ sister (Marie-Jeanne), but on the slopes, with that song, with my finger on my finger”. Auxtin Zamora, a member of the association Hatsa, who helped launch the book, recalled that “the family of Musumielenia knew that the brochure was in the hands of Xarles, but when he died, no one guessed it, it could have been left to Lafitte.” And Xarriton confesses that he believed that “it was not possible for the Arribillaga to fall into the hands of the Red Visionary High Priest who had all the songs of the Xuri Barbier or Borotra.” Half-corrupt convictions.

Xarles Arribillaga had studied at the seminary of Uztaritz, under the leadership of Nor and Father Piarres Lafitte. He became a French teacher and moved to Bordeaux. In Senpere Musumielenia, his father's birthplace, after the death of his uncle Marcel, the Basque scholar Xarles did not doubt it: he took with his iron pen the notebook written by Marcel Arribillaga Musumielenia St Pée s/r Nivelle. Xarles Arribillaga died in 1969 at the age of 44. No one knew that the brochure that he had known of several houses in Senpe, several hand-writers and charming ears had ended his brief exile in Gironde. Today we know from the work of the associations Hatsa and Oxtikenea that the Basque Language Minister Piarres Lafitte found within this quayette some of the songs, used them as they were, prominently established in the canteens Xaramela, Kantuz and Kanta khantore. In a word, the walls of Musumielenia were shaken, a century later they could not have been more known by several songs of the Basque Country, My dear Adios, daughter of Intxauzpe, The Blind and the Dagger, If I have Seven Eihera or from Ciego to Sara, and more.

In any case, whether Jean Barbier “xuri-xuri” or Lafitte “red dreamer”, the nineteenth century is a book about the loss of priests, 21st centuries and dialects. The forgotten songs of the century, the Kahiera song by Marcel Arribillaga of Musumielenia. It was recently detected by the Basque Government when Lafitte left the fund in 1985 to digitize it. Zamora says so: “We can think that the retention of such a song has, somewhere, followed the axis of a consciousness. Noting that, even in our time, the Arribillaga family is still attached to the Basque language, seeing Barbier’s attachment to the Basque fund, knowing that Piarres Lafitte was an expert in Basque culture, yes, there is no doubt that the attachment appears. Otherwise a long time ago, like an old fool, that song would have been thrown into the dirt in many homes.”

Songs of War and Love

The book is initiated by the twelve stanzas of the Tree of Gernika. Ipharraguer is molded by serious letters in everyone's mind. In addition to this, in the 110 songs that come in the notebook of the son of Musumielenia, only three are signed. Songs of Gerla by J. One named Albandoz and the last two, the writer priest Jean Barbier. Barbier was very close to the Musumielenian family. Maixan Arribillaga, the younger sister of Marcel and Jan Battitt, was the secretary for him and it is thought that this one had written many of the verses in the quayside. “Maixan Arribillaga, was almost at the point of entering the sero,” says Auxtin Zamora “but due to Jean Barbie, he entered the San Josep school in Senpe. Two steps from the church where he lived and so it is evident that Barbier and Maixane had good conditions to work together.”

The last song in Marcel Arribillaga's notebook, From the village to my child to the place of war, is signed by Jean Barbiere himself. It includes the date of March 1916, the full First World War. The songs about this war are full of lessons that warn us that in the Basques of the Northern Basque Country at the beginning of the 20th century, French nationalism went hand in hand with the Gypsy faith. The verses of Albandoz say:

We joined the road with a big fast Kuraie

In the French language we regionalised, intervening in support

Making our prayers heard to the good heavenly Father

I can give Vitoria to the beloved French people

But neither the Arribillaga nor the others who wrote at that quay were sectarians in the way. Just read the first and third verses. Written from the point of view of the peasants, it is a cry against the warriors of kings during the Preface Regime:

Broadcasting to Gerlarat

And there the innocent squandered the flame

Also for social equality:

To be rich or poor

The man is the son of man

And for us to elevate the humility of others

It's our brother who's being insulted.

Listening to Elgar

Love the Elgar

And to help

That is the true law of God

Chirping, sharpening the pen on the paper. Maixan Arribillaga copying a song like this or that. And the others, who would have done it? “We can imagine,” says Auxtin Zamora, “that the writers were young hands, because love has a great place in all the Cayera (45 songs among 110). The season of love, naturally or mostly, is a reality of youth.” Whether it’s love sorrows, unhappy marriage proposals, wise loves or completely out of the way to go, there’s a bit of everything in the Musumieleni song collection. Although the poem Xori Resiñoleta takes the metaphor of birds for the case, it is speaking from the raw without fear:

One was a male and the other a female

There was no miracle to match

In the past

Without a doubt

If I hadn't seen him

That worm didn't go to that bush.

If I wasn't a female, I'd be halfway through Jin.

And where the female was then

Penetrated by the great weed

From the Lumatu

Decorated with ornaments

His own daddy

When the cucurusta became arrogant

He went into the routine in his bed.

This has led us to think that the song books were made for family singing on winter evenings, and that the supervisor of Marcel Arribillaga’s notebook was the same priest Jean Barbier “xuri-xuri”. Or would there have been fissures, not even that old traditionalist society? The song Cincuenta reales (Cincuenta Reales Science) in Spanish says it unequivocally:

Cincuenta Reales Science

I got stuck there.

To ponder the horns

To my husband. [The Chorus]

All the nights I'm

Always think about you

I’m the death of love

How sad of me (bis).

Cincuenta Reales Science

Don't be there for perder

Horns to my heart

He's got a poner.

Some unique songs show the exact date in their narrative. As the oldest in the French in Madrid, Mila is mentioned in eight hundred and eight, about the Spanish campaign of Napoleon Bonaparte. But up to the French Revolution, which goes back to 1789, the most ancient quote in the Arribillaga song, I have news through the verse of an expert.