'Jangi' Folklore Ensemble
Date & Time
Mon, Nov 11, 2024, 20:15Keywords: Jazz & World
Musicians
Jangi Estrada Folklore Ensemble |
Program
Information not provided |
Keywords: Jazz & World
Jangi Estrada Folklore Ensemble |
Information not provided |
These events are similar in terms of concept, place, musicians or the program.
Nouruz is the New Year’s and spring festival in the Persian and Kurdish cultures. The Nouruz Ensemble led by Iraqi Bassem Hawar also understands »spring« as a departure – towards exciting encounters between the musicians and their second home in Germany, and with other musical styles. In this concert, however, they focus entirely on their roots. A musical journey takes the ensemble from Basra in southern Iraq to Mosul in the north. They perform pieces from the southern marshlands and poetry set to music by Iraqi Assyrians and Arameans from northern Iraq, as well as classical Arabic maqam music from the area around Baghdad and all over the country. Bassem Hawar is a virtuoso on the Iraqi joza violin, which he built and developed himself; he founded the Nouruz Ensemble as a quartet in 2018. He combines a wide variety of musical styles with virtuosity, and is a tireless ambassador for the music of his homeland. Hawar is joined by the Iranian Kiomars Musayyebi on the delicate dulcimer santur and Saad Mahmoud Jawad, one of Iraq’s most renowned oud players. Other members of Nouruz are Persian percussionist Reza Samani, who has long had his roots in the Cologne area, and the Iraqi Rageed William on Armenia’s national instrument, the melancholy-sounding shawm duduk and the smoky-sounding flute nai. The guest vocalist is Baghdad-born Rita William, who works at the interface between Christian and Arabic singing.
The landscape of Nepal stretches from tropical plains to the icy, sublime peaks of the Himalayas. Its music possesses a similarly exciting diversity. The Ensemble NIGHT brings out these hidden treasures located between rural folklore, Indian echoes and spiritual colouring. The quintet was formed in the Nepalese capital Kathmandu in 2006 by singer and multi-instrumentalist Jason Kunwar. After an initial phase as a metal band, the musicians decided to explore and preserve the cultural cosmos of the country’s more than 100 ethnic groups and languages. Accompanied by intensive field research trips to remote villages, they have developed a repertoire in which old songs and almost lost instruments come back into play. These include the paluwa flute made from fresh leaves, the three-stringed sarangi covered with sheepskin, and the Tamang stringed instrument known as the tungna. The ensemble also writes new songs based on its deep understanding of traditional music. This »new school folk« tells of spirituality as well as depicting the hardships of life in the countryside. The ensemble also documents its work on film – giving Nepal an opportunity to pass on its exciting heritage to future generations and to the world at large.
Court music comes to the Elbphilharmonie. The Buganda Music Ensemble comes from the Kingdom of Buganda, which was founded in the 14th century. The territory of the pre-colonial state lies in eastern Africa, in what is now the modern state of Uganda. The ensemble is led by Albert Bisaso Ssempeke, a renowned virtuoso on the ennanga arched harp and the endongo bowl lyre. Another of the formation’s key instruments is the amadinda, a bulky xylophone-like instrument that is played by three musicians at the same time and that boasts an incredible power. European art music composers such as John Cage and György Ligeti have also been inspired by the polyrhythm and microtonality of Bugandan music. How exactly the ancient composers of Buganda developed their compositions is still a mystery, but it is known that they composed on the ennanga arched harp. Various drums also belong to the Buganda Music Ensemble, whose complex melodic and rhythmic patterns produce fascinating effects and tonal illusions that gradually intensify into a mesmerising ritualistic sound. As is often the case in traditional African music, this is also a magical dialogue with the spirits of the ancestors.
Mais Harb, Hêja Netirk and Julian Prégardien - three first-class singers share their favorite songs and reinterpret them together with the musicians of Ensemble Resonanz and guests. Experimental Kurdish music by Hêja Netirk meets Franz Schubert sung by Julian Prégardien. Mais Harb's Arabic songs resound with a fresh string sound. Melodies from Germany, Kurdistan, Syria, Austria and Iran combine with the support of the children's choir of the Al-Farabi Music Academy to create a genuine Berlin song recital.
Adnan Karim is one of the foremost traditional Kurdish singers of our time. His music is deeply rooted in Kurdish culture with inspiration from classical nineteenth-century poetry, incorporating themes of love, philosophy and hardships faced by the Kurdish people.With a deeply personal style, Karim combines traditional melodies with modern elements, creating a unique and authentic musical experience. By singing in different Kurdish dialects, he aims to build a musical bridge to bring together the divided Kurdish people.Joining him on stage is the Hezaravaz Band, which has roots in Kurdish and Persian music and combines traditional instruments such as the tar, daf and santur with modern features. Together with Adnan Karim, they create a beautiful and deeply moving fusion of Kurdish and Persian music. Come experience this unforgettable journey through the musical landscapes of two cultures, in which every note and melody tells a story of identity, love and the fight for freedom.
The Naghash Ensemble blends the deeply rooted spirituality of Armenian folk music with new classical, post-minimal and infectious energy. Three female classical singers and four virtuosic instrumentalists on the duduk, oud, dhol and piano play music based on the words of the medieval poet and Christian priest Mkrtich Naghash. Naghash was a 15th-century painter, poet and priest who sought to promote inter-religious dialogue. He initially lived on the shores of Lake Van in what is today Turkey, but later moved to Constantinople (Istanbul today) because of religious conflict. There, he processed his experiences of exile in poems that explore the themes of displacement, foreignness and the impossibility of arriving. Subsequent Armenian history is also marked by ethnic and religious suppression, expulsion and violence, culminating in the Ottoman Empire genocide of 1915 in which hundreds of thousands of Armenians were killed or forced into exile. The grandmother of the Armenian-American composer John Hodian, who is a pianist with the Naghash Ensemble, fled to the USA to escape the genocide. No wonder Naghash’s poems moved him so deeply as a symbol of the fate of his people: »The words leapt off the page and into my soul.« Hodian’s »Songs of Exile« are carried by traditional Armenian melodies and rhythms, embodied by the oboe-like duduk, the oud lute and the dhol and dumbek drums. Combined with neo-classical sounds on the piano and the voices of three female singers – who are trained in western classical music as well as Armenian folk music – there emerges a haunting and unique soundscape.
The idea of a joint festival between the NDR Bigband and Ensemble Modern was born during a meeting of seven big band and six Ensemble Modern musicians in autumn 2023. In improvisation phases, they explored similarities and differences. New working structures developed. Five new works and the idea of a cooperative festival crystallised in the improvisations. A programme of music that originated here and will be premiered jointly by musicians from both ensembles will conclude the »NDR Bigband meets Ensemble Modern« festival.
The Art Ensemble of Chicago enjoys legendary status: founded in 1967 in the city that gave it its name, the band moved to Paris shortly afterwards. From there, it launched its global career with »Great Black Music« – a unique type of avant-garde jazz that incorporates African, but also Asian and Latin American traditions. In its sixth decade of existence, two old masters of the first generation are still with the band: saxophonist Roscoe Mitchell and drummer Famoudou Don Moye. With fantastic younger musicians added to the line-up, the collective creates its usually unusual homage to its founding members, staying true to its roots and yet always with its finger on the pulse. »From Ancient to the Future« was the band’s motto right from the start and it speaks volumes about their musical positioning – not only in contemporary jazz, but when it comes to old musical traditions and new music as well. The album »The Sixth Decade – from Paris to Paris« was recorded in 2020 at the Parisian festival »Sons d’Hiver«, thus also paying homage to the place where it all began. The Guardian writes about the interplay between the old and new guard: » It’s heartwarming to hear the Art Ensemble of Chicago’s devoted heirs so ready to carry the story on.«
Júlio Resende is a jazz pianist, but he also loves the beautiful, melancholic sounds of fado. So he created his very own genre: »fado jazz«. He is admired in the homeland of fado and further afield for »his profound ability to reinvent Portugal’s trademark, deep, emotional music on the piano« (Songlines). With his well-attuned quartet – in which it is predominantly the small, lute-like guitarra portuguesa that produces the classic fado timbre – Resende now presents his latest album »Sons of Revolution«. Júlio Resende has dedicated the album to Portugal’s Carnation Revolution. The peaceful putsch of 1974 brought António de Oliveira Salazar’s regime – a 40-year dictatorship – to an end. Not only did the revolution pave the way for democracy in Portugal, it also ended Portuguese colonial rule in Mozambique and Angola. »Without the Carnation Revolution, I wouldn’t be here,« says Resende. »After the revolution, my father emigrated from Angola to Portugal, where he got to know my mother. It means a lot to me to have the freedom to express what I think and feel. And that is also what’s most important in jazz: the only constant in this music is the idea of freedom.« With that in mind, Resende composed wonderfully powerful melodies for »Sons of Revolution« – melodies that combine an optimistic mood, the spirit of fado and the independence of jazz.
Already once planned for 2022, the tail end of the Covid pandemic thwarted the wanderlust of Maria Schneider. But postponed is not cancelled: now, the American composer and bandleader presents her ninth album »Data Lords«, which was just awarded two Grammys. Maria Schneider stands for jazz compositions in cinemascope format, for profound, superbly arranged works with the Oslo Jazz Ensemble alongside her this time, for its part a powerhouse of Norwegian jazz creativity. »Data Lords«, this is something like the catapult handmade by David with which Maria Schneider as a resistant, seemingly powerless warrior flings a couple of shiny prepared cannonballs of sound against the Goliath of the tech and music industry. In the USA, the composer is a powerful voice for copyright protection and for the fair payment of musicians in times of streaming services. The music of her ninth album also carries this fighting spirit within it, which she released, as ever, entirely on her own.