Music with All-Female Orchestra in Istanbul

CATEGORIES CATEGORIES CATEGORIES MUSIC CATEGORIESMUSICMUSIC Daily Sabah > Arts > Music MUSIC Daily Sabah > Arts > Music Daily Sabah > Arts > Music Daily Sabah > Arts > Music Fun,Fun, musicmusicFun, music with with withall-female all-female all-female orchestra orchestra orchestra in Istanbulin Istanbul in Istanbul Fun, music with all-female orchestra in Istanbul CATEGORIES CATEGORIES İREM YAŞAR İREM YAŞAR MUSIC Daily Sabah > Arts > Music İREM YAŞAR Daily Sabah > Arts > Music İREM YAŞAR ISTANBUL ISTANBUL Fun, music with all-female orchestra in Istanbul ISTANBUL PublishedFun, music with all-female orchestra in Istanbul Published October 26, 2017 ISTANBUL October 26, 2017 İREM YAŞAR İREM YAŞAR

Published ISTANBUL ISTANBUL Published October 26, 2017 Published Published October 26, 2017 October 26, 2017 October 26, 2017

The quartet includes Angelika Bachmann and Iris Siegfried on violin, Anne-Monika von Twardowski on piano and Sonja Lena Schmid on cello. The quartet includes Angelika Bachmann and Iris Siegfried on violin, Anne-Monika von Twardowski on piano and The quartet includesTheSonja Angelika quartet Lena Schmidincludes Bachmann on Angelika cello. andBachmann Iris Siegfriedand Iris Siegfried on violin, on violin, Anne-Monika Anne-Monika von von Twardowski Twardowski on piano onand piano and Sonja Lena Schmid Sonjaon cello. Lena Schmid on cello. 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S be performing for the first AngelikatimeOct. in Bachmann Turkey28, as part atand Hagia Irisof the Siegfried Irene Turkcell on tomorrow, violin, Platinum Anne-Monika Istanbul von Night Flight Concert Daily Sabah: While you were growing up, did you all always Twardowski onDaily piano Sabah: and While Sonja you Lena were Schmid growing onup, cello,did you the all quartetalways knows Oct. 28, as part of the Turkcell PlatinumSeries. IstanbulDailywant Sabahto become Night conducted musicians? Flight an interview Can Concert you tell with about the thequartet moment to learn you more about how to seducewant their to audience become musicians? with passionate Can you tellvirtuosity, about the instrumental moment you theirrealized style, that compositions you could really and make upcoming music concertstogether andin Istanbul. be a realized that you could really make music together and be a Series. acrobatics, charmband? and a great sense of fun. band? FoundedDaily in Sabah: 2002, While Salut you Salon were redefines growing up, conventional did you all always chamber music Angelika Bachmann: Iris and I have known each other for 34 years, Daily Sabah conductedwantAngelika to becomeBachmann: an interview musicians? Iris and with I have the Canknown quartet you each tell otherto learn about for 34 more years, the momentabout you Founded in 2002, Salut Salon redefines conventionalsince our school orchestra chamber in Hamburg. music Even back then, we had the same concerts,since which our school traditionally orchestra in Hamburg. feature Even back then,two we violinists, had the same a cellist and a pianist. their style, compositionsrealizedsense of humor that and and you droveupcoming could our conductors really concerts make crazy in with musicIstanbul. our laughing together fits. and be a sense of humor and drove our conductors crazy with our laughing fits. concerts, which traditionally featureThey two haveviolinists,Later on,been we started calleda cellist a monthly "the and "Jour Harlem Fixe,"a pianist. an art Globetrotters salon where we met up of string quartets" for band?Later on, we started a monthly "Jour Fixe," an art salon where we met up Daily Sabah: While you were growing up, did you all always They have been called "the Harlem theGlobetrotters twists,with friends, turns ofactors, andstring musicians humor quartets" and writers. they Anyone weavefor who wishedinto totheir could performances. With Angelika Bachmann: Iris and I have known each other for 34 years, want to becomecontribute. musicians? We initially played Can as you a duo, tell then about as a quartet the with moment cello and you the twists, turns and humor they weaveAngelika intosince Bachmanntheir our school performances. orchestra and Iris in Hamburg. Siegfried With Even on back violin, then, we Anne-Monika had the same von realized thatpiano. you We could never dreamed really that make we would music one day together be playing 120 and concerts be a sensea year allof aroundhumor the and world. drove our conductors crazy with our laughing fits. Angelika Bachmann and Iris Siegfriedband?Twardowski on violin, on Anne-Monika piano and Sonja von Lena Schmid on cello, the quartet knows Later on, we started a monthly "Jour Fixe," an art salon where we met up Twardowski on piano and Sonja Lenahow Schmid to D.S.:seduce When on cello, theirwas your audiencethe first quartet performance with knows as passionate a quartet, and howvirtuosity, instrumental Angelika Bachmann:was it? Iris and I have known each other for 34 years, how to seduce their audience with passionateacrobatics, virtuosity, charm and instrumental a great sense of fun. since our schoolAngelika orchestra Bachmann in andHamburg. Iris Siegfried: Even As with back many then, famous we quartets, had the same acrobatics, charm and a great sensesense of humorfun.Salut and Salon drove began our as a conductorsduet. We played crazy together with in the our school laughing orchestra fits. when we were children. In 2008, we were joined by Anne von LaterDaily on, we Sabah started aconducted monthly "Jour an Fixe," interview an art salon with where the wequartet met up to learn more about Twardowski on the grand piano and Sonja Lena Schmidt on cello. We did Daily Sabah conducted an interviewtheir with style, thenot set quartet compositionsup the quartet to more learn than and 10more years upcoming ago about because we concertswanted to make in Istanbul. a career with it, but we always said we do it as long as we enjoy it. We their style, compositions and upcoming concertsblend whatever in genresIstanbul. can possibly be combined with our beloved Daily Sabah:classical music: While Tango, chansons, you folk were music and growing theme songs from up, did you all always movie soundtracks. Daily Sabah: While you were growingwant to up,become did you musicians? all always Can you tell about the moment you D.S.: How did you decide on your name? What other names want to become musicians? Canrealized you weretell that you about considering? you the could moment really youmake music together and be a

realized that you could really makeband? musicA. B. & I. S.: together We simply love theand concept be behind a "salon" because it suits us. In the salons of the 1920s, you could perform anything you wanted — band? the music didn't have to be purely classical. Also, women played an Angelikaimportant Bachmann: role from the very beginning. Iris and In the I intellectual have known salon in 18th each other for 34 years, since ourcentury school France, fororchestra instance, there in was Hamburg. an ongoing debate Even about the back then, we had the same Angelika Bachmann: Iris and I have knownrevolution, each whereas other the salon for of 19th 34 century years, Germany was more sense oforiented humor towards and artistic drove and musical our concerts, conductors and politics were crazy not at with our laughing fits. since our school orchestra in Hamburg. Evenall "the back done thing" then, — the we hosts had of the salonthe were same always women. Things sense of humor and drove our conductorsLater on, arecrazy nowe different withstarted with our Salut a laughing monthlySalon. And the "Jourlittlefits. matter Fixe," of a personal an art salon where we met up invitation? It all depends on your point of view. In any case, the four Later on, we started a monthly "Jour Fixe,"musicians an art from salon Hamburg where always enjoy we the met company up of precisely those people who happen to turn up at their concerts. The secret is this: The best company is always those who happen to be in the right place at the right time.

D.S.: What can fans expect from attending one of your live shows?

A. B.: With our combination of classic, Tango Nuevo, our own chansons, film scores, folk music, puppet shows and instrumental acrobatics, we are rather unique in terms of the classical concert scene. There are probably as many different expectations as there are listeners. On the one hand, there are people who have never been to a classical concert who suddenly realize that classical music is not as intimidating as previously thought. These audience members are often amazed that they have not only managed to stay awake but that they actually were not bored during the performance! However, there are also many people in the audience who feel at home in the world of classical music that are just as surprised by our music as other audience members. Audiences are usually unaware that we compose our own arrangements and, during our performances, they suddenly discover something completely new in something so familiar.

D.S.: You have quite a different repertoire in the classical music world. Who are your heroes? with friends, actors, musicians and writers. Anyone who wished to could contribute. We initially played as a duo, then as a quartet with cello and piano. We never dreamed that we would one day be playing 120 concerts a year all around the world.

D.S.: When was your first performance as a quartet, and how was it?

Angelika Bachmann and Iris Siegfried: As with many famous quartets, Salut Salon began as a duet. We played together in the school orchestra when we were children. In 2008, we were joined by Anne von Twardowski on the grand piano and Sonja Lena Schmidt on cello. We did not set up the quartet more than 10 years ago because we wanted to make a career with it, but we always said we do it as long as we enjoy it. We blend whatever genres can possibly be combined with our beloved classical music: Tango, chansons, folk music and theme songs from movie soundtracks.

D.S.: How did you decide on your name? What other names were you considering?

A. B. & I. S.: We simply love the concept behind "salon" because it suits us. In the salons of the 1920s, you could perform anything you wanted — the music didn't have to be purely classical. Also, women played an important role from the very beginning. In the intellectual salon in 18th century France, for instance, there was an ongoing debate about the revolution, whereas the salon of 19th century Germany was more oriented towards artistic and musical concerts, and politics were not at all "the done thing" — the hosts of the salon were always women. Things are no different with Salut Salon. And the little matter of a personal invitation? It all depends on your point of view. In any case, the four musicians from Hamburg always enjoy the company of precisely those people who happen to turn up at their concerts. The secret is this: The best company is always those who happen to be in the right place at the right time.

D.S.: What can fans expect from attending one of your live shows?

D.S.: You have quite a different repertoire in the classical music world. Who are your heroes? A. B.: Astor Piazzolla is one of them, and Camille Saint-Saens is another. These two names are, after all, the reviver of the Argentinean tango and the French "animal composer" respectively, who lent their names to an entire Salut Salon program titled, "Shark in the Aquarium," which came as no surprise because there is something of a soul connection. In their own times, Saint-Saens and Piazzolla were also known for their experimental tendencies. Saint-Saens even risked losing his strong reputation as a classical composer due to the extreme fear that his contemporaries would not understand his humor in "Zoological Fantasy," and he refused to have the work printed. The "Carnival of the Animals," from which Salut Salon plays "Aquarium," was not published until after Saint-Saens' death in 1910.

Today, it is his most well-known work. In the same way, Astor Piazzolla was also not loved by all after returning to Buenos Aires in the mid-1950s after having studied music in Paris, setting to work at reviving the Argentinian Tango. In the 1980s, by the way, Piazzolla took a young French accordion player named Richard Galliano into his orchestra, advising the young musician to do exactly what his professor in Paris had advised him to do 30 years earlier: Get in touch with his roots. Piazzolla told Galliano, "Create a musette neuve style, in the same way that I created the Tango Nuevo." Galliano heeded the advice of Piazzolla and, in 1991, he released a collection of live recordings performed with his quartet in a collection titled, "New Musette." In Salut Salon's program, the two great tango revivers from both this and that side of the pond meet again when "Resurreccion" meets "Tango pour Claude."

D.S.: You gave a concert at Hagia Irene previously. What do you think about the atmosphere of Istanbul? What are your thoughts about Turkish music?

We are looking forward to our concert in Turkey very much, as well as our performance at the Hagia Irene. I also look forward to the Turkish audience even more.

I. S.: In Istanbul, we will be performing our program titled, "A Carnival of Animals and Other Fantasies." Everyone who is familiar with the original "Carnival of Animals" from French composer Saint-Saens is in for a big surprise. Our quartet has invited other animals to the mix — animals like the snake Kaa from "Jungle Book," "Sheep may Safely Graze" composed by Johannes Sebastian Bach. From our favorite composer Piazzolla Saint-Saens, we feature the grand shark, "Escualo." Also, since we try to perform in the language of our host country, our Turkish audience will probably be laughing quite often.

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