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Autour Du Monde Autour du monde Mercredi / Mittwoch / Wednesday 22.01.2014 20:00 Salle de Musique de Chambre Urna vocals, yangqin Kroke Tomasz Kukurba violin, viola, percussion, vocals Tomasz Lato double bass Jerzy Bawoł accordion, vocals ~45’ — ~45’ Backstage 18:15 Salle de Musique de Chambre Film: Das Lied von den zwei Pferden von Byambasuren Davaa mit Urna Chahar-Tugchi (2009) (VO Mongolisch / UT Deutsch) – 90› IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII AUTOUR DU MONDE Prochain événement dans le cadre du cycle «Autour du monde» Nächste Veranstaltung in der Reihe «Autour du monde» Next event in the series «Autour du monde» Mercredi / Mittwoch / Wednesday 12.02.2014 20:00 Salle de Musique de Chambre António Zambujo vocals, acoustic guitar Bernardo Couto Portuguese guitar Ricardo Cruz double bass José Conde clarinet João Moreira trumpet Urna Gesang «In ihrer Stimme hört man den Wind pfeifen, spürt die Härte und die Kälte der Steine sowie die stechende Glut der Sonne. Mal rauscht sie wie ein mächtiger Wasserfall, mal ist sie zart wie die Berührung von Schmetterlingsflügeln, aber jedes Mal dringt sie bis in das In- nerste der Zuhörer durch – das ist, wenn Sie verstehen, warum Urnas Kritiker und ihr Publikum sagen, ihre Stimme sei wie ein gro- ßes Orchester.» So ein deutscher Kritiker, als er Urna Chahar-Tugchi zum ersten Mal auf der Bühne singen hörte. Andere beschreiben Urnas Gesang als verwandt mit der Erfahrung einer religiösen Zeremonie – obwohl ihre Musik nicht unbedingt von der Religion spricht. Sie sagt: «Ich interpretiere meine Songs in meiner ganzen Energie mit der Vielfalt der Lebenserfahrung, deshalb fühle ich mich nach einem Auftritt wie wiedergeboren.» Deshalb bezeichnete ein russischer Musikkritiker Urna, neben der Tuvan-Sängerin Sainkho Namtchy- lak, als eine der zwei Diven Asiens. Urna wurde geboren in einer Hirtenfamilie im Grasland des Ordos, einem Hochplateau im Süd- westen der Inneren Mongolei. Aufgewachsen in einer Umgebung, in der Gesang den Alltag prägte, lernte sie als Kind Hunderte von mongolischen Liedern von ihrer Großmutter und ihren Eltern. Von 1989 bis 1993 studierte sie am Konservatorium in Shanghai das chinesische Hackbrett Yangqin. Seit 1992 ist Urna als Sängerin auf zahlreichen Bühnen und Festivals auf der ganzen Welt zu Gast gewesen und beeindruckte überall mit ihrer starken poetischen Stimme. Mit ihrem Ensemble präsentiert sie immer wieder eine gelun- gene Mischung aus eigenen Kompositionen, mongolischer Musik, westlichen und östlichen Improvisationstechniken und Elementen anderer Musikkulturen fernab üblicher Weltmusikklischees. Ihr gesangliches Spektrum reicht von Pianissimo-Passagen von bezwin- gender Intensität bis hin zu Melodie-Orgien im mongolischen Gesangsstil und in furioser Lautstärke. Mit Eleganz und Leichtigkeit erhebt sie dabei ihre Stimme über nahezu vier Oktaven und in Improvisationen steigen ihre melodischen Gedanken gleichsam end- los in die Höhe. Bei perfekter Gesangsart und akkuratester Intonation klingt Urnas Stimme dennoch natürlich und unmittelbar. Die musikalische Qualität ihrer Arbeit wird ergänzt durch eine alles bezwingende Bühnenausstrahlung. Mit ihrem umwerfenden Charme reicht sie ihrem Publikum die Hand und vermag in ungeahnten Situationen eine tranceartige Konzentration zu erzeugen. Im Sommer 2003 wurde Urna der Global RUTH-Preis für die beste internationalen Künstler in Deutschland verliehen. Damit wurde sie als eine der bedeutendsten Vertreterinnen der Weltmusik in Europa geehrt. Neben ihrer Arbeit als Sängerin beschäftigt sich Urna mit der kul- turellen Situation in ihrer Heimatregion Ordos. Ausgedehnte Reisen zur Sammlung und Aufzeichnung von Liedern führen sie immer wieder dorthin. In Vorträgen an Schulen und Kulturzentren über das Leben und die Musik im Ordos erweckt sie in Euro-pa das mon- golische Grasland zum Leben. Die Arbeit mit dem traditionellen Material spiegelt sich auch in Urnas eige-nen Texten und in ihrer Musik wider. Dabei gilt ihre besondere Liebe der Poesie der mongolischen Sprache und dem scheinbar unendlichen Atem der mongolischen Melodien gleichermaßen. Im Sommer 2008 begann Urna mit den Dreharbeiten zu Das Lied von den zwei Pferden von Byambasuren Davaa, der Regisseurin von Die Geschichte vom weinenden Kamel und Die Höhle des gelben Hundes. Die Weltpremiere fand 2009 auf dem Lucarno International Film Festival statt; anschließend wurde der Film weltweit auf über 20 internationale Filmfestivals ge- spielt. Ab Juni 2010 war er in den europäischen Kinos zu sehen. Kroke Kroke (which means Kraków in Yiddish) was formed in 1992 by three friends, graduates of Kraków Academy of Music: Jerzy Bawoł (accordion), Tomasz Kukurba (viola) and Tomasz Lato (double bass). Initially, Kroke performed only in clubs and galleries situated in Kazimierz, a former Jewish district of Kraków. There for the first time one could listen to Kroke’s songs. They were later recorded on their first cassette released at their own expense in 1993. While performing at the Ariel gallery they were noticed by Steven Spielberg who at that time was shooting in Kraków Schindler’s List. Spielberg invited them to Jerusalem, where he was shooting the last scenes. The group gave a concert at Survivors Reunion for those of the Oskar Schindler’s list who survived the war. Spielberg also sent a copy of the group’s cassette to Peter Gabriel who in 1997 invited Kroke to WOMAD Festival, where the audience gave a rousing welcome both to the group and its debut record called «Trio» (1996). The cooperation with Peter Gabriel resulted in joint recording sessions at Real World Studio – parts of these recordings were later on used by Peter Gabriel on his record «Long Walk Home», a soundtrack to Phillip Noyce’s filmRabbit-Proof Fence. In 1997 Kroke also released their second album called «Eden». On one hand the record carried on the Jewish music tradition, started with «Trio» and on the other, it was a result of both musical and archival search. The audience received an album which combined traditional ornamentation with modern technique, and traditional motives combined with modern musical sensitivity gave a totally new tone colour. This first period of Kroke’s activity was well summed up by a live album called «Live At The Pit» (1998), recorded in the United Kingdom and nominated for the German Record Critics’ Award. Invitations to the most significant European festivals and important meetings with numerous musicians, and personages of art and culture earned them many concert tours. The meetings and concerts enabled Kroke to find the root of new sounds and music cultures. In their new original com- positions even though Jewish or Balkan inspirations were still audible, Kroke more often has been reaching for Sephardic, Arabic, and even Indian sounds. It resulted in the next record «The Sounds of the Vanishing» (1999), an evidence of Kroke’s music evolution and the capability of the musicians to create their own unique style. Gaining enormous popularity in Poland and Europe, the record receiv- ed in 2000 a prestigious award Preis der Deutschen Schallplattenkritik (German Record Critics’ Award). In summer 2001, while on concert tour in Cornwall, Kroke met for the first time with Nigel Kennedy, who immediately presented the group a cooperation offer. The result was a joint record «East Meets East» (2003), which was a smash hit. Kroke was nominated for the BBC 3 Radio award in the World Music category, and their concerts with Nigel Kennedy played at numerous European festivals received enthusiastic applause. At the same time another Kroke’s own record «Ten Pieces to Save the World» (2003) was released. This tuneful, climatic album was ranked second on the World Music Charts and was a crowning achievement of group’s ten years on the music market. In 2004, Kroke released another concert record called «Quartet – Live At Home», recorded at S-5 Studio of Radio Kraków. In the recording a Kraków jazz percussionist Tomasz Grochot took part, and since then he has been recording and performing with Kroke. In 2005 the group was working with the Sinfonia Baltica Orchestra on a joint music project. In 2006, one of Kroke’s songs appeared on the soundtrack to David Lynch’s picture Inland Empire. Cooperation with Nigel Kennedy and Edyta Geppert does not make Kroke forget about their own audience. In 2007 following nearly four years of concert tours in numerous European countries (and on their 15th birthday) Kroke releas- ed another studio album called «Seventh Trip», a record full of energy, a music journey along new music routes. In 2009 they released their new album «Out Of Sight». The new compositions sound exceedingly enchanting and playful. Now the musicians play in the original trio again. Contrabass, viola and accordion are more focused than before, are equally responsible for melody as well as rhythm. The album shows familiar aspects and new facets of this great band. Their enormous creativity, scooping from musical traditions and creating a truly unusual sound, is still unbroken. .
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