Ta Alania on 23/11/2007 at the folk in the fire palace in Bad Honnef
Greek Rembeteko was announced. Without an inkling of what that is, but curious as it sounds, I directed my steps again to the fire palace. Eight musicians were started or had sat down to close my gap in education, and not only mine, because the foyer was proppevoll, but not a few seemed not to have this gap, but knew what to expect. But before expected Jutta Mensing, the main organizer and presenter of the FiF a surprise. The mayor of Bad Honnef had entered the show in its calendar service, praised in a Grüßwort the FiF and especially Jutta's commitment to the culture of the town and handed her an award, therefore, when I saw it right, the honorary citizenship. I congratulate! From the perspective of the audience were seated from left to right there::
But now to the musicians Luc Rosa (guitar, vocals), Gary Schneider (guitar, vocals), Margaret Schiel (Double bass, they had to stand and did the angle behind the two guitarists), Stavros Drechos (vocals, drums), Achim Schiel (bouzouki, vocals), Kerstin Schiel (vocals, accordion, clarinet), Dunya to mills (baglamas, vocals) and Ralf Krüger (Ud, baglamas, mandolin). Where was the verantworltliche for technology Rolf Schiel, I did not take with.
Yes, and what they offered for a musical? The two main singers were Drechos Stavros (the only Greek in the combo) and Kerstin Schiel (which, as I was told then, not a Greek speaking, but so perfect singing, which she addressed to gigs sometimes by Greeks in Greek will). They sang songs alternately, the contents of Gary Schneider said shortly before each. There were the usual make up some funny, some serious issues, the real folk music: love, poverty, trouble with the authorities, happy boozing and so on. I came first but the melodies remain quite monotonous, and some reminded me of Russian songs. Achim squint on his long-necked bouzouki played around this delicate melodies, and that was for my ears at first, the only interesting as melody and rhythm lulls me rather than my increased attention, and the lyrics I did not understand, yes. So I was admittedly in the first half of the concert a bit bored there. But after the break - it was up to the Greek wine, of which I had been drinking in the break, it was the habit, or was it the music itself, which is otherwise offered? - However, at least I heard very different or much more: There still was the song melodies, but they were alternating, there was further the delicate and complexity increasing Buzúkispiel, there were the oud, mandolin and baglamas (Buzúkis in Jackentaschenfoirmat developed one day in order to hide it quickly before the police can, and I do not know why that was necessary) supported this surrounding and sometimes with other voices, and there were the two guitars and bass, who formed a rhythm section. And these three levels have become increasingly complex, I swichte between them always around and could not ultimately get enough. It sounded even Ottoman-oriental klezmer-plays jazzy, sometimes Balkan and yet it was all Greek and Turkish-Greek prior to the forcible separation of the two peoples in the 1920s. That was just great music, and as I was then told the second half of the pieces were actually more complex, it was not just my imagination, or the wine.
Achim Schiel told me also that they play a lot before the Greek public oriental, while at That night was very European. One woman said that the announcements were pleasing been brief, it should be that more time was for the music, than with some other bands, and Achim said that was so common in Greece, where you just play without anything to explain. And he said the "bouzouki" in Greek is a neutral word, making it the "bouzouki" is not "the bouzouki," as they usually say. Well, if I can because our Irish folk musicians of convincing to say from now on "the bouzouki? The musicians of the evening, a Greek, a Frenchman, six German live incidentally scattered between Mainz and Düren, provided I got that right.
About this informative interview, I missed the train at 23.14 clock at three minutes and took the half hour wait, while I went to a manger in the Rhine, beyond me, the full moon, upstream from the lights of Upper Winter, down the river from Bonn, diagonally behind me illuminated Drachenfels ruins, and some played on the Tin Whistle. I'm telling you, this is even more beautiful than on a stage or at a session when the Rhine waves in the game with the mood and listen to an only mermaids and Father Rhine himself. I almost missed it too the track to clock 23.44.
Ta Alania:
http://www.taalania.de/
fire castle:
http://www.folkimfeuerschloesschen.de.vu/
MAS
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