Helena Rüegg & Michael Godard: Dias De Felicidad auf CD
Dias De Felicidad
CD
CD (Compact Disc)
Herkömmliche CD, die mit allen CD-Playern und Computerlaufwerken, aber auch mit den meisten SACD- oder Multiplayern abspielbar ist.
Derzeit nicht erhältlich.
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- Label:
- enja
- Aufnahmejahr ca.:
- 2012
- UPC/EAN:
- 0767522972023
- Erscheinungstermin:
- 1.10.2013
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Helena Rüegg absolvierte eine Schauspielausbildung an der Neuen
Münchner Schauspielschule und hatte Engagements u. a. am Residenztheater
München, am Stadttheater Basel und am Schauspielhaus
Bochum. In Buenos Aires studierte sie Bandoneon bei Rodolfo Medero.
Sie war Mitglied in Juan José Mosalinis Gran Orquesta de Tango und trat
als Solistin mit dem BBC Symphony Orchestra in der Royal Albert Hall
auf. Als Solistin reist Rüegg mit einem Gesprächskonzert, in dem sie die
Geschichte des Tango erzählt. Außerdem gibt sie auch Liederabende mit
jiddischen Liedern, komponierte und interpretierte sie Musik zu verschiedenen
Lesungen u. a. Monica Bleibtreu und Rufus Beck.
Michel Godard setzt spieltechnisch völlig neue Maßstäbe auf der Tuba, die er mit einer Behändigkeit spielt, als wäre sie das leichtfüßigste Instrument überhaupt. Godard kommt ursprünglich von der Klassik - spielte mit dem Radio-France Philharmonic Orchestra, dem Orchestre National, dem Ensemble Musique Vivante, und war Mitglied der „Arban Chamber Brass“ - ehe er sich dem Jazz zuwandte. International bekannt wurde er durch seine Zusammenarbeit mit Louis Sclavis, Henry Texier, Enrico Rava, Renaud Garcia-Fons und vor allem Rabih Abou-Khalil.
Quique Sinesi gilt als einer der wichtigsten Gitarristen Südamerikas. Seine Musik basiert auf Tango, argentinischer Folklore und Candombe. In seiner Musik verbindet er klassische und Weltmusik, Improvisation und Jazz zu einem ganz persönlichen Stil. Seine bevorzugten Instrumente sind die siebensaitige spanische Gitarre und das Charango. Quique begann seine musikalische Karriere bei Dino Saluzzi und Pablo Ziegler. Jazzgrößen wie Jim Hall waren beeindruckt von Spieltechnik, Ausdruck und Kompositionen dieses Ausnahme-Gitarristen.
Helena Rüegg – bandoneon / Michel Godard – tuba, serpent, bass guitar / Quique Sinesi – guitar, charango
„These are days of happiness!“ – that´s the way I feel when I have the privilege to play with Quique Sinesi and Michel Godard.
I began playing with Quique Sinesi fifteen years ago. He supported me much when I was starting to play the bandoneon. Good-humored and relaxed, Quique Sinesi encouraged me to go on learning and to explore new musical territories. I love the way he plays the guitar and composes. He never puts his enormous virtuosity into the foreground. Rather, with great modesty, he puts his emphasis on listening carefully, with ”big ears”, and on blending in harmoniously, supporting the other musicians of an ensemble by playing exactly what is needed for the music.
My acquaintance with tuba- and serpent-virtuoso Michel Godard is much more recent, but highly intense. From the first time I heard him play, I was fascinated by the way Michel Godard draws the most different timbres from his instruments, by his beautiful melodies and entrancing improvisations. Michel also never rests on his laurels and goes on improving his impressive mastery. His enormous curiosity drives him on and on to discover and to create new music. In this process, he has played with famous experts of baroque, world music and jazz improvisation.
The three of us started playing together thanks to the Jazz Club Eisenach. By doing so, we discovered the great musical potential that our trio has. Nowadays, the bandoneon is generally identified with Argentinian Tango. It is widely unknown that this instrument (called Bandonion in German) was invented in the middle of the 19th century in Carlsfeld (Ore Mountains, Germany) by Carl Friedrich Zimmermann with the purpose of replacing the organ during church processions and to play miner songs and other folk music on it. The so-called “miner´s piano“ soon became very popular when Saxon mine workers spread it all over Germany. They played it after their working hours in the mines to accompany dances. In the 1920s and 1930s, the instrument was so popular that there were more Bandonion-clubs than football clubs in Germany, and even Kurt Weill made compositions for it.
I fell in love with the expressivity and the different timbres of this little “squeezebox” and its countless buttons on my first trip to Buenos Aires – so much that I decided to quit my old job and to study the bandoneon, without giving any thoughts to the question of what kind of adventure I was embarquing on. At the beginning, I only studied the repertoire of tango, but slowly, I tried my hands at different musical styles and began to write my own pieces.
The bandoneon is an instrument that still remains to be discovered – beyond any particular musical style. It is my wish to use it in unexpected musical contexts and to explore new sound spaces – and this wish spurs me on. Last year, while I was putting together the program for the bandoneon festival in Eisenach, I had the idea of trying out a combination that had never been seen before in classical tango: would it be possible to have a bandoneon, a guitar and a tuba playing together? What would the sound of such a trio be like?
Of course, I was also prompted to this experiment because I had particular musicians in mind: I was hoping that the meeting of such innovative improvisators as Michel Godard and Quique Sinesi would create a new sound universe with a unique groove.
Our first concert showed us the tremendous artistic and human potential of our trio and we decided to record a CD as soon as possible. This enthusiasm was contagious. Thus, thanks to a coproduction between the SWR and the record label Enja, we spent five happy days recording the CD „Días de felicidad“. Our repertoire consists of classical tangos and milongas in new arrangements and pieces of our own with much improvisation, in which we realize our musical visions. (Helena Rüegg)
Helena Rüegg - bandoneon
Michel Godard - tuba, serpent, bass guitar
Quique Sinesi - guitar, charango
,,Zwar neigen die vielseitig angelegten Stücke auch mal zur Lieblich- und Harmlosigkeit, meist aber sind sie sehr stimmungsvoll aufbereitet und lösen große Sehnsuchtsgefühle aus." (Jazzthing, November 2012 - Januar 2013)
Michel Godard setzt spieltechnisch völlig neue Maßstäbe auf der Tuba, die er mit einer Behändigkeit spielt, als wäre sie das leichtfüßigste Instrument überhaupt. Godard kommt ursprünglich von der Klassik - spielte mit dem Radio-France Philharmonic Orchestra, dem Orchestre National, dem Ensemble Musique Vivante, und war Mitglied der „Arban Chamber Brass“ - ehe er sich dem Jazz zuwandte. International bekannt wurde er durch seine Zusammenarbeit mit Louis Sclavis, Henry Texier, Enrico Rava, Renaud Garcia-Fons und vor allem Rabih Abou-Khalil.
Quique Sinesi gilt als einer der wichtigsten Gitarristen Südamerikas. Seine Musik basiert auf Tango, argentinischer Folklore und Candombe. In seiner Musik verbindet er klassische und Weltmusik, Improvisation und Jazz zu einem ganz persönlichen Stil. Seine bevorzugten Instrumente sind die siebensaitige spanische Gitarre und das Charango. Quique begann seine musikalische Karriere bei Dino Saluzzi und Pablo Ziegler. Jazzgrößen wie Jim Hall waren beeindruckt von Spieltechnik, Ausdruck und Kompositionen dieses Ausnahme-Gitarristen.
Helena Rüegg – bandoneon / Michel Godard – tuba, serpent, bass guitar / Quique Sinesi – guitar, charango
Product Information
„These are days of happiness!“ – that´s the way I feel when I have the privilege to play with Quique Sinesi and Michel Godard.
I began playing with Quique Sinesi fifteen years ago. He supported me much when I was starting to play the bandoneon. Good-humored and relaxed, Quique Sinesi encouraged me to go on learning and to explore new musical territories. I love the way he plays the guitar and composes. He never puts his enormous virtuosity into the foreground. Rather, with great modesty, he puts his emphasis on listening carefully, with ”big ears”, and on blending in harmoniously, supporting the other musicians of an ensemble by playing exactly what is needed for the music.
My acquaintance with tuba- and serpent-virtuoso Michel Godard is much more recent, but highly intense. From the first time I heard him play, I was fascinated by the way Michel Godard draws the most different timbres from his instruments, by his beautiful melodies and entrancing improvisations. Michel also never rests on his laurels and goes on improving his impressive mastery. His enormous curiosity drives him on and on to discover and to create new music. In this process, he has played with famous experts of baroque, world music and jazz improvisation.
The three of us started playing together thanks to the Jazz Club Eisenach. By doing so, we discovered the great musical potential that our trio has. Nowadays, the bandoneon is generally identified with Argentinian Tango. It is widely unknown that this instrument (called Bandonion in German) was invented in the middle of the 19th century in Carlsfeld (Ore Mountains, Germany) by Carl Friedrich Zimmermann with the purpose of replacing the organ during church processions and to play miner songs and other folk music on it. The so-called “miner´s piano“ soon became very popular when Saxon mine workers spread it all over Germany. They played it after their working hours in the mines to accompany dances. In the 1920s and 1930s, the instrument was so popular that there were more Bandonion-clubs than football clubs in Germany, and even Kurt Weill made compositions for it.
I fell in love with the expressivity and the different timbres of this little “squeezebox” and its countless buttons on my first trip to Buenos Aires – so much that I decided to quit my old job and to study the bandoneon, without giving any thoughts to the question of what kind of adventure I was embarquing on. At the beginning, I only studied the repertoire of tango, but slowly, I tried my hands at different musical styles and began to write my own pieces.
The bandoneon is an instrument that still remains to be discovered – beyond any particular musical style. It is my wish to use it in unexpected musical contexts and to explore new sound spaces – and this wish spurs me on. Last year, while I was putting together the program for the bandoneon festival in Eisenach, I had the idea of trying out a combination that had never been seen before in classical tango: would it be possible to have a bandoneon, a guitar and a tuba playing together? What would the sound of such a trio be like?
Of course, I was also prompted to this experiment because I had particular musicians in mind: I was hoping that the meeting of such innovative improvisators as Michel Godard and Quique Sinesi would create a new sound universe with a unique groove.
Our first concert showed us the tremendous artistic and human potential of our trio and we decided to record a CD as soon as possible. This enthusiasm was contagious. Thus, thanks to a coproduction between the SWR and the record label Enja, we spent five happy days recording the CD „Días de felicidad“. Our repertoire consists of classical tangos and milongas in new arrangements and pieces of our own with much improvisation, in which we realize our musical visions. (Helena Rüegg)
Helena Rüegg - bandoneon
Michel Godard - tuba, serpent, bass guitar
Quique Sinesi - guitar, charango
Rezensionen
,,Zwar neigen die vielseitig angelegten Stücke auch mal zur Lieblich- und Harmlosigkeit, meist aber sind sie sehr stimmungsvoll aufbereitet und lösen große Sehnsuchtsgefühle aus." (Jazzthing, November 2012 - Januar 2013)
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Tracklisting
-
Mitwirkende
Disk 1 von 1 (CD)
-
1 A trace of grace
-
2 Días de felicidad
-
3 Entresueños
-
4 María va
-
5 Oblivión
-
6 Te vas milonga
-
7 8:24 pm
-
8 El choclo
-
9 Le sonnet oublié
-
10 Milonga de mis amores
-
11 Huellas de melancolía
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12 Danzarín
