Noëmi Waysfeld & Blik: Alfama auf CD
Alfama
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:
- AWZ
- UPC/EAN:
- 3521383428276
- Erscheinungstermin:
- 28.8.2015
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*** Digibook
Das bezaubernde zweite Album von NOËMI WAYSFELD & BLIK führt den Hörer auf die Straßen von Lissabon.
Die aus Paris stammende NOËMI WAYSFELD erfreut sich in der französischen Musikszene außerordentlicher Beliebtheit und kann Fans und Kritiker gleichermaßen zu Lobeshymnen animieren sowie schon längst die angesagten Konzerthallen des Landes füllen.
Kulturell geprägt von ihrem russisch-jüdischen Elternhaus und seit frühester Kindheit mit Klassik und Jazz vertraut, führte NOËMI WAYSFELD ihr künstlerischer Werdegang über Schauspielstudium (Conservatoire Supérieur d'Art Dramatique) und Theater hin zu ihrer zweiten, nicht minder ausgeprägten Leidenschaft, der Musik.
So gründete die begnadete Sängerin 2008 die Formation BLIK (»Blick«), mit der sie sich seitdem der Neuinterpretation von traditionellem, russisch-jüdischem Liedgut widmet. Drei Jahre nach ihrem äußerst gelungenen Albumdebüt, ist NOËMI WAYSFELD nun zurück mit ihrem neuen Album »Alfama«, auf dem sie gekonnt eine Brücke schlägt zwischen verschiedenen Kulturen - auf der einen Seite steht ihr ganz eigenes Spektrum aus Chanson, Jazz und russisch-jiddischer Folklore, auf der anderen der traditionelle portugiesische Fado, Weltkulturerbe und Musik des Schicksals.
Dazwischen ergibt sich eine interessante und wunderschöne musikalische Verbindung und etwas so wohl noch nie da Gewesenes: jiddischer Fado. Als Gäste mit dabei: Jazz-Trompeter DAVID ENHCO, Violinistin SARAH NEMTANU und der französische Jazzpianist GUILLAUME DE CHASSY. Absoluter Weltmusik-Tipp!
Alfama, the Blues of the Uprooted
With their new album Alfama, Blik and Noëmi Waysfeld take us to the streets of Lisbon, reinterpreting the languid tones of fado music, for the first time in Yiddish. This choice was both radical and strangely logical. Amalia Rodrigues’ music and the songs from the Jewish shtetl exhibit a host of similarities: the emotions they convey, something about their essence. Singer / actor Noëmi Wajsfeld beautifully embodies the unity of both worlds…This album represents a fresh beginning for Blik, a musical ensemble with a knack for innovating in genres which, to many, may appear to be off‐limits, set in stone, lending themselves to nothing more than pure imitation. Indeed, Blik’s not‐so‐secret ambition is simple: to bring the Yiddish language and Yiddish music to new audiences, from the jazz buff to the contemporary music enthusiast to anyone with a love for real, raw emotions.
A Shtetl in Lisbon
Originally, the project sprang from a mere hunch about the resemblance between Portuguese fado and Yiddish music. Listening to Amalia Rodrigues and all the great masters of fado, Noëmi Waysfeld wondered why her emotional response to such songs as Estranha Forma de Vida or Cansanço was so similar to the one elicited in her by ballads from Central Europe. Noemi found part of the answer by looking at the Portuguese lyrics in translation: in Lisbon, just like in the shtetl, music had been a lifeline to people. Indispensable. Vital. As she researched the history of fado, Noëmi found confirmation of her intuition, for instance when she discovered that the Alfama district, the cradle of fado, had been a Jewish ghetto in the Middle Ages (even though that heritage is barely perceptible now), or that Amalia Rodrigues’ close friend and composer Alain Oulman hailed from a Jewish family. And so, just as she had for Blik’s debut album Kalyma, Noëmi Waysfeld had stumbled upon the idea which would form the core of the album. She would sing Amalia’s timeless fado pieces, but translated into a language closer to her heart – Yiddish. There is no intent here to make believe that, somehow, fado is a Jewish genre. Rather, the point is to bring out the universal in it. From Portuguese »saudade« to Russian‐Polish »nostalgia«, the running theme is the symbolic power of singing, a beacon of light and hope in times of darkness and desperation.
What’s common between the ballads of Lisbon’s women and those of Polish widows? All of them sing of men departed, beyond the seas or to the battlefield. They share the same desire to turn to God or the ocean itself, to heal their hearts through catharsis or simply hold on to life, against all odds, in the face of despair. Interestingly, there is one striking difference between the world of Kalyma and that of Alfama : in the former, male Russian prisoners invoked such feminine ideals as Nature and the Motherland, whereas in Alfama it is female voices who are doing the exact same thing, with even more pronounced mysticism. And that is only one part of an even larger picture. Indeed, Alfama is only the second installment of a triptych about exile, the feelings and musical emotions born of this real‐life limbo. In fact, the band has already begun exploring another kind of migrant blues, that of uprooted Russian Jews who had emigrated to America, as opposed to the melancholy of those who remained under the yoke of Soviet censorship.
Creating a new Yiddish repertoire
Again, the ambition here is to bring Yiddish singing to world‐wide audiences, well beyond specialized circles, something Cesaria Evora has achieved globally with the Cape‐Verdean morna. In other words, breathing new life into a language that is far from dead, by creating a new Yiddish repertoire – even if it entails a break from tradition. For Alfama, the band chose to ask Yiddish language expert Yitskhok Niborski to work on a selection of songs by Amalia Rodrigues. The South‐American born linguist has translated the fado queen’s lyrics, taking especial care to preserve the quintessence of each poem. Thus rendered, the songs, including many standard fados, sound almost like original creations. The Portuguese language has a certain swing to it, which enables vocal ornaments and rhythmical breaks even in the middle of the most incredibly sad ballads. The Yiddish versions largely do away with those trills and frills: the expressiveness of the original songs is retained, but they are more direct, rough, even corrosive.
Thus »Fargebn Zol Got«, the Yiddish version of Amalia Rodrigues’ famous »Que Deus Me Perdoe«, acquires a certain strangeness, becoming an ethereal ballad where feelings rise and fall to the sound of the accordion. Conversely, the undulating accompaniment in »Hinter dem Shpigl« stands in stark contrast to Noëmi Waysfeld’s deep, limpid vocals, a subdued yet severe expression of the crying pain which was the subject of Amalia’s original song. In »Bafrayung«, the voice turns into a kind of quaver, though it is hard to say whether you are dealing with »saudade« pure and simple, delicate vocal jazz or traditional yiddishkeit. The album, which also features two Yiddish repertoire songs and one original composition (in Yiddish), manages to convey life’s mysterious medley of emotions, where memories from a painful past meet modern‐day melancholy. The bright and rebellious musicians in the band are not alien to this result: Florent Labodinière, with his elegant and cosmopolitan strings (oud and guitar), Antoine Rozenbaum and his pliable double bass, and Thierry Bretonnet, a former pupil of Marcel Azzola and a preternaturally gifted accordionist himself. Just as in most of Blik’s body of work, built patiently over the years, this album too strives to let musical notes rise in the midst of sonorous silence, bringing each instrument’s particular tone to bear. The band’s unbuttoned attitude may explain why it excels at appropriating musical traditions that seem poles apart but are, in fact, incredibly close in spirit.
Die aus Paris stammende NOËMI WAYSFELD erfreut sich in der französischen Musikszene außerordentlicher Beliebtheit und kann Fans und Kritiker gleichermaßen zu Lobeshymnen animieren sowie schon längst die angesagten Konzerthallen des Landes füllen.
Kulturell geprägt von ihrem russisch-jüdischen Elternhaus und seit frühester Kindheit mit Klassik und Jazz vertraut, führte NOËMI WAYSFELD ihr künstlerischer Werdegang über Schauspielstudium (Conservatoire Supérieur d'Art Dramatique) und Theater hin zu ihrer zweiten, nicht minder ausgeprägten Leidenschaft, der Musik.
So gründete die begnadete Sängerin 2008 die Formation BLIK (»Blick«), mit der sie sich seitdem der Neuinterpretation von traditionellem, russisch-jüdischem Liedgut widmet. Drei Jahre nach ihrem äußerst gelungenen Albumdebüt, ist NOËMI WAYSFELD nun zurück mit ihrem neuen Album »Alfama«, auf dem sie gekonnt eine Brücke schlägt zwischen verschiedenen Kulturen - auf der einen Seite steht ihr ganz eigenes Spektrum aus Chanson, Jazz und russisch-jiddischer Folklore, auf der anderen der traditionelle portugiesische Fado, Weltkulturerbe und Musik des Schicksals.
Dazwischen ergibt sich eine interessante und wunderschöne musikalische Verbindung und etwas so wohl noch nie da Gewesenes: jiddischer Fado. Als Gäste mit dabei: Jazz-Trompeter DAVID ENHCO, Violinistin SARAH NEMTANU und der französische Jazzpianist GUILLAUME DE CHASSY. Absoluter Weltmusik-Tipp!
Product Information
Alfama, the Blues of the Uprooted
With their new album Alfama, Blik and Noëmi Waysfeld take us to the streets of Lisbon, reinterpreting the languid tones of fado music, for the first time in Yiddish. This choice was both radical and strangely logical. Amalia Rodrigues’ music and the songs from the Jewish shtetl exhibit a host of similarities: the emotions they convey, something about their essence. Singer / actor Noëmi Wajsfeld beautifully embodies the unity of both worlds…This album represents a fresh beginning for Blik, a musical ensemble with a knack for innovating in genres which, to many, may appear to be off‐limits, set in stone, lending themselves to nothing more than pure imitation. Indeed, Blik’s not‐so‐secret ambition is simple: to bring the Yiddish language and Yiddish music to new audiences, from the jazz buff to the contemporary music enthusiast to anyone with a love for real, raw emotions.
A Shtetl in Lisbon
Originally, the project sprang from a mere hunch about the resemblance between Portuguese fado and Yiddish music. Listening to Amalia Rodrigues and all the great masters of fado, Noëmi Waysfeld wondered why her emotional response to such songs as Estranha Forma de Vida or Cansanço was so similar to the one elicited in her by ballads from Central Europe. Noemi found part of the answer by looking at the Portuguese lyrics in translation: in Lisbon, just like in the shtetl, music had been a lifeline to people. Indispensable. Vital. As she researched the history of fado, Noëmi found confirmation of her intuition, for instance when she discovered that the Alfama district, the cradle of fado, had been a Jewish ghetto in the Middle Ages (even though that heritage is barely perceptible now), or that Amalia Rodrigues’ close friend and composer Alain Oulman hailed from a Jewish family. And so, just as she had for Blik’s debut album Kalyma, Noëmi Waysfeld had stumbled upon the idea which would form the core of the album. She would sing Amalia’s timeless fado pieces, but translated into a language closer to her heart – Yiddish. There is no intent here to make believe that, somehow, fado is a Jewish genre. Rather, the point is to bring out the universal in it. From Portuguese »saudade« to Russian‐Polish »nostalgia«, the running theme is the symbolic power of singing, a beacon of light and hope in times of darkness and desperation.
What’s common between the ballads of Lisbon’s women and those of Polish widows? All of them sing of men departed, beyond the seas or to the battlefield. They share the same desire to turn to God or the ocean itself, to heal their hearts through catharsis or simply hold on to life, against all odds, in the face of despair. Interestingly, there is one striking difference between the world of Kalyma and that of Alfama : in the former, male Russian prisoners invoked such feminine ideals as Nature and the Motherland, whereas in Alfama it is female voices who are doing the exact same thing, with even more pronounced mysticism. And that is only one part of an even larger picture. Indeed, Alfama is only the second installment of a triptych about exile, the feelings and musical emotions born of this real‐life limbo. In fact, the band has already begun exploring another kind of migrant blues, that of uprooted Russian Jews who had emigrated to America, as opposed to the melancholy of those who remained under the yoke of Soviet censorship.
Creating a new Yiddish repertoire
Again, the ambition here is to bring Yiddish singing to world‐wide audiences, well beyond specialized circles, something Cesaria Evora has achieved globally with the Cape‐Verdean morna. In other words, breathing new life into a language that is far from dead, by creating a new Yiddish repertoire – even if it entails a break from tradition. For Alfama, the band chose to ask Yiddish language expert Yitskhok Niborski to work on a selection of songs by Amalia Rodrigues. The South‐American born linguist has translated the fado queen’s lyrics, taking especial care to preserve the quintessence of each poem. Thus rendered, the songs, including many standard fados, sound almost like original creations. The Portuguese language has a certain swing to it, which enables vocal ornaments and rhythmical breaks even in the middle of the most incredibly sad ballads. The Yiddish versions largely do away with those trills and frills: the expressiveness of the original songs is retained, but they are more direct, rough, even corrosive.
Thus »Fargebn Zol Got«, the Yiddish version of Amalia Rodrigues’ famous »Que Deus Me Perdoe«, acquires a certain strangeness, becoming an ethereal ballad where feelings rise and fall to the sound of the accordion. Conversely, the undulating accompaniment in »Hinter dem Shpigl« stands in stark contrast to Noëmi Waysfeld’s deep, limpid vocals, a subdued yet severe expression of the crying pain which was the subject of Amalia’s original song. In »Bafrayung«, the voice turns into a kind of quaver, though it is hard to say whether you are dealing with »saudade« pure and simple, delicate vocal jazz or traditional yiddishkeit. The album, which also features two Yiddish repertoire songs and one original composition (in Yiddish), manages to convey life’s mysterious medley of emotions, where memories from a painful past meet modern‐day melancholy. The bright and rebellious musicians in the band are not alien to this result: Florent Labodinière, with his elegant and cosmopolitan strings (oud and guitar), Antoine Rozenbaum and his pliable double bass, and Thierry Bretonnet, a former pupil of Marcel Azzola and a preternaturally gifted accordionist himself. Just as in most of Blik’s body of work, built patiently over the years, this album too strives to let musical notes rise in the midst of sonorous silence, bringing each instrument’s particular tone to bear. The band’s unbuttoned attitude may explain why it excels at appropriating musical traditions that seem poles apart but are, in fact, incredibly close in spirit.
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Tracklisting
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Mitwirkende
Disk 1 von 1 (CD)
-
1 Bafrayung
-
2 Meshunedik Lebn (DAVID ENHCO)
-
3 Fargebn Zol Got
-
4 Friling (Sarah Namtanu)
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5 Alfama
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6 Meres Des Solitudes
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7 Grine Oygn (GUILLAUME DE CHASSY)
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8 Hintern Shpigl
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9 Margaritkelekh
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10 Amalia
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11 Maria Lisboa
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12 Vu Bistu Geven
