Eternal Love Şimdi Ensemble Michel Godard
Eternal Love
Şimdi Ensemble
Michel Godard

catalog number:21095


Şimdi reflects this approach by embracing the traditional repertoire of Sufi music as well as the music composed by band members. Whether composed hymns, songs or instrumental works. Amazing French tuba and serpent player Michel Godard is joing this Simdi ensemble on its first recording.
 
"Recording with Simdi Ensemble was nothing less than a whirl of pleasure." M. Godard

 

Keivo-SherineSHERINE
Ibrahim Keivo & NDR Bigband
Arranged and conducted by Wolf Kerschek
featuring Kinan Azmeh, Moslem Rahal, Rony Barrak
Live recorded and mixed by Walter Quintus 

Catalog number 21087

A Co-production with NDR
Ibrahim Keivo, What a musician! Mesmerized by his magic I hung on Ibrahim´s every note and could not turn away. He made us remember the reason why we all started playing music in the first place, and why we devoted a lot of time and eventually dedicated our whole lives to this calling. Wolf Kerschek

Lyrics - english translations

 
Morgenland All Star Band
Morgenland All Star Band 
DASTAN

Catalog Number: 21086

The Morgenland All Star Band unites several of the most outstanding musical personalities from the Near Orient with Jazz greats such as Frederik Köster or Bodek Janke. Traditional Kurdic music meets Uighur Funk-Rock from north-west China and jazz from Azerbaijan. Special guest is the jazz trumpeter Amir ElSaffar, who combines his musical biographical roots - Iraqi Maqam and American jazz: a global sound web full of tension, juxtapositions and surprises.
Live from the NDR Concert Hall in Hanover

featuring
Amir ElSaffar, trumpet (Iraq/USA)
Dima Orsho, voice (Syria)
Perhat Khaliq, voice & guitar (Xinjiang/ China)
Ibrahim Keivo, voice (Syria)
Ziya Gückan, violin (Turkey)
Moslem Rahal, ney (Syria)
Frederik Köster, trumpet (Germany)
Kinan Azmeh, clarinet (Syria)
Salman Gambarov, piano (Azerbaijan)
Andreas Müller, bass (Germany)
Rony Barrak, percussion (Lebanon)
Bodek Janke, drums & percussion (Germany)

Recorded by Walter Quintus. A co-production with NDR
 
 
Qetiq.jpg

QETIQ


ROCK FROM TAKLAMAKAN DESERT

Catalog number: 21077

A world rock music rarity - Uyghur and Kazakh music from Xinjiang
Dreyer.Gaido discovered the Uyghur Rock Band QETIQ in spring 2010 in a bar in Urumqi, the capital of the Uyghur Autonomous Region Xinjiang in Northwerstern China.
Xinjiang, three times bigger than France, is the homeland of the muslim minority of the Uyhurs, a turkik ethnic that is merely unknown to the western world.
Taklmakan desert is part of the region, the second biggest sand-desert after the Sahara.
It took extraordinary efforts to bring the musicains to Europe for concerts in the Pergamon-Museum Berlin and at the Morgenland Festival Osnabrück. Perhat Khaliq, the charismatic leader of the band, also joined the famous NDR Bigband and the Osnabrück Symphony Orchestra during his first trip out of Xinjiang.
The recordings for Qetiq's first studio album were made in Urumqi and Osnabrück. They represent an extraordinary wide variaty of styles of popular Uyghur and Kazakh music – overtone singing meets country music, old desertsongs meet rock and funk.

lyrics - english translations

 
Yunus_Emre.jpg

Ahmed Adnan Saygun
Yunus Emre

Osnabrueck Symphony Orchstra
Osnabrueck Youth Choir
Choir directors: Johannes Rahe, Clemens Breitschaft
Birgül Su Ariç, soprano
Aylin Ateş, mezzo-soprano
Aydın Uştuk, tenor
Tevfik Rodos, bass
Conducted by Naci Özgüç

Catalog number: 21074

In Turkish original language

The Oratory consists of three main and one intermediate part, amounting to a collage, however, with a coherent meaning. The first part consists of five sections, in which Yunus Emre discovers the love for life, yet falls into thinking about death, starts wondering about the afterlife, and finally recoils from his fate and suffers. The second part, again with five sections, depicts his rebellion against god, followed by Emre seeking refuge with god. In the intermediate part, his love for god takes contours. In the final part, made of two sections, Emre enters a union with god and finds eternal peace. Death becomes the beginning of being with god. In his Oratory, Saygun created an oeuvre to reflect his own ideas through the poems of Yunus Emre. By slightly adapting, shortening or repositioning the poems, he created a libretto of sorts. And indeed, Saygun wrote himself and his life experience into most of his works. There is no doubt that from the view of his personal advancement as composer, the Yunus Emre Oratory constitutesda major turning point. After years of introspection, his engagement with Yunus Emre and the Oratory led to a rediscovery of his music both in Turkey and abroad. In this discovery, his ideas and spiritual world took center-stage. His ode to humanity was noticed. After this, Saygun impregnated his following works with fervor and enthusiasm, characteristics, which he had held back due to his initial humility and dark days during World War II. Despite setbacks and personal attacks, he kept his peace and patience. No clearer is this than in his last recorded statement, which shows the deep influence of his engagement with Yunus Emre: “I have always worked without expecting a reward. Most of my compositions have not seen the day of light until now. Yet, that’s fine, as long as my health permits, I will work with devotion, until I can no more. It would suffice for me to know that one day, I can be an example for someone who has dedicated himself to Contemporary Turkish music”.

 
<< Start < Prev 1 2 3 Next > End >>

Page 1 of 3