Concert at the Zornedinger Rathaus: Refreshing folk despite the heat – Ebersberg

How was folk music born? People who were leaving or had to leave their homes with little or nothing to take with them kept two things in their hearts and minds: their language and their music. Because where words and sentences in the new world initially failed because others could not understand them, music-making together was left to communicate. Especially since your own voice was already present on the instruments and the additional equipment was easy to produce. A drum kit consisting of two spoons, a hand-carved flute, a drum, a metallophone made of scrap metal, a horn made of a hose and pipes, a few nails stuck into the wood with a wire stretched between them like a plucking board. Anyone who takes a close look at the instrumental portfolio of “Dulcimore” and then devotes their ears to it, will find many allusions to this traditional “travel home music” that has returned to Zorneding over the years and decades. There, in the town hall, the team of five returned on Saturday night after two years of forced abstinence, during which they showed in more than two extremely lively hours that they had neither forgotten their craft nor had they lost their fun. in joy.

Choosing the titles, the lion’s share of them in their own arrangements, the five prove time and time again that their multi-instrumentality is neither an end in itself, nor a pure hobby, but is selected and composed wisely and varied in terms of melody and message. Already the third number of the first set, “The Entertainer” by Scott Joplin, the piano, guitar, tenor flute, bass and cymbals cast takes the title to the world of the intermediate streets of Chicago and the Bavarian foothills of the Alps. supplemented by small tours of the classics, for example in Bach’s Sleepers Awake. In this form, the piece also fits into the sound of the traditional Hoagascht form, which is recalled several times this evening, in which the quintet repeatedly plays together as a new guest in a volatile change of instruments and vocal parts, collects melodies and changes them.

It takes a strong understanding of music, a lot of rehearsal and a very good understanding of each other in order – as it happened – this motley world of sounds to seem random and reliable at the same time. Betty Baindl, Brigitte Fritsch, Sigrid Koska, Peter Benz and Axel Obermeier weave modern instruments elegantly and fluidly; at least an electronic piano, but also “Ewi”, short for “Electric Wind Instrument”, a kind of blown synthesizer that allows you to imitate the sound of a saxophone particularly easily. You learn amazing new things and wait for a stimulating display of technical innovation. The greater is the pleasure of listening, which breaks through the loud applause of what is probably the oldest listener in the audience with a bell on a roll.

Which also contributes significantly to this pleasure: The program sheet not only reveals the year and authorship of the title, but also tells short stories about its content. Such a brisk pace and the singing English open an additional door to understanding. “The pretty but very shy suspect Spaniard (???) in Dublin always runs away when a lover in love approaches,” he says, for example, of the “Spanish”, which guitarist Peter Benz arranged extremely cleverly. Just like the desire for your own note and the ability to make witty combinations run through the program like red threads and create combinations that are as surprising as inspirational – such as the amazing combination of Grieg King’s “In the Great Hall of the Mountain” with the shanties “Wellmen are coming soon.” “. Within two hours, each member of the ensemble gives a convincing testimony of his composing skills.

Meanwhile, the atrium of the town hall of Zorneding seems extremely sterile for the emotionally charged music of “Dulcimore”. Although it must be admitted that there are (and still are) venues open to concerts. However, there is no wooden planks under the feet to complete the atmosphere, which creak to the rhythm or strengthen the instruments in the dance, the street lamps are dimmed, dimmed by the flickering joy of the musicians, are the background. the sound of clinking glasses and jangling dishes. Marble, concrete and LED lamps just can’t keep up. Although, to the delight of the ears, the open hatches in the glass roof let in the singing of birds, which happily and carelessly prolong the consequences of the last bar over and over again.

The concert was concluded with a farewell: Sigrid Kostka, a master of plucked instruments, wants to devote himself exclusively to playing the harp in the future – the decision matures in a pandemic abstinence. As a result, “Dulcimore” temporarily becomes “Dulicless”, as the title instrument also leaves the band with it. However, it can be firmly assumed that thanks to the improvisation of folk ancestors and the charm of the band, which on Saturday could not be resisted despite the heat and strong competition, something new will find itself in the old and desire “encore” will not end with two titles, but a new concert .

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