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Danzas - From Taboo to Triumph
Various composers

Ensemble La Ninfea

Danzas - From Taboo to Triumph

Price: € 19.95
Format: CD
Label: Perfect Noise
UPC: 0719279934120
Catnr: PN 2404
Release date: 13 September 2024
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Label
Perfect Noise
UPC
0719279934120
Catalogue number
PN 2404
Release date
13 September 2024
Album
Artist(s)
Composer(s)
EN
DE

About the album

A daring album: Inspired by once forbidden dances, Ensemble La Ninfea combines things that don't actually belong together - tango & chaconne, sarabande & waltz, from Monteverdi to Mozart, from Handel to Piazzolla. These dances have never been heard like this before! This Anniversary Album celebrates 15 years of Ensemble La Ninfea!

DANZAS – from Taboo to Triumph: Initially frowned upon and forbidden, then socially accepted and the height of fashion: the infectious rhythms of dances imported from Latin America conquered all of Europe and led to a kind of dance mania. This arrived in several waves - around 1600 for the sarabande and ciaccona, then around 1900 for the tango. Some celebrated this liberation of the body, others saw it as the downfall of the West. Despite being at times banned by the authorities, their popularity was not reduced. In this “crossover” project by La Ninfea, the genres and dances meet and mix. Historical dances suddenly turn into tangos, while a tango shows itself in baroque dress - a musical bridge spanning centuries and social conventions.

Ein gewagtes Album: Inspiriert von einst verbotenen Tänzen verbindet La Ninfea, was eigentlich nicht zusammen gehört – Tango & Chaconne, Sarabande & Walzer, von Monteverdi bis Mozart, von Händel bis Piazzolla. So war diese Musik noch nie zu hören! Dieses Jubiläumsalbum feiert 15 Jahre La Ninfea!
DANZAS – vom Tabu zum Triumph: Zunächst verpönt und verboten und schließlich doch gesellschaftlich akzeptiert und à la mode: In mehreren
Wellen – um 1600 mit Sarabande und Ciacona und um 1900 mit dem Tango – eroberten die ansteckenden Rhythmen von lateinamerikanischen Importtänzen ganz Europa und führten zu einer Art Tanz-Fieber. Die einen feierten damit die Befreiung des Körpers, die anderen sahen darin den Untergang des Abendlandes, was sich in Verboten durch die Obrigkeiten zeigte und dennoch die Beliebtheit nicht zu schmälern vermochte. In diesem
„Crossover“-Projekt von LA NINFEA begegnen und vermischen sich die Gattungen und Tänze. Historische Tänze verwandeln sich plötzlich in einen Tango, während ein Tango sich in barockem Kleid zeigt. Eine musikalische Brücke über Jahrhunderte und gesellschaftliche Konventionen!

Artist(s)

Christian Heim (viola da gamba)

Nadine Remmert (harpsichord)

Marthe Perl (viola da gamba)

Stefan Gawlick (percussion)

Ensemble La Ninfea

La Ninfea (Italian the water lily) “is one of the liveliest and most creative early music ensembles in Germany.” (Radio Bremen) The ensemble feels just as at home in renowned venues such as the Musikverein Wien or the Elbphilharmonie Hamburg as it does in small music societes or schools. This is because La Ninfea is convinced that music belongs to all places and can fascinate everyone, everywhere. La Ninfea's work focuses on concept-based programs, often developed as interdisciplinary projects with puppetry, text or dance, and thus reaches various people interested in culture in a direct and creative way. Historically informed performance practice, detailed research and creative communication do not contradict each other, rather combination they are the driving force for the...
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La Ninfea (Italian the water lily) “is one of the liveliest and most creative early music ensembles in Germany.” (Radio Bremen) The ensemble feels just as at home in renowned venues such as the Musikverein Wien or the Elbphilharmonie Hamburg as it does in small music societes or schools. This is because La Ninfea is convinced that music belongs to all places and can fascinate everyone, everywhere. La Ninfea's work focuses on concept-based programs, often developed as interdisciplinary projects with puppetry, text or dance, and thus reaches various people interested in culture in a direct and creative way. Historically informed performance practice, detailed research and creative communication do not contradict each other, rather combination they are the driving force for the ensemble. “This is how music should be performed: as if the ink wasn't yet dry, spontaneous and fresh, but with the most precise research beforehand.” (Oe1)
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Composer(s)

Georg Friedrich Händel

Georg Frideric Handel was a composer from the Baroque period. Handel wrote primarily music-dramatic works: 42 operas, 29 oratorios, more than 120 cantatas, trios and duets, which comes to a total amount of almost 2000 arias! Furthermore, he composed English, Italian and Latin sacred music, serenades and odes. Among his instrumental music are several organ concertos, concerti grossi, overtures, oboe sonatas and violinsonates, along with many solo works for harpsichord and organ.  Together with Johann Sebastian Bach, who was born in the same year (1685), Handel is viewed as one of the greatest composers of his time. He was extremely prolific and wrote in total more than 610 works, many of which are still performed today.  Compared to his contemporaries Bach, Telemann...
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Georg Frideric Handel was a composer from the Baroque period. Handel wrote primarily music-dramatic works: 42 operas, 29 oratorios, more than 120 cantatas, trios and duets, which comes to a total amount of almost 2000 arias! Furthermore, he composed English, Italian and Latin sacred music, serenades and odes. Among his instrumental music are several organ concertos, concerti grossi, overtures, oboe sonatas and violinsonates, along with many solo works for harpsichord and organ.

Together with Johann Sebastian Bach, who was born in the same year (1685), Handel is viewed as one of the greatest composers of his time. He was extremely prolific and wrote in total more than 610 works, many of which are still performed today.

Compared to his contemporaries Bach, Telemann and Scarlatti, Handel was by far the most cosmopolitan. When Handel was a child, his father, who was a surgeon at the court of Saxe-Weissenfels, imagined a juridical career for him. But his musical talents did not go unnoticed at the court, which forced the father to let him study music. In Hamburg, Handel befriended Mattheson. Together they visited Buxtehude, the greatest organ player of his time, in 1703 (two years before Bach did). At that time, Handel was already an excellent musician, but it wasn't until his stay in Italy - the land of opera - that his talents and skills truly started to flourish. Back in Germany, he received a position at the court of Hannover, where the noblemen had a connection to the British throne. Thanks to these connections, Handel decided to move to London, after which a puzzling history of intrigues and political games started. For example, it is unclear what the exact political message of his famous Water Music is, which was composed for a boat ride on the river Thames by King George. Initially, Handel focused on Italian opera during his stay in London, but from the 1730s onwards he started composing English spoken oratorios, with the celebrated Messiah at its peak.


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Wolfgang Amadeus Mozart

Wolfgang Amadeus Mozart, whose actual name is Joannes Chrysotomus Wolfgangus Theophilus Mozart, was a composer, pianist, violinist and conductor from the classical period, born in Salzburg. Mozart was a child prodigy. Already competent on keyboard and violin, he composed from the age of five and performed before European royalty. Along with Johann Sebastian Bach and Ludwig van Beethoven, Mozart is considered to be one of the most influential composers of all of music's history. Within the classical tradition, he was able to develop new musical concepts which left an everlasting impression on all the composers that came after him. Together with Joseph Haydn and Ludwig van Beethoven he is part of the First Viennese School.  At 17, Mozart was engaged as...
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Wolfgang Amadeus Mozart, whose actual name is Joannes Chrysotomus Wolfgangus Theophilus Mozart, was a composer, pianist, violinist and conductor from the classical period, born in Salzburg. Mozart was a child prodigy. Already competent on keyboard and violin, he composed from the age of five and performed before European royalty. Along with Johann Sebastian Bach and Ludwig van Beethoven, Mozart is considered to be one of the most influential composers of all of music's history. Within the classical tradition, he was able to develop new musical concepts which left an everlasting impression on all the composers that came after him. Together with Joseph Haydn and Ludwig van Beethoven he is part of the First Viennese School. At 17, Mozart was engaged as a musician at the Salzburg court, but grew restless and traveled in search of a better position. From 1763 he traveled with his family through all of Europe for three years and from 1769 he traveled to Italy and France with his father Leopold after which he took residence in Paris. On July 3rd, 1778, his mother passed away and after a short stay in Munich with the Weber family, his father urged him to return to Salzburg, where he was once again hired by the Bishop. While visiting Vienna in 1781, he was dismissed from his Salzburg position. He chose to stay in the capital, where he achieved fame but little financial security. During his final years in Vienna, he composed many of his best-known symphonies, concertos, and operas, and portions of the Requiem, which was largely unfinished at the time of his death.


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Claudio Monteverdi

Claudio Monteverdi was an Italian composer and conductor, whose work marked the transition from the Renaissance to the Baroque. Moreover, he composed the earliest operas that are still regularly performed today. Monteverdi worked as maestro di capella at the court of the duke of Mantua and at the San Marco in Venice. He was a famous musician during his lifetime, but his compositions also provoked opposition. The conservative theorist Giovanni Maria Artusi criticized the technical flaws in some of Monteverdis madrigals. The composer defended himself by making a distinction between two styles of composition, the prima prattica, in which the harmony is dominant, and the seconda prattica , in which the music is subordinate to the text. Monteverdi championed the seconda prattica, and eventually broke with traditional...
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Claudio Monteverdi was an Italian composer and conductor, whose work marked the transition from the Renaissance to the Baroque. Moreover, he composed the earliest operas that are still regularly performed today.
Monteverdi worked as maestro di capella at the court of the duke of Mantua and at the San Marco in Venice. He was a famous musician during his lifetime, but his compositions also provoked opposition. The conservative theorist Giovanni Maria Artusi criticized the technical flaws in some of Monteverdis madrigals. The composer defended himself by making a distinction between two styles of composition, the prima prattica, in which the harmony is dominant, and the seconda prattica , in which the music is subordinate to the text. Monteverdi championed the seconda prattica, and eventually broke with traditional Renaissance polyphony and began to employ the basso continuo and recitative to do better justice to the text.
Monteverdi wrote amongst others eight books of madrigals, two collections of liturgical music and various operas. The opera L'incoronazione di Poppea is considered a culminating point of Monteverdi's work. It contains tragic, romantic, and comic scenes and warmer melodies than previously heard.

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Ástor Piazzolla

Astor Piazzolla (1921-1992) is one of most important tango composers of all time. Surprisingly, he spent a large part of his youth in New York. In 1937, Piazzolla returned to his mother country Argentina. There, he started to focus on a career as a classical pianist while in the evening he would play accordion in tango cabaret. From 1955, he worked on his own compositions and wove these two influences together to a new, refreshing sound: the 'tango neuvo'.  At the wedding of crown prince Willem-Alexander and Máxima Zorreguieta, Carl Kraayenhof made a spectacular impression with his performance of Adios Noniño. Piazzolla died in 1992. 
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Astor Piazzolla (1921-1992) is one of most important tango composers of all time. Surprisingly, he spent a large part of his youth in New York. In 1937, Piazzolla returned to his mother country Argentina. There, he started to focus on a career as a classical pianist while in the evening he would play accordion in tango cabaret. From 1955, he worked on his own compositions and wove these two influences together to a new, refreshing sound: the 'tango neuvo'.

At the wedding of crown prince Willem-Alexander and Máxima Zorreguieta, Carl Kraayenhof made a spectacular impression with his performance of Adios Noniño. Piazzolla died in 1992.


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Press

Play album Play album
01.
Violatango
05:43
(Paolo Pandolfo) Marthe Perl, Christian Heim, Barbara Heindlmeier, Nadine Remmert
02.
Ciaccona & Chaconne
06:41
(Jean Baptiste Lully, Claudio Monteverdi, Michel de la Barre, Marin Marais) Barbara Heindlmeier, Christian Heim, Marthe Perl, Nadine Remmert , Stefan Gawlick
03.
Collage 'Chaconne à l´argentine'
05:44
(Carlos Gardel, E. de Bilbao, Antoine Forqueray) Barbara Heindlmeier, Christian Heim, Marthe Perl, Nadine Remmert
04.
Volta
01:29
(Michael Praetorius) Barbara Heindlmeier, Christian Heim, Marthe Perl, Nadine Remmert , Stefan Gawlick
05.
Sarabande
00:42
(Michael Praetorius) Barbara Heindlmeier, Christian Heim, Marthe Perl, Nadine Remmert
06.
Collage 'Lockriollo'
02:54
(Matthew Locke, Anselmo Aieta) Barbara Heindlmeier, Christian Heim, Marthe Perl, Nadine Remmert
07.
Sarabande
02:21
(Georg Friedrich Händel) Stefan Gawlick, Barbara Heindlmeier, Christian Heim, Marthe Perl, Nadine Remmert
08.
Lascia ch´io pianga
04:00
(Georg Friedrich Händel) Barbara Heindlmeier, Christian Heim, Marthe Perl, Nadine Remmert
09.
Folia di Spagna
05:10
(Paolo Benedetto Bellinzani, Antonio Martín y Coll, Antonio Vivaldi, Marin Marais) Barbara Heindlmeier, Christian Heim, Marthe Perl, Nadine Remmert
10.
Oblivion
04:16
(Ástor Piazzolla) Barbara Heindlmeier, Christian Heim, Marthe Perl
11.
Dance Scene from Don Giovanni
02:03
(Wolfgang Amadeus Mozart) Barbara Heindlmeier, Christian Heim, Marthe Perl, Nadine Remmert
12.
Folias criollas
01:21
(Traditional 16th/17th century) Barbara Heindlmeier, Christian Heim, Nadine Remmert , Stefan Gawlick
13.
Fandango
02:20
(Traditional, Antonio Soler) Barbara Heindlmeier, Christian Heim, Nadine Remmert
14.
Amoroso: from Sonata 1 for recorder and b.c.
01:46
(Francesco Mancini) Barbara Heindlmeier, Marthe Perl, Nadine Remmert
15.
El Amanecer
01:27
(Roberto Firpo) Christian Heim, Nadine Remmert
16.
Collage 'Amanoroso'
02:45
(Roberto Firpo, Francesco Mancini) Barbara Heindlmeier, Christian Heim, Marthe Perl, Nadine Remmert
17.
La Cumparsita
04:21
(Gerardo Matos Rodriguez) Barbara Heindlmeier, Christian Heim, Marthe Perl, Nadine Remmert
show all tracks

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