Amar Oni Wytars

Legends, magic, love and torments in music at the time of the „Tale of tales“. In 1643, in Naples, the probably most important collection of stories and folk tales of all times has been published: the „Pentamerone“ (the five-days-work) or „lo cunto de li cunti“ (the tale of tales) by Giambattista Basile. During five days each day ten tales are told. Basile with this work brought to live the genre of the Fairy Tale wich later on, adopted by the Grimm brothers, Perraut and Brentano, will spread like a wildfire all over Europe.

Led by nyckelharpa virtuoso Marco Ambrosini – first heard on ECM with Rolf Lislevand – Ensemble Supersonus applies its unique instrumental blend, capped by the otherworldly overtone singing of Anna-Maria Hefele, to very wide-ranging repertoire. Building bridges between cultures and traditions, Resonances sets compositions by Biber, Frescobaldi and Hildegard von Bingen next to Swedish folk music, Ottoman court music, and original pieces by the band members. Three pieces – “Ananada Rasa”, “Fjordene”, “Ritus” come from the pen of Wolf Janscha, the ensemble’s jew’s harp specialist. Ambrosini’s nyckleharpa solo “Fuga Xylocopae” opens the programme, leading on to a fresh and sparkling account of Heinrich Ignaz Franz Biber’s ”Rosary Sonata No. 1”. All of Ensemble Supersonus contribute to the spirited arrangements of the music.

The album arises from an unusual, but extremely convincing symbiosis of two instruments: the nyckelharpa (also called key fiddle), which has survived in Sweden from the Renaissance to this day and has now become an essential part of Scandinavian musical life beyond this country, unfolds through the numerous resonant strings create their fascinating sound with a dazzling overtone spectrum and at the same time a wonderfully warm smoky depth. In connection with the rich color palette of a symphonic organ, Marco Ambrosini, co-founder of the ensemble Oni Wytars and the organist Eva -Maria Rusche take the listener on a Nordic-inspired sound journey in the footsteps of the composer Edvard Grieg.

Excellent choice of brazilian standards in an intimate conversation-type recital. The choice of a simple, but masterfully played guitar just adds to the magistral interpretation by Morente who proves her versatility outside flamenco. The sound is airy and spacious as every good recording should be. A treat for audiophiles.

João Gilberto - Eu Sei Que Vou Te Amar (Ao Vivo) (1994) {Epic 789.042-2-476467}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 278 Mb | MP3 @320 -> 117 Mb
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© 1994 Epic / Sony Music Brasil | 789.042-2-476467
Jazz / Bossa Nova / Latin / Brazilian Jazz

Years go by and João Gilberto's "studio" albums are becoming increasingly rare. João voz e violão (2000), produced by Caetano Veloso, is officially and to this day the artist's last studio album. I fall back on his Ao Vivo. In 1980 the very good João Gilberto Prado de Oliveira and Live in Montreux (1987) were released. In the 90s and 2000s, several Ao Vivo albums by João Gilberto were released, including the excellent Eu Sei Que Vou Te Amar (1995). On stage, João Gilberto is faithful to the precepts of Bossa Nova: acoustic guitar without ostentatious orchestral accompaniment, muffled voice, this slight difference between voice and guitar, fairly short titles.