<\/p>\n
The World Wide Web of Baroque Music.<\/p>\n
Saxophonist par excellence Rolf-Erik Nystr\u00f8m is at the helm of Oriental Winds of the Baroque \u2013 exploring Baroque music through its connections with the Orient, Africa, South-America and the Nordic regions. Biber, Merula and Monteverdi’s passacaglias are as much a common denominator for interaction between different cultures as the blues. <\/p>\n
The European art music in the baroque era did not suddenly appear in a magic fountain in the centre of Europe around 1600. Quite the opposite; it developed through immigration, conquest, assimilation, curiosity and openness. Oriental Winds of the Baroque follow these lines backwards, open to what might turn up. Biber’s re-tuning the strings and using improvisation in his music, is closely connected to how the folk musicians all over Europe worked, especially in Norway. Furthermore the tonality of the traditional religious songs in Norway, is sometimes similar to the way religious and other music is sung in the Middle East. Kouame Sereba\u2019s timeless vocals, dodo and calimba can together with the Italian theorbo and the Norwegian traditional Hardanger fiddle give the listener associations to the curious intercultural meetings that became the origins to the later stylized baroque and classical music, and then in turn our other Western musical styles. The calm and breath in the music of Couperin is found in the aesthetics of the breath and space in the individual expressions of Sereba, \u00d8kland and Nystr\u00f8m.<\/p>\n
<\/p>\n
Saxophonist par excellence Rolf-Erik Nystr\u00f8m is at the helm of Oriental Winds of the Baroque \u2013 exploring Baroque music through its connections with the Orient, Africa, South-America and the Nordic regions. Biber, Merula and Monteverdi’s passacaglias are as much a common denominator for interaction between different cultures as the blues.<\/p>\n
Eager to show the historically open Europe, in stark contrast with the current situation, Nystr\u00f8m initiated Oriental Winds of the Baroque. Etymologically the word \u2018orient\u2019 comes from \u2018east\/rising\u2019. And 1500 years ago any area below the City of Rome was considered the Orient. The extensive traveling and studies made by Nystr\u00f8m of the traditional music of Central Asia, Brazil and Africa are found in many of the tracks on this album, and opens up for tracing the possible non-European influence of the European baroque, classical and traditional music, and vice versa. Particularly the cultural implications of the al-Andalus kingdom has been a great inspiration. Through the 800 years of the Moorish and Arab rule in Europe in the future lands of Spain and Portugal, the most important sources of culture, knowledge, literature, civilization and art for the future Europe were introduced.<\/p>\n
Oriental Winds of the Baroque follow these lines backwards, open to what might turn up. Biber’s re-tuning the strings and using improvisation in his music, is closely connected to how the folk musicians all over Europe worked, especially in Norway. Furthermore the tonality of the traditional religious songs in Norway, is sometimes similar to the way religious and other music is sung in the Middle East. Kouame Sereba\u2019s timeless vocals, dodo and calimba can together with the Italian theorbo and the Norwegian traditional Hardanger fiddle give the listener associations to the curious intercultural meetings that became the origins to the later stylized baroque and classical music, and then in turn our other Western musical styles. The calm and breath in the music of Couperin is found in the aesthetics of the breath and space in the individual expressions of Sereba, \u00d8kland and Nystr\u00f8m.<\/p>\n
Known through his musical adventures in world music, improv, classical and rock, Rolf-Erik Nystr\u00f8m has invited an outstanding cast for this project: Nils \u00d8kland holds a special place on today\u2019s international music scene, combining traditional music with jazz and improv. Soprano Elisabeth Holmertz has distinguished herself as one of Scandinavia\u2019s boldest interpreters in both early and contemporary music. Multi-instrumentalist and vocalist Kouame Sereba is native in anything musical \u2013 guided by his maxim \u2018the power of playfulness\u2019. Theorbist Jes\u00fas Fern\u00e1ndez Baena is a distinguished performer within the European community for early music performance.<\/p>\n
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