The CD was awarded the Quarterly German Record Critics' Award!
Ireland . The Flanagan Brothers: The Rights of Man
France . Martin Cayla & Adrian Bras: Lo Glaoudo (Bourrée)
Turkey . Papatzis-Tsakiris: Syrtos Politikos
West Africa . George Williams Aingo: Tarkwa Na Abosu
Finland . Aili ja Lyyli Vainikainen: Kasakka-Pollka
Switzerland . Bauernkapelle Lott: Im Alpstübli
Brazil . Luiz Gonzaga: Seu Januario
Louisiana, USA . Les Breaux Frères: Fais Do-Do Negre
Italy . Caesare Pezzolo: Viva la giga
Vienna, Austria . Wiener Original Schrammeln: Slibowitz Tanz
Madagascar . Hira Malaza Taloha: Rambalamanana
Dominica . Grupo Dominicano: Buen Humor (Merengue)
Salzburg, Austria . Instrumental Bauern-Quartett: Dradiwalzer
Russia . Gregori Matusewitch: Yidisher Melodien
Texas/Mexico . Narciso Martinez: El Tecolote (Huapango)
Bavaria, Germany . Georg Weinschütz: S‘Loisachtal
South Africa . Jonas Mate & Kleinbooi Motaung: Mamolikoane
USA . Huddie Ledbetter: Corn Bread Rough
Austria . Steirisches Instrumental-Trio: Übelbacher Walzer
Poland . Stanislaw Bagdzinski: Wesole Wujaszek (Oberek)
Québec, Canada . Monmarquette & St. Jean: Clog de William Durette
Sweden . Lager-Olson Quartet: Koster Valsen
George Tremain: Huntsman‘s Chorus
Styria, Austria . Original Steirische Bauernkapelle: Altsteirische Harmonika Ländler 2
France . Ernest Jaillet: Bouree Lozerienne
World Music – What Is Distant? What Is Near?
World Music is a not uncontroversial term for the rich variety of musical culture of our planet, and it comprises not only the musical traditions of the rural parts of Africa, Asia, and Latin America but also those of the high cultures of the Indian subcontinent, Japan, and China as well as the popular music of urban metropolises throughout the world today.
This edition of CDs, most of which were produced in cooperation with Berlin’s House of the Cultures of the World and the Music Department of Berlin’s Ethnological Museum, mixes up the categories of “foreign” and “familiar” not only by bringing closer things that are unknown and unfamiliar but also by revealing the familiar in the foreign and the foreign in the familiar.
The encounter with the varied musical ideas that exist outside of our own culture has made us more aware of our own categories and shown us that we can no longer operate with a single compulsory aesthetic but that we must instead speak of innumerable distinctive aesthetics. This conclusion is supported both by the extraordinary recordings and the high quality of the booklet texts on the WELTMUSIK label.