Qetiq. Rock from Taklamakan Desert
Catalog number: 21077
A world rock music rarity - Uyghur and Kazakh music from Xinjiang
Dreyer.Gaido discovered the Uyghur Rock Band QETIQ in spring 2010 in a bar in Urumqi, the capital of the Uyghur Autonomous Region Xinjiang in Northwerstern China.
Xinjiang, three times bigger than France, is the homeland of the muslim minority of the Uyhurs, a turkik ethnic that is merely unknown to the western world.
Taklmakan desert is part of the region, the second biggest sand-desert after the Sahara.
It took extraordinary efforts to bring the musicains to Europe for concerts in the Pergamon-Museum Berlin and at the Morgenland Festival Osnabrück. Perhat Khaliq, the charismatic leader of the band, also joined the famous NDR Bigband and the Osnabrück Symphony Orchestra during his first trip out of Xinjiang.
The recordings for Qetiq's first studio album were made in Urumqi and Osnabrück. They represent an extraordinary wide variaty of styles of popular Uyghur and Kazakh music – overtone singing meets country music, old desertsongs meet rock and funk.
Libretto with texts of Angelo Maria Rippelino, Julius Fucik, Jean-Paul Sartre, Paul Eluard, Wladimir Majakowskij, Henri Alleg and Bertolt Brecht
Intolleranza 1960 was Luigi Nono's first work for the opera stage and is a flaming protest against intolerance and oppression and the violation of human dignity. The year in the title refers to the time of the work's origin. It was commissioned for the 1969 Venice Biennale by its director Mario Labroca. The first performance was conducted by Bruno Maderna on 13 April 1961 at the Teatro La Fenice in Venice. The premiere was disrupted by neo-fascists, who shouted "Viva la polizia" during the torture scene. Nono's opponents accused him of poisoning Italian music.
Renaissance goes Jazz
Renaissance ensemble Capella de la Torre on the one side, tuba player and composer Michel Godard and pianist Markus Becker on the other, combine jazz with the alien distance of the renaissance instruments by letting the past and the present meet and collide. They give worlds of differing memories a new form and let the heterogeneous become something new and homogenous.