Programm

INTENSITY. DEMAND. DEPTH. SENSITIVITY. WANDERLUST. ELEGANCE. REFINEMENT. TEMPERAMENT. EMOTIONS. EMPATHY. JOY. COOLNESS. SKILL.

Since our pieces are own compositions, each piece embodies a small story.

Our program for the 50th anniversary of Jazzwoche Burghausen consists of our own compositions with one exception: „To Brenda with love“ by Cuban saxophonist Paquito D 'Rivera. The fast jazz samba could not better express the fusion of jazz, Latin and symphonic orchestra. And so that this piece goes a little further, Christoph König wrote an exciting reprise for it. Lead saxophone: Holger Rohn

Admittedly, naming a piece “Dear King” sounds bulky and strange. After all, this salutation is usually intended for official letters. But what if the recipient of the composition is actually a person, colleague and musician whom I hold dear and to whom you absolutely want to dedicate a piece? I could not help but call this title „Sehr geehrter Herr König“and dedicate it to Christopher König, Orchestrator of Latin-Jazz Sinfónica! And jazz violinist. After the bridge, the piece created in the medium swing changes to a floating Latin groove, over which long, floating orchestral lines lie. To ensure that every musician is in his or her right place, the song by composer and arrangerChristian Dominik Dellacher Dellacher has been perfectly transcribed and written down as sheet music.

Ramón Vallé, recently awarded the Cuban Grammy "Cubadisco", not only composes virtuoso trio pieces, but also very elaborate orchestral works, which he has already performed with some orchestras. Some of his compositions can now be heard in Burghausen, including The Sinfonietta-Cinco Hermanas. Whether he meant his five sisters is yet to be determined. The all-Cuban Latin jazz composition is driven by a cha-cha groove and leaves plenty of room for Ramón's improvisations on the piano. The song is accompanied by Jamie Peet on drums and Omar Rodriguez Calvo on bass.

Guantanamera. Guantanamera The piece is a very exciting, free adaptation by Ramón. And it manages without the transcendental aura, which listeners of various already existing versions have to listen to. I don't want to tell you too much, just that Guantanamera has some surprises on hand.

No effect without side effect. So far, so usual. Drugs can undoubtedly be a blessing if their side effect is no greater than the positive effect. But what if they are suddenly withdrawn from circulation because they cause side effects that are too dangerous and that you already feel? You compose a piece quickly, call it like the drug and hope that you're lucky and that it might be played on stage sometime. The composer and the piece of music were lucky, and it is performed on stage. VIOXX begins floating and changes into a funky groove in a repeated theme, above which emotionally intense melodramatic lines float

Timeless Generations. The orchestrated Latin jazz title of Ramón Valle is a thrilling, floating own composition that leaves enough space between the syncopated backings of the features for both classical and jazz musicians.

Perhaps it was because König enjoyed the use of southern German dialect over time and the lovingly attached "le" everywhere and consequently called his composition „Stück-le“ ? I'll ask him about it, and maybe he'll say, “Yeah, that's right, girl-le.” Like all his compositions, this title is profound and very subtle. The piece demonstrates the orchestra's many classical instruments in all its diversity of sounds. It is accompanied by sparingly applied percussion that makes every delicate nuance of the strings and wind appear transparent.

The alto saxophonist of Latin-Jazz Sinfónica! Matthias Anton can not only reproduce unmistakably impressive solos via jazz voicings and thus conjure up radiance in his colleagues and the audience. He's a hell of a composer, too. El Lupo is undoubtedly a buzzing number from which fusion jazz fans will get their money's worth. The piece was orchestrated by Ch. König. 

Wolves are alert, busy and dangerous creatures. They sneak around all the time until they scent, start running and snatch prey. The scars a wolf leaves behind are the result of his bites, which can sometimes become infected. „Lupo“ or systemic Lupus is my musical view of the many encounters with the wolf and what he leaves behind. The medium swing is therefore initially elegant and light-footed, but becomes increasingly dense, energetic and intense until it stops to snap shut at full force. After that, the tension relaxes again, and the wolf continues to roam with satisfaction. 

The successful composition of guitarist Heiko Gottberg is certainly not an experiment, even if the title suggests this. „Try“ – airy and close in its theme, the piece gets width in the orchestrated refrain. Thank you Heiko for this wonderful jazzy Latin piece where one starts to soar every time.

It is my/a small declaration of love to a place in Trentino: Meran. Until you reach the enchanting city, the trail leads over the Reschen Pass, which stretches over a long wide valley and finally ends between mountains and palm trees. The path across the pass to Merano: great feelings have been put to music. The intro of the piece is wide and large, and the theme reflects the vibrant city.

El Cumbanchero - Ramón Valle. The piece seems light and vibrant despite its partly dense orchestration. In the last part of the song, the long supporting lines surround a longing aura, which are repeatedly offset by rapid staccato phrases in the orchestra. A fun, exciting and wonderful piece.

The Guajira is the slower version of the cha-cha. With Johana Ramón brings an appealing sounding composition to the stage, which immediately takes you to where this music originated: to Cuba. Johanna is like the island, just gorgeous. 

Until this piece reached me, I had already gotten some edits and compositions from Christoph König. All of them consistently incredibly beautiful works, to each of which I put the percussion parts. But then when he sent me the final file of his little waltz in 5 for percussion editing, I first had to gather my thoughts. How harmonious jazz and classical instruments can sound when they are so finely coordinated with each other. Little Waltz sounds like a waltz and is still a 5/8. That’s fantastic! 

Have fun at our concert.

Julia Diederich, Christoph König, Andreas Schulz and the Orchestra of the Neue Philharmonie Berlin