FOR MORE REVIEWS AND INFORMATIONS GO TO WWW.GEORGBREINSCHMID.COM
Review by Bayern 4 Klassik (D)
15 May 2008 - Roland Spiegel - CD "Wien bleibt Krk"
This is crazy, wild, beautiful, weird music that cannot be categorised. It is music from Austria. And it is played fantastically – by outstanding jazz and crossover musicians such as violinist Benjamin Schmid, accordionist Stian Carstensen and trumpeter Thomas Gansch. And of course the mastermind behind it all: the bassist Georg Breinschmid, born in 1973. He played for the Vienna Philharmonic, but also for the Vienna Art Orchestra. Since turning his back on a classical orchestra career in 1999, he has been working as a freelance jazz musician. It is also completely obvious that he is truly Viennese at heart. Jazz and his passion for Vienna shape his CD “Wien bleibt Krk”. Krk immediately calls to mind an island in Croatia, and the title is a realisation of the familiar old saying, “The Balkans begin in Vienna”. Intricate Balkan rhythms appear, but also a lot more: reminisces of gypsy and polka music, subtle waltzes, disintegrated and modified marches, thoughtful interludes - and last but not least, unorthodox songs.
Yes, there is also singing on the CD. And it is done in an especially astute way (Willi Resetarits, better known on the rock scene as “Ostbahn-Kurti”, is also a guest singer). A hit with reference to current events is the anti-football anthem “Fußball-Aversions-Winerlied”. A line from it: “Look at the idiot who can’t kick anything/How he stands there on the pitch/He’s even too dumb to spit” (“Schauts eich den Deppm an, der wos ned kickn kann/Wiara am Rasn steht/Sogoa zum Schlatzn is er z’bled”). Georg Breinschmid sings these wonderfully droll lines himself – along with the languorous-ironic sounds of a female choral quartet. By the way, he also wrote the text himself. The range of songs on this CD also contains a “Komisches Wienerlied” celebrating the “little dissonances” (“Dissonanzerln”), meaning all inharmonic tones (“A small second immediately makes life perfect” [“A klane Sekund mocht’s Leben glei rund”]). There is also an homage with quotes to the pop singer Falco, who died in 1998, and – last but not least – a serious song about Jewish women who were forced to flee from Vienna in 1939 when Austria was annexed by Hitler’s Germany: “For the Lost Daughters and Sons of Vienna”, inspired by a film by Mirjam Unger. Humour and seriousness strike a subtle balance on this CD, leaving no danger of slipping into weightlessness (or facelessness). But the irrepressible musical abilities of the contributors mean that there is no real danger of this anyway. The music is always of a very high standard, and is sometimes also a lot more complex than it seems – it jokes around without totally abandoning itself to the jokes. A musical “Breinstorming” (the word can be found on Breinschmid’s web site) that is tremendously rich for listeners. Wien bleibt Krk!