Die Neue Volksmusik
Marksteine Neuer Volksmusik aus der Schweiz
Am Hans Sine; Glisch d’Atun; Herbstlied; Soso-Zäuerli; Mjandrio; Feeling-Blue; Wienergstürm; Walzer Nr. 11 aus Altfrentsch; Räm-dä-däm-dä-däm-däm-däm; Freitag der 18te; Chasper; Adelbodner; Dilettas Cameradas; Wygärtli Jödeler; De Ziegi; Nadeschka; Z’Stückisch; Anneli; Malojawind.
A living folk music is a music that is continually adapting itself to the tastes of the time and of its audiences. In this sense, the “new” folk music is nothing out of the ordinary at all, but something quite natural. Musicians themselves today tend to reject the label of “new folk music”, not least because they don’t want to distinguish themselves from the rest of the folk music scene as some kind of permanent avant-garde. Their engagement with the new is ultimately also what helps them to focus better on the old. At the same time, the staged folklore of TV shows such as “Musikantenstadl” and “Stadlshow” is becoming more and more unbearable. One example of the movement for innovation within Swiss folk music is “Ländler music”. This genre has an eventful, yet relatively young history. The factors that have been responsible for its renewal have been changes in taste, developments in the instruments it uses and the changes in the type of event at which folk music is played. But people out in the country have seen societal changes too, even among the inhabitants of the Alpine valleys, and we speak today of conurbations and metropolitan areas because town and the countryside have become as one. The lifestyles of people in both are becoming more and more alike, and all kinds of music are available everywhere. Even if people tend to associate folk music with rural areas, it can nevertheless be heard practically everywhere. From the mid-1990s onwards, new ideas in Swiss folk music began to be consolidated. People began to incorporate ever more innovations within the folk music scene itself, and even people outside the scene became more and more aware of this music – a music that many had in fact grown to hate. The “Alpentöne” Festival (“Sounds of the Alps”) in Altdorf was first held in 1999 and since then it has played a role in strengthening the scene and giving it greater visibility. Its success was talked about, and further festivals were set up in its wake. They are to this day of crucial importance to the whole scene. In contrast to Alpentöne, the “Stubete am See” in Zurich has concentrated on Swiss groups, while the “Klangfestival Naturstimmen” in the Toggenburg has placed yodelling centrestage, in all its universal variants. Further festivals and concert venues have since then begun to feature new folk music in their programmes. From folk to jazz, from neoromantic classical music to new music – this whole spectrum of music genres forms a basis for a musical engagement with the sound of the Alps. Backward glances into the deeper past have also opened up a door to tradition for many people. This new music-making was ultimately also inspired by the publication of the historical Hanny Christen Collection in 2002, which comprises some 10 000 folk music melodies. Today, a broad stylistic field of activity has opened up that is free of the dogmas of supposed “tradition”. Everything that comes to anyone’s mind can be tried out, liberated from all ideology. Only in this manner does it become possible for new things to arise, or at least for them to appear new and revolutionary in this context.
Alpine Experience; Albin Brun & Patricia Draeger; Matthias Ziegler, Hans Kennel, Betty Legler, Christoph Baumann; Das Neue Original Appenzeller Streichmusik Projekt; Stimmhorn; Töbi Tobler; Pflanzplätz; Duo Andreas Gabriel & Fabian Müller; Pareglish; Hujässler; Ils Fränzlis Da Tschlin; Doppelbock mit Christine Lauterburg & Barbara Berger; Corin Curschellas mit Pflanzplätz & Andy Gabriel; Anton Bruhin; Überland Dio; Nadja Räss; Erika Stucky; Christine Lauterburg; Engadiner Ländlerfründa & PS Corporation.
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