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Von J.S. Bachs Solovioline und dem türkischen Streichinstrument Rabaab über Hans Ottes Klavier (-„Buch der Klänge“), die chinesische Zither, japanische Koto und Zenflöte bis zu Michael Askills „Marimba-Tanz“ und David Hykes Obertongesang. Musik aus ganz verschiedenen Kulturen und Zeiten. Doch immer ist es einer, ein Einzelner, der seine Gefühle ausdrückt, sich exponiert - mehr oder weniger gezielt und bewusst. Einmalige Dokumentation des Künstlers als Archetyp. Wie er sich in seiner Welt artikuliert - und in vielen der 22 Stücke nach innen führt. the projectMusic was originally a communal act. It was utilitarian and, in a way, magic—it made work easy. Music was also a reflection of the nascent social order, with one lead voice and the rest responding. The first solo music was therefore a powerful act of liberation, of spirit. This recording contains a great diversity of solos; more than a millennium separates the oldest from the most recent; there are solos for flutes, reeds, brass, lutes, zithers, fiddles, piano, percussion, and voice; the music comes from the Near East, the Far East, Australia, Europe, and the Americas. But despite the contrast of instruments and styles, what gradually becomes apparent is the similarity beneath the surface of these works. Soul Alone: The Art of the Solo suggests that there is some fundamental distinction about the way musicians express themselves in a solo setting—something that defines the Art of the Solo. This is some of the most personally felt music the world's greatist traditions have to offer. If the act of making music is a personal one, so too is listening. Music was always meant to be listened to—by other people, or by something else, whether you call it God or nature or by another name. And that is the reason for Soul Alone: The Art of the Solo. Because after all, music can be performed alone, and heard alone, but it is still a communal art, meant to be shared. Perhaps it only truly becomes music when it is shared. the artistsThis compilation is as unique and diverse as the artists and instruments themselves. Beginning this rare musical expression is Johann Sebastian Bach with a violin solo performed by Christiane Edinger. World reknown flutists Paul Horn, R. Carlos Nakai and James Newton offer three priceless flute solos distinctive to their own musical styles. English percussionist Frank Perry and Australian percussionist Michael Askill offer unlikely solos featuring Japanese and Chinese bells, and the marimba. Aboriginal didjeridu virtuoso David Hudson and multi–instrumentalist and composer Michael Atherton, bring their native sounds of Australia with the timeless didjeridu, a hollowed out tree branch, and a modern ten–string lute. Voice solos include the harmonic chants of David Hykes, a 10th century tagh in the traditions of Armenia by sopranist Anna Mailian, and the traditional Tibetan chant by Ven. Tenzin Wangdu. Piano solos are performed by musicologist, professor and pianist Cecil Lytle and German composer and pianist Hans Otte. Turkish virtuoso Dincer Dalkilic is featured on the rebab, a spike fiddle found throughout the Islamic world; Karineh Hovhannessian performs a solo for the Armenian zither, or kanun; Barbara Thompson plays the saxophone to an old Syrian love song; Ian Carr performs an evocative flügelhorn solo inspired by Shakespeare; Wu Zhao-Ji features the ancient Chinese ch'in, a zither with seven strings; Masayuki Koga performs a solo for the shakuhachi, bamboo flute of Japan; Tomoko Sunazaki performs traditional Japanese music with the koto; and Lok Om Yeum Sang features traditional Cambodian music with the pey pok, a bamboo–like clarinet.
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