Presently, Uwaga! is on tour with this live programs:
Uwaga! plus Symphony Orchestra
Uwaga! plus Folkwang Chamber Orchestra Essen
MOZARTOVIC - AMADEUS GOES BALKAN GROOVE
UWAGA! / UWAGA! plus MAX KLAAS (PERCUSSION)
Little has been conveyed so far about the debaucherous journey Mozart long ago has undertaken along the Danube river heading for the Balkans. Shrouded in myths, much is narrated about the trip. Legend has it, that wild parties took place, as well as whining and dancing, and some bottles of Slobovitz were emptied. Mozart so naturally merged with the local culture, his nick name became „Mozartovic“.
Mozart´s works created in that period were shut away for a long time, since they represented too much of a radical discontinuity in regard to Vienna classical music, too much of an anomaly regarding instrumentation. In that period, Mozart exclusively composed for two violins, accordion, contrabass and percussion instruments. In addition, too anomalous were the demands placed on the players of the instruments at that time: Daring changes from original Balkan stylistics to Vienna classical music were intended, fierce jazz improvisations, often driven forward by grooves resembling disco style, representing the energy of a rock band paired with the attention to detail of a chamber music ensemble. All the lust for life Mozart sensed in the Balkans in what seems to have been the happiest phase of his life is reflected in these works.
However, he was ahead of his time, time had not yet come for that kind of music. Fortunately, the genuine copies of the scripts reappeared - and as coincidence wants it, with regard to Uwaga!, they fit like a second skin.
The musicians of Uwaga! agree: Wolfgang Amadeus’ music grooves in a very subtle way and, hence, is ideally suited for interpretation in many ways.
mozartovic results very recognizably from this cultural openness of all musicians, seen here in the downright absorbed Balkan influence by Miroslav, the youngest Uwaga! member. Thus, the scenario of a fictitious travel by Mozart to Serbia developed – it is the starting point for unfolding the musical fantasy across borders.
The musical globetrotter Max Klaas is the perfect choice for the collective play: as a master of the classical world music drumming instruments, moreover settled in pop music, he finds his own ways to produce drum sounds of any kind on his percussion set.
Audios: (click to listen)
DANCE - ACOUSTIC CROSSOVER FROM BALLET TO DISCO
UWAGA! / UWAGA! plus MAX KLAAS (PERCUSSION)
Named „Klassik Erneuerer aus dem Kohlenpott“ (classical music renovators from the Ruhr region) by German newspaper WAZ in 2015, the four musicians playing two violins, one accordion, and one string bass, keep on grooving through the classical music repertoire for years already, with an ongoing fondness of experimenting.
Formed by a large diversity of backgrounds, ranging from classical music, to jazz, to pop music, and to world music, they disassemble with passion styles of music in their single components, re-assemble them to create new music worlds, thereby providing ecstatic pleasure to their audience. (newspaper Passauer Neue Presse, 2016)
Throughout all their forays, covering the centuries and the diverse styles, the four instrumentalists always encounter the same questions: In order to awaken the sound of the pieces of music, their interior construction plan has to be decoded, the engine that drives the music.
This is why these crossover enthusiasts became experts on all those different grooves, sometimes rapidly alternating between them while the grooves, depending on the genre, come along sometimes smooth and subtle, sometimes resilient, sometimes even stompy.
Thus, it seemed obvious to create a program containing different forms of dance music. Uwaga! disaggregates ballet suites, catapulting them into other spheres, lets baroque minuets and Tango Nuovo groove, or it presents acoustic versions of the discotheque heroes they listened to when they were young, like Daft Punk or The Prodigy.
KLASSIK. MOZART, MAHLER & CO RECOMPOSED
Playing its violin, viola, accordion, and double bass, German polish formation Uwaga! starts its dizzying and anarchic foray through the classical repertoire, leaving behind a worldwide audience swept off their feet.
Reckless wittiness, vertiginous tempi, a performance that keeps dragging the audience along, and a handling of cultural goods and classical instruments one is easily tempted to perceive as improper and brash – it only takes these few word to describe rather precisely the range of styles Christoph König, Maurice Maurer, Miroslav Nisic und Matthias Hacker cover. Founded in 2007, Uwaga! draws on the classical music repertoire and its riches of dateless compositions, and presents exclusive master pieces in a unique as well as idiosyncratic way.
On stage, styles allegedly incongruous enter a daring liaison. Occidental high culture meets Gipsy verve, swinging lightness, or brute punk pretentiousness. According to the four musicians, Tchaikovsky´s ballet suites bear disco music potential, Mahler composed wonderful jazz themes, and baroque as such is pure rock´n roll.
One can already guess it: It´s all in the name, Uwaga! is Polish and means “Watch out!” Be it stylistic influences from jazz, Gipsy or funk, spontaneous interaction or virtuosic improvisation – in their new way of interpreting, König, Maurer, Nisic, and Hacker devote something to classical music that has been missing in traditional concert business.
Yet, it is not only the quartet´s approach and instrumentation – violin, viola, accordion, and double bass – which are unconventional, to say the least. In their way of handling their instruments, the four musicians, in a calculated manner, cross border lines frequently.
A violin functioning as a funky rhythm guitar? Jazz violinist König cannot be deterred from using even a plectrum, while in an instant switching over into an affectionately phrased classical sequence. Conjuring up block chords out of his violin, Maurer joins in groovingly, while Nisic´s accordion lapses into a earthy booming, only to float away moments later in a passionate tonality. Hacker, meanwhile, elicits a surprising abundance of percussive sounds out of his double bass.
The four musicians develop their masterful and fancy versions out of a repertoire reaching from baroque to the late romantic era. Uwaga! seizes the great masters´ compositions, chasing them through the epochs with an audacious joy in playing. Yet, the quartet approaches the brilliant artworks showing great respect and love for details. This is what provides worldwide successes of Uwaga! for years already: Exuberant musicality and stylistic open-mindedness. Be it in a renowned Dortmund concert house, in the impressive Culture & Art Center Daejeon, in Toulouse´s auditorium Saint Pierre des Cuisines, at the Expo 2010 in Shanghai, or in St. Petersburg´s historic conservatory.
Audios: (click to listen)
UWAGA! plus SYMPHONY ORCHESTRA
Uwaga! carries its vision of music to extremes, and brings onto the stage stunning orchestra sounds from late romanticism, and dancing melodies from the Balkans, and spontaneous joy of playing music with its brand-new arrangements and self written compositions.
On stage, the orchestra´s complete momentum and musical chart of color meets Uwaga!´s power and inventiveness. The program´s focus is centered around well known orchestral works, newly arranged as well as recomposed. Including a wide range of different styles (jazz, Balkans, pop, rock) and exceptional playing technics, typical for Uwaga!´s style for years already, the feature-length program covers the gamut from Mahler to „Rage Against The Machine“, all this without drifting into musical shenanigans.
Audios: (click to listen)
NO BOUNDARIES - CROSSOVER THROUGHOUT THE TIME
UWAGA! plus FOLKWANG CHAMBER ORCHESTRA ESSEN
Uwaga! - that stands for a virtuous classic violinist with a predilection for Eastern European Gipsy music; a jazz violinist experienced when it comes to punk rock; an accordionist, who is a master of improvisation, with the rhythms of the Balkans running in his blood, and a bassist who likewise feels at home be it in symphony orchestras, jazz combos, or funk bands...
Folkwang Chamber Orchestra: Nine violins, three violas, three celli, and a standup bass, all directed by Johannes Klumpp, form a resonating body filled with musical freshness and verve. Since it was founded in the 1950s, the orchestra has left its footprint in the classical music community of the Ruhr region.
Both groups are jointly devoted to cross excessively the borderlines of orchestral sound: On stage, styles seemingly incongruent enter a daring liaison: Occidental high culture meets Gipsy verve, swinging lightness, or brute punk pretentiousness. The whole panoply of a chamber orchestra is exhausted, ranging from dirty snorting sounds to lyrical canto. Daring arrangements and improvisations are woven covering classical melodies: Wagner is paired with a Yiddish song, Chopin becomes suitable for being used in a discotheque, and Edvard Grieg enters a plain level field with Rage Against The Machine.
Simultaneously, evidence is presented that mixing the two categories popular and classical music is not that much of a revolutionary act as it seems: Classical masters like Mozart, Bartók, or Skalkottas very copiously adapted elements of then-popular music, integrated folk and later on jazz elements in their works. Their crossing frontiers, some of it dating back centuries, is ingenious and will be presented as well as adaptions of classical music facing original versions. Also, new compositions written by Uwaga! and tailored to fit the lineup of Uwaga! together with Folkwang Chamber Orchestra will fathom the border regions between both genres.
In this unique program, Uwaga! and Folkwang Chamber Orchestra mould into a perfect unit, and with a vast spectrum of spectrum of tone colours, both accompany, support and feature each other, taking each other to their limits. Crossover Deluxe - crossing frontiers never sounded better!