In the mood for music - Nora Kudrjawizki in the Kulturbrauerei

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Nora Kudrjawizki is concertmaster in the Berlin Show Orchestra. You can book it. In an orchestra, in a small, in a large ensemble. She performs with the "Angelstrings", a kind of fillet piece by the show orchestra.
The Angelstrings play as a duo, quartet or larger ensemble, they are heiresses of the women's orchestra, with pop and classical music, with song and dance, the multiple Miss Miracle, Nora Kudrjawizki always in the front row.

She is very present on Facebook, practicing publicly there, so to speak: Bach, Sting, Grönemeyer, Monti, there is probably nothing that she would not touch and try. The videos are short, but they provide insight. Violin, singing, also in the ensemble, every now and then a dog appears, which stands up to all cat videos.
Your most present partner at the moment: A loop station. The violinist gathers in front of the violin and operates the device with her hands and feet. Violin, plucks, beatbox, sings. It starts with a small sequence of notes, after a few bars the recorder starts over, plays the result, you can play in the next voice, sing it in. The listener can follow how the song is formed layer by layer. Sting, Metallica or the mother of the modern loop song: The famous Pachelbel canon. A miracle thing, such a loop station.

Nora Kudrjawizki picked up the electronic partner after she had built up a repertoire and moved to the machine house of the Berlin Kulturbrauerei to make music. A solo debut.

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A podium on the stage, with a loop station on it, and a microphone, maybe a few more effects devices, everything minimalist, just muscles, no fat.

A door opens, Kudrjawizki appears and plays the first pizzicato layer as she walks, while she climbs the stage barefoot. Applause, she sits cross-legged, the procedure of the musical layering takes its course, the song completes itself, she plays, sings. Everything has to be in flow with this type of music-making.

In the intro announcement she reveals: She has stage fright, this is also a family celebration, her relatives are sitting in the row in front of me, apparently father, mother, children, refreshingly normal people, no arrogant claque. It's good that you arrived so early, the seats are gone quickly, free choice of seats, partially seated. Because besides the family, a few hundred people got wind of the matter. Sold out.

Somehow the post goes off from the start, it doesn't rock, but it carries you away. Good mood spreads. The program is well known, also from Kudrjawizki's videos. This is not about the song sensation. That is not the goal at all. You've heard everything before, but never “like that”. It's about having fun with music. She enjoys making music, she says, you believe her immediately. Something emanates from this woman that was already believed to be lost: music as an end in itself. With her hands, feet, voice, violin and, above all, great skill, she demonstrates how much life music can contain.

One quickly forgot the loop recorder, the music machine, which always has something of a musician substitute and cheating. One also quickly forgets (if one knew it then) that such a device is one of the most merciless and most forgiving colleagues with whom one can share a stage. The tracks that you record are repeated, along with all the mistakes you have made: They then fly around your ears until the final chord. However, if the song is brought in, the ability of the lone perpetrator up there multiplies. During the performance, you can leave out parts such as verses, choruses, etc. and also individual instruments and add them elsewhere, so things don't get monotonous. If you use such a tool well, the person moves back to the center: Nora K., she is enthroned there like a little Buddha, music worship is not the wrong word.

Otherwise there is no monotony, a visit has been announced: after a few solo pieces, the artist brings her father on stage, who works as a pianist on a keyboard, there are Monti's famous csárdás. Suddenly La K. is bigger. Great presence, the violin sixteenth bead through the room, so lightly that there is never a feeling of heaviness or effort. A good work of art likes to appear natural and normal. Does art work with such a hit? Apparently it does.
One would of course have wished for a grand piano for papa, he would have developed his skills a little better. But that's the way it is with the small stages. And the Csárdás rushes anyway.

Other guests: The Irish neo folk formation #InCiders , which opens a capella brightly after the break. To get the "Neo" right: The Inciders offer much more than the usual Dubliners second or third infusions in Irish pubs, which slalom between Guinness pints and whiskey glasses.
Another guest appearance: The alternative to all sequencers and groove machines , Nils #Bronzka, beatboxer, the question is obvious: How does he do it?

The protagonists on the stage offer a lesson in terms of musical correspondence: staying together, leaving space for solos, extension / closing on call, no hooking, no hesitation. Nora grooves, tugs, shouts, taps, jumps, everyone reacts correctly. The cast from which the band is created takes place on stage. The audience claps too, even at two and four. In between again Nora vs. Loopstation. In addition to Grönemeier and Sting, something from herself: Dance with me

At the end they all play together again, father, InCiders (in which Nora's husband Lenn also plays), and Nils the beatboxer.
The threads come together at Nora Kudrjawizki. It is their evening.
One thinks of Aristotle: "It is in the nature of music to bring joy." Or did John Cage say that?
All the same. In any case, it worked out well.

Obviously jealous of so much contact with people, the electronic colleague reacts: For a song he simply refuses to work.
Nora K. reacts calmly: "Then I'll just do the next song."
She just has something.

Made my day.

© hoeldke 2020