Desire for music - Nora Kudrjawizki at the Kulturbrauerei

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

She is very present on facebook, she practices there in public, so to speak: Bach, Sting, Grönemeyer, Monti, there is probably nothing she wouldn't touch and try out. The videos are short, but they give insight. Violin, singing, also in an ensemble, every now and then a dog appears, which stands up to all cat videos.
Her most present partner at the moment: a loop station. The violinist gathers in front of it together with the violin, operating the device with hands and feet. Violin, plucks, beatboxes, sings. It starts with a small sequence of notes, after a few bars the recorder starts again, plays the result, you can record the next voice, sing in. The listener can follow how the song forms layer by layer. Sting, Metallica or the mother of the modern loop song: the famous Pachelbel canon. A wonder, such a loop station.

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

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On stage a platform, on it Loopstation, and microphone, maybe a few effect devices, everything minimalistic, only muscles, no fat.

A door opens, Kudrjawizki appears and plays the first layer of pizzicatos while walking, while she climbs barefoot up the stage. Applause, she sits cross-legged, the process of musical layering takes its course, the song completes itself, she plays, sings. Everything must always be in flow with this kind 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, obviously 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.

Right from the start, it's been going down somehow, it doesn't rock, but it's taking off. Good mood spreads. The program is known throughout, also from Kudryawizki's videos. This is not about the song sensation. That is not the goal at all. One has heard everything before, but never "like this". It's about having fun with music. She says it's fun, making music, and you believe her immediately. Something emanates from this woman that one had thought lost: music as an end in itself. She demonstrates with hands, feet, voice, violin and above all great skill how much life music can contain.

One quickly forgot the loop recorder, the music machine, which always has something of a substitute for musicians and cheating. One also quickly forgets (if one knew) that such a machine is one of the most merciless and unforgivable colleagues with whom one can share a stage. The tracks you record are repeated, along with any mistakes you have made: and then they blow up in your face until the final chord. But if you succeed in recording the song, the skills of the individual up there are multiplied. During the performance you can leave out parts like verse, chorus etc. and also single instruments and add them elsewhere, so the whole thing doesn't become monotonous. If you use such a tool well, the human being moves back into the centre: Nora K., she is enthroned there like a little Buddha, music worship is not the wrong word.

 

Monotony doesn't come up otherwise, a visit was announced: After a few solo pieces the artist brings her father on stage, who acts as pianist on a keyboard, there are Monti's famous Csárdás. Nora K. is suddenly bigger. Great presence, the violin sixteenths bubble through the room, so light that there is never a feeling of heaviness or effort. A good work of art likes to appear natural and normal. Is art possible with such a popular artist? Apparently so.
Of course, one would have wished for a grand piano for dad, which would have developed his skills a bit better. But that's the way it is with small stages. And the Csárdás is great anyway.

Further guests: The irish-neo-folk-formation #InCiders, which opens a capella after the break. So that one understands the "Neo" correctly: The Inciders offer far more than the Dubliners second or third infusions usual in Irish pubs, who slalom there between Guinnes pints and whisky 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 stage offer a lesson in musical correspondence: stay together, leave room for solos, prolongation/finalization on call, no hooking, no hesitation. Nora grooves, plucks, cheers, taps, jumps, everyone reacts correctly. The casting from which the band is formed takes place on stage. The audience claps along, even on two and four. In between again Nora vs. Loopstation. Besides Grönemeier and Sting also something of herself: Dance with me

In the end, everyone plays together again, father, InCiders (in which Nora's husband Lenn also plays), and Nils the beatboxer.
With Nora Kudrjawizki the threads come together. It is her evening.
You think of Aristotle: "The essence of music is to give pleasure." Or did John Cage say that?
Never mind. Anyway, it worked out fine.

The electronic colleague obviously reacts jealously to so much physical contact between people: For one song he simply fails his service.
Nora K. is cool: "I'll just do the next song."
She just has something.

Made my day.

©hoeldke 2020

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