Krawall! by New Old Luten Quintet

Krawall! was originally released in 2016 as a CD. You can buy it here: http://www.euphorium.de/rubriken/records/krawall.htm

DESCRIPTION
Krawall! jumped out from the effort to re-enact the success of the quintet happened in 2013. Despite the same cast, the same the venue, the same instruments, the same recording and the same sound mixing ingenieur the repetition for sure would became a variation. In fact the quintet of the year 2014 took place on a different condition. Right after the musical set the theatrical scene of the EUPHORIUM‘s Second Stage Pub was expected. Maybe in effect of the dramaturgy of the entirely program of that evening the second vast New Old Luten Quintet lasts one third less than the first finally called Tumult! Particularly Krawall! evolved without recourse to the warming-up in the more fundamental trio interaction. Maybe that‘s why the music of the quintet interplay comes up with such a hacking energy. Krawall! is less sostenuto but spotty, crumbly, squashed, pressed, a battle. It seems to be the most percussive one of the three great quintets. Petrowsky again produces his gliding screams. He is a master to transform a melody into a scream and the other way round. You can listen to his unmatched style of oscillating expressionistic kinds of crying and whistled chantings. Sometimes the quintet sounds like everybody aesthetically falling one upon the other. Especially Oliver Schwerdts capacity to assail is strikingly. He and the pretended senior love to tussle. One can say with Elan Pauer Oliver Schwerdt creates a quintet work to be spelled allusively The Storming Of The Old Luten Guy. Petrowskys devotion to sustain very high pitches up to unusal durations seems to allure Pauer blasting out all the cluster harmonies he commands. After Luten reaches at 13‘02‘‘ a cis‘‘‘‘ briefly around 16‘ his fis‘‘‘ lasts for 35 seconds. At the end above all that turmoil he let rise a melodic phrase that swings along it‘s nine tones sequenced for two times on a lower pitch and that is followed up by a consequent that he variegates each time on a lower pitch for six times prepairing the great relaxation after a final excitement of that multi-figured body.

Krawall! ‒ der zweite Teil eines das Spätwerk Petrowskys als Altmeister des dynamisierten Saxofonspiels skizzierenden Tryptichons ist ein erlesenes Dokument jenes verdichteten Spiels, welches dem Quintett im Leipziger Kult-Club naTo im Dezember 2014 gelang. Faszinierend wie die beiden Top-Bassisten der Szene Robert Landfermann und John Edwards das eingespielte Trio um Petrowsky, Elan Pauer und Christian Lillinger beflügeln und mit hochkomplexen Feldern neuer Kontrapunktik flankieren oder konterkarieren. Petrowskys Meisterschaft zeigt sich so umjubelt dort, wo er aus dem All von hochgeschwinden Freiheiten seine fein überschwebenden Melodien schöpft und voller Kraft einer Unendlichkeit entlang führt, welche sich sonst nur im Atem des Liedes mitteilt. Baby Sommer schreibt im Begleittext: dieser Krawall ist „ein Fluß, der nur eine Absicht hat, nämlich zu fließen…“ ‒ das Schiff auf diesem Fluß aber, welches dessen Fließen erst sichtbar macht, ist der Gesang!