In
theory, the concept behind the twelve-piece Taraf de Haidouk’s fifth album,Maskarada is
intriguing, as the album is conceived as a ‘re-gypsyfied’ reply to early 20th
Century classical composers such as Ravel or Bartok (two of
whose compositions are included here, along with work by de Falla and
Khachaturian) who themselves borrowed from the gypsy tradition; in turn we are
asked to imagine a concert hall transformed to a cabaret. Unfortunately at some
point the revellers seem to have strayed into a hall of mirrors leaving us
feeling dizzy and a little sick.
For
centuries, gypsy musicians stood at the crossroads between the traditional and
formal, the folk dance and the court ball, and Taraf de Haidouks set out, in a
somewhat academic fashion to take us through the changes from the waltz to the
sirba. It’s often the case that the more intellectualised the musical concept,
the less moved we actually feel, and so Maskarada proves too. For
every powerful re-interpretation (the Bartok pieces, or “Asturias”) there is
either a stilted retread of the kind of music you would pay for people not to
play, or, at least, not to play near you (“De Cind Ma Aflat Multimea” or
“Lezghinka” come to mind). By the time “In A Persian Market” comes around with
its appropriation of “Autumn Leaves” the main question is not so much who is
wearing the disguise as to how much longer lazy appropriation can be disguised
as playful reinterpretation, the answer, being nine more tracks, approximately.
Sadly this is not so much the frenzied new-folk cabaret promised so much as an
Olde-World heritage affair, however pretty the sleeve or dressed-up the concept.
Tim
Nelson [en http://www.bbc.co.uk/music/reviews/n4p2]
1. Ostinato and Romanian Dance
2. Lezghinka
3. Danza Ritual Del Fuego
4. Waltz From Masquerade
5. In A Persian Market
6. De Cand Ma Aflat Multimea
7. Romanian Folk Dances
8. The Missing Dance
9. Asturias
10. Parca Io Te Am Vezut
11. Hora Moldovenesca
12. Les Portes De La Nuit
13. Parlapapup
14. Suita Maskarada
pass: terrenosdenylon
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