Rotwelsch

Rotwelsch

Philipp Maria Rosenberg - Piano
Florian Kolb — Doublebass
Lucas Johnson - Drums

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Rotwelsch horcht zurück in eine Zeit, in der Musikanten in einen Topf mit fahrendem Gesindel, mit «Zigeunern», mit den jüdischen reisenden Händlern, den Ganoven,

Robbers and bandits were thrown. Redfish was their language, whose offshoots flourish in parallel societies to this day. It offers a fascinating access to peculiar identities on the margins of civil society, which, despite suspicious eyes of the Arrivians, have a great influence on the Western world.

They had culture.

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During the everyday life of these marginalists hard and with numerous privations

Idealized representatives of this world found their way onto the stages and into the novels of the bourgeoisie – Franz Moor from Schiller’s “The Robbers”, Kleist’s “Michael Kohlhaas”, the bandits and “gypsies” of the operettas as well as the “mountain cats” and “princesses of the robbers”. Some highwaymen with great feelings, sociable rounds under the influence of alcohol at the campfire, confusion, tricks and maneuvers, who took their exit with operetta-like happy endings, sometimes at the gallows, entertained the masses very well.

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The music of Rotwelsch playfully and mischievously refers to this creative and linguistic culture as well as its romanticized reflection in the literary world. Own compositions with roots in the jazz tradition and speaking titles such as “Vagabundenherz” or “Verwandungen auf den Emotionsschlachtbank” squint towards the great pathos, while pieces such as “Dirnengechatpper” do not stop at loud painting.

Redfish draws strength and spontaneity from improvised music. Instead of the Real Book, unforgettable classics of the operetta world serve as a basis for new interpretations

(“I made some tender bonds”, “Black Ninetta”). Rotwelsch vagabonds between these musical worlds and dares the rope between art, noise and kitsch.