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<\/div>[vc_column_text]<\/p>\n\u00a9 Anna Zehetgruber<\/p>\n
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Die Tanzhausgeiger (AT)<\/span><\/h3>[vc_column_text css=”.vc_custom_1522139583038{padding-right: 50px !important;}”]<\/p>\nThe Tanzhausgeiger play \u2018dirty\u2019 traditional dance music. These five full-blooded musicians had already known each other for a long time when they formed the Tanzhausgeiger about four years ago. After many appearances in Austria, Italy, Germany, Slovenia, and Switzerland, they released the well-received debut album Tanzhausgeiger (Non Food Records) in 2016. The album comprises a cross-section of the band\u2019s repertoire: L\u00e4ndler, czardas, Schleunige, Invartita, Hajnali, yodel, waltz,
\nand polka. A large number of the pieces \u2013 and their pulse and drive \u2013 have been learned directly from the great dance music masters of Transylvania, Poland, and Austria. Handwritten manuscripts from musicians of the 18th and 19th centuries, unearthed in archives and libraries, constitute another source. The band, often on the road, continually strives to expand and refine its repertoire, always searching for originality, depth, and archaic beauty in Europe\u2019s traditional dance music.<\/p>\n
Tour highlights: Konzerthaus Wien, Wiener Kathreintanz, Stanser Musiktage (Switzerland), Korr\u00f6festivalen (Sweden)
\nIn March 2017, the Tanzhausgeiger won the renowned Fraunhofer-Volksmusikpreis (Germany).
\n—
\n \u201c [\u2026] The emphasis of the dance-music character is also a specialty of the group. The playing is deliberately messy and \u2018dirty\u2019; some waltzes feel both straight and indecent. Indeed, the Tanzhausgeiger play stage shows, but they prefer to be \u2018on the dance floor\u2019 in direct contact with the dancers, complete with collective shouting and sweating. Currently, music inspired by folk music is easy to find, but next to no one steps down from the stage \u2013 concert performance is apparently a must. The folk-music revival, however, does not go quite that far. Whether the Tanzhausgeiger will create a niche product, or adapt to prevailing audience expectations, remains to be seen.\u201d<\/em><\/p>\n
\nand polka. A large number of the pieces \u2013 and their pulse and drive \u2013 have been learned directly from the great dance music masters of Transylvania, Poland, and Austria. Handwritten manuscripts from musicians of the 18th and 19th centuries, unearthed in archives and libraries, constitute another source. The band, often on the road, continually strives to expand and refine its repertoire, always searching for originality, depth, and archaic beauty in Europe\u2019s traditional dance music.<\/p>\n
\nIn March 2017, the Tanzhausgeiger won the renowned Fraunhofer-Volksmusikpreis (Germany).
\n—
\n \u201c [\u2026] The emphasis of the dance-music character is also a specialty of the group. The playing is deliberately messy and \u2018dirty\u2019; some waltzes feel both straight and indecent. Indeed, the Tanzhausgeiger play stage shows, but they prefer to be \u2018on the dance floor\u2019 in direct contact with the dancers, complete with collective shouting and sweating. Currently, music inspired by folk music is easy to find, but next to no one steps down from the stage \u2013 concert performance is apparently a must. The folk-music revival, however, does not go quite that far. Whether the Tanzhausgeiger will create a niche product, or adapt to prevailing audience expectations, remains to be seen.\u201d<\/em><\/p>\n