It is difficult to picture what the fantasy name “Scurdia” stands for. That it has to do with music is all that can be said for sure. Though exactly which style of music, not even the fathers of this music project, Markus Schirmer and the Kurdish lutist Risgar Koshnaw, are able to define. Scurdia isn’t Soul, Funk or Ethno and does not even appear to be oriental-folkloristic-jazzy or even classical. In some sense, however, it is all of these at the same time.

There is only one more thing that can be said for sure: nothing is planned in Scurdia. The minute Markus Schirmer grips the keyboard and Risgar Koshnaw starts plucking the strings of his oud in ecstasy they are both locked in a choreography of confrontation. Each of them is determined to demonstrate that his music carries more weight than the other’s. Even if each of them has tried ever so hard to outdo the other this “contest” has always resulted in a draw. Scurdia is not only a musical confrontation between Schirmer and Koshnaw, though, but also between Orient and Occident, so to speak. There are other fantastic artists from now over 10 countries who also contribute their traditions and expertise.

[Keine Werbefreigabe] Christian Bakanic, Franz Kreimer, Hussein Zahawy, Ismael Barrios, Jon Sass, John Sass, Kuenstler, Kuenstlerin, Marina Bkhyan, Mario Berger, Markus Schirmer, Musiker, Natasa Mirkovic-De Ro, Natasa Mirkovic d Ro, Natascha De Ro, Richie Winkler, Risgar Koshnaw, Sophie Abraham, Saenger, Saengerin,   Oesterreich,  Steiermark,  Europa, Architektur, Gebaeude, Bauwerk, Innenaufnahme, Innenansicht, Interieur, Klavier, klavier spielen, Klavierspiel, Fluegel, Konzept, Konzerthaus, Konzerthalle, Kunst und Kultur, Loge, Mensch, People, Menschenmenge, Menschenmasse, Menschenansammlung, Musik, Musikgruppe, Musikinstrument, Opernhaus, Oper, Publikum, Zuschauerin, Zuseher, Zuseherin, Zuschauer, Rang, Scurdia, Tasteninstrument,  2011/05/31,  Back at the Opera