Das LOOPING jaw harp orchestra präsentierte am 5.12.2011 sein neues Album „Universal Language“ im Café Concerto, Wien.

Ing. LOOP stellte das Worldjazzrock-Studioprojekt „LOOPING jaw harp orchestra“ vor, das erstmals in voller Besetzung auf der Bühne zu hören war. Bernhard Hanreich begeisterte das Publikum mit Unter- und Obertongesang sowie Maultrommeln. Bernhard Mikuskovics bereicherte die Performance mit Obertongesang, Maultrommeln, Hulusi und Indianerflöte. Ernst Reitermaier sorgte mit seinem Baritonsaxophon für eine kräftige Basslinie. Peter H. Thomann steuerte mit dem Altsaxophon jazzige Elemente bei. Boris Wokurka tat es ihm auf der Trompete gleich und wechselte später zum E-Bass. Ing. LOOP gab einige Solo-Stücke auf den Bariton-Steeldrums zum Besten, spielte Maultrommel und Percussion. 

Im Laufe des Abends gesellten sich erlesene Gäste zum LOOPING jaw harp orchestra. Albin Paulus jodelte, spielte Maultrommel und Dudelsack. Der Musiker und Instrumentenerfinder Hans Tschiritsch steuerte in einer spätabendlichen Session seinen Obertongesang bei. Auch Vereinsobmann Franz Kumpl, Vereinskassier Manfred Cizek und weitere Maultrommler unterstützen das „Orchester“ tatkräftig mit ihren Zungeninstrumenten. 

Inzwischen wurden und werden verschiedene Stücke aus dem Album „Universal Language“ von lokalen Radiostationen in Deutschland, den USA, Australien und den Niederlanden gesendet. Ein kurzer Ausschnitt fand auch Eingang in ein ORF-Städteporträt über Enns. 

Infos und Hörproben: http://www.jawharporchestra.at/

-> CD online bestellen

-> Promo-Video

Albin Paulus, Bernhard Hanreich, Bernhard Mikuskovics, CDs, Franz Kumpl, Ing. LOOP, Konzerte, LOOPING jaw harp orchestra

Albin Paulus @ Catania 2011 (Foto:Luca Pulvirenti)

Albin Paulus und Ing. LOOP nahmen am Marranzano World Festival in Catania teil. Das sizilianische Publikum dankte es ihnen mit feurigem Applaus.

Am 26.11.2011, gerade vom Flughafen angekommen, wurden die zwei Maultrommler eingeladen, eine kleine Kostprobe bei einem Mandolinenkonzert im Rahmen des Festivals „Classica e Dintorni“ zu geben. Das Gewölbe des Castello Ursino, einer auf normannischen Fundamenten ruhenden Burg aus dem 13. Jahrhundert, bot eine wunderbare Akustik.

Am 27.11. folgten Soloauftritte und ein Maultrommelduett im Rahmen der Hauptveranstaltung „Siciliana incontra il mondo“. Albin Paulus begeisterte das Publikum mit seiner traditionellen österreichischen Wechseltechnik, vor allem aber mit seinem „Jodulator“, dem Titelstück der 2011 erschienen CD von Hotel Palindrone. Ing. LOOP präsentierte seine ganz eigene Spielweise, wie sie auch auf der am 5.12. erscheinenden CD „LOOPING jaw harp orchestra – Universal Language“ zu hören ist. Zum Abschluss gaben die beiden ein Duett mit jeweils fünf Maultrommeln.

Der Österreichische Maultrommelverein dankt dem Bundesministerium für Unterricht, Kunst und Kultur für Förderung dieser Reise und dem Organisator des Marranzano World Festivals, Luca Recupero. Er hat das Festival glänzend organisiert, moderiert und natürlich auch selbst die Marranzano gespielt. Nicht zuletzt hat er sich durch große Gastfreundschaft ausgezeichnet.

Albin Paulus, Festival, Ing. LOOP

Festivalstart: Maultrommel Session

Bernhard Mikuskovics: Maultrommel Vortrag

Wettbewerb

Maultrommelduo: Bernhard Mikuskovics & Aksenty Beskrovny (Moskau)

Maultrommelduo: Bernhard Mikuskovics & Bernhard Hanreich

Maultrommeltrio: Bernhard Mikuskovics, Yaroslaw Kaminskiy (Festivalorganisator), Bernhard Hanreich

Maultrommeltrio: Bernhard Mikuskovics, Yaroslaw Kaminskiy, Bernhard Hanreich

Mit Bernhard Mikuskovics und Bernhard Hanreich waren heuer neben MaultrommelspielerInnen aus Russland und der Ukraine zwei österreichische Maultrommler und Obertonsänger beim 1. Obertonfestival in Kiev vertreten, das heuer von 5. bis 6. November in der Ukraine stattfand.

Am 1. Tag der Veranstaltung begann das Vormittagsprogramm im Ivan Gontschar-Museum für ukrainische Volkskunst mit einer Maultrommelsession nach der der russische Maultrommler Aksenty Beskrovny mit einem Kurzvortrag über die internationale Maultrommelgesellschaft zu anschließenden Vorträgen über Instrumente aus der Welt der Obertonmusik (Maultrommel, Didgeridoo, Obertongesang) überleitete, die bis in den Nachmittag dauerten. Innerhalb dieses Rahmens referierte Bernhard Mikuskovics über die Besonderheiten des österreichischen Maultrommelspiels in internationalem Kontext und erläuterte danach in einem getrennten Vortrag gemeinsam mit Bernhard Hanreich Techniken des Obertongesanges.

Anschließend schloß das Nachmittagsprogramm mit einem Teilnehmerwettbewerb um den besten Maultrommler des Festivals ab, der von einer fünfköpfigen Jury aus zwölf Teilnehmern ausgewählt wurde. Die Jury bestand aus: Bernhard Hanreich, Bernhard Mikuskovics und den russichen Maultrommlern Aksenty Beskrovny, Vladimir Markov und Nikolai Sobolev.

Lokale und internationale Solisten und Gruppen konzertierten schließlich im Rahmen des Abendprogrammes, innerhalb dessen Bernhard Mikuskovics gemeinsam mit Aksenty Beskrovny und anschließend mit Bernhard Hanreich Maultrommel- und Obertonmusik präsentierte.

Das Programm des zweiten Festivaltages bestand aus Meisterklassen in Obertoninstrumenten, die in einem Yogastudio stattfanden: Nikolai Sobolev (Meisterklasse Solomaultrommelspiel mit der jakutischen Maultrommel “Khomus”), Bernhard Mikuskovics (Meisterklasse “Österreichische Maultrommelwechseltechnik”), Bernhard Hanreich (Meisterklasse “Obertongesang”) sowie Meisterklassen in “Didgeridoospiel” ukrainischer Referenten. Den Abschluss des Festivals bildete die Bekanngabe “Bester Maultrommler des Festivals “, die anschließende Übergabe von Urkunden und eine abschließende gemeinsame Maultrommeljamsession.

Aufgrund des hohen Interesses und Wissens der Festivalteilnehmer gestaltete sich die gesamte Veranstaltung mehr als ein Symposium denn ein Festival, bei dem trotz eines dichten aber wohl strukturierten Programmes genügend Zeit blieb sich gegenseitig auszutauschen.

Der österreichsche Maultrommelverein dankt dem Ministerium für Unterricht und Kunst für die finanzielle Unterstützung und Förderung dieser Reise.

Bernhard Hanreich, Bernhard Mikuskovics, Festival

Internationales Maultrommlertreffen @ Moskau - von links nach rechts (vorne): Jonathan Cope (England), Christoph Schulz (Österreich), Franz Kumpl (Österreich), Jörg Horner (Österreich) - von links nach rechts (hinten): Einar Turtum (Norwegen), Allan McDonald (Schottland), Svein Westad (Norwegen), Bernhard Mikuskovics (Österreich), Wolf Janscha (Österreich), Jukka Muhonen (Finnland), Albin Paulus (Österreich), Luca Recupero (Italien)

Maultrommelkonzert @ Moskau - von links nach rechts: Albin Paulus (Österreich), Wolf Janscha (Österreich), Bernhard Mikuskovics (Österreich)

Eröffnung des 7. Internationalen Maultrommelfestivals in Jaktusk

Rede von Franz Kumpl zur Eröffnung des Festivals - sitzend 4.v.links der 1.Präsident Jakutiens, Mitte links der gegenwärtige Präsident Jakutiens, Hr Borisov, Mitte rechts Hr Gudko, Stv des Präsidenten und Leiter des Festival-Organisationskomittes

Tuymaada Ysekh Festival

Maultrommlertreffen @ Ysekh Festival - von links: Nikolay Shishigin (Direktor des Maultrommel-Museums, Jakutsk), John Wright (Frankreich), Bernhard Mikuskovics (Österreich), Franz Kumpl (Österreich), Spiridon Shishigin (Sacha-Jakutien)

Maultrommelkonzert @ Ysekh Festival - von links nach rechts: Albin Paulus (Österreich), Wolf Janscha (Österreich), Bernhard Mikuskovics (Österreich)

Khomus Museum @ Jakutsk

Beim 7. internationalen Maul-trommelkongress und -festival, das heuer von 22. bis 26. Juni in Jakutsk im Fernen Osten Russlands stattfand, war Österreich mit einer hochkarätigen Delegation der heimischen Maultrommelszene bestens vertreten.

Neben Franz Kumpl, dem Obmann des Österreichischen Maultrommelvereins und Präsidenten der Internationalen Maultrommelgesellschaft, reisten Albin Paulus, Wolf Janscha, Bernhard Mikuskovics, die Mollner Maultrommler unter der Leitung von Manfred Russmann und die Musiker der Maul- und Trommelseuche in das Land an der Lena, um in internationalem Rahmen Maultrommelmusik aus Österreich zu präsentieren.

Den Auftakt der einwöchigen Reise bildete ein Konzertabend in Moskau, wo sich Maultrommler aus Österreich und Norwegen mit MaultrommlerInnen aus Russland und Kanada ein erstes Stelldichein gaben, bevor man sich am nächsten Tag nach einer Besichtigung der Stadt nach Jakutsk aufmachte; -eine Flugreise von 7 Stunden und 6 Zeitzonen.

Das Programm, das schließlich in Jakutsk auf die Teilnehmer wartete, gestaltete sich mehr als dicht und es war bei dem reichhaltigen Angebot an Veranstaltungen, die teilweise parallel stattfanden, schlicht unmöglich, überall dabeizusein: neben Vorträgen, Konzerten, Wettbewerben und einer Guiness-Rekord-Veranstaltung über das größte Maultrommelensemble im Rahmen des Festivals wurden Reisen zu jakutischen Dörfern unternommen, das Khomus Museum besucht und als absolutes Highlight nahmen wir teil am Ysyekh-Fest, der jakutischen Sommersonnwendfeier und dem Beginn des jakutischen Jahres, bei dem sich ca. 40 – 60 000 Menschen versammelten.

Die spärlichen Möglichkeiten der Nachtruhe mußte man suchen, da jeden Abend bis in die frühen Morgenstunden (im Sommer geht in Jakutien die Sonne nicht unter) eine ausgedehnte Maultrommel-Session in einer jakutischen Bar stattfand, bei der sich den TeilnehmerInnen abseits der formellen Abläufe des Festivals die Gelegenheit bot, in zwangloser Atmosphäre den Geist des Maultrommelspielens gemeinsam frei fließen zu lassen.

Rückblickend war die gesamte Veranstaltung, abgesehen von den für Menschen des westlichen Kulturkreises ungewohnten Organisationsstrukturen, ein großartiges Festival, bei dem sich die jakutischen Gastgeber als sehr warmherzig und um das Wohl ihrer Gäste bemüht zeigten.

Viel wurde gesprochen, viele Kontakte wurden geknüpft, Pläne wurden geschmiedet und entsprechend dem Motto der Veranstaltung „Fates linked by Khomus – Schicksale verbunden durch Khomus“ schließlich internationale Freundschaften geschlossen.

Ein großer Dank gebührt an dieser Stelle dem Österreichischen Bundesministerium für Unterricht, Kunst und Kultur für die finanzielle Unterstützung und Förderung dieser einmaligen Reise.

Albin Paulus, Bernhard Mikuskovics, Festival, Franz Kumpl, Manfred Russmann, Mollner Maultrommler, Wolf Janscha

Maultrommler v. l. n. r.: Franz Kumpl, Wolf Janscha, Ing Loop, Manfred Russmann, Albin Paulus, Bernhard Mikuskovics, Bernhard Hanreich

Das 6.Internationale Maultrommelfestival bestand aus dem Maultrommelfestival in Kecskemet, Ungarn, welches Organisationsbasis für das 1.Virtuelle Maultrommelfestival war.

In diesem Rahmen spielten am 16. September 2010 die besten Maultrommler Österreichs kurze Solo Konzerte im Kulturzentrum 16A in Kirchdorf an der Krems (unweit von Molln, Oberösterreich). Anschließend daran fand eine gemeinsame Jamsession statt. Die Veranstaltung wurde über das Internet für ein internationales Publikum via Livestream übertragen.

1st Virtual International Jew´s Harp Festival

The 6th International Jew´s Harp Festival consisted of the Jew´s Harp Festival at Kecskemet, Hungary, that was the organisational base for the 1.Virtual Jew´s Harp Festival.

In this frameset Austria´s best jew´s harp players played solo performances, band performances and a jam session live at the cultural centre 16A, Kirchdorf an der Krems (not far from Molln, Upper Austria). The event was available via livestream for a global audience at the internet.

Mit / featuring: Franz Kumpl, Wolf Janscha, Albin Paulus, Bernhard Mikuskovics, Mollner Maultrommler, ING Loop, Bernhard Hanreich, u.a.

Albin Paulus, Bernhard Hanreich, Bernhard Mikuskovics, Festival, Franz Kumpl, Ing. LOOP, Konzerte, Mollner Maultrommler, Wolf Janscha

…and about the history of the Jew’s Harp in different countries!

The following article introduces the main represantitives of the international Jew’s Harp traditions. More than 10 years have passed since the Legendary Festival took place in Molln, Upper Austria. New talented artists on the mouth-harp have come up and should be mentionned in further resumes, Amsterdam 2006 has taken place – the article though gives a first fine impression of how diverted jew’s harp culture has been – and still is.

USA

The history of the Jew’s harp in America began with the frontiers and traders who took Jew’s harps from England, France, and Austria with them to use it as barter objects in trading with the native American population. From the 17th century onwards Jew’s harps have been also produced in America. The Americans used the instrument primarily in folk and country music. When Western movies and ads used its “boing” as a special effect the Jew’s harp became widely familiar.
Today there are several famous musicians in the USA who use the Jew’s harp professionally in various forms from country to art music.
The First International Jew’s Harp Congress took place in Iowa City in 1984.
Since 1992 the ”North American Jew’s Harp Festival” has been organised in Sumpter Valley/Oregon. The organiser is the Jew’s Harp Guild, an association of the American Jew’s harp players.

Fred Crane
Lives in the State of Iowa, musicologist and editor of the Jew’s harp magazine ”VIM”, is regarded world-wide as the main expert on all questions related to the Jew’s harp.

Gordon Frazier
Born in 1958 in Idaho, grew up in a large, very musical family. At the age of 11 he taught himself to play the Jew’s harp. Plays Blues, Old-Time, Rock ’n’ Roll and improvises on the Jew’s harp.
Since 1988 he has been earning his living in Seattle by playing the Jew’s harp.

Bill Gohring
Born in 1945. He began to play the Jew’s harp in his childhood. When he is not engaged in building blockhouses he takes the stage or holds workshops on the Jew’s harp. Since 1991 he has worked as one of the few Jew’s harp producers in America. He is also the initiator and co-organiser of the North American Jew’s Harp Festival in Sumpter Valley.

Wayne Hankin
Comes from New York, composer and Jew’s harp virtuoso. He composed solo pieces for the Jew’s harp in which he has used the technique of the ”talking Jew’s harp”.
Etude #3 in A: ”The Alien” (1990): This song contains a dialogue between an alien in a space ship and his mother station. The mother station asks questions about the activities of mankind on earth. The following words are integrated in the song:

Hello. How are you today?
Radio, calling from planet earth.
Do you hear me?
Yes, we do hear you.
Oh goody, goody gumdrops.
That’s what they say in the USA.
OK, report, tell us what earthlings do?
They sing Jingle Bells.
Interesting. Now tell us, what other things do earthlings do?
They watch television.
Television?
Yes, TV. Guns, guns, shoot, shoot.
Interesting. Television, guns, guns, shoot, shoot.
Yes, and Jingle Bells.
Interesting. Very good. OK, OK that’s all for today. See you later alligator.
OK, g’doy (that’s Australian).
That’s what they say in the USA.
Goodbye.

Larry Hanks
Born in the Northwest. Folk singer, guitarist, Jew’s harp player.
Since the 1950s he has concerned himself with folk music. During the early 60s he began to play the Jew’s harp. He toured through all parts of North America and played at numerous Folk festivals and in Folk clubs. Later he also had gigs in Europe.

David Holt
Musician, entertainer and story-teller. Winner of the Grammy Award. He studied Biology and Arts in California. Later he moved to the Southeastern mountains in Carolina where he searched for old Folk songs and traditional music. In 1981 he started his steeply rising career as a solo musician and story-teller. The Jew’s harp is included in each of his programs.

Mike Seeger
Born in 1933, grew up in a family of famous musicians. He inherited folk music from his musical parents. Already in his youth he collected and noted down folk songs and worked as a musician. Beside the Jew’s harp he also introduces many other Folk instruments in his program.

SWITZERLAND

Here Jew’s harp tradition extends as far back as the late Middle Ages. Nowadays, the Jew’s harp is called ”Trümpi”. It is used as a folk instrument. However, there is no Jew’s harp production in Switzerland.

Anton Bruhin
Painter, poet, and musician. He is one of the most active and innovative Jew’s harp players and researchers of our time. He developed the first electro-magnetic Jew’s harp by the name of ”E.T.” (Electric Trümpi). With his humour and inventiveness he enriches the canon of pure folk music.

SOUTH TYROL/ITALY

During the last years the small pocket instruments like the Schwegelpfeife, the Okarina, the harmonica, and also the
”Maultrummel” experienced a strong impetus in Folk music.

Hans Jocher
Comes from Brixen, Folk musician and most famous Jew’s harp player in the regional folk music scene. He is the only South Tyrolean musician who uses the Jew’s harp on stage and has concerned himself primarily with the so-called ”pocket instruments”. His partner Michael Ramoner plays the Landsmannstrommel.

BAVARIA/GERMANY

In Bavaria the Mayr brothers initiated a renaissance of the Jew’s harp in Alpine Folk music during the 1970s.
In the 19th century Justinius Kerner and Wilhelm Ludwig Schmidt (both physicians and poets of the Romantic Swabian circle of poets) used the Jew’s harp for therapeutic purposes.
Recently Regina Plate and Rudolf Henning established themselves as authors of standard literature on the Jew’s harp.

”Mittenwalder Maultrommler”
They are important representatives of the typical Austro-Bavarian playing technique. In the Bavarian Folk music the Jew’s harp is often accompanied by string instruments.

Alfred Hüttlinger
Sculptor and stone-mason. He and his sons play their own pieces using a very fine playing technique. The songs are arranged for two Jew’s harps and a guitar.

Günther Arnold and Anneliese Brandstätter
The amateur musician G. Arnold is a master in playing the Jew’s harp in a tuneful way. He and A. Brandstätter (harp) play Alpine folk music and favor interpretation of classical pieces like, for example, dances of Mozart.

AUSTRIA

Since the Middle Ages Austria has held a top rank in the European history of the Jew’s harp as a centre of manufacturing as well as performing. In the Alps young men used the Jew’s harp to attract the girls in a musical and erotic way when they wanted to climb up to their bedrooms. In the middle of the 18th century Father Bruno Glatzl of Melk Abbey fascinated his contemporaries playing the Jew’s harp. One of his pupils, the later composer Johann Albrechtsberger, created the first classical compositions for Jew’s harp. During the 19th century the Tyrolean Franz Paula Koch played in front of the political and artistic high society of Europe.

”Mollner Maultrommler”
In Molln there is one of the biggest and most famous historic places of Jew’s harp production in the world. However, only since 1992 when Manfred Russmann founded the Mollner Maultrommler have they started their own Jew’s harp playing tradition, which is represented today by the Jew’s harp ensemble of the Molln Musical School.
Manfred Russmann’s repertoire includes Folk music as well as free improvisations. The harmony of Russmann’s Jew’s harp and of his brother’s tuba is typical for Molln’s Jew’s harp playing style.

HUNGARY

Alexander Horsch and Aron Szilágyi
Alexander Horsch was born in Berlin. Now he lives in Budapest and is an expert on shamanist music and culture.
Aron Szilágyi is the son of the Jew’s harp blacksmith Zoltán Szilágyi who is highly esteemed by many European Jew’s harp players. Aron plays the Hungarian Jew’s harp which is called ”doromb” and Alexander blows the Fujara.

POLAND

Jerzy Andruszko
In Poland he is well known for his ”drumla” solo playing. He popularised the Jew’s harp in Poland, and is a life-long improvisor.

The NETHERLANDS

Phons Bakx and Enno Meijers
The musician and investigator of ethnocultures Phons Bakx is the only Jew’s harp professional in the Netherlands. In 1992 he published a book on the Jew’s harp ”The Thought Dispeller”. Enno Meijers is Phons Bakx’s student. In the presented pieces Phons Bakx works with the atmospheres that are created by the harmony of differently tuned Jew’s harps.

Kendall Rownd
Born in the USA, is living in Amsterdam. He is a Jew’s harp smith and an improviser who is most interested in the sound relation between the Jew’s harp and the synthesizer.

NORWAY

The only Scandinavian country with a continuous tradition of Jew’s harp playing and production. The centre of the ”munnharpe” (= mouth harp) can be found in some of the southern valleys. Since 1994 there has been a Jew’s harp festival in Fagernes every year. There is a close relation to the Norwegian Folk dances. Therefore, the players support the rhythm by stamping with their feet.

Ånon Egeland
Music teacher and researcher. Organiser of the Norwegian Jew’s harp festival.

Svein Westad
Musician and president of the Norwegian Jew’s Harp Association.

Folke Nesland and Asgeir Öybekk
Jew’s harp smiths. For the Norwegian Jew’s harp it is characteristic that the tongue is stuck like a wedge into the pierced frame of the instrument.

FINLAND

Since the Middle Ages there has been a tradition of playing the ”Munniharppu” in Finland. In the 20th century the interest in the Jew’s harp decreased. However, since the end of the 1960s a renaissance of the Jew’s harp can be noticed. The Jew’s harp is often used at weddings together with the fiddle.

”Tapani Varis Ensemble”
The professional musician Tapani Varis who studied wind instruments at the Sibelius Musical Academy is the founder and chairman of this young ensemble.
The student Piia Kleemola plays the fiddle and the yohikko, a kind of bowed harp.
Marja Pettinen studies musicology at the university of Helsinki and plays the flute and the munniharppu.
Teemu Korpipää, who is a student of the Sibelius Musical Academy, is the sound technician of the ensemble and thus mainly responsible for the celestial scope of the sound.

BASHKORTOSTAN/RUSSIAN FEDERATION

Among all the Turkic peoples of the former Soviet Union the Jew’s harp has a very long tradition. Today’s Mongolia is regarded as the cultural centre of the Turkic people and as one of the places of origin of the Jew’s harp. Traditionally only women used to play the instrument.
During the Stalinist era shamanism and the playing of the Jew’s harp, which are closely related among some Turkic peoples, were prohibited and suppressed. Nevertheless, the older generation was still able to pass on the tradition of the Jew’s harp playing to their grandchildren when the revival of the ethnic cultures began during the 1970s.
Among the Turkic peoples of the former Soviet Union the Kyrgyz, the Uzbek, the Turkmenian, and the Kazakh people play the Jew’s harp. On the territory of the Russian Federation the Jew’s harp plays an important role in Bashkortostan, in Khakassia, in the Altai, in Tuva, and in Sakha-Yakutia, all regions that are dominated by Turkic peoples.

Robert Zagretdinov
Learned to play the ”kubyz” from his mother who played a Jew’s harp made of wood. For many years Zagretdinov worked as a shepherd in the small village in which he grew up and so he started to imitate the sound of nature on the kubyz.
The imitation of animals and nature is typical for his playing style. After his musical studies in Ufa, the capital of Bashkortostan, he has been working as an accordion teacher for 25 years. He founded the department for kubyz at the Musical Institute in Ufa. In 1991 he developed an electronic kubyz. Zagretdinov is regarded as an international master of the Jew’s harp.

Rayap Vadutov
Professional accordionist and soloist at the State Philharmonic of Bashkortostan. He also works as a music therapist.

ALTAI/RUSSIAN FEDERATION

The republics of Altai and Tuva are regarded as the centres of overtone singing and shamanism. Many Jew’s harp players from these regions are therefore the connecting link between playing the Jew’s harp and overtone singing and the conjuring up of a ”mystical” atmosphere.

Bolot Bairyshev
As the 10th of 17 children of a farmer’s family Bolot grew up in the Altai mountains.
He was taught to play the Jew’s harp by his grandmother who used to play by the fire in the evening and by his uncle who was a famous ”khomus”-player. In 1992 his international career began when he won in the competition ”The Voice of Asia”. Later he played with Joe Zawinul and with various musicians from Jamaica and the USA. After some painful experiences with the Western market economy he has been working as an independent musician since 1994.

SAKHA-YAKUTIA/RUSSIAN FEDERATION

Sakha-Yakutia is one of the world’s main centres of Jew’s harp playing and production. In Yakutia, the ”khomus” was the instrument traditionally used by women to express their feelings.
The revival of the khomus in the 1970s was mainly due to the enthusiasm of Ivan Alexeyev.
In Yakutian Jew’s harp music the main emphasis is not placed on the melody, but on the imitation of individual feelings, characteristic moods and Nature’s sounds as well as on lyrics of the so-called ”talking Jew’s harp”.
Many of the best Jew’s harp smith are relatives of shamans. The Jew’s harps of the smiths Gogolev, Burtsev, Innokenty, and Mikhailov are regarded as some of the best Jew’s harps in the world. In Yakutsk, the capital of Sakha-Yakutia, there is the world’s first Jew’s harp museum. In 1991 the Second International Jew’s harp Festival took place in this city.

Ivan Alexeyev
Founder and leader of the ensemble ”Algys”, teacher of Yakutia’s best native Jew’s harp players, president of the Yakutian Khomus Association and an untiring promoter of international research on the Jew’s harp and its revival.

Spiridon Shishigin
Headmaster and teacher of mathematics in Pokrovsk. A musical development from a technical brilliant show to a subtle expression of feelings. He is also working as a music therapist together with a colleague. Shishigin belongs to the best Jew’s harp players in the world.

Marfa Badaeva
The 76-year old Mrs. Badaeva was the oldest participant of the Festival. She comes from Vilyuisk where the most traditional Jew’s harp playing technique has been cultivated, which is characterised by constant rhythms and the ”talking Jew’s harp”.

Kim Borisov
The 16 year old Kim was the youngest participant of the Festival. He got a scholarshop for extraordinarily talented students by the Yakutian president.

KAZAKHSTAN

Since the 1980s revival of the Jew’s harp, which is called ”shan-kobys”.

Yedil Khusainov
Studied at the musical conservatory, lives as a composer in Almaty.

KYRGYZSTAN

In Kyrgyzstan the Jew’s harp is called ”temir-khomus”, the name of the accompanying string instrument is ”khomus”.

Rimma Madvarova
Music teacher, founder and leader of the ensemble ”Keremet”. In 1983 Mrs. Madvarova developed a method of notation for the Jew’s harp. In 1971 she played the temir-khomus at the 24th Party Conference of the CPSU in front of Brezhnev, Ulbricht, and Castro. According to Mrs. Madvarova the party leaders wondered about the origin of the celestial sound of the Jew’s harp just as Goethe, Humboldt, and Jean Paul had wondered when they became witnesses of the Jew’s harp renaissance in Europe during the 19th century.

Dinara Kadyrkulova
Music teacher for temir-khomus and khomus in Bishkek.

Ainura Arystanova
Studies English language and economy at the university of Bishkek. Like Dinara she is a student of Rimma Madvarova.

JAPAN

In Japan Jew’s harp music is common among the women of the Ainu, the indigenous population. The Ainu live in a reservation on the island of Hokkaido. Their Jew’s harp is called ”mukkuri”. It is made of bamboo and belongs to the group of Jew’s harps with a frame.

Leo Tadagawa
One of the main Jew’s harp experts in the world. Editor of the Jew’s harp magazine ”Koukin Journal”. Married to the Yakutian Nadya.

The ”Mukkuri” Ensemble
The Ainu often combine their Jew’s harp music with dancing and singing. The ”Harvest Festival Song” on the present CD is played by Shigiko Teshi, Emiko Isojima, Midori Toko, Saki Toyama, and Eiko Yamamoto.

Shigiko Teshi
The song was composed by Shigiko Teshi during her stay in Yakutia. The influence of Yakutian overtone music can be heard.

VIETNAM

Trân Quang Hai
Professor at the Institute of Ethnomusic in Paris. Scientist and musician. Founder and member of many Rock, Jazz, and Avant-garde bands. Expert on overtone music. Trân Quang Hai developed his own Jew’s harp which fulfils his needs for a high-energy Jew’s harp playing style.

INDIA

The music of the local Jew’s harp called ”morsing” is mainly cultivated in Southern India. It is characterised by its percussive style.

Ramesh Shotam
Born in Madras. Ramesh Shotam studied at the Karnataka College of Percussion. He co-operated with musicians like Charlie Mariano, Carla Bley, Steve Coleman, and Markus Stockhausen. He works as a composer, musician, and teacher.

Tobias Ott
Comes from Bavaria. Tobias Ott is a member of the band ”Shruti Box”. He is the owner of the label ”Bandaloop” which is specialises in the production of percussive music.

Festival

The Jew’s Harp in the Pocket -
A music festival of a special kind

For a whole week, from the 22nd – 28th of June, the Jew’s harp was the centre of interest at a unique international festival in Molln/ Upper Austria. Playing this inconspicuous instrument 90 musicians from 20 nations swept along their listeners into a magic world of sound colours and rhythms.
The types of Jew’s harps, the styles and manners of play may differ, but the Jew’s players from Japan, Siberia, Austria, India, USA, Indonesia, Norway … they all speak the same language, the natural tone series.
Made of bamboo, iron, brass or wood, the Jew’s harp unfolds its variety of sounds only within the oral cavity that serves as an amplifier and former.
Jew’s harps made of bamboo, bones, and wood probably existed already several thousand years ago; the oldest one made of iron dates back from a finding in Japan and is more than 1200 years old; in Europe the oldest one stems from the 13th century, for more than 400 years Jew’s harps have been produced in Molln. Molln, the European centre of the Jew’s harp-forging-tradition, was selected for the third meeting of the international Jew’s harp community after the two international Jew’s harp congresses in the USA and Yakutia/ Siberia.
During the first days various aspects of Jew’s harp culture were presented and discussed in lectures and debates: The Jew’s harp in the context of overtone music, various techniques of playing, the manufacture of the instrument, its relation to eroticism, the application of the Jew’s harp in musical therapy. During the week, for all Jew’s harp freaks and those who wanted to become one there was plenty of time to talk to experts and excellent musicians from all over the world, to get acquainted with various styles and techniques of playing and, of course, to use the occasion in order to buy one or two exquisite pieces for the own Jew’s harp collection.
The evening concerts presented successfully the unique musical tradition of the different nations, the individual expression the musicians put into their play, the Jew’s harp’s harmony with the ensemble, and an open-minded meeting of traditional styles and avant-garde experiments.
May I give prominence to a few performances of this fascinating wide range. The group from Sakha-Yakutia (Siberia) arriving with more than a dozen musicians inspired by their masterly and colourful solo- and ensemble-playing giving insight into a culture in which the Jew’s harp (khomus) plays a central role and its forgers are considered to be some of the best in the world. Tran Quang Hai, a Vietnamese musicologist, composer and musician living in Paris, electrified his audience with his dynamic and expressive playing evoking frenzies of enthusiasm. Anton Bruhin (Switzerland) who is known in the scene for his well-contrived playing styles and his tendency to cross musical borders surprised with his witty play and technical refinement, but also with a Jew’s harp stimulated by electromagnetic waves and created by himself. Bolot Bayryshev from Gorniy Altay who had already worked with Joe Zawinul and other international stars fascinated not only on the Jew’s harp, also his overtone singing on unfathomably deep key notes moved his audience.

For me this festival was one of the most intensive and successful of all those that I have experienced so far. Although it focused on one instrument it was still diversified and world-wide and offered the possibility of a vivid exchange among various cultures; the possibility to dive into instead of merely enduring the programme. The “Mollner Maultrommelfreunde” have realised a project of international standards.
The Jew’s harp has freed from the pocket and is on the way to present itself as a global player. It makes you listen attentively and – in the opinion of the Yakuts – it will be the instrument of the 21st century.

Gottfried Schmuck

from the music magazine Rewind: Concerto No. 4

International Jew's Harp Festival 1998 - Plakat

Another important Voice about the International Jew’s Harp Festival in Molln: Frederick Crane, USA

For over 20 years, I have been getting acquainted with the performances of the world’s leading trumpists-on recordings and in person. It has been a history of exposure to ever more variety, as I heard from more geographical styles, and more varied personal styles.

The culmination (so far) came in Molln, with by far the greatest diversity ever heard in one place at one time. There were traditional musics form many places in Asia, from the U.S.A., and, for the first time at an international congress, from a large number of European countries. Among features particularly impressive to me were Ånon Egeland’s subtle and sophisticated Norwegian rhythms, and the amount of excellent playing on wooden trumps by people form many places.

But probably a majority of the trump pieces, from everywhere, were improvisations. Here one hears a preponderance of non-harmonic-series playing techniques, in great variety. I suspect that such techniques have been inspired to a large degree by the playing of the Yakuts and other Siberians; but undoubtedly very many players today are working out their own special sounds, and contemplating how to integrate them into organized improvisations. Another strong trend is to include throat-singing and other Tuvan/Mongolian-type vocalisms together with trumping, sometimes even simultaneously.

With the Wednesday evening performances of the Austrian duo Attwenger, we heard the trump strikingly employed in avant-garde pop music. And with an Albrechtsberger concerto, there was even a bit of written-out art music (not to mention Leo Tadagawa’s playing of the William Tell Overture on a mail coupon).

Frederick Crane

Festival, Molln

RITUAL – REDE

der Sacha-Jakuten
beim Sonnwendfeuer in Molln am Donnerstag, 25.Juni 1998

Rotbärtiger!
Rothaariger!
Rotgesichtiger!
Höchstverehrter Geist des großen Feuers!
Kräftiger Temerije (1) !

Wir verbeugen uns vor Dir,
Vor Deiner Hitze,
Vor Deinen springenden Flammen.
Die Zeit ist gekommen,
um Heil zu erbitten.
Hilf uns, daß wir uns an die hellen
Örtlichen Götter wenden können!

Geist der Alpenberge!
Ernähre Dich von den jakutischen Oladja (2)
Und vom Heldengetränk Kumys (3) !
Nimm, Du Geist von Molln!
Nimm, Du Geist der Felder und Wälder!
Sei uns böse gesonnen deswegen,
Daß wir aus einem anderen Land gekommen sind.
Wir bitten darum,
Daß wir in diese fruchtbare Landschaft
Aufgenommen werden wie eigene Kinder.

Wir bitten die acht Gründergöttinnen
Uns zu beschützen.
Wir bitten die sieben Schutzgöttinnen
Uns glücklich zu machen.
Schickt allen Teilnehmern am Festival
Glück und Gesundheit.
Das Festival soll nur von
Friede und Freundschaft geprägt sein.

——————————

1) Name des Feuergeistes in Sacha-Jakutien
2) Jakutischer kleiner Brotfladen
3) Jakutisches Nationalgetränk aus vergorener Stutenmilch

Festival, Molln

At the Solstice-Fire - Sonnwendfeuer in Molln, Austria

RITUAL – REDE
der Sacha-Jakuten
beim Sonnwendfeuer in Molln am Donnerstag, 25.Juni 1998

Rotbärtiger!
Rothaariger!
Rotgesichtiger!
Höchstverehrter Geist des großen Feuers!
Kräftiger Temerije (1) !

Marfa Badajeva (RF Sakha-Yakutia) Foto: Henk Postma

Wir verbeugen uns vor Dir,
Vor Deiner Hitze,
Vor Deinen springenden Flammen.
Die Zeit ist gekommen,
um Heil zu erbitten.
Hilf uns, daß wir uns an die hellen
Örtlichen Götter wenden können!

Jerzy Andrushko (Poland) Foto: Henk Postma

Geist der Alpenberge!
Ernähre Dich von den jakutischen Oladja (2)
Und vom Heldengetränk Kumys (3) !
Nimm, Du Geist von Molln!
Nimm, Du Geist der Felder und Wälder!

Bolot Bayrishev (RF Gornij Altai) Foto: Henk Postma

Sei uns böse gesonnen deswegen,
Daß wir aus einem anderen Land gekommen sind.
Wir bitten darum,
Daß wir in diese fruchtbare Landschaft
Aufgenommen werden wie eigene Kinder.

Heinz Anzinger and Manfred Rußmann (Austria)

Wir bitten die acht Gründergöttinnen
Uns zu beschützen.
Wir bitten die sieben Schutzgöttinnen
Uns glücklich zu machen.
Schickt allen Teilnehmern am Festival
Glück und Gesundheit.
Das Festival soll nur von
Friede und Freundschaft geprägt sein.

——————————

1) Name des Feuergeistes in Sacha-Jakutien
2) Jakutischer kleiner Brotfladen
3) Jakutisches Nationalgetränk aus vergorener Stutenmilch

Christoph Köpf (Mollner Maultrommler, Austria)

R. Sagretinov and M. Sainetdinov (RF Baschkortostan) Foto: Henk Postma

Anton Bruhin (Switzerland) Foto: Henk Postma

Gordon Frazier (USA) and Robert Rußmann (Austria)

Alexander Horsch and Aron Szilagyi (Hungary)

Ensemble Keremet (Kirgistan) Foto: Henk Postma

Koichi Makigami (Japan) and Bolot Bajryschev (RF Gornij Altai) Foto: Henk Postma

The Jew’s Harp in the Pocket
A music festival of a special kind

For a whole week, from the 22nd – 28th of June, the Jew’s harp was the centre of interest at a unique international festival in Molln/ Upper Austria. Playing this inconspicuous instrument 90 musicians from 20 nations swept along their listeners into a magic world of sound colours and rhythms.
The types of Jew’s harps, the styles and manners of play may differ, but the Jew’s players from Japan, Siberia, Austria, India, USA, Indonesia, Norway … they all speak the same language, the natural tone series.
Made of bamboo, iron, brass or wood, the Jew’s harp unfolds its variety of sounds only within the oral cavity that serves as an amplifier and former.
Jew’s harps made of bamboo, bones, and wood probably existed already several thousand years ago; the oldest one made of iron dates back from a finding in Japan and is more than 1200 years old; in Europe the oldest one stems from the 13th century, for more than 400 years Jew’s harps have been produced in Molln. Molln, the European centre of the Jew’s harp-forging-tradition, was selected for the third meeting of the international Jew’s harp community after the two international Jew’s harp congresses in the USA and Yakutia/ Siberia.
During the first days various aspects of Jew’s harp culture were presented and discussed in lectures and debates: The Jew’s harp in the context of overtone music, various techniques of playing, the manufacture of the instrument, its relation to eroticism, the application of the Jew’s harp in musical therapy. During the week, for all Jew’s harp freaks and those who wanted to become one there was plenty of time to talk to experts and excellent musicians from all over the world, to get acquainted with various styles and techniques of playing and, of course, to use the occasion in order to buy one or two exquisite pieces for the own Jew’s harp collection.
The evening concerts presented successfully the unique musical tradition of the different nations, the individual expression the musicians put into their play, the Jew’s harp’s harmony with the ensemble, and an open-minded meeting of traditional styles and avant-garde experiments.
May I give prominence to a few performances of this fascinating wide range. The group from Sakha-Yakutia (Siberia) arriving with more than a dozen musicians inspired by their masterly and colourful solo- and ensemble-playing giving insight into a culture in which the Jew’s harp (khomus) plays a central role and its forgers are considered to be some of the best in the world. Tran Quang Hai, a Vietnamese musicologist, composer and musician living in Paris, electrified his audience with his dynamic and expressive playing evoking frenzies of enthusiasm. Anton Bruhin (Switzerland) who is known in the scene for his well-contrived playing styles and his tendency to cross musical borders surprised with his witty play and technical refinement, but also with a Jew’s harp stimulated by electromagnetic waves and created by himself. Bolot Bayryshev from Gorniy Altay who had already worked with Joe Zawinul and other international stars fascinated not only on the Jew’s harp, also his overtone singing on unfathomably deep key notes moved his audience.

For me this festival was one of the most intensive and successful of all those that I have experienced so far. Although it focused on one instrument it was still diversified and world-wide and offered the possibility of a vivid exchange among various cultures; the possibility to dive into instead of merely enduring the programme. The “Mollner Maultrommelfreunde” have realised a project of international standards.
The Jew’s harp has freed from the pocket and is on the way to present itself as a global player. It makes you listen attentively and – in the opinion of the Yakuts – it will be the instrument of the 21st century.

Gottfried Schmuck
from the music magazine Rewind: Concerto No. 4

Ursula Leitner and Robert Rußmann (Austria)

Leo Tadagwa (Japan) Foto: Henk Postma

Magdalena Rußmann (Austria)

Mike Seeger (USA) Foto: Henk Postma

Tobias Ott (Germany)

Phons Bakx and Enno Meijers (Netherlands) Foto: Henk Postma

Hans Pomaßl (Austria) Foto: Henk Postma

Ivan Alexej and Spiridon Shishigin (RF Sakha-Yakutia) Foto: Henk Postma

Sibylle Starkbaum (Austria) and Bolot Bajryschev (RF Gornij Altai) Foto: Henk Postma

Ensemble Tapani Varis (Finland) Foto: Henk Postma

International Jew´s Harp Festival 1998
PREFACE

“According to its atmosphere and its musical quality it was one of the best and most interesting music festivals of its kind” was the unanimous opinion of the critics about the International Jew’s Harp Festival in Molln/Upper Austria, June 20-28 1998.
The now available double CD does not only reflect this atmosphere but also gives a comprehensive survey of the phenomenon of a world-wide Jew’s harp boom, a new peak in the eventful history of this fascinating instrument.
At the beginning of the 20th century the Jew’s harp, which has existed for about 5,000 years and is thus one of the world’s oldest instruments, almost disappeared from the musical scene for various reasons: At the beginning of the 19th century in Molln/Austria 35 family businesses still produced 2.5 million Jew’s harps per year. In the Age of Romanticism its esoteric sound captured the drawing rooms of European artists and rulers. At the end of the 19th century the artistic playing on up to 10 Jew’s harps had lost its appeal. The invention of the harmonica had created a competitor for the popular pocket instrument of the inhabitants of the Alps. As a result of industrialisation, mechanisation, and competition in production, quantity had triumphed over quality. During the 20th century (with the exception of the Alpine countries, North America, and some parts of Asia) the Jew’s harp sank to the level of a souvenir and a children’s instrument.

During the Stalinist era among the Turkic people of the Soviet Union who have a pronounced tradition of playing and producing the Jew’s harp the instrument was forbidden as a national peculiarity and prohibited because of its close relationship to shamanism.
During the 1960s while in Eastern Europe de-Stalinization proceeded, there grew an opposition against the affluent society and the naive belief in progress in Western countries. A renaissance of Jew’s harp music connected with new esotericism, shamanism, natural sounds and authentic Eastern and Western folk music developed independently at different places.
Many of the central figures of this renaissance are both musicians and scientists: Fred Crane in the USA, Leo Tadagawa in Japan, Ivan Alexeyev in Sakha-Yakutia/Russian Federation, Ånon Egeland in Norway, Phons Bakx in the Netherlands, Anton Bruhin in Switzerland, Manfred Russmann in Austria. During the 1990s the progress in sound and communication technology furthered an intensive world-wide exchange of views among all Jew’s harp freaks via e-mail as well as a prolific relationship between the Jew’s harp and electronic music.
The First International Jew’s Harp Festival took place in Iowa City/USA in 1984. Although its main focus centred on Northern American Jew’s harp music also some European musicians participated in the festival and for the first time the Western musicians had the chance to listen to tapes of the Jew’s harp music of the Siberian peoples.
In 1991 at the Second International Jew’s Harp Congress and Festival, which was held in Yakutsk/ Sakha-Yakutia/Russian Federation, all the leading Jew’s harp musicians, scientists, and makers of the Soviet Union met at one place for the first time. The USA and Europe presented about five participants each.

David Holt (USA) and Helga, the fastest driver of the Festival

Wayne Hankin (USA) Foto: Henk Postma

Anneliese Brandstätter and Günther Arnold (Germany)

Walter Schulz and Tom Bienzle (Shruti Box, Germany)

Attwenger (Austria)

Anon Egeland (Norway) Foto: Henk Postma

The aims of the Third International Jew’s Harp Congress and Festival in Molln/Austria in 1998 were to have a balanced proportion among the participants of the leading Jew’s harp cultures in Asia, Europe, and America, to give a survey of the various styles of classical music, folk, rock, and electronic music, to present the latest insights and scientific works on the Jew’s harp and its relationship to various aspects of overtone music, eroticism, and music therapy.
The Fourth and Fifth Jew’s Harp Congress and Festival will take place in Amsterdam/Netherlands and in Norway.
Because it’s simple and complex at the same time the Jew’s harp is the instrument of the 21st century – as Yakutian people would say.

Enjoy the journey through the world of the Jew’s harp, the small medium for the great totality.

Genießen Sie die Reise durch die Welt der Maultrommel, dem kleinen Medium für das große Ganze.

Dr. Franz Kumpl
Chairman of the ”Austrian Jew’s Harp Society”
President of the International Jew’s Harp Association”

Festival, Fotos, Historisches, Molln

International Jew´s Harp Festival 1998
3rd Jew’s Harp World Congress

Program

Monday: 3 p.m. Opening of the 3rd Jew´s Harp

22. 6. 1998 World Congress

overtone music, mouth bow, overtone singing

8 p.m. big Opening ceremony of the
Jew´s Harp Festival:
Opening and moderation Franz Kumpl and Manfred Rußmann. Grand entrance of the members of the traditional costumes-group. Speech of Mrs. Angela Ortner (president of the provincial government) and Mr. Erich Dirngrabner (mayor of Molln).
The participating countries (16 nations) present themselves with a short piece of music. Speech of Mr. Ivan Alexejev, president of the International Jew´s Harp Center in Jakutsk.

4 – 8 p.m.  Special Post-Office on our festival area with the special
post-mark “International Jew´s Harp Festival”

Tuesday: 9 a.m. Congress: Techniques of trump playing, history, trump production,

23. 6. 1998 discussions, round tables, presentation of the book of
Angela Mohr
9 a.m. Presentation of films: The Shaman
The Song of Harmonics from Tran Quang Hai
Film about Spiridon Shishigin from Gerd Conradt
The Trump in the Trouser Pocket (Video)

7 30 p.m. Concert: “The Trump in the Trouser Pocket”
alpine style (Austria, Europe), moderator Mikl Phillipp
with:

Mittenwalder Maultrommler (Germany)
Maultrommeltrio Hüttlinger (Germany)
Leitner Ursula (Austria)
Mollner Maultrommler (Austria)
Raschhofer Terzett (Austria)
Weerberger Maultrommler (Austria)
Jocher Hans (Italy)
Ramoner Michael (Italy)
Zauchenseer Viergesang (Austria)

Wednesday: 9 a.m. Congress: Trump and eroticism, music therapy, the trump in popular
24. 6. 1998 music, classic and literature

8 p.m. Concert: Attwenger, live-groovin´-downbeat-slang-sound (Austria)
About Attwenger

Thursday: „Trump is Liberty” 7 p.m. in the evening big fire of summer
25. 6. 1998 solstice, free performances, international sessions

2 – 6 p.m. We have a special Post-Office on our festival area with the special
post-mark “3rd Jew´s Harp World Congress”

„A Jew’s Harp Journey
around the World”

from Friday to Sunday: Concerts with Jew´s Harp Players
from all over the world !

* Friday: 6 p.m. – 12 p.m. USA, Europe

26. 6. 1998
Brandstätter Annelies (Austria)
Günther Arnold (Germany)
Conradt Gerd (Germany)
Anton Bruhin (Switzerland)
Frko D.L. (Slovakia)
Alexander Horsch (Hungary)
Miklos Paisz (Hungary)
Aron Szilagyi (Hungary)
Calanduccio Emanuele (Italy)
Frederick Crane (USA)
Gordon Frazier (USA)
Janet Gohring (USA)
Bill Gohring (USA)
Larry Hanks (USA)
David Holt (USA)
Mike Seeger (USA)
Mollner Maultrommler (Austria)
Paulus Albin (Austria)

festival area

* Saturday: 3 p.m. – 12 p.m. Europe, Russian Federation

27. 6. 1998
Shruti Box (Germany)
Tapani Varis and Band (Finland)
Phons Bakx (Netherlands)
Enno Meijers (Netherlands)
Anon Egeland (Norway)
Folke B. Nesland (Norway)
Vadutov Rajap (RF Bashkortostan)
Zagretdinov Robert (RF Bashkortostan)
Zainetdinov Mindigafur (RF Bashkortostan)
Bairyshev Bolot (RF Gonij Altai)
Alexeyev Ivan (RF Sakha-Yakutia)
Badayeva Marfa (RF Sakha-Yakutia)
Borisov Kim (RF Sakha-Yakutia)
Burtsev German (RF Sakha-Yakutia)
Gotovtsev Innokenti (RF Sakha-Yakutia)
Ivanov Alexandr (RF Sakha-Yakutia)
Kalachev Leonid (RF Sakha-Yakutia)
Shishigin Spiridon (RF Sakha-Yakutia)
Kuular Anatoli (RF Tuva)

Hans Pomassl (Austria)
Christian Fennesz (Austria)
special compositions of electronic Jew´s Harp sound

* Sunday: 10 30 a.m. – 12 a.m. Traditional morning pint and concerts

28. 6. 1998 of the Molln hometown brass orchestras

3 p.m. – open end Asia

Yedil Khusainov (Kasachstan)
Ensemble Keremet (Kirgistan)
Tran Quang Hai (Vietnam)
Isomija Emiko (Japan)
Leo Tadagawa (Japan)
Shigiko Teshi (Japan)
Toko Midori (Japan)
Toyama Saki (Japan)
Yamamoto Eiko (Japan)
Banay Mulu (Taiwan)
Ramesh Shotam (India) and Tobias Ott (Germany)

Bodo Hell (Austria) with Anton Bruhin (Switzerland)
Jew´s Harp and Poems

Sibylle Starkbaum (Austria)
Jew´s harp and dance

Festival, Molln