Dor / Various
Longing for faraway places. Inspired by her imagination throughout her childhood and teenage years, this longing for inaccessible worlds behind the Iron Curtain had been there from the beginning. And it was this longing that made her move to Austria soon after Ceausescu's dictatorship had ended. She moved to a country where almost nobody spoke her native language, a country where nobody sang Romanian songs. She was cut off from the music of home for many years. Then it happened at a concert by Nicolas Simion, a saxophonist and composer from Brasov, Claudia Cervenca's home town, that some of the ballads the band played evoked childhood memories of Dumitru Farcasu, a famous Romanian taragot player. Gradually, her desire grew to sing those ballads herself - songs from childhood days, sung by Sofia Vicoveanca and later on by Maria Raducanu. Listening to these songs revived her yearning ('Dor', which is also the title song of the album) for those wonderful Romanian landscapes studded with farmhouses, haystacks on the meadows, horse-drawn wagons on the roads... Later on in her search for suitable songs, Claudia Cervenca discovered songs in Aromunian (Feata Museata). The sound of this language had fascinated her ever since she was a young girl because some words of this minority language spoken in the Balkans sounded like 'Romanian with the syllables turned upside down' to her - mysterious and familiar at the same time. Thus, the search for ancient songs, some of them long forgotten, led right to the production of 'Dor', the debut album of 'Troica'. Romanian folk music, however, was only the starting point for the ten pieces on the album. Although the roots of these songs are in Romania, when listening closely you will find that they sometimes reach out far beyond their 'home country' - ultimately, into another world. Thus, 'Departari/Afar' is a piece that might as well be based on the song of a female shaman from Siberia or an Inuit chant from northern Canada. Claudia Cervenca has found two congenial partners in Jan Roder on double bass and Uli Soyka on drums, who support her with extraordinary empathy. Together, these three musicians, highly experienced in jazz and free improvisation, create a common language, a style of 'painting' that uses rhythms, sounds, bird calls as on 'Pasaruca de la Munte' ('Little Mountain Bird') to give the entire album a consistent musical character.