Műfaj
Acoustic/Classic/Gothic

A zenekar tagjai
Marcus Testory Vocals,Guitar,Arrangements
Ralph Müller Guitars, 1998 – 2001
Katharina Kranich Cello, 1998 – 2006
Elisabeth Kranich Violine, 1999 – 2006
Valerie Bährle Violine, 1998 - 2001
Nathalie Eis Bass, Piano, 1999 – 2006
Robin Hoffmann Guitars, 2001 – 2004
Tina Kögel Violine, 2002 – 2006
Frauke Dennerlein Viola, 2002 – 2004
Ralf Hübner Violine, Guitar, since 2004
Olga Hübner Viola, since 2004
Christoph Aschauer Piano, Drums, 2004 - 2006
Matthias Schabow Piano, 2005 – 2006
Sabina Bogus Violine, since 2006
Ludmila Firagina Cello, 2006 – 2008
Matthias Debus Bass, 2006 – 2008
Tim Warweg Percussions, Drums, 2006 – 2008
Holger Düchting Guitars, 2006 – 2008

Szülőváros
Vienna

Lemezkiadó
Delicious Releases

Névjegy
http://www.chamber-online.de

Életrajz
I bet they all live together in an archaic crypt, I thought as I listened to the chamber debut L’Orchestre de Chambre Noir in 2002 – with decaying vaults and wall paintings lit up by a multitude of candles, or in an old manor house. Befittingly, they would meet in the evenings in the small music room, decorated with wine coloured velvet curtains, to intone their solemn repertoire with guitars, cellos, double bass and violins, by red wine and candle light. And whenever guests were invited to one of these gatherings, they would be greeted by darkly clad, serious and intense musicians, and many pairs of eyes would show a strange gleam when listening to the Easter Song or the sad Pleasure and Pain. In our editorial office, the piece was repeatedly awarded 9.5 of 10 points. It could be described as being thoroughly successfully.

One year later, the bleak and exalted dwelling gave way to a light-filled land house, and the musical fellows were removed, in my fantasy, to a wild and beautifully overgrown garden with remote corners and homely hiding places. Only here could the King of the Elves himself have granted permission to enter, A Tale of Real Love have been conceived and In My Garden have been written. And where else, when not in an enchanted garden, would one discover the actual and real truth about Snow White? I was now quite sure that there was more to Chamber than merely serious musicians; and cried – almost – to Shall I Fall, laughed about Little Devil and awarded the timepiece Ghost Stories And Fairy-Tales a well deserved 10 from 10 points in the mythical rating system.

I met the leader of the dark chamber orchestra for the first time in the accompanying interview. Marcus Testory – a resident of Vienna par excellence! A bit of a spiritually minded philosopher, a somewhat crazy alternative thinker who likes to laugh and to enjoy life, who tells me of his childhood dreams with starry eyes, fairies, gnomes and his love of music and, at the same time, ensures me that he doesn’t run through the woods wearing a goblin’s hat. I was immediately convinced that Chamber is home to some very strange musicians.

Another year passed. The legendary acoustic performance in the Orkus-Café was not forgotten yet, but we were already listening again to new Chamber gems in a nocturnal circle of tents at the 2004 Wave Gothic Meeting. With great melodies, piano and strings, Miles Away – A Premonition of Solitude got ready to send a wave of melancholy throughout the country, reaching considerably greater masses. The fantasy images of the exalted manor house reappeared immediately, although the loveliest pieces were being presented in a light and friendly music lounge, and all of those present were daydreaming about their very personal desires and thoughts, with a glass of Champagne and songs such as Miles Away, In Your Eyes or Beautiful Betrayal. Like me, they would have believed that the disc was an exception, being serious from start to finish, if the album Solitude had not appeared only a few months later, confronting them with all facets of loneliness and suiting the dismal autumn months. Dark clouds appeared to be looming over the black ensemble; they broke with The Morning After, I Hate Falling In Love and Moonchild, and I would probably have been convinced that behind Chamber were, at last, mature and really serious musicians, if the cover album The Stolen Child had not appeared at the same time. Although this did not contain compulsively happy songs, it did ensure a great deal of live fun, which was demonstrated instantly – and, for the first time, with a bang (of the drum) – throughout Germany.

One republication (L’Orchestre de Chambre Noir), one new publication of the Chambers Quadro Nero album Epilogue and an amazing Once In A Lifetime tour with ASP followed until the unbelievable happened later in 2006: The paths of the companions of many years separated, four ladies left the dark chamber orchestra, their future appeared uncertain. But the remaining gentlemen would not have been real Chambrinis if they had surrendered to misery and thoughts of becoming early musical pensioners. New musicians were sought and found, among others, in the ranks of the Frankfurt Philharmonic. New songs were written and even the King of Elves returned, and with him the fantasy, to become part of the wonderful album Transitions, which provided the extraordinary ensemble with a very promising rebirth in 2007.

We are now in year 10 of the Chamberal age and hardly anyone can predict what surprises we can expect. May it be many and may the black orchestra never be short of joy and inspiration – open hearts and ears are a certainty.

Doreen Krase

Válasz