The eleven musicians of the ensemble "Damenwahl" wander through the most diverse musical styles and moods of Swiss folk music and make women the main theme.
Sociobiology, an evolutionary branch of behavioral biology, understands the mechanism of female choice as the fact that in the animal world it is predominantly the females who play the decisive role in mate selection. Social customs at dance balls in the 18th and 19th centuries, however, were different: The rule was that the man asked the woman to dance, who was allowed to decline but not to choose her own dance partner. The so-called ladies' choice - often the highlight of the festive dance event - reversed this principle: the women were allowed to choose, but it was not appropriate for the men to refuse the invitation - probably also in order to put a stop to the men's dancing muffles, as sources from 19th century magazines prove. We can read: "It was ladies' choice. Terrible word! They're driving me to death. I sank onto the nearest canapé from exhaustion and fell asleep." Or elsewhere: "At the ladies' election: 'Do you dance, sir?' - 'Not much today, as an exception. - 'But as a rule?' - 'Not at all'."
The somewhat different ladies' choice takes place in the Andermatt Concert Hall (and don't worry - no one has to be afraid of being dragged onto the dance stage): Many Ländler hits such as "Wybergschtürm" or "Die ruhigen Weiber in der Waschküche" describe women and 'their' issues, but are penned by men.
For a long time, the folk music scene - in which women were a marginal phenomenon - was dominated by men. The few women who exposed themselves in the field of folk music from the interwar years onwards were almost without exception active as (yodeling) soloists and rarely formed an integral part of instrumental folk bands. Even though the situation has changed considerably since then, female composers in particular are still underrepresented.
In the "Damenwahl!" project, the true 'Wybergschtürm experts' are now making themselves heard: eleven of Switzerland's most accomplished female folk musicians are performing a concert that celebrates the female contribution to Swiss folk music. In full group strength and in chamber music formations, they meander virtuosically and surprisingly through the most diverse styles between traditional and new folk music and offer female composers their well-deserved stage. Because there's no doubt about it, the time is ripe - it's the ladies' choice!
Ladies' choice:
Evelyn Brunner, double bass & Schwyzerörgeli
Kristina Brunner, cello & Schwyzerörgeli
Maria Gehrig, violin & recorder
Barbara Gisler, cello & double bass
Cristina Janett, cello
Madlaina Janett, viola
Hanna Landolt, violin
Gaby Näf, clarinet & saxophone
Martina Rohrer, double bass
Andrea Ulrich, accordion
Patricia Ulrich, piano
Note: This text was translated by machine translation software and not by a human translator. It may contain translation errors.
Sociobiology, an evolutionary branch of behavioral biology, understands the mechanism of female choice as the fact that in the animal world it is predominantly the females who play the decisive role in mate selection. Social customs at dance balls in the 18th and 19th centuries, however, were different: The rule was that the man asked the woman to dance, who was allowed to decline but not to choose her own dance partner. The so-called ladies' choice - often the highlight of the festive dance event - reversed this principle: the women were allowed to choose, but it was not appropriate for the men to refuse the invitation - probably also in order to put a stop to the men's dancing muffles, as sources from 19th century magazines prove. We can read: "It was ladies' choice. Terrible word! They're driving me to death. I sank onto the nearest canapé from exhaustion and fell asleep." Or elsewhere: "At the ladies' election: 'Do you dance, sir?' - 'Not much today, as an exception. - 'But as a rule?' - 'Not at all'."
The somewhat different ladies' choice takes place in the Andermatt Concert Hall (and don't worry - no one has to be afraid of being dragged onto the dance stage): Many Ländler hits such as "Wybergschtürm" or "Die ruhigen Weiber in der Waschküche" describe women and 'their' issues, but are penned by men.
For a long time, the folk music scene - in which women were a marginal phenomenon - was dominated by men. The few women who exposed themselves in the field of folk music from the interwar years onwards were almost without exception active as (yodeling) soloists and rarely formed an integral part of instrumental folk bands. Even though the situation has changed considerably since then, female composers in particular are still underrepresented.
In the "Damenwahl!" project, the true 'Wybergschtürm experts' are now making themselves heard: eleven of Switzerland's most accomplished female folk musicians are performing a concert that celebrates the female contribution to Swiss folk music. In full group strength and in chamber music formations, they meander virtuosically and surprisingly through the most diverse styles between traditional and new folk music and offer female composers their well-deserved stage. Because there's no doubt about it, the time is ripe - it's the ladies' choice!
Ladies' choice:
Evelyn Brunner, double bass & Schwyzerörgeli
Kristina Brunner, cello & Schwyzerörgeli
Maria Gehrig, violin & recorder
Barbara Gisler, cello & double bass
Cristina Janett, cello
Madlaina Janett, viola
Hanna Landolt, violin
Gaby Näf, clarinet & saxophone
Martina Rohrer, double bass
Andrea Ulrich, accordion
Patricia Ulrich, piano
Note: This text was translated by machine translation software and not by a human translator. It may contain translation errors.
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CHF 85.00 / 70.00 / 50.00 / 35.00
Children, pupils, apprentices and students (up to the age of 30) receive 50% off all regular tickets.
Children, pupils, apprentices and students (up to the age of 30) receive 50% off all regular tickets.
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