Praised by The Times for his “mastery of an instrument once dismissed as a squeezebox”, accordionist Martynas Levickis has captivated audiences and critics alike with his musicality, charisma and dynamic performances. As one of the world’s leading exponents of the accordion, his virtuosity and versatility in the classical and contemporary repertoire has transformed the way we listen to the instrument.
Encouraged by his family, at the age of just three Martynas began to teach himself the traditional folk music of his home country, Lithuania. After he went on to study with Prof. Owen Murray at the Royal Academy of Music in London. Today he is the recipient of over 30 international awards.
Highlights of the 2019-2020 season include concerts at the Internationale Stiftung Mozarteum Salzburg, Heidelberger Frühling, Ronnie Scott´s Jazz Club London, Schloss Elmau and Dresdner Philharmonie.
In 2023 he will postpone his Artist in Residence at Mecklenburg-Vorpommern.
In 2015 he founded The Mikroorkéstra, which he directs in various projects either from the accordion or as a conductor.
Martynas Levickis has performed at venues including the Royal Albert Hall, St Petersburg Grand Philharmonic Hall, Wigmore Hall, the Auditorio Nacional in Mexico, Seoul Arts Center and at festivals such as, Dresdener Musikfestspiele, Thüringer Bachwochen, MDR Musiksommer, the International Chamber Music Festival Utrecht, Bath, Kissinger Sommer, Edinburgh Jazz Festival, Gaida.
Masterclasses and teaching are others important parts of Martynas’ work, and in past years Martynas has led residential courses at Dartington International Summer School and Ruse International March Music Days.
Fresu, Galliano and Lundgren are dissimilar characters, and yet in this trio these exceptional musicians with their different cultural heritages have found an alliance which fosters their affinities and creates symbiosis. They play instruments from different families, and yet together they combine to create an ideal sound. Each of the three is a compellingly melodic player. Each has worked to extend the perceived boundaries and limitations of jazz. Each has explored within his national musical tradition, and since all three grew up within a few miles of a shore-line, the sea has more than just a symbolic role: it is a constant presence, a source of inspiration, and the starting point for all kinds of journeys and encounters, real and imagined.
It goes without saying that all of these musicians are among the most constantly in-demand in Europe bar none. Fresu is involved in countless projects from film to ballet, and is often to be found on stage with musicians as diverse as Nguyên Lê, Ralph Towner, Uri Caine or Omar Sosa. Galliano is an endlessly curious musician. He moves freely between the jazz and the classical worlds and is always on the look-out for new creative inputs, whether working with the late Charlie Haden, with Charles Aznavour or indeed the Sinfonietta Krakow.
Jan Lundgren has not just Nordic broodiness and impressionistic esprit as part of his make-up,but equally present are his deep roots in the American jazz piano tradition, which have led to collaborations with mainstream jazz players such as Scott Hamilton or Harry Allen. Lundgren’s individuality and distinctiveness are part of what makes him a genuine first call pianist, whether it be for Wolfgang Haffner’s “Kind of Cool” project. Or, just recently, for Nils Landgren’s Leonard Bernstein Tribute “Some Other Time”.
The fact that all three are in such demand has meant that Fresu, Galliano and Lundgren have taken all of seven years to make a follow-up album to the hugely successful start they made together as a band. Nevertheless, it has to be said that the long wait for “Mare Nostrum II” has absolutely been worth it. All three musicians have once again written pieces whose ear-worm tendency is irresistible. The listener is instantly drawn in by the sheer beauty of sound
The ear can wallow in the bubbling and limpidly lyrical piano chords and rins that come from Jan Lundgren; the warm, unimaginably variable tone colours of Fresu’s trumpet and the cascades of counterpoint from Galliano also charm the listener. This collection contains melancholy ballads, the red-hot pasión and deep yearning of the tango (“Blue Silence”), and the Nordic colurs of “Kristallen den fina”. It steps into the world of Frech chanson (“Giselle”), whereas (“Farväl”) is like a classical Etude. “Aurore” is a radiant hymn and “ Leklåt” is a whirling boogie, racing against the clock.
In Kooperation with Frauenbad Heidelberg
In cooperation with Enjoy Jazz
Christoph König, violin, viola
Maurice Maurer, violin
Miroslav Nisic, accordion
Matthias Hacker, double bass
A virtuous classic violinist with a predilection for Eastern European gipsy music; a jazz violinist experienced when it comes to punk rock; an accordionist, master of improvisation, with the rhythms of the Balkans running in his blood, and a bassist who likewise feels at home be it in symphony orchestras, jazz combos, or funk bands…
Founded in 2007, Uwaga! pleasurably steps across any borderline seperating genres. By doing so, their acoustic crossover repertoire reflects the individual focus of each of the four musicians. Yet, these focuses conflated, and over the years, a very unique sound emerged somewhere in between classical music, jazz, gipsy music and modern pop.
This is what provides worldwide successes of Uwaga! for years already: Exuberant musicality and stylistic open-mindedness.
Uwaga!, meanwhile for more than ten years, refines the concerted vision of a music without borderlines. Showing undampered diligence, they create music that makes people happy, sets out directly for their hearts, and makes their legs move.
The ensemble ‘s multi layered sound is orchestral as well as percussive. They perform as a quartet, but also with renowned symphony orchestras from Germany.