“You’d better think about how the bark of the Tree Grow zugucke,” says Jaan Bossier and laughs. As a clarinetist, he plays pieces, which difficulty high-profile colleagues to capitulate. Recently at the Frankfurt Ensemble Modern, for example, thirteen years ago, premiered “Art of Metal” by Yann Robin, he had to cope with on a contra-bass clarinet made of metal: “I practiced For three months every day, really hard.”

The power to Bossier draws in the woods. There he is running around like he sometimes comes barefoot on the stage. “Often I’m several days out,” says the native Flame. Together with his wife and eleven-year-old son, he lives in Bad Schwalbach, near the forest. He loves moving beyond the trails, cross-country. The same applies to music. He not only plays in the Ensemble Modern, but also in the Lucerne Festival Orchestra and Mahler Chamber Orchestra. “Only a single Ensemble would be too boring for me,” he says. “I also have contact with the best musicians in the world,” he adds, and stresses that all three sound body “are no service orchestra”: “Since everyone is awake.”

“I founded boring”

Along with three similarly bright colleagues, he is the Jaan Bossier Quartet. The most recent Album is called “Klezmenco”. For Klezmer, says Bossier, he had always been a strong affinity to the traditional Klezmer-Track support: “That’s too boring for me.” When he got by accident once by Federico García Lorca collected from the “Canciones populares antiguas” in the hands, he knew immediately what he wanted: on the road between Flamenco and Klezmer, between two emotionally equally deeply touching music styles.

And the motives and melodies of the install a music in the other, and both in addition, with a Private link, finally, Flamenco means “” Yes “Flame”. “The virtuoso shares flew came out of my clarinet,” says Bossier, so to speak, as a living example of the fact that the barefoot running is healthy: “The most unusual chords, and never, of course, more current meters are composed by me, with my fellow players contribute a lot. Everyone contributes something of their Own in the music. That is, each Time fresh and new and great.“

Folkloric authenticity

As the violist Florian Peelman, a member of the Quartet, which has recorded the CD, returned for the First in his Australian homeland, is now part of the charismatic Ensemble Modern-violist Megumi Kasakawa to the Ensemble. Except you can also play Gwen Cresens (accordion) and Axel Ruge (double bass). As a guest at the Flamenco singer Amparo Cortés also ensures the special moments of folkloristic authenticity.

With passionate Pathos she sings Lorca’s Zorongo, the Quartet plays with a wild Andalusian dance. Or the “De Profundis,” on the Bossier of his own composition, “From the deep”, follow: “My positive response to the sad poem of Lorca, and the serious tone of most of the artists of the twentieth century relate to the Psalm that starts with these words. My Version stands for hope. Hope on culture, love and humanity.“ The Farewell song of the album revolves around the conquest of Mexico “Adio Querida” lyrical farewell to the Sephardic Jews from Spain that sells them. With his own musical commentary Bossier wants to draw an overblown historical Background, but rather to show “that there is perhaps no longer a home, that we are all always on the go, always looking for”.