The strong ones start strumming. Jump, dance.Then the sopranino recorders sing a riff that you won’t forget once you hear it.It looks like a medieval Christmas market.And then the saxophone sings with the baroque oboe, which Agnetha Fälskrog sang in 1979. A song about loneliness. A great disco melancholy. “Give me! Give me! Give it to me!”.
Moment. Lutes, saxophone, recorders, baroque and Abba? Before you get the impression that we or the Berlin Lautten Compagney, one of the boldest original sound groups for exactly 40 years, have smoked a bag of Lauterbach – but none of us have.
This time Bo Wiget, Swiss cellist and arranger of Lautten Compagney and big Abba fan, had the brilliant idea of taking ten songs by Björn Ulvaeus and Benny Anderson from thier platform soles, giving them a fully new dance floor and a new to personalize a garment. And, so to speak, illuminate it from the inside with completely new glitter balls.
Wolfgang Kaschner, lutenist and co-founder of the company, thought the idea was great, especially when you combine Abba with Jean-Philippe Rameau, the revolutionary dance composer of Louis-Quince – the dissen bourgeois classics of the Stockholm village and the graceful ballet of Versailles 18th century oddities.
“dancing Queen” is the name of the album,for which the company strengthened itself with saxophonist Asya Fateyeva. the idea itself is obviously not a revolution. It is willingly brought to the greater honor of streaming numbers. you can certainly believe that Lautten Compagney doesn’t care.
Like on their Purcell/Beatles album, they don’t want to artificially document closeness, but they don’t actually want to gaslight people either. They want to have fun. Which they (and we) have precisely as Bo transformed Wiget from “Waterloo” and “Mamma Mia” and “Lay All Your Love On Me” into the wintry forest of harmonious miracles of transformation. here jazz shines, Abba dances in the undergrowth of baroque counterpoint, the colors shine.
This helps against the last remnants of the November depression.And who when the fusion of “Money, Money, Money” with Rameau’s “Tambourin” from the ancient ballet “Les Fêtes d’Hébé” is danced in headphones, is not with a broad (which once again dose not its an allusion to the Lauterbach Stock Exchange is) smiling sitting there, there’s nothing to do in this world right now.
What are the main elements of baroque music that influence Bo Wiget’s arrangements of Abba songs in the album *Dancing Queen*?
Rediscovering Abba: An Interview with Bo Wiget of Lautten Compagney
Time.news Editor: Welcome, Bo! It’s a pleasure to have you with us. Your latest project combines the iconic sounds of Abba with the rich textures of baroque music. What inspired you to create this unique fusion?
Bo Wiget: Thank you for having me! As a long-time fan of Abba, I’ve always been inspired by their melodies and emotional depth. The idea came to me to arrange ten of their classic songs in a way that incorporates elements of baroque music, particularly those from Jean-Philippe Rameau. The goal was to create a vibrant dancefloor atmosphere while giving these songs new life and depth.
Time.news Editor: That sounds fascinating! How did you choose which Abba songs to include in the album Dancing Queen?
Bo Wiget: We selected songs based on their emotional resonance and the potential for change. Songs like “Waterloo,” “Mamma Mia,” and “Lay All Your Love On Me” lend themselves well to baroque arrangements. We wanted to evoke feelings of joy and nostalgia while also introducing fresh perspectives that highlight the intricate patterns of both genres.
Time.news Editor: It’s interesting to see the blend of different musical styles.Can you elaborate on the collaborative process within Lautten Compagney for this project?
Bo Wiget: absolutely! The Lautten compagney has always prided itself on pushing boundaries. Collaborating with saxophonist asya Fateyeva added a jazzy layer to our sound. The lutenist Wolfgang Kaschner and I exchanged ideas extensively; we wanted to ensure that every arrangement created a balance between the spirited essence of Abba and the refined aesthetic of baroque music. it was all about fun and innovation!
Time.news Editor: Considering the resurgence of interest in retro music and the blending of genres, what do you think this project says about the future of the music industry?
bo Wiget: the music industry is continuously evolving, embracing nostalgia while encouraging innovation. By blending genres like baroque and pop, we not only honor classic works but also make them relatable to new audiences. It’s a celebration of creativity—musicians today can experiment fearlessly, and that’s exciting for the industry as a whole.
time.news editor: Your album has an intriguing title,Dancing Queen,suggesting a celebratory theme. How does it aim to counter feelings of isolation or melancholy?
Bo Wiget: That’s an excellent point! Music has the power to uplift spirits and foster connections,especially during challenging times. The blend of baroque and disco allows listeners to experience a joyous transformation,taking classic themes of longing and loneliness and infusing them with dance and celebration. We hope it resonates and brings warmth to audiences facing the winter gloom.
Time.news Editor: Speaking of bringing warmth, what practical advice would you give to artists looking to experiment with merging genres themselves?
Bo Wiget: I encourage artists to be adventurous and embrace their passions. Listen widely—explore different genres and past styles. Start with something you love and see how you can reinterpret it. Collaboration is key; working with other musicians can spark creativity and lead to unexpected results. Most importantly, remember to have fun!
Time.news Editor: Thank you, Bo, for sharing your insights and the creative journey behind Dancing queen! It’s a captivating project that certainly opens up new avenues for both classic and contemporary music lovers.
Bo Wiget: Thank you! It was a pleasure discussing our work with you, and I hope everyone enjoys the journey we’ve crafted through music.