The world-wide state-subsidized classical music in expensive opera houses may have long been considered the epitome of the established, but among its compositional authors there were not a few rebels such as Ludwig van Beethoven, Franz Schubert and Johann Sebastian Bach. Whether because of their artistic genius or their daring rebellion - compositions by Bach, Beethoven and Schubert also cavort in the unadjusted concept of an unusual duo from Frankfurt: The OhOhOhs. The pianist Florian Wäldele and percussionist Florian Dreßler invited pianist Florian Wäldele and percussionist Florian Dreßler to the summer meadow of the Frankfurt Jahrhunderthalle for the record release party of their first full length CD after various EPs. During the two-hour break, The OhOhOhs lived up to their name - the interjection “Oh” is used as an exclamation of astonishment or surprise.
From the first second on, the double Florian radiated a lot of fascination, which was immediately transferred to the crowd of visitors who were already partying. Strengthened by Michael Strecker (violin 1), Ines Strecker (violin 2), Carolina Rybka (viola), Attila Hündöl (violoncello) and Christian Undisz (double bass) from the Omnia Strings ensemble, the title song made a subtle introduction to it in serene minor tones classic cut. Even then, not only the virtuosity of Wäldele and Dreßler, but also the nature of the approach reminded one of a former innovator of the classical period, Jacques Loussier.
Mostly furiously instrumental, including Bach's “Prelude No. 2 in C minor ”as well as the first and third movements of Beethoven's“ Moonlight Sonata ”, which are sometimes animated by a good tempo, then throttled again, were joined by the wonderfully powerful, specially voiced music for the concert poles of calm“ Miracles ”and“ Death and the Maiden ” Soprano Maja Bader also came from Lucerne. Stylistically, several decisive factors merged into the new whole in The OhOhOhs: on the one hand Florian Wäldele's study of classical piano literature at the Frankfurt University of Music and his unorthodox interest in punk and techno. Florian Dreßler's years of percussive explorations from funk to downbeat to jazz and Latin rhythms serve as a brilliant addition at eye level.
In the early phase of the duo, which was inspired by the New York band Yeah Yeah Yeahs and characterized by legendary formations such as The Black Keys and The White Stripes, a synthesizer from the Yamaha SK-20 brand acted as the artistic catalyst. Exactly that electronic fossil celebrates a happy birth in the encore section, where The OhOhOhs set off completely detached from the classic like Saturday night in a large disco with fairground techno.