In the dreamlike mountainous region of Austria — site of “Sound of Music” — for the 42nd time, time was shaped by rhythm and harmony during the Jazzfestival Saalfelden‘s approximately 60 concerts in seven different venues.
Musicians shared not necessarily of the same musical dialect but of the same language – the sound of music — with soulmates. The most diverse of European festivals, Saalfelden included mainstream jazz, avant-garde, improvised, creative and contemporary music performed by Americans and Europeans in an adventure in sound, silence and freedom of expression. Here is some of what I saw.
Saalfelden festival is promoted by state radio media supporter ORF Ö1; financed by the local county/region and national tourism funds, with further grants from Mercedes. Austrian Train OBB, bier ZIpfer and Raiffeisen Bank. Ticket sales, reportedly 18,000 this year, have resulted in a positive income balance.
The fest audiences aren’t limited by age, though the average is middle aged and older, and up to 60% of them seem to be the steady core who have come dependably for years. What everyone has in common is an attitude and curiosity toward creativity, attentiveness and discipline or readiness to discover the music worlds of others.
For few days town is inhabited by “the Jazzmen” — a living jazz who’s-who of Austrian and European circles, in an everyday context, walking down the street, sitting in a restaurant. This is a magical touch that adapts the silence of a small town. Its range is wide, as musicians, journalists, photographers, jazz-club artistic directors, promoters and producers live and socialize as a great family with openness and affection, modestly. These people, whatever their work, are all deeply dedicated to the jazz concept, however they view it, implementing it in their worlds. They are mostly very highly educated. Everybody is deeply committed and very grateful for the musical experience they are participating in: Coming in time to the show, silently and sharply listening, having an argumentative opinion, actively responding, applauding. They are a highly demanding but good-humored audience.
Outdoor stages are programmed to attract local citizens so the music is vivid and varies in genre from “world” to “alternative.” The Nexus Kunsthaus (meaning Arthouse) is predominantly oriented to experimental and modern sounds, geared toward younger audience. And the Mainstage is . . . well, the mainstage. A touch of the eternal is added with local venues amid nature, woods, lakes, where the program is in synchrony with pulsation of life itself.
