Tenger, meaning ‘sky’ to the Mongolians, represents the supreme spiritual entity. It can be contemplated through the opening of the toono, the crown that rests on the pillars of the yurt. The wind flows through it, as does sound. Such is the poetry of Tengerton. Their debut album, Ilch, symbolises gentle human and musical warmth. This quartet blends several inherited influences: traditional and classical Mongolian music – both strongly shaped by the Soviet period (1921–1990) – and the contemporary musical experiences of each musician. Tengerton’s open-mindedness is reflected in the diversity of their ages. Four generations, each ten years apart, hailing from families of musicians representing several provinces of Mongolia.
Tengerton’s music draws on two iconic elements of the Mongolian musical tradition: the morin khuur horsehead fiddle and the fascinating khöömii overtone singing.
The formation of this quartet around the morin khuur, combined with traditional playing techniques, has elevated the subtlety of Mongolian music to the same level as that of Western classical music. The essence of musical nomadism is still found in the imitation of the sounds of nature and animals.
Tengerton is based in Germany, and the influence of this
Western home is evident in the incorporation of influences from the blues, flamenco and even jazz. We also rediscover Mongolian classical music through the works of the major composers, Choidog and Sharav.
From Mongolia to the West, Tengerton has established itself as a major international group, a leading force in the promotion
of traditional Mongolian music. A new musical wind is blowing across the steppe… (according to Johanni Curtet le rayonnement
de la musique traditionnelle mongole. Un vent musical nouveau souffle sur la steppe… (d’après Johanni Curtet)