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Hauschka Tickets, Tour Dates and %{concertOrShowText}
Hauschka Tickets, Tour Dates and %{concertOrShowText}

HauschkaVerified

25,860 Followers
• 2 Upcoming Shows
2 Upcoming Shows
Never miss another Hauschka concert. Get alerts about tour announcements, concert tickets, and shows near you with a free Bandsintown account.
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Request a Show

concerts and tour dates

Upcoming
Past
all concerts & live streams

Official Merch

Philanthropy [LP]
$26.99 EUR
Philanthropy [CD]
$14.99 EUR
Philanthropy [Digital]
$9.99 EUR
What If [LP]
$21.99 EUR
What If [CD]
$14.99 EUR
02.11.14 [LP]
$21.99 EUR
Abandoned City [CD]
$14.99 EUR
Abandoned City [LP]
$21.99 EUR
Hauschka's tour

Live Photos of Hauschka

View All Photos

Latest Post

Hauschka
5 months ago
We’ve teamed up with Bandsintown to give away tickets to our tour dates on the Philanthropy US & Canada Tour! Sign up to enter https://bnds.in/hauschka

Fan Reviews

Johannes
February 5th 2023
Leider vom Podium keine Sicht auf die Musiker, da unnötigerweise eine Videowand (die nicht mal in Betrieb war) hinter der Bühne aufgebaut war.
Berlin, Germany@
Philharmonie
David
June 29th 2019
Simply hypnotic and beautiful!
Marrickville, Australia@
Factory Theatre
Amir
June 28th 2019
Awesome!
Marrickville, Australia@
Factory Theatre
View More Fan Reviews

About Hauschka

Hauschka is the alias of German pianist / composer Volker Bertelmann, who currently resides in Dusseldorf. Having studied classical piano for ten years, his work as Hauschka is based upon a playful exploration of the possibilities of the ‘prepared’ piano - a playfully disruptive intervention into the preconceived idea of the piano as a pure-toned, perfected instrument waiting for a gifted virtuoso to play on it.

Clamping wedges of leather, felt or rubber between the strings; preparing the hammers with aluminium paper or rough films; placing crown corks on the strings, weaving guitar strings around the piano’s guts, or pasting them down with gaffa tape - his resulting tracks are composed both originally and charmingly. The results are vivid, unconventional pieces made in a spirit of playful research-enthusiasm.

Rather than striving for any purist academic perfection, Volker’s playing seems as much informed by modern electronica or Indonesian gamelan as it is by any classical cannon. With the aid of his interventions, the piano becomes as much a machine for generating rhythms as it does for melody. Now and again Hauschka utilises additional, non-piano sounds such as synthesizer, drum machine, electric bass, or other acoustic instruments like vibraphone, strings or brass. His pieces may be seen as small rhythmic sound-vignettes or just quiet ballads which have their roots in east-asian harmonies, the minimalism of Reich, Glass, Nyman, etc., and also in Satie or Ravel.

The foundations of Hauschka’s piano music can equally be traced back to 20th Century composers like Henry Cowell, who picked the strings of his piano as if it were a zither. Cowell in turn influenced John Cage, who redefined the rules of piano sounds and playing with his own experiments. Inserting bolts, screws, and numerous other objects in between and on top of the strings, Cage created new sounds and percussive elements to the act of playing, redefining possibilities for the instrument. The rustling, drumming, harmonic soundings of these various objects has consequently inspired a whole bunch of composers, amongst them Arvo Pärt, Steffen Schleiermacher, Frangis Ali-Sade, Edison Denissow or Philip Corner and other artists from radical ’60s grouping, Fluxus. But it would be too easy to locate the playful in the serious or academic realms. What Fluxus had constantly been trying to undermine, others have been succeeding in with a whole different kind of verve: in the ’50s Fritz Schulz-Reichel became a celebrity under the name of “Schräger Otto”, his modified Ragtime sounds making him a huge success in the USA. Since then modified piano-hammers or strings have appeared as an effect in various pop music tracks. In the early ’80s U.S.-hipsters like The Flying Lizards or The Waitresses were experimenting with metallic, distorted piano sounds, not denying their avant-garde references.

Before his involvement with FatCat, Hauschka released two albums on the Karaoke Kalk label - ‘Substantial’ (2004) and ‘The Prepared Piano’ (2005); and a 7”, ‘What A Day’ (2005) on the Ear Sugar label. Besides working as Hauschka, Volker is a member of Music A.M., a collaboration with Stefan Schneider (To Rococco Rot) and Luke Sutherland (Long Fin Killie); and of the electronic / club tracks duo Tonetraeger, his project with Torsten Mauss.
Show More
Genres:
Classical Music, Ambient, Electronica Pop, Experimental Piano Music, Other, Classical

No upcoming shows in your city
Send a request to Hauschka to play in your city
Request a Show

concerts and tour dates

Upcoming
Past
all concerts & live streams

Live Photos of Hauschka

View All Photos

Latest Post

Hauschka
5 months ago
We’ve teamed up with Bandsintown to give away tickets to our tour dates on the Philanthropy US & Canada Tour! Sign up to enter https://bnds.in/hauschka

Official Merch

Philanthropy [LP]
$26.99 EUR
Philanthropy [CD]
$14.99 EUR
Philanthropy [Digital]
$9.99 EUR
What If [LP]
$21.99 EUR
What If [CD]
$14.99 EUR
02.11.14 [LP]
$21.99 EUR
Abandoned City [CD]
$14.99 EUR
Abandoned City [LP]
$21.99 EUR
Hauschka's tour

Fan Reviews

Johannes
February 5th 2023
Leider vom Podium keine Sicht auf die Musiker, da unnötigerweise eine Videowand (die nicht mal in Betrieb war) hinter der Bühne aufgebaut war.
Berlin, Germany@
Philharmonie
David
June 29th 2019
Simply hypnotic and beautiful!
Marrickville, Australia@
Factory Theatre
Amir
June 28th 2019
Awesome!
Marrickville, Australia@
Factory Theatre
View More Fan Reviews

About Hauschka

Hauschka is the alias of German pianist / composer Volker Bertelmann, who currently resides in Dusseldorf. Having studied classical piano for ten years, his work as Hauschka is based upon a playful exploration of the possibilities of the ‘prepared’ piano - a playfully disruptive intervention into the preconceived idea of the piano as a pure-toned, perfected instrument waiting for a gifted virtuoso to play on it.

Clamping wedges of leather, felt or rubber between the strings; preparing the hammers with aluminium paper or rough films; placing crown corks on the strings, weaving guitar strings around the piano’s guts, or pasting them down with gaffa tape - his resulting tracks are composed both originally and charmingly. The results are vivid, unconventional pieces made in a spirit of playful research-enthusiasm.

Rather than striving for any purist academic perfection, Volker’s playing seems as much informed by modern electronica or Indonesian gamelan as it is by any classical cannon. With the aid of his interventions, the piano becomes as much a machine for generating rhythms as it does for melody. Now and again Hauschka utilises additional, non-piano sounds such as synthesizer, drum machine, electric bass, or other acoustic instruments like vibraphone, strings or brass. His pieces may be seen as small rhythmic sound-vignettes or just quiet ballads which have their roots in east-asian harmonies, the minimalism of Reich, Glass, Nyman, etc., and also in Satie or Ravel.

The foundations of Hauschka’s piano music can equally be traced back to 20th Century composers like Henry Cowell, who picked the strings of his piano as if it were a zither. Cowell in turn influenced John Cage, who redefined the rules of piano sounds and playing with his own experiments. Inserting bolts, screws, and numerous other objects in between and on top of the strings, Cage created new sounds and percussive elements to the act of playing, redefining possibilities for the instrument. The rustling, drumming, harmonic soundings of these various objects has consequently inspired a whole bunch of composers, amongst them Arvo Pärt, Steffen Schleiermacher, Frangis Ali-Sade, Edison Denissow or Philip Corner and other artists from radical ’60s grouping, Fluxus. But it would be too easy to locate the playful in the serious or academic realms. What Fluxus had constantly been trying to undermine, others have been succeeding in with a whole different kind of verve: in the ’50s Fritz Schulz-Reichel became a celebrity under the name of “Schräger Otto”, his modified Ragtime sounds making him a huge success in the USA. Since then modified piano-hammers or strings have appeared as an effect in various pop music tracks. In the early ’80s U.S.-hipsters like The Flying Lizards or The Waitresses were experimenting with metallic, distorted piano sounds, not denying their avant-garde references.

Before his involvement with FatCat, Hauschka released two albums on the Karaoke Kalk label - ‘Substantial’ (2004) and ‘The Prepared Piano’ (2005); and a 7”, ‘What A Day’ (2005) on the Ear Sugar label. Besides working as Hauschka, Volker is a member of Music A.M., a collaboration with Stefan Schneider (To Rococco Rot) and Luke Sutherland (Long Fin Killie); and of the electronic / club tracks duo Tonetraeger, his project with Torsten Mauss.
Show More
Genres:
Classical Music, Ambient, Electronica Pop, Experimental Piano Music, Other, Classical

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