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Hauschka
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Artistas similares de gira
Última publicación
Hauschka
hace 2 meses
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
Bandsintown Merch
Circle Hat
$25.0 USD
Live Collage Sweatshirt
$45.0 USD
Rainbow T-Shirt
$30.0 USD
Circle Beanie
$20.0 USD
Fotos en vivo de Hauschka
Ver todas las fotos
concerts and tour dates
Anteriores
ABR.
27
2024
Madrid, Spain
National Music Auditorium
Estuve allí
MAR.
01
2024
Los Angeles, CA
Hollywood Forever
Estuve allí
FEB.
29
2024
San Francisco, CA
The Chapel
Estuve allí
FEB.
28
2024
Seattle, WA
The Crocodile
Estuve allí
FEB.
25
2024
Washington, DC
The Hamilton Live
Estuve allí
FEB.
24
2024
Beacon, NY
Dia Beacon
Estuve allí
Mostrar más eventos
Opiniones de seguidores
Johannes
5 de febrero de 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
Ver Más Reseñas
Acerca De 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.
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.
Mostrar más
Géneros:
Other, Ambient, Electronica Pop, Experimental Piano Music, Classical Music, Classical
No hay próximos espectáculos
Envía una solicitud a Hauschka para que dé un concierto en tu ciudad
Solicitar un espectáculo
Artistas similares de gira
Última publicación
Hauschka
hace 2 meses
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
Fotos en vivo de Hauschka
Ver todas las fotos
Bandsintown Merch
Circle Hat
$25.0 USD
Live Collage Sweatshirt
$45.0 USD
Rainbow T-Shirt
$30.0 USD
Circle Beanie
$20.0 USD
concerts and tour dates
Anteriores
ABR.
27
2024
Madrid, Spain
National Music Auditorium
Estuve allí
MAR.
01
2024
Los Angeles, CA
Hollywood Forever
Estuve allí
FEB.
29
2024
San Francisco, CA
The Chapel
Estuve allí
FEB.
28
2024
Seattle, WA
The Crocodile
Estuve allí
FEB.
25
2024
Washington, DC
The Hamilton Live
Estuve allí
FEB.
24
2024
Beacon, NY
Dia Beacon
Estuve allí
Mostrar más eventos
Opiniones de seguidores
Johannes
5 de febrero de 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
Ver Más Reseñas
Acerca De 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.
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.
Mostrar más
Géneros:
Other, Ambient, Electronica Pop, Experimental Piano Music, Classical Music, Classical
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