In the organizer's words:

In four different pieces, multi-instrumentalist Nikolaus von Bemberg explores the complex relationship between performer and instrument.

Rob Durnin's Polyptych explores different attitudes of a pianist towards the piano - resentment, fears, intimacy - in a sequence of short movements, while Pauline Oliveros' haunting work for accordion and voice, Horse sings from cloud, has the performer singing in meditative symbiosis with his instrument.

Jeppe Just Christensen's Cinema organ #1, on the other hand, is written for an old practice piano that was originally used for quietly practicing fingerings and invites the listener into an intimate space that is otherwise hardly accessible to an audience.

The pieces are strikingly performative. In Polyptych, for example, the grand piano is divided into a kind of
theater with smaller instruments. The pianist is connected to the piano via a complex network of transducers and microphones attached to his fingers. This creates a sphere of feedback between performer and instrument. As an apparatus that absorbs the performer's experiences, Polyptych's piano reproduces the music that has already been played.

Similarly, in Cinema organ #1, the instrument is transformed into a kind of "multipiano" that triggers and controls a multitude of automatic instruments and machines. The silent practice piano, seemingly useless as an actual instrument, thus becomes the source of an unexpected abundance of sounds.

Program
Rob Durnin (*1998): Polyptych (2025) German EA
Pauline Oliveros (*1932-2016): Horse sings from cloud (1982)
Jeppe Just Christensen (*1978): Cinema organ #1 (2025) German EA
The Beatles: Norwegian Wood (Arr. Pauline Oliveros 1989)

Nikolaus von Bemberg (piano, performance, accordion, self-made instruments and sound equipment)

Price information:

Discounts for pupils, students, pensioners aged 67 and over, people with disabilities.