Approximation Festival
PHOTO: © Approximation Festival

Approximation Festival

Am Backesberg 2 40629 Düsseldorf Navigation >
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Approximation at the FFT for the second time! This gives the festival space for its next debut:

the world premiere of the video work "À la Gould" by artist William Engelen, realized in cooperation with KAI 10 | ARTHENA FOUNDATION. At its center, the legendary pianist Glenn Gould, his often undogmatic approach to music and his extraordinary individuality. In this sense, Engelen's work of art also sums up the credo of Approximation. Emeka Ogboh then places the sounds of life, which were merely tolerated by the humming Gould, at the center of his compositions. Voices and ambience of the streets merge with electronic dub sounds. Cellist Mabe Fratti accompanies herself with her own voice. Supported by her band, she embarks on sound journeys that range from old music to the echoes of Latin American traditions in contemporary rock. Meanwhile, Kelly Moran' s mesmerizing compositions for the prepared piano point back to the origins of the festival. But that's not all! Three days, eight concerts plus DJ sets. Music of a changing world, the future of tradition or tradition of the future at a festival that is always striving for something new.

A festival in search of boundaries. The idea for the Approximation Festival arose from the motivation to unite musicians and composers in a project that dares to cross borders on the piano. The festival aims to approach (approximate) this versatile instrument in a new, innovative way and on the basis of a wide variety of contexts and styles. The Approximation Festival was launched in 2005 in the Salon des Amateurs in the Kunsthalle Düsseldorf by Volker Bertelmann (HAUSCHKA) and Aron Mehzion. When Approximation was founded, the focus was still on the interface between piano and electronic music, but connections to other forms of experimental and new music soon emerged. In the following years, Approximation's approach expanded to become a cross-border festival in miniature, which sought out and presented extremes with its contrasting concerts. The concerts were not only aimed at a "classical" audience, but also inspired a clientele of listeners more at home in the fields of avant-garde, new music, jazz, lounge, pop and experimentation: an attempt to set its sights on new horizons in the area of the audience impact of music. The Approximation Festival also sees itself as an experimental platform that brings together musicians from different generations, nations and scenes, as a forum for the contemporary exploration of piano and keyboards, but also other instruments, voices, performance and performance practices. The concentration of extremely diverse genres within the framework of this mini-festival offers all participants - musicians and audience alike - extraordinary concert experiences and an attack on established listening habits. The invited artists, as well as students and interested amateurs, will have the opportunity to collaborate with musicians and composers from completely different genres or contexts.

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