A Different Forest Hauschka
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- Hauschka (b. 1966):
- 2Dew and Spiderwebs02:13
- 3Talking to my Father03:28
- 4Urban Forest02:46
- 5Hands in the Anthill04:23
- 8Bark and Moss01:28
- 9Skating Through the Woods03:29
- 10Daybreak over Covent Garden04:05
- 11Everyone Sleeps02:50
- 13Another Hike03:38
Info for A Different Forest
For his new album A Different Forest, the Oscar-nominated composer and pianist Hauschka presents his experience of nature as a metaphor for the pursuit of the meaning of life.
Hauschka on his new album, A Different Forest: "In A Different Forest I'm focusing on the forest as a natural environment and contrast to the urban everyday life; to my surroundings. Where do I want to live and work? What surroundings do I need in order to feel fulfilled? By examining these questions I always come back to nature. How often have I gone for a walk and finished on the crest of a hill or mountain top, and found a new perspective on things. Its quite a moving experience. The experience of the sublime. Realising that everything has been there for such a long time and will continue to exist, yet in contrast, our human existence is reduced to but a fraction of the earths history."
Jazz and pop music: It goes without saying that The Concertgebouw and jazz & pop music make a perfect combination. The stages of both the Main Hall and the Recital Hall have borne witness to nearly the whole of jazz history. Sarah Vaughan and Ella Fitzgerald have both performed here, as have Miles Davis and Louis Armstrong. Famous pop stars and bands that have graced the stage of the Main Hall include Frank Zappa, the Doors and the Eagles, to name but a few. Legendary concerts, in the present as well as the past.
Hauschka (Volker Bertelmann)
is a composer, songwriter and experimental musician who has brought an exciting new perspective to the prepared piano. The prepared piano – a technique for getting new sounds from the acoustic keyboard by resting pieces of paper or drumsticks on the strings of the instrument - has been used for centuries, but Hauschka was unaware of the tradition when, at the dawn of the new millenium, he began exploring ways to get new sounds out of his Bechstein grand upright. “I wanted the sound of a hi-hat (cymbal) to add a percussive effect to a composition I was writing. I took foil from a Christmas cake and wrapped it around the strings [inside the piano]. From there, I was inspired to use other objects on the strings to get bass drum sounds, or tacks on the piano hammers to get the sound of a harpsichord. When I was playing techno music, I had samplers where you could get a different sound on every key. I thought it would be great to have that effect on an acoustic piano. I was not aware of John Cage (one of the first 20th century composers to use prepared piano) when I started searching for ways to alter the sound of the keyboard, but as I got more into prepared piano, I was influenced by Cage’s theories.”
The Prepared Piano, Hauschka’s first recording using prepared piano, was a solo album of spontaneous improvisations. The sounds he generated changed the course of his musical journey and he’s since used prepared piano in a variety of settings. On Ferndorf, pieces composed in honor of his childhood home in Germany, he balanced improvisation with compositions that featured cellists, trombonists and violinists playing his inventive arrangements. The ‘acoustic techno’ of Salon des Amateurs featured drummers Samuli Kosminen (Múm), and Joey Burns and John Convertino (Calexico) and dropped subtle electro effects into the mix. On Silfra, an improvised collaboration with classical violinist Hilary Hahn, he dipped into classical music and ambient pop to create an expansive soundscape. With Abandoned City, Hauschka returns to the solo prepared piano to produce an evocative work full of unexpected grace notes and mysterious sounds.
This album contains no booklet.