Hauschka \ Хаушка
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Хаушка (нем. Hauschka), настоящее имя Фолькер Бертельманн (нем. Volker Bertelmann) — немецкий музыкант, пианист-экспериментатор. Бертельманн живёт в Дюссельдорфе, однако родом он из другого города — Ферндорфа (нем. Ferndorf, дословный перевод - «Далёкая деревня»). Один из его альбомов посвящён родному городу музыканта.
В своих композициях Фолькер использует так называемое подготовленное фортепиано. В корпус инструмента ввинчиваются шурупы, которые касаются некоторых струн, отчего те начинают скрипеть и дребезжать. Тем самым фортепиано приближается к ударному инструменту (wiki)
Although Volker Bertelmann is one of the most recognisable 21st Century proponents of what is known as prepared piano, one whose sound is altered by the insertion of alien objects between or upon its strings, hammers and dampers – he was barely aware of the champions of such a practise when he first began his experiments. Even John Cage was a largely unfamiliar name that fateful day when he sat in the studio of his friend Adam Fuest and, frustrated by the sounds he was making, starting placing random objects into the instrument.
What’s stranger still, one might think, is the fact that Bertelmann’s first forays into the public world were with major label hip hop act God’s Favourite Dog and a drum and bass quintet called Nonex. But, when you listen to his music closely, this perhaps makes more sense than you’d initially think: the sound of HAUSCHKA has always been both instinctive and fuelled by a love of rhythm. Bertelmann, you see, is clearly a man who knows his instrument – quite literally – inside out, and he’s as unafraid of approaching it with a fresh sensibility as he is capable of drawing upon an unusually broad church of influences.
Volker Bertelmann first began to study the piano when he was nine after an epiphany while attending a Chopin performance in his hometown near Düsseldorf, Germany. Despite seven years of classical training at school, and then a further two years with a private tutor, his interests were never as pure as the tutelage he received. Soon he was employing his new musical skills to play along with his favourite records on keyboards and synthesisers – he had a particular fondness for Jeff Wayne’s War Of The Worlds – and, later, to perform with covers bands. After coming of age, he redirected his attention towards a medicine and economic education, but soon turned his back on this to study Popular Music in Hamburg.
By the age of 18, Bertelmann had already composed his first film score, and having picked up a deal with Sony Music in 1994, he spent much of the next few years rapping and playing keyboards with God’s Favourite Dog before forming Nonex, with whom he released two albums in 1997 and 1999. As the 21st Century got underway, he hooked up with Torsten Mauss to form Tonetraeger – who blended post-rock and electronica with significant panache – and also with Luke Sutherland (Long Fin Killie) and Stefan Schneider (To Rococo Rot) to work under the name Music A.M.
It was during this period that he became more and more fascinated with electronic music, developing a particular interest in stripping back anything that he considered redundant within his compositions, until the obsession led to him trying to achieve a similar effect without the use of electricity at all. He discovered that placing material within a piano opened the doors to a whole new sonic world in which he could transform his instrument so that it loosely replicated the sounds of all sorts of others, whether bass guitar, gamelan or the hi-hat cymbal of a drumkit... (Hauschka)
Если коротко, очень меня заинтересовала и порадовала эта музыка, одновременно звучащая чисто и сильно - как полагается классическому пианино - при этом ритмично и несогласованно, непредсказуемо, - как полагается минималу - и несколько искаженно, шире и неожиданно - как полагается подготовленному пианино.
Хорошая музыка и для фона, и сама по себе. Этакий минимал изи листнинг, может быть. Советую, если имеете вкус к чему-то подобному.
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