This project began in 2021 during the pandemic. With indoor concert venues closed, I chose to perform outdoors from a moving van, inspired partly by architect Kengo Kuma’s ideas on sustainability and architecture blending with its surroundings. His approach encouraged me to take classical music beyond the concert hall, releasing it into the open air

The project was completed in three parts, in all of which I perform the same Toccata in E-minor BVW 914 by J.S. Bach.
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Part I is an open air concert in a moving bus.
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Part II is a film that was created by the video artist Kentaro Taki using several recordings of Part I.
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Part III is called „Menu“, part of which involves interaction with the audience

The realization of the first two phases of this project was made possible thanks to Andreas Felden - Pro Piano, who provided the piano and the van and kindly drove all over town with me. Part II’s film was supported by Baden-Württemberg Ministerium für Wissenschaft, Forschung und Kunst

Playing in a totally different situation, several questions arose regarding the standard situation and conditions for performing classical music. I have listed the different aspects I tried to change - or rather to downgrade - to make each less comfortable and luxurious so as to experiment with the way it feels to perform in a totally different environment and conditions. These are the changes I made

From a performer’s perspective, this project highlighted the luxury of a traditional classical concert setting, with its carefully curated conditions that come at a cost. Sitting in an uncomfortable, moving chair in a van was a stark contrast, giving new appreciation to the usual concert environment. The most fascinating aspect was performing outdoors, especially in motion. Acoustically, it was captivating to hear the sounds of nature—birds, wind in the trees—mingling with Bach, along with the noise of cars on the highway and trucks parked in town. The encounters were unique: brief moments of eye contact with passersby, like someone walking beside a cornfield, creating connections that are impossible in a typical concert setting

part ii

I asked Kentaro Taki, a video artist with whom I have worked before, to make a collage film with the recording of part I. My aim was to research how much time, location and other conditions influence a performance. I played in different parts of the city - the suburbs and in the centre - at different times, from early in the morning to late after dark. These different scenarios were so interesting that I wanted to put them side by side, to be able to hear the difference of the acoustic conditions and surrounding views

Just like the downgraded situation, the recording devices are purposely handy, low-quality, non-professional. I used a GoPro8, Iphone 12Mini and a Zoom. These kept the handmade, lo-fi quality matching the upright piano. No extra microphones were used. The different devices have different
sound recording qualities and the noise produced by them is also meant to vary. No image or sound was edited.

part iiI

By realizing Parts I and II, and discussing Interpretation with the research group in KMH, a further question arose for me. How much interaction is there in a classical concert? How much can an audience affect a performance? Is it possible to offer a performance according to the audience’s wishes, not imposesd on them by the interpreter?

I wanted to give a concert in which the audience chooses „how“ they wished the pieces to be played. I wrote three different menus and showed them to the audience. The third was  „à la carte“  - meaning that I might be able to do whatever this person wishes. For each of four movements, the audience would choose how they would like to listen

Live in Depot K, Freiburg Jan 28 2023.
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The order was „à la carte“.
I. Low and slow, ambience
II. Orchestral
III. Slow
IV. fast and short

The audience almost always chose à la carte. One of the requests was to play as quietly as possible and very slowly with pedal. Of course I received requests such as, „as fast as possible“ as well. My aim was to see if there is more satisfaction in the audience if I play as they wish and I felt that this interaction did indeed function. The public felt involved and that I, the performer, was being attentive to their wishes. I definitely felt a different type of connection to the audience in these performances