Hauschka 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.”
Volker Bertelmann is a composer/pianist (born October 11, 1966 in Ferndorf, Kreuztal, North Rhine-Westphalia, Germany), who currently resides in Düsseldorf, North Rhine-Westphalia, where he has lived since 1990 after he moved from Cologne. He started releasing music as Hauschka in 2004.
Volker studied classical piano for ten years. His work as Hauschka is based upon a playful exploration of the possibilities of the ‘prepared’ piano – a disruptive intervention into the preconceived idea of the piano as a pure-toned instrument: by clamping wedges of leather , felt or rubber between the strings; preparing the hammers with aluminium paper or rough films; placing crown corks on the strings, weaving guitar strings around the piano’s guts, or pasting them down with gaffa tape – his resulting tracks are composed both originally and charmingly.
Rather than striving for any purist academic perfection, Volker’s playing seems as much informed by modern electronica or Indonesian gamelan as it is by any classical cannon. With the aid of his interventions, the piano becomes as much a machine for generating rhythms as it does for melody. Now and again Hauschka utilises additional, non-piano sounds such as synthesizer, drum machine, electric bass, or other acoustic instruments like vibraphone, strings or brass. His pieces may be seen as small rhythmic sound-vignettes or just quiet ballads which have their roots in east-asian harmonies, the minimalism of Reich, Glass, Nyman, etc., and also in Satie or Ravel.