‘The second time round, the audience hears the piece with fresh ears’

Andri Hardmeier, playing the same piece twice in a row is unusual.
With this format, we aim to provide a broader access to the compositions and go beyond the usual concert experience. In contemporary music, we often find that we can only fully grasp a new work through an introduction or the programme notes. The idea behind these ‘conversation concerts’ is to have a solo or chamber music piece performed twice within a one-hour format. The first time is about listening without any background information. Afterwards, a moderated discussion takes place in a relaxed setting between the composer, the audience and myself. It is important to us that the audience can ask the composers their questions and, through this closeness, find their own way into the music. After the discussion, the piece is performed a second time, with the newly acquired information in mind.

What creates the relaxed atmosphere?
Cabaret Voltaire is a place for people to meet and invites you to engage with new works in a different way. You sit at tables, with drinks in front of you, and listen to the music. For us, it’s all about open exchange between the audience, the artist and the work.

How did you come up with the idea for this format?
The format of listening to a piece twice is not new. We always design our programme in close consultation with our musicians. This often includes composers we’d like to showcase and with whom our musicians have frequently collaborated in the past. The collaboration between ensemble members and the composer is therefore at the heart of this series. This is also reflected in the discussion we hold with the audience after the first performance of the piece.

What were the initial experiences and the audience’s reactions during the first edition?
The first evening with composer Chikako Morishita and trombonist Kevin Toksöz Fairbairn led to a lively discussion; the audience was keen to engage. It is rare for listeners to have the opportunity to talk to the composer immediately after a performance. This brief encounter can lead to entirely new ways of listening. The second time round, the audience hears the piece with fresh ears.

And what can we look forward to in the second concert-talk?
In the second concert-talk, we will hear a world premiere for flute and harp by the composer Naomi Pinnock. On this evening too, the audience is invited to join the discussion, which we will hold between the two performances of the work. We are particularly interested in this format precisely because it allows the audience to become part of the evening.