Having studied classical piano for ten years, Dόsseldorf based pianist/composer Volker Bertelmann's work as Hauschka is based upon a playful exploration of the possibilities of the prepared piano. Bertelmann began with an approach to piano popularized by John Cage, who in the 1930s placed screws, pieces of rubber, and other objects between strings in order to turn the piano into a kind of miniature percussion orchestra. As Bertelmann climbs into the piano itself between pieces to modify the innards clamping wedges of leather, felt or rubber between the strings; preparing the hammers with aluminum or rough films; placing crown corks on the strings, weaving guitar strings around the piano's guts, or pasting them down with gaffa tape sounds gradually change and grow in search of new textures.
While previous records focused on piano, Ferndorf, while keeping that instrument at its center, finds Bertelmann expanding his palette further. Joined by Sabine Baron (violin), Insa Schirmer and Donja Djember (cello) and Bernhard Voelz (trombone), Ferndorf reflects the fleeting, melancholic yet vibrant pastoralism of the record's title (Ferndorf translates as "distant village," a reference to Bertelmann's childhood in rural Germany). Ferndorf's minimalist folk melodies harmonize with flittering percussion to form the memories of a distant past: a child and his village.
Amongst the sounds thrives a delicate and emotive tone of longing. Never once hesitating, this tone manipulates the very crevices of quiet introspection. And unlike Bertelmann's past works, Ferndorf engorges itself with this nostalgic tone. In the last couple of years Bertelmann rediscovered that everything he is playing today is based on his childhood experience in nature; that the source of his creativity derives from being at the right place in a certain time. Ferndorf is thus his hymn to that place. Now fully aware of his song's origins, Bertelmann acts as puppeteer to pensiveness reflecting upon long forgotten memories and weaving stories on kindred emotions. The piano becomes as much a machine for generating rhythms and melody as it does thoughtfulness.
