Texts that can be experienced musically in an electro-acoustic setting - concert
Robert Beckmann, former frontman of the 90s cult band The Inchtabokatables and singer and violinist of the band Grüßaugust, founded in 2012, released his first solo album "Unentdecktes Land" at the end of 2021. Together with electronic musician Daniel Dorsch, he sets poems by lesser-known authors (David Lerner) and texts by poets known from the canon of world literature (Vladimir Mayakovsky) as well as his own works to music, giving them a form that allows them to be experienced musically outside of readings, for example.
Today, almost four years after the first solo album, the second is almost finished. It contains texts and pieces of music written exclusively by Beckmann himself, some of which are presented as part of the concert evening.
The collaboration with the composer and musician Daniel Dorsch, which already proved its worth on the first record, will be maintained, both in terms of the work on the album and the live performance.
Dorsch sang in the Warnemünde Youth and Choir Choir from 1974 to 1986. Since 1990 he has worked exclusively with electronic music. He was a keyboardist with the band Madonna HipHop Massaker in the 1990s and is now a member of the bands Alp and the Trontheim project, which is dedicated to the musical accompaniment of silent music.
Dorsch has created sound installations and stage music at various theaters such as the Kammerspiele in Munich, the Theater Freiburg, the Tiroler Landestheater Innsbruck, the Staatstheater Stuttgart and the Maxim Gorki Theater. He has realized electronic sound experiments for the Expo in Seville and Hanover, the Hygiene Museum in Dresden and the Bauhaus in Dessau, among others. Together with the musicality shaped by Beckmann's classical instrumental training as a violinist and his long experience as a singer, the result is an exciting interplay of electronic and acoustic music, with the texts always at the center.
Beckmann's ever watchful eye on the political and social situation surrounding him determines his approach to the responsibility of the artist to position himself on stage. Against ignorance and increasing brutalization. For a communal coexistence of all ethnicities and groups.
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