zum Inhalt springenzur Navigation
Hacking the Piano, Tiptoe Company

Hacking the Piano, Tiptoe Company


Concert, Immersive, Experimental Instruments

Hacking the Piano


  • Patricia Alessandrini, Tiptoe CompanyInterlude (2018) - 5'
  • Basement of Strings
  • Tim MariënPart one: Basement of Strings 2020 (2012–2020 UA) - 5'
  • Part two: Unresolved Streets (2018) - 4'
  • Part three: Tomorrow Started the Game I (2018) - 10'
  • Patricia Alessandrini, Tiptoe CompanyInterlude II (2018) - 12'
  • Patricia AlessandriniIm Blutstrahl des Mondes (2018) - 12'
  • Patricia Alessandrini, Tiptoe CompanyInterlude III (2018) - 5'


  • Tiptoe Company
  • Jutta Troch: Harfe
  • Jona Kesteleyn: Gitarre
  • Pieter Lenaerts: Kontrabass
  • Jasmijn Lootens: Violoncello
  • Liesbeth Lambrecht: Strohgeige
  • Fabian Coomans: Klavier
  • Sara Picavet: Klavier
  • Dominik Boiy: Tontechnik
  • Raphael Malfliet: Produktion
  • Anneleen De Causmaecker: Szenographie
  • Tim Mariën: Komposition, Klaviertechnik
  • Patricia Alessandrini: Leitung

Strictly speaking, the piano is the classic villain when it comes to tuning: it embodies the victory of the equally-tempered tuning of the 19th and 20th century. The piano’s 12 semitones per octave symbolised an end to the diversity of old, more differentiated instrumental tunings with, for example, 31 fine intermediate tones per octave. However, the strict and comparatively primitive corset in black and white quickly dwindles in authority when a piano happens to be tuned not so ‘perfectly’; the cool perfection of the grand piano is not immune against the shabby chic of a Honky Tonk piano in a Wild West saloon.

The Belgian Tiptoe Company is getting up close and personal with the holy box with tuning wrenches, but only for the sake of the villain’s civil dignity. This might be tangentially connected to the fact that Harry Partch, ingenious inventor of musical instruments and tuning systems, who spent the time around 1940 and the Great Depression as a hobo and casual labourer on freight trains across the USA, turned his back on Western music and society. Partch’s revolutionary 41-tone ‘extended just intonation’ becomes the focus for Belgian composer Tim Mariën, who uses alongside Italian composer Patricia Alessandrini the pianos of Tiptoe Company to make new instruments during this cross-disciplinary evening

Produktion ChampdAction
Koproduktion Wien Modern
Mit freundlicher Unterstützung der Regierung Flanderns
Stream in Kooperation mit deSingel Antwerpen und ChampdAction