what can be played, we play; what can't be played, we think about
The events program what can be played, we play; what can’t be played, we think about takes a seminal episode in Munich’s history as its leitmotif. On the occasion of the 1972 Olympic Games, British avant-garde composer Cornelius Cardew established a controversial break with the canon of music with his collective mode of composing. His ‘Scratch Orchestra’, performed that year at the BR (Bayerischer Rundfunk), favoured a graphic score over the traditional sheet music, allowing anyone to take part and play along. what can be played, we play; what can’t be played, we think about revisits sound's capacity to constitute a collective experience through individual ingenuity, improvisation and play.
Organised by Bart van der Heide, Anja Lückenkemper and Julia Maier