Interviews

Finally. Editing of videos, compiling all material and statements took more time than expected. But it’s - almost - done.

Unfortunately, most statements are available in German only. Yet some of the sessions were held in English.

I’m still missing the sessions on collection societies and DIY marketing, the latter featuring Amanda Palmer and Georgia Wonder. Though one video I’m sure you will enjoy: Amanda Palmer live at Münze Berlin (almost 80 minutes).

Right now, the documentation on Vimeo lists 59 videos. This includes statements from participants right after panels they were involved in as well as full videos of some sessions. Much thanks to the guys from PeopleZapping as well as to Jens Best who was heavily involved into editing the videos. Btw, these videos are the result from our webcasts - please don’t expect HD material shot with the best and most expensive equipment you can find at Amsterdam’s IBC.

Also, you might browse the Flickr group mainly featuring pictures by Robert Eysoldt, Karola Riegler, Sim Sullen and Gaga Nielsen. The type of copyright licence depends on the photographer and the picture.

The interview is now online on Vimeo in full (German language). To view part 4 & 5 right here on this site, just click the link for more. To read any article related to the interview, simply click the tag for Wolfram Huschke.
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Wolfram Huschke: Transcription of Interview, Pt. 1/5 (Music) by Wolfgang Senges is licensed under Creative Commons Attribution-Noncommercial 3.0 Germany License. Permissions beyond the scope of this license may be available by contacting http://contentsphere.de.


Our interview is arranged at 4pm. While staying at Trier (he’s going to have a second, more improvised concert the next day), Wolfram Huschke is spending his days… no, that’s not quite correct. His days are filled with practicing, rehearsals, interviews, and even preparing for more projects. So, I’m invited to General Music Director Victor Puhl’s house where Wolfram Huschke is guesting.

After a short chat with Victor Puhl, Wolfram disappears somewhere downstairs. Then he’s back, and I must say, I wasn’t surprised at all to see Wolfram Huschke grab his Cello while I set up my MacBook. As you will see, he does not let the instrument go for one second during the interview. It doesn’t fit in terms of seriousness but I can’t help thinking of a ventriloquist with his puppet. They both are one. It is one voice that talks to you.

Q1: Musical impact

ContentSphere: You’re playing cello for four decades now. That’s quite a lot. Then there’s the scope of music you play which is incredibly wide. So, where do you get your influence from? Apart from (Johann Sebastian) Bach and (Jimi) Hendrix who you are mentioning - are there any other contemporary musicians having impact on you?

Wolfram Huschke: I think it’s much similar to Twitter: Everything tweets on the timeline. What’s music to me? There’s music in silence, here’s music right in the instrument itself, and within the atmospheric’s pressure there are tiny tunes swinging all around. Each change of condition results in different melodies.

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