The five Bauhaus Concerts cross-reference each other and conceptually reveal and highlight the musical-artistic lines of Bauhaus development starting with the pioneering years of the early Bauhaus in Weimar. Three concerts (»Bauhaus → Black Mountain College Ⅰ–Ⅲ«) follow the path of the Bauhaus from Weimar to Black Mountain College in North Carolina. The college, which existed until 1957, is considered the successor institution of the Bauhaus. Not only did both schools share numerous thematic focuses, they also employed some of the same teaching staff (e. g. Josef Albers, Xanti Schawinsky, Stefan Wolpe). They both were committed to providing a well-rounded education which focused on vibrant artistic exchange.
Although the Bauhaus in Weimar did not have a musical workshop, the school intensively explored the relationship between music and the visual arts from the very beginning. These efforts were exemplified by Gertrud Grunow’s Harmonisation Theory, Paul Klee’s attempts at visual transcription, Heinrich Neugeboren’s spatial-visual translations of musical structures, and works by Kurt Schmidt (Form and Colour Organ) and Josef Albers (Glass Relief Fugue). One could say that the Bauhaus bundled and condensed the spirit of the arts in the 1920s. In the area of music, it probed the cutting-edge, technical possibilities of electronic and mechanical sound production. These innovations continued at Black Mountain College in the 1950s and 1960s with action art and spatial compositions which pioneered the sound installations of today. As part of the Bauhaus Concert programme, klangwerk am bauhaus e.V. commissioned Franz Martin Olbrisch (*1952) and Charlotte Seither (*1965) to compose new works inspired by the Bauhaus centennial for presenation at the Kunstfest. These world premieres will be supplemented by a sound installation by Robin Minard (*1953) at the Bauhaus Museum Weimar featuring references to contemporary acoustic art.
The concert programme «Kandinsky ::: JaJa ДaДa» features improvisation and experimental compositions created at the Bauhaus in Weimar and Dessau based on relatively unknown literary works by Wassily Kandinsky.
The programme «Lichtspiele» (Light Shows) aims to musically interpret the cinematic forays of the Bauhaus period and attempts an improvisational acoustic translation of inherently musical, rhythmic and visual occurrences. The performance also features electro-acoustic wind instruments which have yet to find their place in modern concert operation.