{"id":10487,"date":"2023-09-22T17:21:14","date_gmt":"2023-09-22T15:21:14","guid":{"rendered":"https:\/\/mathis-nitschke.com\/?p=10487"},"modified":"2026-02-25T21:55:59","modified_gmt":"2026-02-25T20:55:59","slug":"doppelganger","status":"publish","type":"post","link":"https:\/\/mathis-nitschke.com\/en\/doppelganger\/","title":{"rendered":"Doppelganger"},"content":{"rendered":"<p>Claus Guth expanded the &#8220;Schwanengesang&#8221; songs by Franz Schubert into the large-scale music theatre piece &#8220;Doppelg\u00e4nger&#8221; at the <a href=\"https:\/\/www.armoryonpark.org\/programs_events\/detail\/2023_doppelganger\" target=\"_blank\" rel=\"noopener\">Park Avenue Armory<\/a> in New York City, with tenor Jonas Kaufmann and pianist Helmut Deutsch as protagonists. I was invited to contribute music and soundscapes that take up the harmonic thread of one song and transfer it into that of the next. In this way, a large long musical arc emerged from a loose sequence of short songs.<\/p>\n<p><iframe loading=\"lazy\" title=\"Doppelg\u00e4nger Trailer\" src=\"https:\/\/player.vimeo.com\/video\/1000385015?badge=0&amp;autopause=0&amp;player_id=0&amp;app_id=58479\" width=\"1920\" height=\"1080\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p style=\"text-align: right;\"><em>(Thanks to <a href=\"http:\/\/www.bfmi.at\/\" target=\"_blank\" rel=\"noopener\">Bernhard Fleischer Media Images<\/a> for the trailer)<\/em><\/p>\n<p>Franz Schubert&#8217;s &#8220;Swan Song&#8221; is a collection of songs written in 1828 &#8211; the year of the composer&#8217;s death. The starting point of our narrative is a military hospital where men stand between life and death, as if caught in a time loop. Jonas Kaufmann, one of the men, experiences an emotional journey through moments of happiness and disappointment during this stagnant time. At first, he finds comfort in memories of his lover and nature, but in the second half of the evening he sinks more and more into pain and loss, expressed in songs like the one about the &#8220;unhappy Atlas.&#8221; He encounters himself shortly before his death, in a final moment of shock and realization.<\/p>\n<p><a href=\"https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2023\/09\/doppelgaenger_167_small.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-daze_wrapper_width wp-image-10516\" src=\"https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2023\/09\/doppelgaenger_167_small-1140x760.jpg\" alt=\"\" width=\"1140\" height=\"760\" srcset=\"https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2023\/09\/doppelgaenger_167_small-1140x760.jpg 1140w, https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2023\/09\/doppelgaenger_167_small-360x240.jpg 360w, https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2023\/09\/doppelgaenger_167_small-1024x683.jpg 1024w, https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2023\/09\/doppelgaenger_167_small-680x453.jpg 680w, https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2023\/09\/doppelgaenger_167_small-1536x1024.jpg 1536w, https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2023\/09\/doppelgaenger_167_small.jpg 2028w\" sizes=\"auto, (max-width: 1140px) 100vw, 1140px\" \/><\/a><\/p>\n<p style=\"text-align: right;\"><em>Fotos: Monika Rittershaus<\/em><\/p>\n<p>As material for my soundscapes, I used almost exclusively piano sounds: fragments from Schubert&#8217;s music that I slowed down a hundred times to generate floating tonal pads, short sound snippets that become haunting drones via granular synthesis, prepared piano samples that sound like bomb impacts in this context, or concrete noises like respiratory machines that I reverberated with the grand piano with the sustain pedal depressed and thus &#8220;pianoised&#8221;. &#8220;It&#8217;s like crawling into Helmut Deutsch&#8217;s grand piano and taking a journey,&#8221; I tell the <a href=\"https:\/\/www.sueddeutsche.de\/muenchen\/new-york-jonas-kaufmann-schubert-claus-guth-mathis-nitschke-helmut-deutsch-manhattan-1.6228479\" target=\"_blank\" rel=\"noopener\">S\u00fcddeutsche Zeitung<\/a> in an interview.<\/p>\n<p><iframe loading=\"lazy\" title=\"Doppelg\u00e4nger: Sound Compositions and Interludes\" src=\"https:\/\/player.vimeo.com\/video\/975194354?badge=0&amp;autopause=0&amp;player_id=0&amp;app_id=58479\" width=\"1920\" height=\"1080\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>The interludes always put Helmut Deutsch at the piano in the foreground: with virtuoso arrangements of Schubert&#8217;s piano accompaniments as solistic appearances, with inside-piano playing and notes that start or end recorded soundscapes, and with dialogue-like question\/answer games with distant sounds coming from the surround speakers, he always keeps the lead and thus becomes the centre of the evening, not only visually.<\/p>\n<p><a href=\"https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2023\/09\/doppelgaenger_157_small.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-daze_wrapper_width wp-image-10518\" src=\"https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2023\/09\/doppelgaenger_157_small-1140x760.jpg\" alt=\"\" width=\"1140\" height=\"760\" srcset=\"https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2023\/09\/doppelgaenger_157_small-1140x760.jpg 1140w, https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2023\/09\/doppelgaenger_157_small-360x240.jpg 360w, https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2023\/09\/doppelgaenger_157_small-1024x683.jpg 1024w, https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2023\/09\/doppelgaenger_157_small-680x453.jpg 680w, https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2023\/09\/doppelgaenger_157_small-1536x1024.jpg 1536w, https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2023\/09\/doppelgaenger_157_small-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 1140px) 100vw, 1140px\" \/><\/a><\/p>\n<blockquote><p>\u201cMathis Nitschke\u2019s evocative soundscapes suggest both the hospital room and the battlefield. Dancers, portraying nurses and soldiers, contribute to Nitschke\u2019s sound-world, beating their hospital beds in triplet rhythms as Deutsch repeats fragments of Schubert\u2019s songs in an obsessive, hallucinatory loop. This most interesting part of Guth\u2019s vision allows him to shape the silences between the songs and keeping the audience in a state of heightened anticipation \u2014 a refreshing change from the usual coughing and rustling of programmes in a standard lieder recital.\u201d (<a href=\"https:\/\/www.ft.com\/content\/e732e1c0-18eb-4645-af92-6f6a6af8720a\" target=\"_blank\" rel=\"noopener\">Financial Times<\/a>)<\/p><\/blockquote>\n<p><a href=\"https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2023\/09\/doppelgaenger_066_smaller.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-daze_wrapper_width wp-image-10488\" src=\"https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2023\/09\/doppelgaenger_066_smaller-1140x760.jpg\" alt=\"\" width=\"1140\" height=\"760\" srcset=\"https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2023\/09\/doppelgaenger_066_smaller-1140x760.jpg 1140w, https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2023\/09\/doppelgaenger_066_smaller-360x240.jpg 360w, https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2023\/09\/doppelgaenger_066_smaller-1024x683.jpg 1024w, https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2023\/09\/doppelgaenger_066_smaller-680x453.jpg 680w, https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2023\/09\/doppelgaenger_066_smaller-1536x1024.jpg 1536w, https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2023\/09\/doppelgaenger_066_smaller-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 1140px) 100vw, 1140px\" \/><\/a><\/p>\n<blockquote><p>\u201cDoes the theatrical conceit serve Schubert\u2019s songs? In the hands of Kaufmann and Deutsch, who have long worked together, yes \u2014 and it reignites the master\u2019s music in a fresh, intelligent setting without sacrificing the duo\u2019s artistry as classical performers.\u201d (<a href=\"https:\/\/www.nytimes.com\/2023\/09\/24\/arts\/music\/doppelganger-review.html\" target=\"_blank\" rel=\"noopener\">New York Times<\/a>)<\/p><\/blockquote>\n<p><a href=\"https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2023\/09\/doppelgaenger_259_small.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-daze_wrapper_width wp-image-10520\" src=\"https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2023\/09\/doppelgaenger_259_small-1140x760.jpg\" alt=\"\" width=\"1140\" height=\"760\" srcset=\"https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2023\/09\/doppelgaenger_259_small-1140x760.jpg 1140w, https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2023\/09\/doppelgaenger_259_small-360x240.jpg 360w, https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2023\/09\/doppelgaenger_259_small-1024x683.jpg 1024w, https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2023\/09\/doppelgaenger_259_small-680x453.jpg 680w, https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2023\/09\/doppelgaenger_259_small-1536x1024.jpg 1536w, https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2023\/09\/doppelgaenger_259_small-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 1140px) 100vw, 1140px\" \/><\/a><\/p>\n<blockquote><p>\u201ca rare treat \u2026 the theatrical ingenuity and visceral force was so strong that the audience let out an audible gasp of shock. When was the last time you heard something like that in a classical concert hall?\u201d (New York Times)<\/p><\/blockquote>\n<p><a href=\"https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2023\/09\/doppelgaenger_278_small.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-daze_wrapper_width wp-image-10522\" src=\"https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2023\/09\/doppelgaenger_278_small-1140x760.jpg\" alt=\"\" width=\"1140\" height=\"760\" srcset=\"https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2023\/09\/doppelgaenger_278_small-1140x760.jpg 1140w, https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2023\/09\/doppelgaenger_278_small-360x240.jpg 360w, https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2023\/09\/doppelgaenger_278_small-1024x683.jpg 1024w, https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2023\/09\/doppelgaenger_278_small-680x453.jpg 680w, https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2023\/09\/doppelgaenger_278_small-1536x1024.jpg 1536w, https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2023\/09\/doppelgaenger_278_small-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 1140px) 100vw, 1140px\" \/><\/a><\/p>\n<blockquote><p>&#8220;Doppelganger is awesome experimental theater on a grand scale \u2026 There\u2019s really nothing like it in New York right now.&#8221; (<a href=\"https:\/\/www.theatermania.com\/news\/review-in-doppelganger-the-specter-of-war-haunts-opera-star-jonas-kaufmann_1715839\/\" target=\"_blank\" rel=\"noopener\">TheaterMania<\/a>)<\/p><\/blockquote>\n<p><a href=\"https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2023\/09\/doppelgaenger_263_small.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-daze_wrapper_width wp-image-10524\" src=\"https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2023\/09\/doppelgaenger_263_small-1140x760.jpg\" alt=\"\" width=\"1140\" height=\"760\" srcset=\"https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2023\/09\/doppelgaenger_263_small-1140x760.jpg 1140w, https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2023\/09\/doppelgaenger_263_small-360x240.jpg 360w, https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2023\/09\/doppelgaenger_263_small-1024x683.jpg 1024w, https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2023\/09\/doppelgaenger_263_small-680x453.jpg 680w, https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2023\/09\/doppelgaenger_263_small-1536x1024.jpg 1536w, https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2023\/09\/doppelgaenger_263_small-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 1140px) 100vw, 1140px\" \/><\/a><\/p>\n<p style=\"text-align: center;\">&#8220;Doppelganger&#8221; is the result of a wonderfully constructive collaborative effort by:<br \/>\nTenor <a href=\"https:\/\/jonaskaufmann.com\/\" target=\"_blank\" rel=\"noopener\">Jonas Kaufmann<\/a><br \/>\nPianist <a href=\"https:\/\/helmutdeutsch.at\/\" target=\"_blank\" rel=\"noopener\">Helmut Deutsch<\/a><br \/>\nDirection <a href=\"http:\/\/clausguth.de\/\" target=\"_blank\" rel=\"noopener\">Claus Guth<\/a><br \/>\nOriginal Music and Sound Composition <a href=\"https:\/\/mathis-nitschke.com\/\" target=\"_blank\" rel=\"noopener\">Mathis Nitschke<\/a><br \/>\nSet Design <a href=\"https:\/\/michaellevinestudio.com\/\" target=\"_blank\" rel=\"noopener\">Michael Levine<\/a><br \/>\nCostume Design <a href=\"https:\/\/www.constancehoffman.com\/\" target=\"_blank\" rel=\"noopener\">Constance Hoffman<\/a><br \/>\nLighting Design <a href=\"https:\/\/www.salzburgerfestspiele.at\/a\/urs-schoenebaum\" target=\"_blank\" rel=\"noopener\">Urs Sch\u00f6nebaum<\/a><br \/>\nSound Design <a href=\"https:\/\/markgreycomposer.com\/\" target=\"_blank\" rel=\"noopener\">Mark Grey<\/a><br \/>\nVideo Design <a href=\"https:\/\/rocafilm.com\/\" target=\"_blank\" rel=\"noopener\">rocafilm<\/a><br \/>\nMovement Direction <a href=\"https:\/\/de.wikipedia.org\/wiki\/Sommer_Ulrickson\" target=\"_blank\" rel=\"noopener\">Sommer Ulrickson<\/a><br \/>\nDramaturgy <a href=\"https:\/\/www.salzburgerfestspiele.at\/a\/yvonne-gebauer\" target=\"_blank\" rel=\"noopener\">Yvonne Gebauer<\/a><br \/>\nAssistant Direction <a href=\"https:\/\/www.mittelsaechsisches-theater.de\/ensemble\/juana-ines-cano-restrepo\" target=\"_blank\" rel=\"noopener\">Juana In\u00e9s Cano Restrepo<\/a>, <a href=\"https:\/\/dylanevansdirector.wordpress.com\/about\/\" target=\"_blank\" rel=\"noopener\">Dylan Evans<\/a><br \/>\nu\/s Voice <a href=\"https:\/\/www.ilkertenor.com\/\" target=\"_blank\" rel=\"noopener\">Ilker Arcay\u00fcrek<\/a><br \/>\nRehearsal Piano <a href=\"https:\/\/michalbiel.com\/\" target=\"_blank\" rel=\"noopener\">Micha\u0142 Biel<\/a><\/p>\n<p><a href=\"https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2023\/09\/doppelgaenger_bow_04_small.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-daze_wrapper_width wp-image-10526\" src=\"https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2023\/09\/doppelgaenger_bow_04_small-1140x760.jpg\" alt=\"\" width=\"1140\" height=\"760\" srcset=\"https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2023\/09\/doppelgaenger_bow_04_small-1140x760.jpg 1140w, https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2023\/09\/doppelgaenger_bow_04_small-360x240.jpg 360w, https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2023\/09\/doppelgaenger_bow_04_small-1024x682.jpg 1024w, https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2023\/09\/doppelgaenger_bow_04_small-680x453.jpg 680w, https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2023\/09\/doppelgaenger_bow_04_small-1536x1023.jpg 1536w, https:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2023\/09\/doppelgaenger_bow_04_small.jpg 1933w\" sizes=\"auto, (max-width: 1140px) 100vw, 1140px\" \/><\/a><\/p>\n<h4>Related work:<\/h4>\n<p>As a directing composer (or composing director) I produce my own music theatre projects, such as <a href=\"https:\/\/mathis-nitschke.com\/en\/maya\/\">MAYA<\/a> (2017) or <a href=\"https:\/\/mathis-nitschke.com\/en\/viola\/\">VIOLA<\/a> (2015).<\/p>\n<p>Together with director and lighting designer Urs Sch\u00f6nbaum, I premiered as composer the &#8220;grand&#8221; operas <a href=\"https:\/\/mathis-nitschke.com\/en\/jetzt\/\">JETZT<\/a> (2012) and <a href=\"https:\/\/mathis-nitschke.com\/en\/happy-happy\/\">HAPPY HAPPY<\/a> (2014) at the National Opera of Montpellier.<\/p>\n<p>I experiment with new technologies on new music experience formats, such as with the app &#8220;<a href=\"https:\/\/the-planets.app\" target=\"_blank\" rel=\"noopener\">The Planets<\/a>&#8220;, a collaboration with the Munich Philharmonic Orchestra.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Schubert&#8217;s &#8220;swan song&#8221; as music-theatre at the Armory Hall in NYC, conceived and directed by Claus Guth, with tenor Jonas Kaufmann and pianist Helmut Deutsch. I have contributed musical interludes and sound compositions that link the songs into one long experience.<\/p>\n","protected":false},"author":1,"featured_media":10498,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"footnotes":""},"categories":[45],"tags":[],"class_list":["post-10487","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-music-theatre","clearfix",""],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.3 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Doppelganger - Mathis Nitschke<\/title>\n<meta name=\"description\" content=\"Schubert&#039;s &quot;swan song&quot; as music-theatre at the Armory Hall in NYC, conceived and directed by Claus Guth, with tenor Jonas Kaufmann and pianist Helmut Deutsch. 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