The first two acts of Das relativ wohltemperierte Klavier took place in 2024 at Hotel Pupik in Schrattenberg. A well-tempered piano, in the form of an old Petrof grand, was first subjected to thermally prepared playing and treatment, then mechanically taken apart. It turned out that a piano, even when dismantled into its component parts, can never be entirely thrown off pitch or composure.

But it was not only a piano that was transformed in the process — as one might initially assume. Interventions always leave traces in those who are conventionally understood as the performing subjects. As relatively well-tempered beings, they have always already grown together with the relative state of being a piano. And so we find ourselves in the grip of Act III, in which this existence-spanning, relatively well-tempered, and winged quartet-being begins to sort itself as a new, still-transforming sound body — begins, indeed, to find itself.

Idea, performance, piano: Peter Brandlmayr
Piano, fixed media, performance: Katharina Klement
Lighting design, film, performance: Mersolis Schöne
Performance: Antonov Petrof