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Mayke Nas poses questions, many, many questions. When she had to write a piece about the future of concert practice, she sent a list with dozens, or possibly hundreds of questions. Also in her compositions the questions are equally important as the answers. Every new work has an unique point of departure that many a time evokes surprise. Not so long ago, in Douze mains she placed all six members of Ensemble Continuum around an open grand piano and let them pluck, bow, rub and bang on the strings. Do we see the influence of John Cage or Fluxus in this slightly absurdist tableau? Mayke Nas does not consider herself part of any school or movement. She takes composing very seriously, but is always searching for lightness.

On stage her music may sound carefree, but during the composition process Mayke Nas is in a constant struggle with herself. Following the initial inspiration, she invents all kind of diagrams and dream structures only to let them go as soon as she stumbles across unexpected ideas. Because she wants to surprise not only the audience, but also herself. What is always apparent is her playing with the tonal feeling of the listener, as well as her predilection for unusual sounds and lively, often swinging rhythms.

Michel Khalifa

Mayke Nas’ interests:
Playing for time, trying things out, mouth-watering, searching, getting lost, listening without knowing what you are listening to.

Mayke Nas’ heroes and inspiration:
Stravinsky’s orchestration, Bartók’s whirls, Bauckholt’s sounds, Kagel’s theatricalism, Webern’s perfectionism, the Beatles’ catchiness, Kourliandski & Neuwirth’s here and now