von der haardt

is a booking agency for performing arts in Berlin, Germany.

Founded by Ralf Diemert in 2018, the agency focuses on close collaborations with artists, managements and labels in order to establish enduring careers.

Contact:

von der haardt GmbH
Reinickendorfer Str. 17
13347 Berlin/ Germany

office@vdhaardt.com
+49 30 2843 42 00

Poppy Ackroyd

Photo: Kat Gollock

paints with sounds. Floating like a feather, over paper and piano. Diving into the lights of the dark, with violins and wine glasses. The better half of Frahm, Hauschka and Richter. Or simply a radiant mosaic of these colored worlds.

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Federico Albanese

1982
Photo: Beniamino Barrese

owns his musical versatility like a natural gift – one that pushes him to explore music in all its facets. His airy, cinematic compositions blend classical music, electronica and psychedelia. The cumulative effect is a sort of a meditation state – both for the artist and the audience.

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Annelie

1985
Photo: Lieke Romeijn

plays film noir, but not like you’ve heard it before. She plays with hope and passion, with power and tension. And with her voice, a piano and something that tells the story of it all. She plays with her eyes closed. And with a happy ending, just somehow different. Touching.

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Ólafur Arnalds

1986
Photo: Benjamin Hardman

is one of the leading heads and hearts of this gentle sort of revolution some call „neo-classical“. But he refuses to be reduced to that – and to stand still. These days he takes us creatively on a journey of wanting to leave the past behind and to see where else we can go. That’s Arnalds’ philosophy to the core. The idea of his music being a continuum and his desire to strike out for new terrain. Panta rhei. Always. Ground- and heartbreaking at once.

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Mario Batkovic

1980
Photo: Hollin Jones

is a slave to the tones. That’s what he said, and that’s what you hear. You can feel it in every note he plays on his accordion. An allegedly old-fashioned instrument, it’s all about here and now when Mario plays: freedom, desire and no borders. That’s how and why he plays. So intense. Like Glass and Vivaldi.

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Aparde

1987
Photo: Christoph Spranger

is so much more. German techno producer Paul Camillo Schröder is also a drummer, composer, DJ and experimental musician. His excursions are warm and stirring. Between acoustics and electronics. The merging of the earthly and the melancholic. Driving and atmospheric. Avant-garde and awesome. Löffler and Moderat. Usedom and Berlin. Pure and complex. Soft and strong. Aparde is moving contrasts. And even so much more.

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Brandt Brauer Frick Ensemble

1979 - 1985
Photo: Max Parovsky

is back. And thus in the place where they are at home. Classically orchestrated club music, they say. In reality, however, it is much more than that: breaking with musical traditions as a challenge to our listening habits and thus sharpening all our senses. Without losing sight of pop, dance and art. 10 heads make 1000 ideas. And so much more.

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Nicola Cruz

1987
Photo: Gabriel Pérez

, with his French roots, Latin American heart and the Afro-ritual in his blood, sounds like a rover. As a producer, musician and DJ he has different terrains to play with all his influences at once. And it sounds like a percussive, mysterious and organic mantra of nature. Vagabond music to the bone.

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Carlos Cipa

1990
Photo: Juliane Späte

gives his name a radical new radiant. The classically trained pianist, composer and producer breaks with the learned and his past. His third album “Retronyms” merges genres and contradictory: acoustics and electronics, analogue and digital, and boundless improvisation with the art of composition. This is surreally beautiful, highly intense acoustic-electronic chamber music of a personal reinvention. Brilliant.

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Manu Delago

1985
Photo: Pascal Triponez

is almost never at home. The Grammy-nominated percussionist and composer has been an integral part of the live shows of Björk, Ólafur Arnalds and Anoushka Shankar. After all these tours the Austrian musician has finally taken some time for his very own musical journey. Urban sound worlds and dreamy soundscapes, drawn and rising from the diversity of worldwide accumulated instruments: emotionally ensnaring and captivating at time. This journey is called “Circadian” and can now be experienced live – with Manu Delago and his ensemble.

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Tara Nome Doyle

1997
Photo: Eion Moylan

is more than the sum of her parts. Half Norwegian, half Irish, her music was shaped by the colourful Kreuzberg as well as the eerie stillness of Scandinavian forests. A singer/songwriter debut, deep as the ocean – untouched and stirring. Drown with her as she guides you through depths of the unknown.

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Fejká

1996
Photo: Brian Zajak

is trying to find that one absolute sound. Floating through dreamlike, mellow soundscapes and soft, airy atmospheres, however frequently delving into a vast range of emotions and approaches for the dancefloor. Memories, moments and inspirations are only the beginning of this cross-genre journey, on which Brian Zajak aka Fejká will find it all. Absolutely.

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Masayoshi Fujita

1978
Photo: Patricia Haas

is bringing the vibraphone into the spotlight. Percussive melodies climb from minimalistic ambient-valleys over splendid Steve Reich-hills. Berlin-based composer and vibraphonist takes you to very special heights and places. This is a musical travel guide you can totally trust. No, actually you must!

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Get Well Soon

1982
Photo: Clemens Fantur

is Konstantin Gropper. Like a philosopher, he takes his music to a place where Foucault, Wenders and Arcade Fire’s Butler are at odds. Always, to create something unique, like a dramatic pop play, an avant-garde existentialism or a rousing soundtrack for his orchestra of contrasts. Perhaps the most versatile, moving songwriter these days. Definitely, Sinatra would say.

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José González

1978
Photo: Malin Johansson

is a deep, artful thinker whose singular approach to song writing and sonics sets him worlds apart. José González is in a class by himself. He has a voice. He has a sound. He has a point of view. And altogether, he has a unique and quietly visceral power in his blood and therefore in his music.

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Grandbrothers

1985/ 1986
Photo: Tonje Thilesen

are from Düsseldorf. Like Kraftwerk. And they are unafraid of new ideas. Like Kraftwerk. Sounds against all odds. Complex and innovative but at the same time aesthetically catchy. And the source of it all: a prepared piano. Unlike Kraftwerk. But unique as hell.

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Sophie Hutchings

1977
Photo: Scott Hutchings

is making music that’s hard to explain. Words just phrase it inadequately. For those who need them: Fragile and romantically gentle, dancing delicately and dreamy. Period. You’d better listen now. “Writing instrumental music is a way of me expressing something that resonates deep within without having to form words. That’s the beauty of instrumental music”, Sophie says. And we dance and dream and fully agree.

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Pantha du Prince plays Conference of Trees

1974 - 1991
Photo: Peter Hönnemann

An experiment about the sound of nature. Exploring the communication of trees and translating these moments into music. With an ensemble of musicians and an interdisciplinary approach between visual poetics, speculative science and archaic sounds. This might be art, science or spirit. This is for sure a very unique musical dialogue of the trees, catched by Hendrik Weber aka Pantha Du Prince. Naturally, a grand play spectacle to witness.

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Parra for Cuva

1991
Photo: Niklas Freund

is Nicolas Janco. He mixes sounds like colors to a meandering painting. Circles forming, surfaces expanding, details becoming clearer and brighter. Everything floats, everything moves between relaxation and departure, between contemplative magnitude and a breathtaking piece of art. Loops without words, and beyond transience.

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Peter Gregson

1987
Photo: Christoph Riccius

is wondering what Bach might have thought. Hard to say, cause this young Scottish composer takes the Cello Suites from a different point of view. Here, music is a sculpture, with different textures, possessed of a third dimension. That’s why everyone, from Hans Zimmer to Ed Sheeran, wants Gregson’s musical observation skills. Bach would have loved this, too.

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Ruede Hagelstein

1979
Photo: Lisa Wassmann

initially wanted to become a rock star. Fortunately everything came differently. And it’s his home that’s to blame: Berlin. This boundless city, where he juggles with beats and melodies, moods and genres. As a producer, singer-songwriter and DJ, he lends the local dance, techno and electronic scene its international splendour. Thank God he did not become a rock star.

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Sven Helbig

1968
Photo: Claudia Weingart

is one of the younger generation of composers for whom the boundaries between the classical orchestra scene, experimental art and pop music have ceased to exist. Folk influenced pieces are set alongside subtle harmonic complexes in the manner of Arvo Pärt and minimalistic drone music. By that, he sends the listener on a poetic journey, a transcendental experience.

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Jay Jay Johanson

1969

saw Chet Baker playing live in 1984. „A concert that changed my life“, the Swedish singer-songwriter later said. „At that moment I realized what I wanted to do when I grew up.“ So, to Chet, in part, we owe this versatile, blend of melancholic vocals and tasteful francophile music paintings. Thanks, Mr. Baker!

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Kiasmos

1986/ 1987
Photo: Sigga Ella

is a minimal, experimental techno duo. It’s the collaborative electro project of Ólafur Arnalds and Janus Rasmussen, who have dedicated themselves to exploring the area in-between Ólafur’s more acoustic, piano-based solo work and Janus’ synth-heavy electro pop. Think Faroese-Icelandic planets melting into a new galaxy.

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Malakoff Kowalski

1979
Photo: Julija Goyd

is – as Igor Levit puts it: „Brilliant. Brave, naked, intense, raw. Ultimately, that’s what real art is about: when the artist talks about himself and the listener feels he’s hearing his own story.“ Kowalski makes you fell like home. Somewhere sacred between classical, jazz and theater.

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Lambert

1982
Photo: Andreas Hornoff

is the pianist behind the Sardinian carnival mask. But what’s behind it? At times he provides solace, at others he strokes the cat we call melancholy. His flair for melodies both big and small is extraordinary. About this he is always open and honest. In every single note he plays, he sounds completely undisguised.

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Christian Löffler

1985
Photo: Christian Löffler

’s music is a concentration of essentials. Exploring concepts of emotional sunrise and dawn, getting lost as well as arriving, he blends wistful melodies, driving drum machines and eternal field-recordings into a wandering, euphoric mélange. Sincere and organic, it is also spacious and fantastic. What a wonderful world!

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Johannes Motschmann

1978
Photo: Harald Hoffmann

experiments between electro dance music, avant-garde ambient and orchestral soundscapes. Rough, melancholic and dark around the edges, this is live electro sound in which analog synthesizers, an old Wurlitzer piano and the famous CP-70 piano with a huge multi-percussion set and violin sounds are rhythmically interlaced and lost in surfaces. The effect is stunning.

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Dustin O’Halloran

1971
Photo: Saga Sig

is like a painter at the piano. Colors blend to new tones, a landscape arises and all is dressed in sound. That’s what synesthesia sounds like – and Dustin knows exactly how colors sound. This may have been something Sofia Coppola has felt, too. Because for her movie “Marie Antoinette” Dustin made his marks as a film composer: by sending moving images on a melodic-hypnotic trip, with a minimal language that everyone understands. Sounds like a beautiful painted picture.

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Oceanvs Orientalis

1987
Photo: Ilhan Ersahin

is Safak Oz Kutle’s one-man project. A powerful contemplation that builds up between world music with Turkish roots and club-suited electronica. There, his sound shines and flickers like a lighthouse, across all borders. Aesthetically and humanly highly valuable – and musically unique indeed.

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Hania Rani

1990
Photo: Kinga Karpati

creates space and time, wherever she may roam. There, between Berlin and Warsaw, it flows and drips, marches and meanders. Steady, restless, full of grandeur. In calm and storm, ups and downs, contemplation and euphoria. Her gorgeous debut has been recorded in Iceland and Poland and will be released in early 2019.

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Janus Rasmussen

1987
Photo: Jeanneen Lund

is known as half of Faroese-Icelandic duo Kiasmos. But now it’s time for his first solo venture: “Vín” is a colorful debut that takes the listener into a universe of a special kind. Vibrating sound worlds in which Rasmussen gives space to his instincts: raw and fragile, beautiful and blooming. New dimensions of experimental minimal techno are illuminated here. Discovered and introduced by Janus Rasmussen. Intoxicating.

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Stimming

1983
Photo: Maximillian König

never uses the same sample twice. The young artist from Hamburg rather samples coffee machines or children’s toys and tweaks them afterwards, to make them sound utterly unique. Cause as an evolving artist, you should not repeat yourself, not one of your sounds at all. So, when you don’t know what exactly you will get next – you do know, it’s Stimming. You’ll feel it.

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Legal notice, privacy

von der haardt GmbH
Reinickendorfer Str. 17
13347 Berlin/ Germany

Geschäftsführer: Ralf Diemert
Registernummer: AG Charlottenburg, HRB 203560 B
USt.-ID-Nr: DE322570500

office@vdhaardt.com
+49 30 2843 42 00

 

Privacy Policy

Introduction and definitions

1. INTRODUCTION
We process personal data for the operation of our website www.vdhaardt.com (hereinafter referred to as “Website”). We keep such data in confidence and process them in accordance with the applicable laws – in particular, the General Data Protection Regulation (GDPR) and the German Federal Data Protection Act (BDSG-NEU). In this Privacy Policy, we wish to inform you about which personal data we collect from you, for which purposes and on which legal basis they are used and to whom we disclose them, if appropriate. Furthermore, we will explain which rights you have to protect and enforce your rights for data protection.
2. DEFINITION OF TERMS
Our Privacy Policy contains technical or legal terms which are defined in the GDPR and the BDSG-NEU. For your better understanding, we will explain these terms in a more simplified way:
2.1 Personal data
“Personal data” means any information relating to an identified or identifiable natural person (Article 4(1) of the GDPR). Data of an identified person might be, for instance, their name or email address. Data, however, might also be personal if the identity is not directly recognizable but could be determined by combining own or external information in order to identify that person. A person is identifiable, if information is available about, e.g. their address or bank details, their date of birth or user name, their IP address and/or location data. This means that here any information is relevant which allows for any type of conclusion to be drawn on a person.
2.2 Processing
Article 4(2) of the GDPR provides that “processing” means any operation which is performed on personal data. That means, in particular, the collection, recording, organization, structuring, storage, adaptation or alteration, retrieval, consultation, use, disclosure, transmission, dissemination or otherwise making available, alignment or combination, restriction, erasure or destruction of personal data.
CONTROLLER
3. CONTROLLER
The following company is responsible for data processing and thus the controller:

Company: ​​von der haardt – Ralf Diemert (“we”)
Address: ​​Reinickendorfer Staße 17, 13347 Berlin
Telephone: ​​+49 30 2843 42 00
E-Mail: ​​office@vdhaardt.com
SCOPE OF PROCESSING
4. SCOPE OF PROCESSING: WEBSITE
We will process the personal data listed in detail under Article 5 below, when you use the Website with the URL www.vdhaardt.com accordingly. In this process, we will only process data from you that you actively enter on our Website or that you provide automatically when using our offer.
Your data will exclusively be processed by us and these data will, as a matter of principle, not be sold, leased or provided to any third parties. Insofar as we use external service providers for the processing of your personal data that will be done in the context of cooperation with a so-called data processor, where we act as principal and are authorised to give instructions to our contractors. For the operation of our Website, we use external service providers for hosting, and for the maintenance, update and further development. Insofar as other external service providers will be used for individual processing activities that are listed in Article 5, they will be specified there.

We do, in general, not transfer any data to any non-EU countries and this is not planned for the future either.

The processing activities in detail

5. CONTACT BY EMAIL
5.1 Description of processing
We provide you with an e-mail address which you can use to contact us. In this form, you will be asked to enter your email address, your name and a message.
5.2 Purpose
By providing such e-mail address on our Website we offer you a convenient option to contact us. The data transferred with your email will exclusively be used for the purpose of handling and answering your request.
5.3 Legal basis
The processing is necessary for the purposes of the legitimate interests pursued by the controller (Article 6(1) point f) of the GDPR). Our legitimate interest is the purpose mentioned in Article 5.2. Insofar as the contact by email is aimed at concluding or performing a contract, the data will be processed to perform a contract (Article 6(1) point b) of the GDPR).
5.4 Storage duration
We will erase the data, as soon as such are no longer required to achieve the purpose of their collection. That is usually the case when the relevant communication with you has been terminated. The communication is deemed terminated as soon as the circumstances reveal that the relevant issue has been conclusively resolved. Insofar as any statutory retention period conflicts with the erasure, the data will be erased immediately after the expiry of the statutory retention period.
YOUR RIGHTS
6. RIGHTS OF DATA SUBJECTS
You, as data subject, have the following rights in view of the data processing performed by our company as described above:
6.1 Right of access (Article 15 of the GDPR)
You have the right to obtain confirmation from us as to whether or not personal data concerning you are being processed by us. Where that is the case, you have a right of access to the personal data under the conditions set out in Article 15 of the GDPR and the other information specified in detail in Article 15 of the GDPR.
6.2 Right to rectification (Article 16 of the GDPR)
You have the right to obtain from us, without undue delay, the rectification of inaccurate personal data concerning your person and, if necessary, the right to have incomplete personal data completed.
6.3 Right to erasure (Article 17 of the GDPR)
You also have the right to obtain from us the erasure of personal data concerning you without undue delay, insofar as one of the grounds listed in Article 17 of the GDPR applies, e.g. if the data is no longer required in relation to the intended purpose.
6.4 Right to restriction of processing (Article 18 of the GDPR)
You have the right to obtain from us restriction of processing where one of the conditions listed in Article 18 of the GDPR applies, e.g. if the accuracy of the personal data is contested by you, the data processing will be restricted for a period enabling us to verify the accuracy of the personal data.
6.5 Right to data portability (Article 20 of the GDPR)
You have the right to receive the personal data concerning you under the preconditions set out in Article 20 of the GDPR in a structured, commonly used and machine-readable format.
6.6 Right to withdrawal of consent (Article 7(3) of the GDPR)
You shall have the right to withdraw your consent, at any time, for processing which is based on your consent. The withdrawal of your consent will apply from the time it is made. In other words, it will apply for the future. The withdrawal of consent shall not affect the lawfulness of processing based on consent before its withdrawal.
6.7 Right to lodge a complaint (Article 77 of the GDPR)
If you consider that the processing of personal data relating to you infringes the GDPR, you have the right to lodge a complaint with a supervising authority. You may exercise this right with a supervisory authority in the EU Member State of your habitual residence, place of work or place of the alleged infringement.
6.8 Prohibition of automated decision-making / profiling (Article 22 of the GDPR)
Decisions which produce legal effects concerning you or similarly significantly affect you must not be subject to a decision based solely on automated processing – including profiling. We hereby inform you that we use no automated decision-making, including profiling, in view of your personal data.
6.9 Right to object (Article 21 of the GDPR)
When we process personal data concerning you on the basis of Article 6(1) point f) of the GDPR (for the purposes of the legitimate interests), you have the right to object under the grounds set out in Article 21 of the GDPR. This, however, shall apply only on grounds relating to your particular situation. After your objection, we will no longer process your personal data, unless we are able to demonstrate compelling legitimate grounds for processing which override your interests, rights and freedoms. We also do not need to stop the processing, if it serves for the establishment, exercise or defence of legal claims. In each case – even regardless of a special situation – you have the right to object to the processing of your personal data for direct marketing, at any time.