Composers Charlotte Harding and Lloyd Coleman
Conducted by Charles Hazlewood

kraftwerk re:werk is a ground-breaking new musical experiment, taking Kraftwerk’s iconic album Trans-Europe Express as the starting point for a thrilling symphonic trip, created by composers Charlotte Harding and Lloyd Coleman.

(An audio described version of the kraftwerk re:werk trailer can be found here)

…the arrangements are bold: the melody from Trans-Europe Express rings out of a dizzy whirl of sound, while Autobahn’s smooth pootle is chaotically recast as Mad Max’s morning commute”
The Guardian

taken from above stage right showing full orchestra lit by psychedelic lights, patterns of yellow and blue across musicians and stage

kraftwerk re:werk at Colston Hall. Photography Lily Holman

A new hybrid music as much about Ligeti’s earbending soundscapes as late 70’s beats – all scored for a 39 piece ensemble – kraftwerk re:werk is an intoxicating mix of symphonic and electronic instruments, from drum machines, to bass oboes and electro harps.

Each and every sound made onstage is amplified to the max, turning the orchestra into a giant synthesizer in which those sounds are crushed, filtered and distorted.

… a piece that was often disquieting and always compelling.”
Bristol Post

kraftwerk re:werk played for the first time ever at Simple Things 2017 (21 October 2017) by the joint masses of Army of Generals and The British Paraorchestra, and conducted by Charles Hazelwood. It toured in November 2018 to Brighton Dome, The Marble Factory, Bristol, and The Anvil, Basingstoke. See the full social round up here.

Veiw of orchestra from behind, on stage, in white, lighting with blue hues. A standing audience can just be seen behind.

kraftwerk re:werk at The Marble Factory, Bristol. Photography Paul Blakemore

Wide view of the orchestra and a full auditorium, taken from the rear left of the auditorium, stage is lit with red lighting

Army of Generals and the British Paraorchestra on stage at Colston Hall, Photography Lily Holman

Taken from behind a packed, standing audience, an orchestra on stage, warehouse setting, smokey purple and blue hues

kraftwerk re:werk at The Marble Factory. Photography Paul Blakemore

The musicianship is excellent throughout, and as a demonstration of the enabling power of music technology – both in terms of inclusivity and the range of sounds an orchestra can create – it’s nothing short of a marvel.” Bristol Post.

Back rear view of musicians on stage, Clarence Adoo in the forefront playing the headspace / hinote
Taken from the rear corner of the stage, we see a full auditorium in partial darkness, musicians stood in front of their music stands and a harpist in the foreground
Side angle of musicians on stage, not playing, standing in front of music stands, we see a french horn, clarinet, and a bass clarinet. Some faces out of focus.
On stage, back rea angle of the musicians playing, harpist in the forefront, blue and purple lighting
Side angle of musicians on stage, french horns, clarinet and bass clarinet, some musicians playing, lit in red and blue
Charles Hazlewood addresses the audience, orchestra bhind ready to play, stage lit in red
A long wide view of the orchestra on stage, yellow and blue lighting, audience members in the foreground
A rear shot of to people playing synthesisers on stage, hues of blue lighting

Above: kraftwerk: rewerk performed on stage at Simple Things Festival 2017, photography Lily Holman

If this is the way the future of orchestra music is going then count me in” Basingstoke Gazette

Commissioned by The Paraorchestra and Friends and Simple Things
Produced by The Paraorchestra and Friends
Supported by Arts Council England

Further reading: Composer Charlotte Harding on ‘rewerking’ Kraftwerk