CONTINUUM is above all: many things not. For example: no fixed ensemble and no collective. It is rather an overall idea that hovers above the concrete projects and people, that can lean in all directions. There is already a label under this name CONTINUU|RECORDS|M – perhaps also a project space at some point.
CONTINUUM is the freedom to think of early music in a completely new way, to present it innovatively and to relate it to a present that is not as distant from it as the name and the usual performance practice suggest.
CONTINUUM is everything that the award-winning harpsichordist Elina Albach does with instrumentation, no matter how large it is. It is a pool of instrumentalists and singers that she can rely on, and that enables her to perform almost any conceivable version of a piece: From large choral ensembles to intimate three-person settings.
CONTINUUM made its debut at the Köthener Bachfesttage in 2015 and has since performed at major venues in Germany and Europe, but also in Bolivia by invitation of the Goethe-Institut. In 2022, the ensemble presented a four-concert residency at the prestigious MA Festival in Brugge.
If the name CONTINUUM may seem baroque, a reference to the leading of the basso continuo that dominated the era, it refers to a piece of contemporary music: György Ligeti wrote his Continuum in 1968 for harpsichord, Elina Albach’s main instrument. It flickers and shimmers and tries to create a continuous sound through the tempo of the keys to create a continuous sound. A transcending of time, just like as the ever new surprising projects under the name CONTINUUM.