GOETHES ERBEN ‘Glasgarten’. But in the end we also came to the constatation that the mainstream didn't want us.We were invited to ‘Top Of The Pops’ at the time, because ‘Glasgarten’was rising as a German-language single in Germany at the time. We were invited, but two days later it was canceled again, on the grounds that we might polarize and people might leave. That is very unfortunate. That really annoyed me, and from then on the mainstream press didn’t matter to me anymore. I can believe that.This was followed by the next work, even though there were still a few years in between: ‘Schattendenken’. That was a musical theater piece again. That was very clearly a musical theater piece. ‘Schattendenken’ was also not released as such. The piece was over two hours long.We released ‘Dazwischen’ based on some of the pieces, but also on other pieces from this era. That was the last collaboration with Mindy, because we were frustrated after that and stopped. (Laughs) Because of the disappointing reactions, or what? Yes, that was it.We were disappointed that what we wanted to create was not perceived or valued as we would have liked. Then we said there was no point in continuing to create that. If the interest of the audience is too small, one should stop. What did Mindy say when you first played pieces by Goethes Erben with Henke, and then later performed ‘Henke spielt Goether Erben’, and finally when you started again with Goethes Erben? She had no problem with Henke at all. I also had contact with her when we played ‘Henke spielt Goethes Erben’. We both wanted to make a break then. I then asked Mindy when this breakwould end.I had been offered to play‘Rückkehr ins Niemandsland’ in Leipzig for the twenty-fifth anniversary, with a very large budget, with two cellos, two violins, two voices, two grand pianos, with orchestral percussion... I told her that.Mindy didn’t want to participate at the time. I said I wanted to do that. Then we agreed that if I did that, Mindy wouldn't come back. That was my decision then. I said I wanted to do that. I told her that if she didn't want to participate, I didn’t believe she would come back two years later.The idea then was to do a one-off anniversary concert, and then nothing more. But I had so much fun with those people at the time, and I also wanted to make ‘Menschenstille’, a large musical theater piece with a lot of people and a large budget. Then came the single with Sara Noxx. That was the first publication ofGoethes Erben after the re-establishment, in 2015 I believe.Why did you want to make that single with Sara Noxx? She asked us that. She had requested a remix of Goethes Erben for an earlier single,‘Weg zurück’.Tobi (Tobias Schäfer, keyboardist of Henke and later Goethes Erben, xk) and I made that.Then came the idea of this split single and a joint tour. ‘Am Abgrund’ from 2018 contained a few pieces from the musical theater piece, I believe. ‘AmAbgrund’was meant to be dramaturgical.At the time,like with ‘X’,we played everything live in one piece, from the first song to the last.There we worked with video projections for the first time.There were three projectors with three screen walls, which showed different images. It was a very distant performance.There was no form of communication with the audience during these performances. It was really encapsulated, as if the audience were not there, which is otherwise not the case with Goethes Erben.And then came the pandemic… …… (Read more on wwww.peek-a-boomagazine.be) Xavier KRUTH www.peek-a-boo-magazine.be Photo © Luc Luyten / Who Cares
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