Carl Nielsenʼs Symphony No. 5, its performance and subsequent filming for broadcast serve as organizing frameworks for The Philharmonie Project (Nielsen: Symphony No. 5). The work features the video production team of the Berliner Philharmoniker Digital Concert Hall as they film a live performance of the Nielsen symphony. For each of the Berlin Philharmoniker's concerts, the video production team coordinates the movement of six remote cameras, choreographing them to the musical score.

“Viewers of The Philharmonie Project (2011) never see an orchestra performing. Instead, we are presented with a tightly focused performance of four technicians in a recording booth. Each one has a specific role, calling out numbers corresponding to the bars of music and camera angles that film the musicians as they play. A companion piece shows these camera shots in a dry run—the camera choreography in rehearsal before the concert begins. We see empty chairs and sheet music stands on a stage devoid of performers. Shown in the gallery, Marsh positions the two videos at either end—or side, recto/verso—of an angled platform that bisects the room on the diagonal. Set on a scaffold, the structure is the design of the architect team June 14 (Johanna Meyer-Grohbrügge and Sam Chermayeff). Audiences sitting on the top of the platform gaze down onto Marsh’s video of the Philharmonie team working together as they film the 45 minute-long performance; on its underside, viewers see the artist’s video of the performance in dry run. The soundtrack unifies these elements, broadcasting Nielsen’s Symphony as it is punctuated by voices of the film technicians. The installation brings together the videos of two distinct moments in time that are musically synchronic. Together they describe an event that is never made visible to us. It is only discernable in terms of its absence; or rather, in terms of the space Marsh defines with her work.” (excerpt from Rosemary Heather’s Extra Visible Dimension: Lynne Marsh’s The Philharmonie Project (Nielsen: Symphony No. 5) )