Person
Date of birth | 11.11.1983 |
birthplace | Lutherstadt Wittenberg, Germany |
Date of birth | 11.11.1983 |
birthplace | Lutherstadt Wittenberg, Germany |
2003 – 2009 | Academy of Music “Carl-Maria von Weber” Dresden percussion teachers: Prof. KV Karl Jungnickel, Dominic Oelze |
2005 – 2008 | Academy of Music „Carl Maria von Weber“ Dresden Dalcroze-Rhythmics |
2002 – 2003 | Eckehardt Keune, Halle/Saale |
2001 – 2003 | Musikschule Dessau |
1993 – 2003 | Heinrich Berger Musikschule Coswig (Saxony-Anhalt) (classical & rock drums and percussion, percussion ensemble, history of music, theory of music, piano, keyboard) percussion teacher: Marianna Hatos, piano teacher: Dorislava Kunsheva |
2009 – 2012 | Royal Conservatoire The Hague Classical and Contemporary Music – Percussion percussion teachers: Luuk Nagtegaal, Fedor Teunisse, Hans Zonderop, Mark Zoutendijk, Rob Verhagen, Peppie Wiersma |
2009 | diploma classical percussion (incl. pedagogical diploma) |
2008 | Dalcroze-rhythmics diploma (EMP – elementary music pedagogy/ early musical education) |
2003 | University-entrance diploma |
2013 | Komponistenwerkstatt, Chamber orchestra of the “Anhaltische Philharmonie Dessau” conduct: Hans Rotman, Daniel Carlberg |
2013 | Nordharzer Städtebundtheater, „Carmina burana“ by Carl Orff |
2009 – 2010 | Anhaltische Theater Dessau, „Lulu“ production with different compositions |
2009 | Klangnetz Dresden |
2009 | Sommermusikfest, “Folk Songs” by Berio |
2008 – 2010 | HfM “Carl Maria von Weber”, cooperation with different composers |
2007 | Semperoper Dresden, “Memento” by Manos Tsangaris |
2006 | Percussion Ensemble of Symphonic Youth Orchestra Saxony-Anhalt, “Four Seasons for Percsussion” by Joachim Sponsel |
2006/ 2008 | free Projects, “Our father in heaven” by Ralf Grössler (Gospel/ Spiritual with solo, choir and orchestra) |
2005 | Kurt Weill Festival, “Der Jasager” by Brecht/Weill, “Der Neinsager“ by Brecht/Bredemeyer |
2003 – 2009 | Symphonic Orchestra Academy of Music „Carl Maria von Weber“ Dresden |
2001 – 2013 | Anhaltische Theater Dessau, several contemporary music projects |
2001 – 2009 | Symphonic Youth Orchestra Saxony-Anhalt, director: Heribert Beissel |
1999 – 2008 | Percussion Ensemble, Heinrich-Berger Musikschule Coswig |
2012 | Cooperation Akademisches Orchester Halle-Wittenberg with dutch concert choir IC production, “The armed man – a mass for peace” Karl Jenkins |
2011 | NJO Summerproject, “Ballet mécanique” by George Antheil, “6 Japanese Gardens” by Kaija Saarihao |
2011 | Radio Kootwijk, Six Marimbas”, “Music for pieces of wood” by Steve Reich |
2011 | KORZO theater Den Haag, “KOnSTruct” |
2009 – 2012 | Percussion ensemble Royal Conservatoire The Hague |
2009 | „Concerto for Violin with Percussion Orchestra” – Lou Harrison, Den Haag |
2012 | Solo Percussion with Musictheater, Music by Manos Tsangaris, selfwritten text for actress Concert at Royal Conservatoire The Hague (NL) |
2011 | Yo! Opera Festival (Utrecht), „Talking ´bout a revolution“ (NL) |
2011 | Fringe Festival (Amsterdam) , „Miao“ physical theater with music (NL) |
2010 | ensemble kamakala (Dresden), „Shyama“ (GER) |
2006 | Internationale Dalcroze Rhythmikwerkstatt (Hellerau, GER) |
2016 – today | Academy of Music „Carl Maria von Weber“ Dresden, Dalcroze-Rhythmics (children class) |
2014 – today | Musikschule Barnim, teacher for percussion, percussion ensemble, rhythmic theory |
2008 – 2009 | Heinrich-Berger Musikschule Coswig (Anhalt), early musical education/ Dalcroze-Rhythmics |
2006 – 2009 | Academy of Music „Carl Maria von Weber“ Dresden, assistant for Dalcroze-Rhythmics |
2004 – 2009 | Academy of Music „Carl Maria von Weber“ Dresden, preparatory teacher for aspirant students |
2002 – 2005 | professional practical training at several musicschools |
2011 – 2012 | Adest Musica (Sassenheim), percussion teacher |
2014 | DSND – German School New Delhi, Dalcroze-rhythmics combined with percussion |
2014 | Workshop for Dancers “history of western classical music”; “Western pulse and bar systems” |
2014 | Internationale Dalcroze-Rhythmikwerkstatt, Hellerau |
2008 | ZISAMP N.J. Zivkovic |
2006 | European Dalcroze-Rhythmics Conference, Trossingen |
2006 – 2009 | Internationale Dalcroze-Rhythmikwerkstatt, Hellerau |
2006 | Eckehardt Keune, “How to make your personal Timpanisticks” |
1999/ 2001 | Siegfried Fink, Bernd Kremling |
2011 | Masterclass Petro Carneiro |
2011 – 2012 | Songwriting, by Huub de Vriend |
2011 | Pilotweek New Musictheater Den Haag/Rotterdam, by Michel van der Aa, Michiel Voet |
2011 | Masterclass Kaija Saarihao “ 6 Japanese Gardens” |
2010 | Masterclass Colin Currie |
Yoga, Meditation, Songwriting, Modern dance, ballroom dancing, cardio and weight training, apparatus gymnastics
Derived from the Latin word ‚percussio’ it means tremor. Basically it describes the striking together of two bodies, especially when noise is produced. The word percussion can be applied in three different areas of expertice: Medicine, gunnery and music. Used in a medical context it is a method of diagnosis in which various areas of the body, especially the chest, back, and abdomen, are tapped to determine by resonance the condition of internal organs. Military speaking it is the act of detonating a percussion cap in a firearm. In music the term is used for the sound, vibration, or shock caused by two objects beating together. Even though these three different meanings come from three separate professional backgrounds … the musical percussionist might use them all in order to produce the appropriate effect for the situation at hand.
Of course there is a long traditon of percussion instruments both in classical as well as in folclore music. Nonetheless the real unfoldment of the percussionists area started to happen with jazz, rock and pop as well as contemporary music of the 20th century. To describe all its possibilities and implications one would have to write a book. To keep it shorter one can state that the percussionist plays all instruments which are not encompassed by the other instrumental sections (wind and string). Usually an instrumentalist learns one or two instruments professionally, some even more if you view per example the clarinettes and the saxophones or the huge range of recorders. A percussionist however has to learn hundreds of instruments each with its right and explicit way of producing sound or some other effect.
I see the area of percussion music as a never ending journey through the world of sound, vibration and effect. As a percussionist I use my imagination to always find new ways of impact on the human musical perception. The direction I personally choose to go the ‚path of the body’ and its movements in connection with theatrical and compositional sound.
Among the interdisciplinary art forms, the new music theater occupies a special place. New music theater brings not only a wide range of genres together, it also links and fuses them. This means that the performers must be specialists in several subjects at the same time. The virtuosity extends into the width as opposed to the art forms of the 20. century, where the virtuosity went into the depths.
The term “Rhythmik” or “rhythmic-musical education” developed by Emile Jaques-Dalcroze (1865-1950) and his original coined term “rhythmic gymnastics” or „La Rythmique“ or “Rhythmik”.
His approach is the rediscovery of the interrelationship of physical and musical Rhythm, which he used as the basis of its educational and artistic Labor.
Jaques-Dalcroze pursued the goal of uniting, music and movement. He wanted to express the integration of spirit, soul and body, or of the conscious and unconscious in humans.
The real education after Jaques-Dalcroze method is now as then taught by certified “Rhythmikern”. They teach the relationship of music-motion-language and its rhythm in social and artistic areas of Pedagogy. Her extensive work consists of the teachings of the rhythmic movement, the solfege (ear training) and improvisation.