Breath-Voice-Sound

Breath, body, movement, sound and language combine in music to form a symbiosis in which one depends on the other and can serve each other in the most beautiful way. In this workshop, on our way to the stage, we work out these interconnections and make them tangible.

In order to do this, we take a closer look at the mutual influence: How does breath movement influence my instrument, the voice and the flute? How does the breath move when I read aloud? In which ways does it move when I consciously declaim (tongue movement, lip curl, inner spaces)? Which movements of breath arise when I let subtexts, images and feelings flow into text and sound? How do these sound spaces affect my sensation in making music?

What happens when I raise my elbows following the melody in a rising cantilena? What happens to the sound when I let them sink? How do pelvis and joints affect the sound? What colours can be found, where? How does the internal connect with the external space and our addressees? How can I translate movement into interpretation, include it in the interpretative process? How can I counteract nervousness and performance anxiety with the help of breath? How can I strengthen my individual expression and incorporate my presence with confidence? What gives me stability? How can I experience freedom?

The aim of our work is relaxed, economical music making, in which the resources and natural conditions of the intended interpretation, of the expression, are available without blockages.

In individual lessons, we will elaborate physical methodological basics. In our group sessions on breath, movement and vocal space, we will explore our breath in its spaces and the ways in which it works.

Doerthe Maria Sandmann and Christina Fassbender have been intensively engaged in this field of research for several years. During a training at the Institute for Experiential Breath (Institut für Erfahrbaren Atem), founded by Ilse Middendorf (1910-2009), they exchanged ideas and the desire to work together across disciplines took shape.

 

Time schedule:

  • 1,5 h breath and movement
  • Break
  • 1 h breath and vocal space work
  • Lunch break
  • Individual lessons

 

Repertoire flute: solo works

Repertoire voice: song, aria, vocalise

Christina Fassbender is a Sankyo artist and plays 14K flute with 18K headjoint. She studied in Stuttgart with Prof. Jean-Claude Gérard and at the Mozarteum in Salzburg with Prof. Michael Martin Kofler. As a soloist she has performed with orchestras like Berlin Radio Symphony Orchestra, Orchestra of the Beethovenhalle Bonn, Orchestra of the Komische Oper Berlin (under the baton of Kirill Petrenko), Konzerthausorchester Berlin, Lucerne Festival Strings, Lithuanian Chamber Orchestra and many more. From 1999 to 2012 she held the position as solo flutist of the Orchestra of the Komische Oper Berlin. Christina Fassbender has recorded various CDs and her concert activities both as a soloists as well as chamber musician have taken her to the festivals in Schleswig-Holstein, Zermatt, Mecklenburg Vorpommern and Heidelberg. Her chamber music partners include the Trio Wiek, the Klenke Quartett, the Ma‘alot Quintett and the Scharoun Ensemble Berlin. From 2012, Christina Fassbender followed her vocation to teach and took over a professorship at the Musikhochschule Münster. In 2017, she was appointed professor to the Universität der Künste Berlin. She is a frequent lecturer at international master classes and regularly serves as a juror at national and international competitions.

Doerthe Maria Sandmann was born and raised in Berlin. She studied concert and opera singing at the Hanns Eisler Music Academy in Berlin, specializing in baroque music and completing her soloist diploma with distinction. She has appeared at a large number of festivals around the globe. She worked with the organists Martin Haselböck and Michael Schönheit, the lutenists Wolfgang Katschner, Andreas Arendt and the Kaiser specialist Thomas Ihlenfeldt, among others; with the harpsichordist Armin Thalheim and Christine Schornsheim, the baroque violinists Daniel Sepec and Irmgard Huntgeburth as well as the flutist Christoph Huntgeburth, the conductors Uwe Gronostay, Thomas Hengelbrock, Jan Willem de Vriend, Prof. Kistian Commichau and Prof. Georg Christoph Sandmann. She had joint concerts and engagements with the Windsbacher Knabenchor, the Thomaner and the Tölzer Knabenchor as well as the visual artist Christine Jaschinsky. Since 2008, she has been a lecturer at the Berlin University of the Arts (UdK) in the department for early music and has been teaching there as a lecturer for baroque singing (ZIW) since 2021.

 


Run period:
30.08.2023 – 01.09.2023
Course time:
10.00 am – 5.00 pm
Application Deadline:
31.07.2023

Course fee:
EUR 390

Min. number of participants:
12
Max. number of participants:
20



For further information please contact:
summer-courses[at]udk-berlin.de