The resonance of the soul
My musical development has been a journey spanning decades and a living statement against rigidity. It has been shaped by diverse interests, an intense engagement with a wide variety of instruments and musical styles, and a constant urge to discover.
The central theme of this entire development is IMPROVISATION. It is the driving force that fuels my curiosity about other musical cultures and allows me to delve ever deeper into the subject matter.
Back to the roots
After an era in which I practically grew up with the development of synthesizers and experienced every groundbreaking innovation from the 1970s onwards—right up to the influential Yamaha DX7—a decisive turning point occurred. The realization that modern digital instruments were often designed to imitate other instruments led to the existential question:
"What am I doing here?"
The absurdity of imitation, "playing instruments that you don't actually play," initiated a return to my roots.
Today, acoustic instruments are at the forefront. It is a return to authenticity and to lively, natural, and analog sound. Listening to vinyl is a symbolic ritual of this logical return to the past.
The range of instruments and cultures
My formal training, studying church music at the Robert Schumann University of Music in Düsseldorf (graduating with an A-level exam) and postgraduate studies in Vienna with Prof. Herbert Tachezi (improvisation and literature performance), laid the classical foundation for my work as an organist and pianist, choir and orchestra conductor.
But curiosity led me far beyond that to a unique collection of instruments, all of which emphasize the expressiveness and modulation capabilities of sound in their own way.
Piano
For me, the acoustic piano is much more than just an instrument; it is a lifelong companion and a daily source of inspiration. Every day, this wonderful instrument gives me moments of clarity and creativity.
Organ
What fascinated me from the outset was not so much the sheer sonority that many people associate with the organ, but rather the endless fascination of the different timbres and combinations. Registration is a creative act in itself—the possibility of creating completely new, orchestral worlds through the choice of stops is unique.
Bayan, Button Accordion
The superior logic of the button accordion and the intimate bellows modulation.
Harmonium (Reed Organ)
The bridge between organ register technology and accordion sound shaping.
Double bass / electric bass, fretless bass
The discovery of linearity and the singing fretless sound for Oriental and Asian tonal languages.
Guqin
The ultimate reduction and concentration, serving as a pure meditation instrument.
Bandoneon
My encounter with the bandoneon marked an important point of self-reflection: despite my great fascination with it, the illogical, alternating-tone system forced me to recognize my limitations and, with a heavy heart, let go of my goal of mastering this instrument. My enthusiasm for the bandoneon, however, remains unchanged!
The shift in enthusiasm: Mahalia Jackson
My journey took me through all musical styles—even complex contemporary music. But there came a point where nothing really inspired me anymore.
My musical rebirth took place when I rediscovered Mahalia Jackson. Her extraordinary voice, her personality, gospel music, American history, and the context of the Civil Rights Movement sparked a deep, new enthusiasm and connection. This rediscovery represents the emotional honesty that I live in my music today and that I miss in so much other music today.
Music as a spiritual home
My music is born out of dedication, curiosity, and improvisation, and is constantly evolving. It draws on a broad spectrum ranging from Mahalia Jackson and Johnny Cash to Richard Strauss and classical contemporary music, as well as Asian, Oriental, and Celtic music.
My spiritual beliefs flow directly into my work: for me, music is always spiritual! This is especially true when it creates new, individual, living forms that transport the listener to another world. The Taoist view of the world and the practice of qigong and meditation form my spiritual home, which is reflected in the silence and the shaping of sound.
Teaching and research
My extensive experience has been incorporated into my professional activities:
Activities: As an improviser, author, and lecturer with concerts, workshops, music production (YouTube videos), and articles in trade journals.
Conduct: Many years of experience as a choir director and orchestra conductor.
Research: Extensive research on the life and work of Mahalia Jackson and the Viennese harmonium maker Teofil Kotykiewicz.
Education: Founded and directed a "piano school for adults" in Vienna (2008-2012), taught at various schools and continuing education institutions, gave master classes in improvisation.
Publications: Publication of the book "it came out of the blue" (2006/2011), a guide to piano improvisation, and numerous workshops and articles in various trade journals.
This path, my path—from classical training to electronic euphoria to a spiritual return to analog, modulatable sound—defines my musical identity today as a synthesis of profound knowledge, insatiable curiosity, and spiritual devotion.