Karen Asatrian (piano), Philipp Sageder (voice, electronics, remixing), Horst-Michael Schaffer (winds)

Master rhythmsection of the mdw

Active participation: all instrumentalists, singers
Intensity level: 2

Learn how to improvise in easy steps and get on stage with a master rhythmsection from the Institute for popular music (iPOP) of the mdw! Play the songs you always loved!

Thomas Toppler

Active Participation: all instrumentalists and singers
Intensity level: 2

This workshop invites you to discover your own playfulness, to curiously shape the moment and thereby expand creativity, strength of mind and possibilities for action.

In contrast to the established ensemble work starting from the instrument, the focus of this workshop is on the communication and playfulness of the musicians with each other. Using various contact and improvisation games from the field of acting, we will embark on new paths of musical communication in an ensemble context. Key topics and challenges in the collaboration will be approached playfully and exploratively at the same time, experience a breeze of fresh inspiration and thereby promote expressive ensemble playing.

“Playing” musicians are open, big, beautiful and above all human. Behind this work is the search for inner freedom, personal expression, the individual drive to express oneself musically and the courage to play with the stage. According to the only rule in art, the motto is: Don’t be boring! Everything else is negotiable.

Andreas Vierziger

Active participation: all instrumentalists and singers
Intensity level: 1

The requirements for being a successful classical musician have changed rapidly in recent years. Mastering an instrument now merely forms the basis of an artist’s 360-degree profile. Individual sessions with music manager Andreas Vierziger provide an opportunity to focus on your own career strategies. The contents of these sessions are flexible and can include topics such as concert booking, self-management, project management, creating and optimising artist materials, project development, positioning and branding, websites, marketing skills, networking, and beyond.

The sessions either develop flexibly and organically or you come with a specific list of questions or documents that you would like to revise.

Ewa Pobłocka

Active participation: all pianists
Intensity level: 2

The workshop is designed for pianists and consists of two components. The first is a lecture by Prof. Ewa Pobłocka titled “Mazurkas Op. 6, Op. 24, and Op. 59 – Similarities and Differences.” The lecture will be accompanied by the artist’s presentation of selected performance aspects. The second component involves individual lessons with workshop participants, providing an opportunity to work on repertoire and learn directly from a renowned artist.

Veronika Jana Lubert

Active participation: all instrumentalists and singers
Intensity level: 2

Mental strength is a key factor for successful performances, effective practice, and long-term well-being. In my program, you will have the opportunity to work specifically on the psychological aspects of your musical activities. In interactive workshops, we will address essential topics such as managing stage fright, setting goals for practice and rehearsals, and sustainable stress management.

Daily group sessions provide rejuvenating breaks between rehearsals and lessons. Using techniques like progressive muscle relaxation, visualization, and mindfulness exercises, you will begin each musical activity refreshed, focused, and positive.

For individual concerns, one-on-one sessions are available to develop tailored solutions together – from performance preparation to personal growth. Chamber music ensembles can benefit from coaching sessions designed to enhance communication, role distribution, and collaboration.

This program is aimed at all musicians who wish to strengthen their mental resilience and achieve a sustainable balance between peak performance and personal fulfillment.

Ulla Pilz

Active participation: all instrumentalists and singers
Intensity level: 2

Musicians are being asked more and more often to present themselves onstage not only with their instruments but also verbally. This workshop provides support, feedback, tips, and tricks for public speaking in the field of music. That which is learned can be practically applied at the concerts of the isaFestival.

Input and workshop by Michael Dörfler-Kneihs, Birgit Huebener, Doris Ingrisch

Active participation: all instrumentalists and singers, isaResearch, isaCommunity
Intensity level: 1

Dealing with burning questions about our future enables us to envision a life worth living for all.
Art, in all its facets, plays an important role in this process, as it constantly invites us to perceive and think differently.
The workshop will open up a space for experimenting, talking and new ways of listening.
For the instrumentalists: Please bring your instruments.

Philipp Nykrin

Active participation: all pianists (also as second instrument)
Intensity level: 1

This short workshop introduces the basic functions and tonal possibilities of synthesisers and other electronic keyboard instruments in a beginner-friendly way. After the workshop, participants can try out the keyboard instruments for themselves at the Department of Popular Music (including a Hammond organ, a Fender Rhodes electric piano and various synthesisers).

We recommend that you bring your own headphones (large jack socket) for this purpose.

Else Schmidt

Active participation: all instrumentalists and singers
Intensity level: 1

When we whirl to the rhythm of a waltz… Traditional dance encompasses many forms of waltz – of revolving as a couple around a common axis. Accompanied by the music of a diatonic harmonica, the aim of this workshop is to provide practical insight into the world of traditional dance, which brings together young and old, experienced dancers and newcomers.

Elisabeth Baumer

Active participation: oboists, recorder players and other interested persons
Intensity level: 1 (no previous knowledge required)

Try out the Baroque oboe and immerse yourself in the world of historical oboe playing! The workshop also provides an overview of the oboe repertoire of the Baroque period (solo sonatas, concertos and ensemble music).

Instruments and reeds will be provided by Elisabeth Baumer.

Supplementary literature (if interested)

Bruce Haynes, Music for Oboe, 1650 to 1800. A Bibliography, 2^nd edition, Lanham 1992
Bruce Haynes, The eloquent oboe. A History of the hautboy from 1640 to 1760, Oxford 2001

Elisabeth Baumer

Active participation: all instrumentalists
Intensity level: 1 (no previous knowledge required)

Slow movements of Baroque sonatas and concertos can often sound boring and incomplete without added ornaments. This workshop uses a systematic approach in teaching musicians how to acquire the basics of Baroque ornamentation practice. The simply structured practical exercises are complemented by a concise presentation of the High Baroque sources and different styles.

Supplementary literature (if interested)

Astrid Knöchlein, Verzieren – wie Telemann! Georg Philipp Telemanns Methodische Sonaten und Trietti methodichi (“Ornamentation – just as Telemann did it! Georg Philipp Telemann’s Methodical Sonatas and Trietti methodichi”), Zurich 2024

Betty Mather/David Lasocki, Free Ornamentation in Woodwind Music 1700 – 1775. An Anthology with Introduction, New York 1976

Manfredo Zimmermann, Die Ornamentik der Musik im Barock. Handbuch für das eigenständige Verzieren (“Musical Ornamentation in the Baroque. A manual for free ornamentation”), Norderstedt 2019

Elisabeth Baumer

Active participation: flute, oboe, bassoon, violin, violoncello and double bass
Intensity level: 3 (several appointments)

In this workshop, we will work on chamber music works for various instrumentations, from the first half of the 18^th century. The focus is on virtuoso highlights of the High Baroque period: ensemble sonatas for oboes and bassoons and concerti da camera by Antonio Vivaldi for flute, oboe, violin, bassoon and basso continuo.

The vivacity and, at the same time, highly expressive quality of these musical gems explains in great measure the continuing fascination with “early music” in today’s musical world.

Repertoire list

Johann Friedrich Fasch:
– Sonata à quattro in F major FaWV N:F1
for 2 oboes and 2 bassoons
– Sonata in G minor FaWV N:g1
for 2 oboes, bassoon and basso continuo (bassoon/violoncello and harpsichord)
– Sonata in D minor FaWV N:d2
for 2 oboes, bassoon and basso continuo (bassoon/violoncello and harpsichord)

Antonio Lotti:
– Sonata à quattro in B flat major and the “Echo” sonata à quattro in F major
for 2 oboes, bassoon and basso continuo (bassoon/violoncello and harpsichord)

Jan Dismas Zelenka:
– Sonatas 1 – 6 (ZWV 181/1-6) for 2 oboes (Sonata 3 for oboe and violin), bassoon and basso continuo (bassoon/violoncello/double bass and harpsichord)

Antonio Vivaldi:
– Concerto da camera RV 98 “Tempesta di mare” in F major
for flute, oboe, violin, bassoon and basso continuo (violoncello/double bass and harpsichord)
– Concerto da camera RV 99 in F major
for flute, oboe, violin, bassoon and basso continuo (violoncello/double bass and harpsichord)
– Concerto da camera RV 107 in G minor
for flute, oboe, violin, bassoon and basso continuo (violoncello/double bass and harpsichord)
– Concerto (trio) RV 84 in D major
for flute, violin and basso continuo (violoncello/bassoon and harpsichord)
– Concerto (trio) RV 103 in G minor
for flute, oboe and bassoon