Teaching

Music is communication in its truest form – and learning thrives where curiosity, joy, and resonance take centre stage.

From early childhood, music was woven naturally into everyday life – through shared experiences, moments of wonder, and playful discovery. These formative impressions continue to shape my approach to teaching to this day.

My goal today is to foster spaces in which musical learning can flourish in an atmosphere of openness, trust and enthusiasm – be it for those encountering the lute for the first time or for students engaged in advanced professional training.

I see myself not merely as a transmitter of knowledge, but as an attentive companion on each individual learning journey.

My teaching is body-oriented, methodically well-grounded, and individually tailored. The focus lies on technical foundations, tonal imagination, creative interpretation, and a healthy, reflective approach to practice.

I consciously draw on insights from music physiology and modern learning research. Through my teaching of “Learning to Practise & Brain Physiology” at the Basel University of Music, I have seen how body- and brain-centred approaches can unlock lasting musical growth and inspire more joyful, effective practice.

Making music together is central to me – both musically and in a deeply human way.

As artistic director of the Casulana Lute Consort, I know how profoundly the collective experience of music resonates: it nurtures not only musical expression, but also social skills such as listening, responsibility, and trust.

Whether in lessons, on courses, or in public concerts: every voice matters – regardless of individual level. Music becomes a space for encounter, inspiration, and belonging.

My teaching is deeply interwoven with both artistic and scholarly practice.

Years of experience in concert performance, ensemble direction and research form the foundation of my teaching. One example is my musicological work on the lute compositions of Karl Kohaut, which culminated in an editorial publication. For me, theory and practice are not opposites but mutually dependent and enriching.

To witness people opening up through music, growing beyond themselves, and discovering new forms of expression in connection with others – that is the very heart of my work.

The lute, often perceived as an “old” instrument, can quite naturally assume a new and vibrant role – bridging history and the present, tradition and personal experience.