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  • Work on skills like Sound, Breath-Control, Posture, Articulation, Rhythm, Metrum and Timing , Intonation, Legato, Finger  Technique

  • Repertoire Studies

  • Preparation for entrance exams, auditions, competitions

  • Performance Coaching &  Mental Training

  • Lessons with piano accompaniment

  • Body Therapy & Music-Physiology


  • Sectional rehearsals

  • Artistic Group Tuition

  • Workshops /Professional Education and Further Trainings   

  • Mentoring Chamber Music Ensembles

  • Mental Training

  • Teaching Practice and Methodology classes

  • Didactics & Methodology for Woodwinds


My Lessons are passionate, spirited and motivating. It is important to me that students do not learn how to “spell” the music/musical notation; that they read between the lines of notation; that their own creative ideas for composition and interpretation are fostered; that they practise practicing; and that they process and sort stimuli from experiences, other people (not just flautists), literature, artworks etc.


Like a construction kit, I develop the various elements of skill that are based on one another and which are at the same time mutually influential. This includes issues specific to the art of flute music, theoretical knowledge, literary awareness, all of which I blend into one. These “building blocks” must however be constantly recombined, thereby establishing a flexible, customised curriculum. There is neither a all-purpose “recipe” nor a universal method for designing a course of tuition. From my experience, I know that the focus must be individually adapted to, and especially readjusted for, each pupil or student time and again. Over the course of the years, I have settled on the premise of focusing my eyes and ears directly on my counterpart, creating a tailored approach for each individual. I “pick up” each student at their current level.

At the same time, I emphasise the acquisition and expansion of pedagogical skills, as these are a fundamental and essential element for dealing with the subject matter and thus encourage the development of the student. This includes precise listening skills and exact forms of expression which are essential for practice and instruction. Subject matter can only be directly and clearly conveyed when the teacher is able to explicitly define it with precise words and sentences. Here it is helpful (and in some circumstances necessary) to constantly pose questions to the student, and oneself, regarding teaching methods. By learning to conduct an inner dialogue, self-reflection is trained and the student thus gradually becomes their own teacher (self-efficacy).

I place a great deal of value on building musical bridges between the “technical-artisanal” fields and their implementation in pieces; this means, for example, practising “just” a single scale, etude or a sustained note as an element of a musical phrase, with the greatest musical expression possible.  I pursue the goal of practice-orientated instruction for the consolidation and application of theoretical/stylistic knowledge, in order to merge these skills into one, which, with time, should become more than the sum of its parts.

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