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 15 Questions to Marie-Luise Hinrichs In almost every article on Marie-Luise Hinrichs, her career starts with a bang. Pianist Stefan Askenase suddenly falls ill and Marie-Luise, just 14 years young at the time, has to replace him last minute, performing Mozart's Piano Concerto KV 467. The concert is a huge success and teenager Hinrichs realises that she has the gift to not only be able to express herself through music, but to touch others with it as well. She will go on to build a position as one of the quiet stars on the scene, touring to wide acclaim and signing a contract with labels such as EMI and CPO. But just as much as this event can be seen as a deciding moment, we have a feeling that there was a second line of development - more subtle and hidden from public view. Back in the Mid-80s, Marie-Luise Hinrichs was sitting in a church San Sebastian listening to a rendition of music by Spanish composer Padre Antonio Soler. In this moment, feelings of complete comfort and estrangement combine into what she call a vision of her future. She realises she wants to perform this music herself, this very Sonata, that she wants to record it in the studio and play it live in Spain. This train of thought gradually turns into a reality over the next two decades, in which Hinrichs' will draw attention beyond the borders of Germany with her CD on Soler and concerts based around his repertoire in 1996/97 in Madrid and San Sebastian. While these two stories tell of two different angles from which to approach this artist, they also demonstrate that some things do not need to be contraidictions. And that it is possible to stay a spiritual human being right in the eye of the business. Hi! How are you? Where are you? Hello! I'm fine.Thank you. And how are you? What's on your schedule right now? My next concert is in Hannover with sonatas of P.A.Soler and others. If you hadn't chosen for music, what do you think you would do right now? If I hadn´t chosen for music I would be a painter. What or who was your biggest influence as an artist? I had lots of big influences in the past. At present I´m thinking a lot about the music of Hildegard von Bingen (1098-1179). What's the hardest part about being a musician and what's the best? Sometimes the hardest part is also the best. Performing on stage in every situation is hard - but also a good and helpful self-discipline. What's your view on the classical music scene at present? Is there a crisis? There is an uncertainty on the music scene at present. But there are also good and creative musicians and organizers etc. Some feel there is no need to record classical music any more, that it's all been done before. What do you tell them? There is a need to record more classical music because there is a lot of good but not yet recorded music. And also for the music, which is already recorded there is a need, because there is (hopefully) a developement of interpretations. |
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What constitutes a good
live performance in your opinion? What's your approach to performing on
stage? |
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