


About me
I am a violinist and violist specialized in historically informed performance practice.
I originally wanted to become the violist of a string quartet, and with this dream I began my studies at the Cleveland Institute of Music. There, full of curiosity (and honestly quite clueless), I registered for the baroque orchestra and was simply handed a baroque viola. So began my fascination for early music, and even white completing my bachelor’s and master’s degrees in modern viola, I began to devote more and more time and energy to the baroque violin.
My years in Cleveland were critically formative for me. My principal viola professors Jeffrey Irvine and Lynne Ramsey laid the solid technical foundations of my playing – from my fingertips on the strings to the back of my head and down to the soles of my feet – that guide me to this day, no matter which instrument I happen to be holding. Their exercises are still part of my daily rotation. My first baroque violin teacher Julie Andrijeski showed me – first in baroque orchestra rehearsals, later also in private violin lessons – that a way of making music that is based in historical sources doesn’t end up stiff and dusty, but rather sparkles with new life. Marc Destrubé also had a significant influence on my artistic development during this time; from him, I learned to unite my musical intuition with a clean and limber playing technique.
After my studies in Cleveland, my path led me to the Royal Conservatoire of The Hague, where, under the tutelage of Ryo Terakado, I worked through seemingly the entire repertoire for baroque violin – not to mention the countless chamber music, orchestra, oratorio and opera projects that such an important center for early music has to offer. I then moved on to the University of the Arts Bremen, where I completed my master’s degree in 2018. There, after all my years studying, my principal teacher Veronika Skuplik helped me tell my own musical stories through my instrument – as though it could actually sing a text. I spent my final semester studying with Thomas Albert, who freed up my sound for my final master’s recital.
These days you can hear me perform with ensembles such as la festa musicale, Concerto dei venti, la dolcezza, Concerto Ispirato, the Elbipolis Barockorchester Hamburg, Concerto Palatino, L’Arpeggiata, the Bremer Barockorchester and the Svapinga Consort. I am the violist of the Wisura Quartett, a string quartet on period instruments, and perform together with organist and harpsichordist Robert Selinger as the Schwanenberg Duo.