Part-time Master Chamber music

In the Master's programme in Chamber Music, you will benefit from intensive support from teachers with international experience – both in chamber music and as soloists. The university offers excellent opportunities for networking, forming ensembles and gaining a wide range of chamber music experience.

Key areas:

• Chamber music lessons in fixed or changing ensembles
• Individual coaching by internationally active artists
• Building a versatile repertoire
• Methodology in rehearsals and ensemble communication
• Concert practice and performance training
• Networking with students from all instrument groups

You can study for a Master's degree in chamber music with modern or historical instruments, either solo or as part of a fixed ensemble.

It is also offered in the following specialisations:

• Art Song/Voice
• Art Song/Interpretation (Piano) 
• Early Music 
  • Continuo
  • First violin/concertmaster
  • Ensemble director

If you study with a permanent ensemble in Trossingen, you can look forward to important input. You will learn

• Diverse programme planning within the ensemble
• Arranging works for the corresponding instrumentation
• Historical performance practice
• Improvisation within the ensemble

Smooth ensemble playing requires knowledge of the score. In addition, the interpretation techniques of the Baroque, Classical and Romantic periods on historical instruments are a key skill and essential for an ensemble. Improvisation is also an important discipline in ensemble playing. Edition practice, arrangements and instrumentation issues are important elements in ensemble playing.

The first violin usually plays a dominant role in early music. Here, working techniques and musical interpretation come together to form an ensemble/orchestra. That is why your focus here will be on the following points:

• Ensemble/orchestra playing
• Basso continuo playing
• Historical performance practice
• Improvisation 
• Designing a programme

For you as the first violin or concertmaster, in addition to your own melody, interactions with the bass or within the middle voice are of crucial importance. Added to this are important musical details from the diverse schools of interpretation (Baroque, Classical and Romantic) as well as working techniques for ensemble playing and good ensemble intonation. 

Johann Mattheson's Der vollkommene Kapellmeister (The Perfect Kapellmeister, 1739) is not without reason the title of one of the most important sources of the mid-18th century! Conducting ensembles and orchestras on historical instruments requires a profound knowledge of working methods and interpretation theories and the various styles of the Baroque, but also of the Classical and Romantic periods.

In particular, you will learn:

• Conducting various ensembles, with choir, with vocals, or purely instrumental music
• Source studies spanning three centuries
• Designing programmes
• Editing practice

Based on Baroque ‘Klangrede’ (sound speech), the doctrine of affections is the central element of ALL music up to around 1900! The necessary sources will be an important building block for this, and the working techniques of ensemble leaders also differ significantly from modern conducting. Dance and language are central components of a comprehensive teaching approach. Work with voices (including choir).