Laura Konjetzky

Composer and pianist

Author

About

The pianist and composer Laura Konjetzky was born in Munich in 1977.

She studied piano at the Mozarteum University in Salzburg/Austria with Christoph Lieske and at the Berlin University of the Arts/Germany. She continued her studies with Walter Fähndrich at the University of Music Basel/Switzerland with a concentration on Free Improvisation.

Laura recorded numerous solo pieces for the Bavarian State Broadcast Company (Bayerischer Rundfunk) amongst others Prokofiev, Schulhoff, Ustvolskaya and gave many solo and chamber music performances of classical and new music, and in improvisation.

She performed with Ensemble Resonanz, Ensemble Zeitsprung and the Munich Chamber Orchestra, as well she was engaged to perform at the Salzburg Festival, International Conference of the International Society for the Philosophy of Architecture (ISPA), A*DEvantgarde Festival, Klassik im Club Festival, Tanzwerkstatt Europe, European Weeks Festival in Passau, Jazz And More Festival Sibiu, Rumania, Think Big! Festival, Festival "Zeit für Neue Musik" in Bayreuth and the Bavarian Academy of Fine Arts.

Since 2009 Laura Konjetzky is a Music Supervisor for the Bavarian State Broadcast Company (Bayerischer Rundfunk).

Her compositional work focuses on the piano. She explores new sounds at and with the grand piano, and she searches for new elements that expand piano music as, for example, with structured spoken language or percussion instruments. Among her most important works are the composition „The thoroughly shaken dream“ (2016) for soprano, mezzo-soprano, 2 flutes, electric guitar and piano and the 60-minute piece "Fading Varnish", a composition with projections of photographs for piano solo, playback and additional instruments (2013).

In addition, she wrote music for dance and theatre, including for the Bavarian State Theatre (Bayerisches Staatsschauspiel), Theater Bremen, schauspielfrankfurt, the choreographic project Heinrich tanzt! by Fokus Tanz – Tanz und Schule e.V., as well as for compagnie Anna Konjetzky.

Laura Konjetzky received several prizes and awards for her artistic work, such as the Leonhard and Ida Wolf Memorial Award for Music, granted by the City of Munich (2002), the Bavarian Prize for the Advancement of the Arts (2006) and the Music Fellowship of the regional capital Munich (2010). In 2010/11, she was a fellow at the Internationale Künstlerhaus Villa Concordia in Bamberg/Germany.

In 2011/12 she received a fellowship from the Bavarian State Ministry of Sciences, Research and the Arts for a six-month study visit at Cité Internationale des Arts Paris.

Laura Konjetzky was selected as a composer for the Djerassi Resident Artists Program 2013 in California, USA and awarded the Helen L. Bing Fellowship.

2014, 2015, 2017 & 2018 she was juror at the federal competition "Jugend musiziert", 2016 & 2018 at the regional competition Munich „Jugend musiziert“.

Laura Konjetzky received the Europäische Musikautoren-Stipendium (EMAS) 2015 (European Music Author Fellowship) from GEMA (German society for musical performing and mechanical reproduction rights) and 2017 the International fellowship Oberpfälzer Künstlerhaus at the Virginia Center for the Creative Arts (VCCA), Virginia, USA.

Foto © Regine Heiland

Sheets

Interview

What does music mean to you personally?

Music is my elixir of life. Music is an infinite realm, that surrounds me. I dive into this field and everytime I´m fascinated, enriched and affected anew. Music makes me alive.

Do you agree that music is all about fantasy?

The discovery and exploration of new paths, perspectives and point of views always plays an important role in my artistic work. Fantasy is essential for that, but not the only skill you need.

If you were not a professional musician, what would you have been?

Being a musician is my vocation. Otherwise I would have been a philosopher, writer or photographer, I think.

The classical music audience is getting old, are you worried about your future?

No.

What do you envision the role of classical music to be in the 21 century? Do you see that there is a transformation of this role?

The art of listening is very important to me. This sensory perception in its pure form is not related to a century. But the art of listening stays alive through cultivating that sense. I hope the awareness for this sense becomes more important.

When I say that classical music is searching for new ways or that the classical music is getting a new face, what would come to your mind?

With the awareness of the history and development of music, it´s important to me as an artist to be courageous and to search for individual paths. By further developing music, we keep music alive.

Do you think that the classical musician today needs to be more creative? Whats the role of creativity in the musical process for you?

No, I don´t think so. The basis of being a composer for me is being a creative person in the musical field. Having a good access to my inner and out creative cosmos.

Tell us about your creative process. Do you have your favorite piece (written by you) How did you start working on it?

I would not want to miss a single of my compositions. They are related to each other and they are all part of my unique artistic approach. I love the tingling sensations while exploring new musical ground and discovering the full potential of an artistic idea. My way to compose is a hidden and secret process far from other eyes and ears. I need the retreat, to find the door to my inner realm.

We, Moving Classics TV, love the combination of classical music with different disciplines: music and painting, music and cinematography, music and digital art, music and poetry. What do you think about these combinations?

I composed pieces like „Fading Varnish“, a piece for piano solo, playback and additional instruments, in a light show with projections of photographs. Or my second Nocturne for piano solo and speaking pianist.

Can you give some advice for young people who want to discover classical music for themselves?

The ear changes and grows with listening experiences. Give your ears time. Be courageous and enjoy this amazing journey of discovery. Re-experience yourself through the unheard music, that you get to know!

Do you have expectations what regards your listeners, your audience?

I would not call it an expectation, but I hope, that my audience listens carefully and with an open mind, to perceive the moment with full attention.