johanna marie hennig
The essentials in brief
Home: Hanover, Germany
Instrument: piano (and violin)
Studies: University of Music, Performing Art and Media, Hanover (piano: Einar Steen- Nøkleberg, Lied accompaniment: Jan Philip Schulze); teaching assignment there (2007-2017)
Work: She currently holds a piano accompanist position at the Vocational School of Music in Sulzbach-Rosenberg, Bavaria.
Important incentives: Jewgenij Kissin (as inspiring example), Norman Shetler and Irwin Gage (master classes)
Videos: Youtube channel
- Price for the best Lied accompaniment at the International Johannes Brahms Competition (2007)
- Award for the best interpretation of the obligatory piece of contemporary music (and its premiere) at the International Johannes Brahms Competition (2007)
- 2nd price at the International Lied-Duo-Competition ,Cantando-Parlando‘ (2011) in a duo with soprano singer Anna Dierl
- Scholarship holder of Live Music Now (2009-2011)
Travels, festivals, concerts:
- Tours as pianist with the Mädchenchor Hannover to Belarus (2007) and China (2008 and 2016)
- Braunschweig Classix Festival
- Festspiele Mecklenburg-Vorpommern
- Auditorium du Louvre Paris
- Big Hall of the NDR Hanover
- Grand National Theater Beijing
- Concerts in Munich (Gasteig) and Innsbruck (Congress) with Munich Philharmonic Orchestra (Celesta) under Semyon Bychkov (2017)
- Presidio Concerts, Golden Gate Club, San Francisco (2018)
If you would like to know more...
For the pianist Johanna Marie Hennig there was never a doubt that she would be a musician: ‚The pathway was clear’. Ever since at the tender age of twelve she got hold via her older sister of a CD recording of the Chopin Piano Concertos, recorded by a likewise twelve-year-old: Jewgenij Kissin, nothing could stop the reserved but vigorous young girl. ‚At that time I thought: What other physical prerequisites does he have at twelve than me? So I wished for the score and once I got hold of them worked on the piece for six hours straight the first day, as I was not very good at reading music but was determined to work it through.’ That same year she performed the first two movements. At that time she sees Jewgenij Kissin as her driving force: She visits his concerts in Hanover, Brunswick and Hamburg and let’s herself be inspired by his playing and his repertoire. It is due to Kissin that at the age of 15 she is introduced to Rachmaninoff’s Piano Concerto No.2, that she rehearses and performs two years later.
Besides the diligence and the devotion required by the piano Johanna Marie Hennig already as a child and adolescent shows a profound love for chamber music. Since early childhood she also plays the violin in various orchestras.
As little as she can imagine her life without music she can picture music without the very special community that can evolve among considerate partners in chamber music: ‚I always liked togetherness better than solo‘, and speaking about performing with an orchestra she points out the social aspect delighting her: ’It is a pleasure being able to make music together with so many others! In addition I do know many piano concertos from the point of view of the orchestra, therefore being familiar with both sides.’
Since the last years at school the Lied accompaniment plays a special role for Johanna Marie Hennig. The sensitivity and the capacity of reaction as well as the responsibility and the subtle scope for design required by the accompaniment of a human voice and the Lied interpretation seem to come natural to her since then. Various awards, courses and the intense cooperation with numerous singers during her postgraduate program Lied interpretation confirm and deepen her expertise in this area.
Whereas during her course of studies everything fell in place almost organically she now reflects: ‚My means of expression is and has always been music. When I can awaken that spark that electrifies the audience it is in my opinion the most precious gift I have to give.’
A certain pensive and melancholic feature in Johanna Marie Hennigs nature could stem from her Norwegian origin. Apart from the music she loves one thing above all: The beauty of the Norwegian nature, the water, the ample space, the direct vicinity of mountains and the sea, warm granite rocks in summer, seagulls and solitary rocking boats, the quiet – and freedom… ‘I feel a strong connection to the country. Or put in other words: It was in Norway that I – literally speaking – found my feet!’ the pianist discloses with a wink.