SCHALLFRONT presents

ANNA-KATHARINA SCHAU

Anna-Katharina Schau (*1995) began playing the accordion at the age of six after discovering the instrument through early music education. Her interest in contemporary music as well as pursuing new playing techniques led her first to the Hochschule für Musik, Theater und Medien Hannover (HMTMH), as well as to additional studies at the Sibelius Academy in Helsinki in 2014. In 2022, she graduated with a degree in accordion in the class of Goran Stevanovic at the HMTMH.

Among Anna-Katharina’s achievements in international competitions is the 2nd prize at the International Accordion Competition in Pula/Croatia as well as the 3rd Prize at the German Accordion Music Competition in 2018. In 2021, Schau received the 1st prize and a special distinction at the German Accordion Music Competition in both the solo and chamber music categories. Most recently, Schau received together with her new music ensemble, Trio Klangspektrum, the 1st prize of the 2022 German Music Competition.
Anna-Katharina Schau has been a scholarship recipient of the Hannover Region, the Förderkreis der HMTM Hannover, Yehudi Menuhin Live Music Now Hannover e.V., Yehudi Menuhin Live Music Now Hamburg e.V., and the Ernst von Siemens Musikstiftung.

In addition to her extensive activities as a performing musician, Anna-Katharina Schau teaches at two music schools in Berlin.

© Photo by Alina Ainola

INTERVIEW

SCHALLFRONT: Anna, you are an accordionist. Can you tell us how you came to be involved in Neue Musik?

ANNA-KATHARINA SCHAU: The accordion is a rather young instrument and its original music is mainly contemporary. Playing adaptations for example like Bach is all fine, and also important to know, but the accordion did not exist back in the days. Already in my childhood I was quite fascinated by the, let’s say, “weird” or “out of the ordinary”-sounds and their possibilities. I was also always interested in sound diversity and experimenting with different playing techniques.

As an interpreter, there is generally a somewhat predefined amount of influence you can have on the work you are performing. Do you find that this limitation allows you more or less freedom as a musician?

ANNA-KATHARINA SCHAU: Remaining faithful to the original score and the intention of the composer is important – regardless of whether you play Bach or Sánchez-Verdú. Although, I think with works specifically written for me or those that were created in collaboration with me, the interpretations can have my personal touch. But it also depends on how exactly the composer wrote down the piece.

Would you say that the degree of interpretive freedom you are given by the composer influences your choice of repertoire?

ANNA-KATHARINA SCHAU: No, not really.

Anna, how do you see the role of contemporary music within the overall repertoire that you perform? Is it a different genre or a historical succession to classical music?

ANNA-KATHARINA SCHAU: Neue Musik plays a significant role in my repertoire. It is, on the one hand, a historical succession to classical music. On the other hand, Neue Musik is in the “here and now” and has that certain quality to tackle current societal issues and topics. Neue Musik is important to me because it contributes to the history of my instrument, the accordion. 

How does interaction with artists and listeners, either directly through collaboration, through conversation, or by attending concerts influence you as an artist?

ANNA-KATHARINA SCHAU: I communicate and interact closely with my audience, especially at my concerts at Live Music Now in Hannover and in Hamburg. Before the Covid-19-pandemic, I held a concert, performing a Neue Musik program like I will do within the SCHALLFRONT-series. At that concert I gave my audience a short introduction to the music I play and talked about the composer behind it. I think that really gives listeners the chance to absorb and process the music without imposing on them an interpretation of it.

What is your vision for your artistic development?

ANNA-KATHARINA SCHAU: I would love to actively cooperate and exchange with composers and other musicians, take part in contemporary instrumental music projects, or even explore improvised music as well as other artistic disciplines. 

Next to being a performer, I also teach, which really means a lot to me. It makes me happy to be able to fascinate students for newly composed works. I believe that it is important to fire up young people’s excitement for music – they are the audiences of tomorrow.