ANNA MARIA HEFELE : SHORT BIOGRAPHY

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Anna-Maria Hefele

singer

Anna-Maria Hefele is an overtone singer and voice artist. She plays nyckelharpa, harp & other instruments.

In 2018 she graduated as Master of Arts in Elemental Music & Dance Education with classical singing as her main subject from the Carl Orff Institute, Mozarteum University Salzburg

She started with overtone singing in 2005 and has written compositions and arrangements for polyphonic solo voice since 2006.

Vita as PDF – download

Press photos – download

A new website with up-to-date informations is currently

https://anna-maria-hefele.com/vita-english.html

CONCERTS

Talk on overtone singing @ TEDxGenova on 23rd of February 2019. If you wish to keep updated regarding my activities, please sign up for my Newsletter! newsletter@anna-maria-hefele.com

Concert with Anna-Maria Hefele @ International Overtone Festival, Gmünd in Kärnten (AT), 29th of August 2019

Soloconcert with Anna-Maria Hefele @ Nikolausberger Musiktage, 07.09.2019

Concert with Chorknaben Uetersen @ chor.com Hannover, 12.-15.09.2019

Concerts with Jan Henning & Kristoffer Fynbo Thorning, 06.10.2019 in Vodskov  (DK) and 09.10.2019 in Aalborg (DK)

WORKSHOPS

Currently are not so many workshop dates available. Please contact me if you are interested in attending  a workshop, then I’ll inform you about future plannings. EMAIL workshop@anna-maria-hefele.com

Workshop @ Nikolausberger Musiktage (DE), 07.09.2019

Workshop & Lecture at www.chor.com Hannover (DE), 12.09.2019-15.09.2019

Workshop @ chor@Berlin (DE), 20.23.02.2020

INDIVIDUAL LESSONS – CONTACT

I offer individual lessons and prefer real contact to people, especially for learning singing. If you can manage to come to Upper Austria and want to learn, let me know & be welcome, or also let me know where you live, if there are enough people from one region it’s possible to organize a workshop there, or probably I am travelling to your town and we can meet when I’m there some time.

SOME PAST DATES:

Supersonus @InnTöne Festival 2019. Soloconcert with Anna-Maria Hefele @ Black Forest Voices, 30.06.2019.  Lecture & Workshop @ Fonetic conference Stockholm (SE). Contemporary Short Opera performances (Taschenopernfestival Salbzurg) in Solingen together with Musikfabrik Köln 2018. Supersonus @ Teatro Comunale, Modena (IT), 04.05.2018. Anna-Maria Hefele & Thomas Radlwimmer @ Festival Mixtour Lemgo (DE), 22.09.2018. Ars Choralis 2018. With Kammerchor I Vocalisti: concerts at Stiftskirche Stuttgart, Ulmer Münster, Hamburg/Quickborn/Lübeck/Lütjensee 2018.  February 17th 2018 concert in St. Petersburg, Russia, Mariinsky Theatre with Kammerchor I Vocalisti. Singer and teacher (2018) @ London Acapella Festival and A CAPE’LLA- Festival Aoutour de la Voix.  Singer @ Festival Angelica, Bologna, working with Heiner Goebbels & Tiziano Popoli on contemporary music involving overtones. Singer and performer (opera composed by Birke Bertelsmeier) @ Taschenopernfestival Salzburg with Thierry Bruehl, Hans-Peter Jahn, OENM and more. Organisation, performing & teaching at the 1st austrian overtone festival @ Pankratium Gmünd, August 2017. Workshop, Vortrag & concert @ chor.com Dortmund, also with Kammerchor I Vocalisti (2017). Speaker @ symposium for micrtotonal music, Salzburg (2017),  singer & teacher @ Aarhus Vocal Festival (2017), speaking @ International Congress of Voice Teachers, Stockholm 2017. Concert @ Europäisches Kirchenmusikfestival Schwäbisch Gmünd with Supersonus (2017), concert @ Bach-Festival Arnstadt with Kammerchor I Vocalisti (2017),Gent Festival van Vlaanderen Belgium (2016), Konzerthaus Blaibach (Sept. 2016), Bozar Belgium (2015), Barbican London (2015), Klangfestival Naturstimmen Toggenburg CH (2016), Ossola Guitar Festival IT (2016), Franz K. Reutlingen (2016), Alte Oper Frankfurt (2015), Scala Ludwigsburg (2015), Theaterhaus Stuttgart (with Orchester der Kulturen), Lisboa Todos Festival (2015), Workshop @ Labyrinth, Crete, Workshops @ Musikhochschule Hannover and Musikhochschule Hamburg & Mozarteum Salzburg, speaking and presenting @ Ars Choralis Zagreb & International Voice Symposion Salzburg….

ECCE VOCE – in principio era il suono

Ecce voce

E’ affascinante scandagliare le possibilità dello strumento voce nelle sue possibili divagazioni timbriche a creare un linguaggio dove è il corpo dentro che suona e danza.

Ripropongo il canto armonico, il kargiraa, il xoomij, i sovracuti e altri timbri e tecniche come veicoli possibili per liberare la voce dalle convenzioni in cui siamo stati abituati e il linguaggio da regole compositive lessicali e metriche.

Attraverso esercizi, collettivi e individuali, di concentrazione, riscaldamento, ascolto e imitazione, si cercherà di investigare il proprio strumento corpo/voce alla ricerca di varianti timbriche, melodiche e ritmiche a creare un linguaggio/suono che permetta una comunicazione trasversale più diretta al sensibile umano.

Grande importanza verrà data all’ascolto, non solo a quello relativo all’udito, ma, in senso esteso l’ascolto a tutto se stessi, laddove è il corpo che si fa sensibile diventando un grande orecchio teso alle parti più nascoste di noi alla ricerca delle nostre profondità più sconosciute.

articolo di Eleonora La Rocca su VORREI

Ecce voice

It is fascinating to fathom the possibilities of the voice instrument in its possible tonal digressions to create a language where the body inside that plays and dances.

I propose harmonic singing, kargiraa, xoomij, overtones and other timbres and techniques as possible vehicles to free the voice from the conventions in which we have been accustomed and the language of lexical and metric compositional rules.

Through exercises, collective and individual, of concentration, warming up, listening and imitation, we will try to investigate our body / voice instrument in search of tonal, melodic and rhythmic variants to create a language / sound that allows a more direct transversal communication to the sensitive human.

Great importance will be given to listening, not only to that relating to hearing, but, in an extended sense, listening to one's whole self, where it is the body that becomes sensitive, becoming a great ear stretched out to the most hidden parts of us at search for our most unknown depths.

article by Eleonora La Rocca on VORREI

https://www.delleali.it

ANNA MARIA HEFELE & TRAN QUANG HAI participate in the UMBRIA IN VOCE 5 , GUBBIO, ITALY, 3-10 NOVEMBER 2019

Sabato 9 novembre 2019

SALA ATTIVITA’ BIBLIOTECA

Ore 13:30 – 18:30
“Overtune singing e canto difonico”
Laboratorio con Tran Quang Hai

tran quang hai

the workshop with Tran Quang Hai which is full

il laboratorio con Tran Quang Hai che è al completo  

REFETTORIO BIBLIOTECA

Ore 21:30

“Longing”
Anna-Maria Hefele in concerto.
Voce e arpa

ANNA MARIA HEFELE
TRAN QUANG HAI

Torna a Gubbio dal 3 al 10 novembre il festival Umbria in Voce, “festa della voce” unica nel suo genere che quest’anno giunge alla sua V edizione con un cartellone artistico di altissimo livello, grazie alla presenza di artisti internazionali e molteplici eventi aperti a tutti, tra cui concerti, conferenze, seminari, laboratori e presentazioni.
Organizzato dall’Associazione Archè con il sostegno del Comune di Gubbio e in collaborazione con un gruppo di cittadini volontari, il Festival è stato ideato dalla cantante e performer Claudia Fofi che ne cura la direzione artistica, e ha ospitato negli anni grandi artisti della voce e della parola come John De Leo, Franco Arminio, Albert Hera, Mauro Tiberi, Keba Sech e Marta Raviglia.
Unica nel suo genere, la manifestazione apre al pubblico e ai suoi partecipanti la possibilità di sperimentare nuovi linguaggi e di creare un luogo di incontro fisico e di gioia genuina tra le persone: funzione che un tempo era svolta dal canto popolare o di tradizione orale e chevuole essere attualizzata creando delle “comunità cantanti” in cui le persone si incontrano per vivere delle occasioni formative di altissimo livello, sempre aperte a tutti e non per specialisti.
Un evento che diviene dunque propulsore sociale, attivatore di relazioni, creatore di benessere immateriale.
Location d’eccezione, le Sale dell’ex Refettorio di una delle biblioteche più antiche d’Italia: la Biblioteca Sperelliana, uno dei tanti patrimoni artistici dell’incantevole città di Gubbio.

Il programma della V edizione si conferma denso di appuntamenti d’eccellenza e si pregia anzitutto di due importanti presenze di alto livello internazionale, che incarnano la dedica del festival al grande artista e sperimentatore della voce Demetrio Stratos, di cui quest’anno ricorre il quarantennale dalla scomparsa.
Primo tra gli ospiti, il vietnamita Tran Quang Hai, il più grande esperto e maestro al mondo del canto difonico: una tecnica vocale di origine sciamanica diffusa in Mongolia, in Siberia e in Sudafrica che ha introdotto nella musica contemporanea ricevendo molti riconoscimenti internazionali. Raffinato interprete delle tradizioni musicali dell’Estremo Oriente, è stato maestro di artisti come Demetrio Stratos,  e dal 1968 fa parte del gruppo di ricerca del CNRS, dipartimento di musicologia presso il Musée de l’Homme di Parigi. Sabato 9 novembre alle 13.30 sarà protagonista del seminario “Overtune singing e canto difonico”, della durata di 5 ore (info: umbriainvoce@gmail.com).

TRAN QUANG HAI

Altro ospite attesissimo è il fenomeno musicale Anna Maria Hefele: cantante, polistrumentista e compositrice tedesca, protagonista del video virale “Polyphonic Overtone Singing”. Il suo è un canto che si muove tra diverse tecniche – dalla musica classica al canto armonico – accompagnandosi con strumenti inusuali come l’arpa e la fascinosa e ipnotica nyckelharpa svedese. Per Umbria in Voce sarà protagonista sabato 9 novembre alle 21.30 del concerto “Longing” per arpa e voce, presentando la sua versatilità vocale in un “solo” che pochi cantanti al mondo possono affrontare con disinvoltura e vera bravura: dal folklore scandinavo e italiano del XVI secolo a Brian Eno, passando per composizioni originali in un unico viaggio che porta il pubblico in un mondo misterioso in cui il virtuosismo è al servizio della partecipazione emotiva e del mondo etereo e sognante di questa magnifica artista.

CONTATTI
www.umbriainvoce.it
Info e prenotazioni concerti e seminari: tel 334.9843087 – 339.4076156  email umbriainvoce@gmail.com
Ufficio Stampa Festival: Fiorenza Gherardi De Candei – tel. 328.1743236  email info@fiorenzagherardi.com

ENGLISH TRANSLATION

The program of the V edition confirms itself to be full of excellent events and first of all has the honor of two important presences of high international level, which embody the dedication of the festival to the great artist and experimenter of the voice Demetrio Stratos, of which this year mEarks the forty year since disappearance.

13315513_10153822967297739_1950517392217035376_n
TRAN QUANG HAI


First among the guests, the Vietnamese Tran Quang Hai, the greatest expert and master in the world of difonic singing: a vocal technique of shamanic origin widespread in Mongolia, Siberia and South Africa which he introduced into contemporary music receiving many international awards. Refined interpreter of the musical traditions of the Far East, he was a master of artists such as Demetrio Stratos, and since 1968 he is part of the research group of the CNRS, department of musicology at the Musée de l’Homme in Paris. Saturday 9 November at 13.30 will be the protagonist of the seminar “Overtone singing and singing difonico”, lasting 5 hours (info: umbriainvoce@gmail.com).

ANNA MARIA HEFELE

Another highly anticipated guest is the musical phenomenon Anna Maria Hefele: singer, multi-instrumentalist and German composer, protagonist of the viral video “Polyphonic Overtone Singing”. His is a song that moves between different techniques – from classical music to harmonic singing – accompanied by unusual instruments such as the harp and the fascinating and hypnotic Swedish nyckelharpa. For Umbria in Voce it will be the protagonist on Saturday November 9th at 9.30pm of the “Longing” concert for harp and voice, presenting its vocal versatility in a “solo” that few singers in the world can face with ease and true skill: from Scandinavian and Italian folklore of 16th century to Brian Eno, passing through original compositions in a single journey that takes the public into a mysterious world where virtuosity is at the service of emotional participation and the ethereal and dreamy world of this magnificent artist.

TRAN QUANG HAI & ANNA MARIA HEFELE
TRAN QUANG HAI & ANNA MARIA HEFELE

MARK VAN TONGEREN: Catching up with Tran Quang Hai

MARK VAN TONGEREN: Catching up with Tran Quang Hai

Fusica © 2002 – 2019

Catching up with Tran Quang Hai

5th October 2019Overtone Singing, People, Publications, Throat Singing, Writings, 中文Bach Yen, dan moi, jew’s harp, mouthharp, Overtone Singing, Tran Quang Hai, Vietnamese music

The most prolific researcher in the field of overtone singing is a man with many faces. His name is Tran Quang Hai and you can call him (and all options are correct): Vietnamese or French; a professional musician or a professional musicologist; an instrumentalist or a singer; an improviser or a composer; a traditional, a popular or an experimental musician (all three will do); an expert in Vietnamese traditional musics and an astute chronicler of its year-to-year development in the past decades.* Tran Quang Hai has a new book out celebrating his 50 years of music research in many different areas. We recently met in Paris, where he shared some interesting facts about the Vietnamese Jew’s harp (dan moi) I did not know before. On the trip back to Amsterdam I read most of the articles in his book that I had not seen before, so more on that too. Before talking about our meeting, his book and the origin of the word dan moi (Jew’s harp), some historical background. Since Hai is Tran Quang Hai’s first name I will refer to him as Hai.

I learned of Hai’s work on overtone singing in the early 1990s. When I got to know him personally, I was astounded and (I will admit) a bit intimidated by his unbridled energy. He loves to share what he does, and he is in fact overflowing with enthusiasm: for overtone singing, for Vietnamese music, for playing the Jew’s harp and spoons, for ethnomusicology, for his constant travels as a performer and teacher. After my visits I was usually exhilirated (about all the new things I had learned or shared with him) and at the same time exhausted (feeling my life was a mess with no progress at all).

In fact, going to Paris has been almost synonymous with visiting Hai and his lovely wife Bach Yen (whose singing carreer goes way way back). And these visits became almost synonymous with absolutely great Vietnamese food. Bach Yen often spent hours and hours to buy fine ingredients like all kinds of fresh leaves, vegetables, seafood and meat and prepare them the Vietnamese way. We would have excellent diners, drank nice wine, as the couple made an annual ‘pilgrimage’ to different regions in France to stock up on boxes of quality wine to share with friends at home.

After moving to Taiwan, my encounters with Tran Quang Hai were scarce, and visits to both of them even more. In 2019, it has been around ten years since we last met in Paris. So I was delighted to see them again some weeks ago. Tran Quang Hai retired a decade ago from the ethnomusicology department at the Musée de L’Homme in Paris, but has remained an active performer and workshop leader for all these years. Bach Yen is a famous singer of popular songs and entertainment music, as well as a singer of many different genres of traditional music. Together they have given hundreds of concerts in Europe and elsewhere, and they continue to do so. Here is a photo of their appearance in Genoa, Italy, a week or so after I met them.

Late August, when I walked down the platform of Gare de Lyon, Hai and Bach Yen were waiting for me. Once again I was overwhelmed to be in their buzzing, energetic presence. The first thing they did, was to get out their cameras and make many photos together. Then we strolled to their car, and their warm hands and arms embraced my arms. I sometimes think of myself as someone who easily touches people, but this time I thought I am quite distant compared to them. It was really (excusez le mot) touching to stroll down the platform chatting and to be ‘wrapped’ by their tender hands and arms on both sides. Hai told me once about using his hands to heal people and showed me some methods. But it seems the couple just radiates warmth and energy naturally, even without using a special method.

For our Vietnamese food, this time we drove to a place called Pho Bida, pronounced Fo Beeyaa. Pho is the famous Vietnamese noodle soup, but what about Bida? It turns out to be derived from ‘billiard’, as the former location of this restaurant housed a popular billiard room as well. The place is not very spacious but we were early and could chose any seat. By the time we left lots of people waited outside. The food was great and loved by Vietnamese and non-Vietnamese alike: highly recommended! (Pho Bida Vietnam, 36 rue Nationale, 75013 Paris)

Tran Quang Hai’s New Book

When we sat down, Hai gave me his new book, a thick volume with many of his articles and listst of all his achievements, titles, appearances, etc. organized in a single volume. Some articles I have known for a long time. So I particularly enjoyed reading those things I did not know in detail.

First, an article about Vietnamese music and its historical background, very helpful for understanding the relationship to Chinese music and culture. It also covers many of the recent developments in Vietnamese music, making it in effect a kind of encyclopaedic entry into Vietnam and all its music. With this work Hai most clearly follows in the footsteps of his late father Tran Van Khe, also a well-known musician and musicologist.

“Tran Quang Hai. 50 Years of Research in Vietnamese Traditional Music and Overtone Singing.”

Second, an article that accompanied a double CD issued in France in 1997, dedicated to the absolutely fascinating world of mountain tribe musics in Vietnam. There is a dazzling array of types of instruments and ways of playing, and these liner notes give a good overview of this field.

If you are interested in overtone singing and still love printed matter, as I do myself, then this is a good way to get your (physical) hands on several key articles on this technique by Dr. Tran Quang Hai and understand the background of his research. (Note for academic readers: for research purposes it is better to consult online pdfs of the articles in their original format). Available here.

Tran Quang Hai and the Dan Moi

During our lunch I also learned where the common name of the Vietnamese brass Jew’s harp comes from. It is usually referred to as dan moi, which is a Vietnamese word (compare for example dan tranh/đàn tranh, the plucked zither, or the unique one-string zither dan bau/đàn bầu). However, the thin, finely crafted Jew’s harp, probably smaller than any other type of Jew’s harp, originates from the mountain tribes who live close to Yunnan in South China. The Hmong’s native language and culture has little to do with that of the dominant Viet or Kinh ethnic group, who are historically tied to China. When travelling in the mountains in North Vietnam (around Sapa), I encountered the Hmong people who play this instrument and managed to get one made locally by their craftsmen. They referred to it as gya, phonetically speaking, though in writing it is referred to as djam. A personal note from Tran Quang Hai shortly after publishing this post: the Hmong name of the Jew’s harp is ncas (pronounced ncha).

The djam I bought in Sapa from girls who played the instrument along the mountain road. (photo by the author).

So I asked Hai how the name dan moi came about. He explained: there is no Jew’s harp in the music of the ethnic Vietnamese. So when he learned about the traditions of the mountain people around 50 years ago, he had to make up a new name himself in order to accommodate the minorities’ instrument in the system and language of Vietnam. To use ‘dan’ (meaning ‘instrument’) was an obvious beginning point. Hai decided to add ‘moi’ for lips, to designate it is played between the lips. Most brass or metal Jew’s harps are held against the teeth, with the lamella vibrating between the teeth; the dan moi is held between the lips and vibrates there. In this sense it is more like a type of wooden or bamboo Jew’s harp, particularly the ones vibrated by a string attached to one side.

A Hmong girl playing the djam for me in 2003 (photo by the author).

The dan moi went on to become a very popular instrument around the world once non-Vietnamese musicians discovered them, at the turn of the millenium. Many people asked me for it when I brought them back in 2003. I remember giving one to Tuvan throat singer Sainkho around 2004. She immediately fell for its bright sound and expressive qualities, and asked for more several times after (and so did other people). At the same time, a German company saw the potential of this cheap instrument to reach a huge audience and set up (web)shop, calling it www.danmoi.com. It has a become a one-stop shop to buy all kinds of Jew’s harps. So dan moi, Hai’s new name for the djham, a minority instrument, and for Jew’s harps in general, now has become sort of a symbol of 21st century global Jew’s harp culture. And it seems to be growing year by year: here in Taiwan I have seen many new Jew’s harp enthusiasts taking the stages recently, often sporting a collection of world Jew’s harps, including, of course, the dan moi.

Here is a video where you see the movement of the dan moi lamella in slow motion, played by Hai’s student Dang Khai Nguyen.

https://youtu.be/K_hf_u_LrtM

Learn more about Tran Quang Hai

Hai is still actively teaching, find out where his next workshops are by going to his blog:

https://tranquanghaisworldthroatsinging.com

(the blog itself amounts to a ‘wikipedia’ of sorts for throat/overtone singing, where you will find a huge amount o copies of scientific and popular articles, videos, and indeed copies of wikipedia entries, as well as some original posts about Hai’s workshops and travels).

Go here to find more entries in English and in Vietnamese:

https://tranquanghai1944.com

https://tranvankhe-tranquanghai.com

Finally, back to some Asian flavour, but East-Asian instead of the South-East Asian of Hai’s origins. Here is a hilarious video from the time Hai was flown into Japan to demonstrate overtone/throat singing in a hypertheatrical popular entertainment program.

https://youtu.be/cKuT4fy84oA

https://youtu.be/cKuT4fy84oA
TRAN QUANG HAI on JAPANESE TELEVISION, part 2, December 26, 2012

* OK, for this one I have no way to tell if it is true, but Hai does mention in his new book (page  32) that he wrote “more than 500 articles in Vietnamese for 30 Vietnamese magazines in America, Europe, Asia and Australia.”

https://www.fusica.nl/catching-up-with-tran-quang-hai/?fbclid=IwAR3yFp4YQxtwbEMmfVJLc1JrgCuP_eiMTjTC0jjKOVDPz6cPCcvWoeUqzzQ

III МЕЖДУНАРОДНЫЙ ФЕСТИВАЛЬ «ХӨӨМЕЙ В ЦЕНТРЕ АЗИИ». “Khöömei in the Center of Asia” Закрытие./III INTERNATIONAL FESTIVAL “KHOOMEI IN THE CENTER OF ASIA”. “Khöömei in the Center of Asia” Closing

III МЕЖДУНАРОДНЫЙ ФЕСТИВАЛЬ «ХӨӨМЕЙ В ЦЕНТРЕ АЗИИ». “Khöömei in the Center of Asia” Закрытие./III INTERNATIONAL FESTIVAL “KHOOMEI IN THE CENTER OF ASIA”. “Khöömei in the Center of Asia” Closing

Телеканал Тува 24 1,76 k abonnés III МЕЖДУНАРОДНЫЙ ФЕСТИВАЛЬ «ХӨӨМЕЙ В ЦЕНТРЕ АЗИИ» 2019. 3rd International Festival “Khöömei in the Center of Asia” 2019.