The cellist Felix Thiedemann deals with the faithful performance of music. It is important to him to place the music of different epochs in the context of their time. Besides his love for classical music he has been exploring Jazz in the past years as member of the Munich Composers Collectiv (MCC). It is important to him not only to present music in concerts, but also to prepare a framework in which the music can be experienced. He is not only interested in music, but also in other arts and the combination of music and other arts.
Felix Thiedemann was born in Filderstadt and grew up in Tübingen. After coming into contact with music at an early age in his parents' home, he received his first cello lessons at the age of six at the Tübingen Music School (Joseph Hasten).
From the beginning he had a great interest in chamber music of every style and instrumentation, especially string quartets and piano trios. He won several prizes in various competitions, e.g. first federal prizes at “Jugend Musiziert”.
At the age of 17, Felix Thiedemann started in the studio of Prof. M. De Secondi at the HfM Trossingen.
In 2006 he began his music studies at the HfM Weimar with Prof. T. Stolzenburg, after stops at the HfMdK Frankfurt (Sabine Krams and Prof. Kristin von der Goltz), Paris (Romain Garioud) and Trossingen (Prof. Mario de Secondi and Prof. Werner Matzke) he studied historical performance practice with Prof. Kristin von der Goltz (baroque cello), Prof. M. Eberth (continuo) and Prof. Marice von Lishout (improvisation) at the HMT Munich.
He is currently studying culture and media management at the KMM in Hamburg.
In addition, he took part in master classes with Prof. Leonid Gorokhov, Prof. Richard Aaron, Prof. Gottfried von der Goltz, Prof. Phoebe Carrai, Prof. M. Schneider, as well as orchestra and chamber music courses with the Ensemble Akademie of Freiburg Baroque Orchestra and Concerto Köln.
Felix Thiedemann is the cellist of Yara-Ensemble. He has won as the continuo cellist with ensemble Gradus Ad Parnassum in the German Music Competition 2015. He has played with HasslerConsort and in opera productions at the August Everding Theater Academy, he also played projects with Generation Baroque. Among other engagements he is a guest of the Zemlinsky Quartet, the Szymanowski Quartet and the french Bedrich Quartet.
Since 2011 he has been artistic director of the Vielklang Festival in Tübingen.
The third suite in C major, BWV 1009, is the most brilliant of the cycle. With never-ending ingenuity, the prelude takes advantage of the possibilities of runs and triad breaks - very similar to the prelude of the E major partita for solo violin. The captivating drama of this movement arises from the harmonic evasions that gradually creep into the initially radiant C major.
J. S. Bach
Suite Nr. 3, C-Dur
The third suite in C major, BWV 1009, is the most brilliant of the cycle. With never-ending ingenuity, the prelude takes advantage of the possibilities of runs and triad breaks - very similar to the prelude of the E major partita for solo violin. The captivating drama of this movement arises from the harmonic evasions that gradually creep into the initially radiant C major.
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