- A1 'Let's move the Music on the Lyre!' Hajime Kira, Japan
- A2 'For Lyre' Martin Tobiassen, Germany
- A3 'The Space of Communication between Voice and Lyre' ,
Christian Giersch and Monika Meier-Häcker, Germany
- A4 'The Healing Sound of Stillness' Thomas Pedroli, Germany/Netherlands
- A5 'Creating a space, when working with lyre-groups' Gerhard Beilharz, Germany
A6 'Lyre-workshop for beginners or for lyre players who want to get to know the lyre from a different aspect' Susanne Heinz, München Germany
A7 'Play and Enjoy what you do' Diana Dali Thodria, Netherlands /Georgie.
A8 'Praying with your fingers' Petra Rosenberg, Netherland
A9 'Listening for the Space', Regula Utzinger, Switzerland
A10 'My Way to the Lyre' Thomas Leins, Germany
A11 'Colloquium on Lyrerythmy' John Clark, Ireland
A12 'Lyre in Healing Cancer' Yael Barak, Israel
A13 'Creating space and breathing' Pan Kai, China
A14 ‘Receptive Music Therapy; How to create a listen-therapy in a therapeutic setting on the lyre?' Marijke Vreeken, Netherlands
A15 'Young Lyre Players' Michal Kühn-Shavit
'Let's move the Music on the Lyre!' Hajime Kira, Japan
Playing on the lyre is movement. Playing music on the lyre needs a streaming movement with arms, hands, especially the little finger and the ring finger. We will practise this with some easy exercises.
My workshop is open to all lyre players.
Languages: English en Japanese
Hajime Kira, born in 1962 in Tokyo. Lyre teacher, Waldorf kindergarten teacher and teacher trainer, he is director of two kindergartens in Tokyo and a board member of the Japanese Lyre Association and Japanese Waldorf Kindergarten Association. He started playing the lyre in 1988 under Annemarie Loring in Germany
'For Lyre' Martin Tobiassen, Germany
American composer Marilyn Wilson wrote a piece simply called 'For Lyre' and gave it to me as a present after a music conference in Santa Cruz in 1987. When I read about the current conference-theme, this piece immediately turned up in my imagination and I would like to work on it with a group of lyre players. It is fairly short, so we’ll manage to go deep into the music despite the short workshop time. And it's beautiful! every single note is like an individual and is in clear relation to all the other notes. The piece is written for alto lyre solo, but reveals its beauty even more being played by a group, even a large one. Soprano and alto lyres can be mixed as there are different parts to play.
To join this workshop you have to be able to read music, but the piece is not difficult from a technical aspect so you don’t need to be advanced in lyre playing. But it requires 'listening love'.
There will be another short piece of 'dance-music' in this workshop in order to change into an different mood from time to time – this piece will require different grades of skills so everyone can find a part to play.
If you want to join this workshop, you can order the scores by mailing to firstname.lastname@example.org
Languages: German/English/Dutch/French Participants: not limited
Martin Tobiassen: born 1959 in Oldenburg/Germany, lives in Witten/Germany. Musician, composer, author, lecturer. Concerts, workshops, mentoring. Many compositions for lyre, Lyre School "... the infinite track" (2002), Opera 'Orpheus in the Mine' (2006). Member of the 'Klanglicht Ensemble'
'The Space of Communication between Voice and Lyre' ,
Christian Giersch and Monika Meier-Häcker, Germany.
By studying original works as well as arrangements for lyre and solo voice, we will look for the atmosphere which can be developed by this special polarity. Listening to each other will be an important part of this workshop.
The workshop is for singers, lyre players and also for singers who accompany themselves on the lyre. Languages:German/ English Participants: max. 12
Christian Giersch: Lyre player, composer and Waldorf teacher. He has worked for many years together with Monika Meier-Häcker on 'Lyre and Voice'.
Monika Meier-Häcker: Singer, both songs and oratorio, with a special affinity for singing with the lyre. Educated in the 'Schule der Stimmenthüllung' in Witten/Bochum. She also studied with Ingrid Bettag in München.
She uses her voice as a performer and in pedagogic settings both in- and outside Germany
'The Healing Sound of Stillness' Thomas Pedroli, Germany/Netherlands.
The power of the lyre is stillness. It makes audible what cannot be heard. Light and warmth of matter transform into musical sound. The space in between expands – healing can happen.
Participants: not limited
Thomas Pedroli : *1957 After Waldorf Teacher training music, he studied with
Pär Ahlbom, Annemarie Lohring, Lothar Reubke, C.A.Lindenberg and Julius Knierim. Music therapy in curative education. Music and class teacher in Waldorfschools, Workshops seminars and concerts in Europe, Japan, USA. At the moment Intuitive Coach and giving seminars in Communication and Intuitive Pedagogy
'Creating a space, when working with lyre-groups' Gerhard Beilharz, Germany
How can I practise with a lyre-ensemble in such a way that the music sounds ‘good’? And how can I conduct an ensemble?
Please prepare a piece of music with which you would like to work. (for experienced players only).
Languages: German/English Participants: max. 15
Gerhard Beilharz studied at the 'Freie Musik Schule', art- pedagogy- therapy and was a music teacher for children for many years. He is now working at the 'Steiner-Seminar for Curative Education' in Bad Boll, Germany and gives classes at the 'Freie Musik Schule'
'Lyre-workshop for beginners or for lyre players who want to get to know the lyre from a different aspect' Susanne Heinz, München Germany
Right from the beginning we discover the lyre as a healing instrument. For me this is the main reason why the lyre came to us. All the simple exercises we will do have a spiritual background. When we discover that background the exercises are healing. I would like to play with you easy pieces as well.
If you can't read notes there is no problem.
Languages: German/ English
Susanne Heinz from Bavaria has been working with the lyre for nearly 40 years.
She gives workshops, concerts and lessons in Germany and Asia
'Play and Enjoy what you do' Diana Dali Thodria, Netherlands /Georgie.
Would you like to study polyphony and don't you know where to start? Do you play the lyre or have you just started to play but are restricted by rules? I would like to be a guide for you. When you play a tone, it is about 'how' you play! We are going to work on a few music pieces, where the emphasis is on musical pleasure. Come, play and enjoy what you do!
Diana Dali Thodria, Musician, music therapist and music teacher
'Praying with your fingers' Petra Rosenberg, Netherland
Dealing with sound, silence and the spoken word.
Making music that serves the rituals of the Christian Community. How can you play for a baptism, the Sunday service for children,* or for a funeral? In the workshop we are going to work with sheet music and improvisation. People who do not know the Christian Community are also very welcome.
members: max. 15
Petra Rosenberg: I have some 50 years of experience playing lyre in the sacraments and composing music for the Eucharist* I also give lyre lessons and make music for children's shadow-puppet shows
'Listening for the space', Regula Utzinger, Switzerland
Listening for the space:
- of the single tone in improvising and playing a composed piece of music.
- in the timing in playing
- that the Human Being needs who is listening.
Beginners and advanced players welcome.
Languages: English/German/Italian Participants: not limited
Regula Utzinger, has been a Musician and music therapist for many years:
Music Therapist at the Klinik Arlesheim, Switzerland, (Ita Wegman Klinik)
Music Therapist at the Hospiz im Park, Arlesheim.
Music Teacher and musician, assistance at Conferences, Exhibitions, Music Therapy Training courses, Concerts
'My Way to the Lyre' Thomas Leins, Germany
At first hearing I was, as a clarinet player, fascinated by the sound of the lyre.
It is not that the lyre inspired me to play Mozart, Brahms or Klezmer music etc.
What is so special about the lyre? Has the lyre a future task in today's music or is it an instrument of the past? Is the influence meditative or sleep provoking or has it many more formative and expressive possibilities? Is the lyre a solo instrument or is it more suited to chamber music? All related questions will keep us busy along a musical piece of P.M. Riehm 'Impromptu', discovering an inner space.
Nor for beginners.
Requests for the scores can be sent to the website of this Conference. Language: German Participants:
Thomas Leins: Lyre teacher
'Colloquium on Lyrerythmy' John Clark, Ireland
It was at the first World Lyre congress in Hamburg that the idea that led to Lyrerythmy was born when we had the privilege to listen to and witness the playing of our Lyre friends from Japan who not only made a beautiful sound as a group but also beautiful playing movements in space. In Detroit in 2015 we made a beginning during my part of the plenum sessions and by then we had found the word needed to describe this important aspect of playing (coined by my partner the Dutchman Andre van Schaijk) LYRERYTHMY. Like Debussy (whose experience of hearing the Gamelan brought from Indonesia to the Dutch Pavillion at the great Paris exhibition of 1899, and which changed his perception of music, opening the door to a new way of listening), we were inspired by a gamelan orchestra but in our case it was only a bad quality YouTube video of children playing in a competition somewhere in Indonesia. Here is the link to that
I imagine my workshop would be in the form of a colloquium, conferring as colleagues where together we explore and create possible movements while playing Lyre at the hand of musical intervals and pieces in two or three parts by Bach and other composers and of course Claude Debussy in this important anniversary year. I myself use English as a language but I do not mind if people without English join if they are with someone who can translate. Though some of the musical examples will be complex, I will make sure there is a relatively easy part for beginners. The most important thing is that participants want to be active in creating and evolving movements in LYRERYTHMY. I can work with large groups or small groups.
John Clark lives in Camphill in Ireland and is a music therapist using the lyre and other instruments. He has played lyre for 48 years
'Lyre in Healing Cancer' Yael Barak, Israel
The importance of activating the sense of hearing, active listening with the lyre and using space - as a preventive activity with children and adults, as well as a balancing activity with cancer patients.
"The fact that we have a human auditory organ, is due to a process which is kept normal, because the tumor-forming force has stopped in the right place. The ear is an internal tom inside the human being but extended into the normal. Just as the evolutionary process of the eye's formation is akin to the process of inflammation, so that of the ear's formation is allied to the timorous. It is indeed a wonderful relationship between disease and health in man.”
(R.S - spiritual science and medicine, GA 312 lecture 14 from 3/4/1920).
In other places Steiner speaks of the ear (as a sense organ) of being cancer in the right place.... what does it mean? how can the living sound of the lyre support the right formation and activity of the ear? how can we use space in order to give shape and to the cancerous process, when it appears in the physical? We will dedicate some time for understanding these processes, accompanied with listening activities. We will also try to feel how the ear (and cancer) is connected to space - and how the lyre can enliven and give form to processes in space.
A glimpse into music therapy in oncology.
Participants: max. 30
Yael Barak: Music therapist and manager of Tal Hama, an Anthroposophic Center for treating cancer patients in Harduf, Israel.
'Creating space and breathing' Pan Kai, China
Pan Kai will offer something about Chinese Tao culture Ying and Yang. They explained very well for the space and breath, we should create a space for each tone and then we will get more space for our mind for thinking and wisdom. If you don’t play too fast -rather if you’re playing very slowly and withe the beat of Hearts- you are able to focus on each tone quality and make a space from each tone!
Language: English/ Chinese
Pan Kai studied music therapy from Berlin Anthroposophist Music therapist Stephan Kühne in Bejing. He works with Waldorf school children and parents and special needs children too. He is leader of the Lyre Association in China and trains people to use the therapeutical way of playing the lyre
'Receptive Music Therapy' Marijke Vreeken, Netherlands
How to create a listen-therapy in a therapeutic setting on the lyre?
Exploring musical possibilities on the lyre by playing for a pupil, a patient, a group or in general someone else.
Language: English. German. Norwegian. Dutch.
Participants: max. 15
Marijke Vreeken: Music therapist, Musician, Storyteller
A15 'Young Lyre Players' Michal Kühn-Shavit, Germany
We welcome you young lyre players, to a special lyre workshop for youth only, age 12 to 21 years, language: English and German
Rhythm, sound, improvisation and music especially arranged for lyre are some of the things we will explore.
You are most welcome to bring other music instruments with you as well.
We are very happy to meet you and make music together!
Michal Kühn-Shavit. Music teacher in Waldorf schools, teaches (and always still learns) singing and lyre playing