Reflecting the range of reactions that music can inspire in us, the Berlin Prize for Young Artists singles out musicians who deliver “cathartic, disturbing, potent, hilarious, revolutionary, enigmatic, raw, and unforgettable experiences.” For Valerie Fritz, it is crucial that her performance provokes some kind of response in listeners. “The music does not have to touch them in an emotional way,” she says. “It’s wonderful if they feel joy or romance, but even if it’s sadness or disgust, it has to speak to them as individuals. The music can also satisfy the listener intellectually, if it leaves some kind of impression.”
Despite being only 27 years old, Valerie, who hails from Tyrol in Austria, has already been playing the cello for 20 years. “Both my parents are music teachers. My mother teaches the cello, but she also plays the viola and my father and older sister play the violin, so it was logical that I chose the cello. Between the four of us, we can form a string quartet at home!” Valerie has never regretted her choice.
The cello offers so many different possibilities. It combines well with the innovative techniques in contemporary music and offers scope for performative elements, so there’s lots for me to discover. It also offers a huge range of pitches, moving from a very low register to a very high register. People say it’s the closest instrument to the human voice.
Basking in the performance
The notion of ‘voice’ encapsulates what the Berlin Prize is looking for in young classical musicians. It’s not about delivering immaculate renditions of the standard repertoire, but about supporting young artists with strong musicianship and an even stronger vision. Valerie’s musical style is infused with playful aspects of her own personality. “I look for pieces that let me experiment and introduce dramatic elements.” She cites the example of a piece by Austrian composer Georg Friedrich Haas that she recently played at the Berlin Philharmonie. “The piece involves a lot of singing, speaking and whispering. I love that unique performative aspect.”
Curious by nature, Valerie enjoys exploring the underlying themes in the pieces to inform her rendition of them. She explains that the Haas piece was inspired by a story about the Thirty Years War. “The composer necessarily focuses the musical composition on a few parts of the book, but of course there are many other things going on in the story too. I like to discover the full context and see what parts the composer chose not to include. That gives me a better sense of which direction my music should take.”
In the right groove
By supporting the Berlin Prize for Young Artists, Julius Baer aims to foster up-and-coming talent and actively contribute to the development and preservation of musical excellence. Valerie says that her achievement was a validation of her decision to pursue a career in music. “It was a message that I’m doing the right thing, and I should continue doing it,” she says.
As well as bringing more opportunities and attention from the music scene, Valerie’s victory has also given her greater licence to pursue her solo ambitions. “As a young musician, you often practice quite a limited repertoire during your studies – we play classical concertos again and again! But I’ve always wanted to perform the pieces that I feel passionate about. The Berlin Prize was my opportunity to sit down and curate my own solo programme.”
An all-round music aficionado
As to her musical choices away from the auditorium, Valerie says that, like many classical musicians, she listens to a wide range of genres beyond her own. “Of course, when I’m rehearsing a new piece, like the Mozart, Schubert or Beethoven pieces I’ve been playing recently with the Camerata Salzburg orchestra, I practice with the music in my headphones so I know my own part inside out. But during my downtime, I like to listen to pop or jazz.”
With a piano-playing boyfriend who plays and composes experimental jazz, Valerie is surrounded by music both privately and professionally. She’s acutely aware of the active role the music community plays in ensuring the music scene continues to thrive. “As musicians, we can’t simply take it for granted that the halls are always going to be full. We must be part of the process and attend concerts ourselves.” She says it’s vital that professional musicians like her remind themselves what it’s like to experience music as an audience member.
Tuned in to the present
When she’s on stage in front of others, Valerie says the sweet spot is when she feels fully immersed in the music and achieves a sense of flow. “I think all of us, whatever we do, are happiest when we’re in the moment. I play my best when I’m no longer thinking about technical things or other things going on in my life, but just feeling the music as it’s happening.”
Looking beyond the here and now, what new strings does she plan to add to her bow now that she has the Berlin Prize on her resume? “I don’t make plans, I just let things happen,” she says. “I have a very strong gut feeling and that’s always served me well in the past when it comes to making decisions. But what I can say is that I’m very optimistic about the future. It doesn’t matter what I do or where I go, I trust that I’ll keep playing the music I feel passionate about and doing my own thing. Really, I just want to feel a sparkle and a fire in everything that I do.”