Prof. Johannes Gmeinder, Klarinette und Kammermusik, Hochschule für Musik Saar, Soloklarinettist des Frankfurter Opern- und Museumsorchesters“I’m just starting to integrate practising in flow in my daily work and I’m totally excited about it! Through this method, my playing has reached a higher level. It enables me to realize my potential even more effectively.”

Prof. Johannes Gmeinder, Clarinet and Chamber Music, Hochschule für Musik Saar, Principal Clarinet of the Frankfurter Opern- und Museumsorchester

Prof. Béla Szedlàk, Kontrabass, International Menuhin Academy, Hochschule der Künste Bern, Berner Symphonie Orchester

“My students have made a quantum leap since we started working with flow. And the results are not only perceived in the lessons, they also work on stage. This is extraordinarily satisfying!”

Prof. Béla Szedlàk, Double Bass, International Menuhin Academy, Hochschule der Künste Bern Switzerland, Bern Symphony Orchestra

Prof. Volker Jacobsen, Viola, Hochschule für Musik und Theater Hannover, 1989-2007 Artemis Quartett Berlin“I apply your suggestions every day and I already realize that I feel much better with my instrument - despite significantly less practice and the demands of the new concert season. I experience an efficiency which I highly appreciate in the short times at home between my concert tours.”

Prof. Volker Jacobsen, Viola, University of Music and Drama Hanover, Germany, 1989-2007 Artemis Quartet Berlin

Prof. Alexander Baillie, Cello, Hochschule für Künste Bremen“The results with my students in Bremen have been spectacular. Their sound, their self-knowledge have been transformed. They know the feeling that goes with the new sound. Andreas has the musical equivalent of a gardener’s green fingers nurturing a musical idea of sound to grow and blossom.”

Alexander Baillie, Cello Soloist and Professor at the Hochschule der Künste, Bremen, Germany

Wolfgang Hillemann, Gitarrist und Gitarrenlehrer, Niederweiler“I would never have imagined experiencing such feelings of enjoyment while playing and being able to clearly assess the things that I can do and where I cheat...and that I’m even able to enjoy this on stage. I’m looking forward to the path laid out ahead of me.”

Two years later:
“My enthusiasm remains. In my practising and on stage, I’m becoming calmer and calmer and I enjoy more. I’m experiencing a totally new dimension of self-confidence. Last Sunday I had a concert together with other musicians. We had a very intense and nearly impeccable evening. This reminded me of the feeling that made me study music: the longing for unity and how time could stop when I was moved by a concert. I later forbid myself to believe that this would be possible when I’m the one who is playing on stage. And now those things happen. More than I dared to hope.”

Wolfgang Hillemann, Guitarist and Guitar Teacher, Niederweiler, Germany

Katharina Klein, Violine, Philharmonisches Orchester Hagen“It feels like I’ve fallen in love again with my violin!”

Katharina Eckert, Violin, Philharmonic Orchestra Hagen

“I was extremely impressed with the balance of effort and enjoyment while achieving much improved results in a much-reduced time frame. I came away from the series of four workshops with a heightened sense of awareness and a vision of further success in being part of this demonstration of strength and achievement through gentleness and fun. I could see obvious transferable elements that would be snapped up by people in all professions/sports and hobbies.”

John Surfield, guitarist, vocalist, tutor in computer accounting, Christchurch, New Zealand

“I just read your brilliant article on practising in flow in the Swiss Music Newspaper and want to cordially thank and congratulate you. I was familiar with this special experience but I never saw it presented so graphically, coherently and without any ideological or esoteric bias. Please accept these lines as a spontaneous expression of gratefulness for this unfortunately rare kind of engaged yet objective description.”

Urs Frauchiger, Cellist, former member of the Swiss Music Council, member and expert on numerous foundation councils and institutions for the promotion of culture, member of national and international competition juries, music publisher

“I first encountered the Flow Method as part of the teaching programme at the ‘Gathering of the Clans’ summer course for cellists in Cobham, England in August 2002. Right in my first lesson with Andreas it became obvious to me how this way of practising helps to expand capabilities and unlock potential you didn’t even think of before. I had always greatly enjoyed performing but never felt as deeply involved in my playing as I did in the concert that followed a series of flow sessions. I’m sure that the Flow Method might very well lead musicians to what we all strive for in the long hours we spend with our instruments: the wonderful feeling of fulfillment.“

Julia Morneweg, Cellist, London, England

“I felt very encouraged to experiment more with my students, to let go and to work on good contact with the instrument and a rich and beautiful sound in a joyful kind of way. In my opinion the principles of practising in flow will be the future of instrumental teaching. This is the direction in which we should develop as teachers.”

Siegfried Makulla, Pianist, Piano Teacher, Sauerlach, Germany

“At the emd of the summer holidays I went to the course Jeunesses Modernes in France where I had to play a piece by Gerard Grisey which absolutely stretched me to my limits. I only had two weeks in which to learn it. Yet in the end, I succeeded  because I practised slowly, focused and steadily according to the flow method. Experiences like this have a positive effect on one’s self-confidence and I’m very grateful for it.”

Sebastian Kraus, Cellist, Student at the Hochschule für Musik und Darstellende Kunst, Frankfurt/M., Germany

“I’m very happy to have come across practising in flow. It brings us to the essence of making music. After my practising, I have a strong sense of satisfaction. Even my student, who only joined for the second half of the course, made a huge leap. She’s now able to practise four hours a day enjoying it fully without any pressure.”

Monika Friedrich, Violist and Violinist, Trogen, Switzerland

“I now practise with enthusiasm and I realise that my movements become softer and rounder and that my double bass speaks more freely. I’ve acquired a completely new sound and I’m much more precise with intonation. Practising is so much fun and much more effective because I have finally taken time to feel what I do and suddenly lots of ideas come to me.”

Silke Palme, Double Bassist, Nuremberg, Germany