I work with musicians who think differently.

(Because I do.)

Things I know to be true

We live in a world that needs brave musicians more than ever. Musicians who are ready to be present on stage and in the classroom, to connect powerfully to their audiences and students.

You could actually play better after an injury than before. It's all in our heads... I broke my right arm at 29 and had to undergo wrist surgery twice - and I played better after that. Before that happened, I had been full of self-doubts, because I was so 'late' in music. Starting to play the piano at 17 and graduating at 25 wasn't enough of an achievement; I thought I was less worth than other musicians. With that, my self-doubts ended.

You have everything inside you, already, right now. My job is to help you discover it, see that next step for you, so you can grow into yourself, and express your message in your musical life as true as possible to you.

"Late starters" are necessary in this world. I'm researching and writing about us. And it's going to be amazing. If you started "late" as a musician, whatever that means for you, please consider taking my survey. Thank you so much.

Searching for ways to learn faster and play what I could feel but could not yet express in music, I tried out a number of body awareness approaches, from Alexander Technique, to Feldenkrais, Rolfing, Grinberg, Taketina, you name it. One stuck with me, literally changed how I think about music, movement, emotion and sound. It's called Resonance Training. I trained to be a teacher with founder Thomas Lange, and now it's my priviledge to give it to other musicians: I unite my personal experience with what I have found to be a deeply freeing musical work.

"After working with Maria for a short time, I really felt a release of body tension, and the voice suddenly soared effortlessly in difficult passages!"

Patricia Holtzmann, soprano, Berlin

How I work


Music making is with the whole body, not only with the special trumpet, piano or singing muscles. We look at your whole body, your whole self. We'll look for ways in which the body takes care of itself, and also for ways in which it can recover while you're practicing.

From "roughly" to "precisely"

Starting with the details is a sure path to hell. We take a look at the overview and slowly work our way towards the smaller things. It's like the image of a brush. No-one would take a brush by the hairs, instead, we take the brush by the part that is most rough: the wood. In the body, and in the learning process, it's the same.

Giving space

You come into a space were you can really come as you are. You don't need to prove anything, I'm fiercely on your side already. You can explore, take risks, and surprise yourself. And you will, believe me.

With discretion

I preserve your privacy and personal integrity, and nothing that you communicate with me, neither personal nor musical, gets outside.


You bring a whole lot of experience into the session, and probably a lot of knowledge, too. With me, you will learn how to implement it. If it's only in your head, it's worthless.

With clarity

My job is to help you discern those actions that open doors for you from those that close them. From there, you decide.

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"Working with Maria has deepened my trust in my own musical intuition and my genuineness at the piano. With her, I feel in very good hands."

Jordi Armengol, piano, Cor de Cambra del Palau de la Música Catalana, Barcelona


Certified Resonance Teacher after Thomas Lange (2011-2014)

Piano and Music Theory Diploma from Barcelona Conservatory Superior of Music (former C.S.M.M.B.)

Harpsichord studies at Universität der Künste Berlin


As an educator 22+ years of teaching experience

Resonance Training workshops for institutions such as: C. Bechstein Centrum Berlin // Conservatori Superior de Música de les Illes Balears // Mallorca Summer Academy // Württembergische Philharmonie Reutlingen // Brandenburgische Technische Universität Cottbus-Senftenberg // Österreichische Gesellschaft für Musik und Medizin // International Federation for Choral Music // 11th World Symposium on Choral Music Barcelona // Escola de Música Diaula, Barcelona // Escola de Música Tri-tó, Barcelona // Musikschule Oberhaching //

Instruments I’ve taught (as a Resonance Teacher): piano, harpsichord, guitar, violin, viola, violoncello, double bass, flute, oboe, clarinet, trumpet, French horn, trombone, bass trombone, tuba, singing, harp, Steirische Harmonika, cajón and conducting.

As a piano teacher, I've worked with students of all ages and levels between 5 and 79. My piano students profit from what I've learned about movement in Resonance Training. I've worked in music schools, privately, and once had up to 25 students per week. Currently, aside from Resonance Training, I teach 10 private piano students in Berlin.

As a performer I'm a harpsichordist and pianist. I've also played clarinet, violin and historical castagnettes (they’re hilarious). I took singing lessons for a couple of years. Playing a piece by my piano teacher, I received 3rd price at "Arjau" Competition for Contemporary Catalan Music in 2006. Now, I sometimes play pieces by my piano students.

I regularly perform in the field of early music, amongst others with Dianthus Ensemble (Rheinsberger Hofkapelle 2012), an early music group I founded 2011 with some of the finest musicians I know.

Concerts at Festival Avuimúsica (Barcelona), Schleswig-Holstein Musikfestival, Händel-Haus Halle, Palau de la Música Catalana (Barcelona), Auditori Winthertur, Mendelssohn Remise (Berlin), Musikfesttage an der Oder, etc.

Other I'm regularly invited as stage manager for special education projects of Berliner Philharmonie.

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