ChristophSietzen

/
Percussion
Scroll for more

Contact

For availability and general enquiries:

Rupert Chandler

Rupert Chandler

Associate Director

For contracts, logistics and press:

Joy Pidsley

Joy Pidsley

Assistant Artist Manager

Representation

Worldwide general management with Askonas Holt

About Christoph

The 2024-25 season sees Christoph as Artist in Residence at Koelner Philharmonie, where he brings various programmes alongside the Ancient Academy of Music and Bogdan Bacanu, MOTUS percussion, and Tabea Zimmermann and Mahan Esfahani in a programme for percussion, harpsichord and viola. Christoph will bring Johannes Maria Staud’s concerto Whereas the Reality Trembles to Cologne, with WDR Symphonieorchester and Brad Lubman, followed by performances with SWR Sinfonieorchester in Stuttgart and Hamburg and the Bruckner Orchester in Linz. These concerts follow Christoph’s world premiere performance of the work last season with the Cleveland Orchestra and Franz Welser-Most, and the Austrian premiere with Vienna Symphony and Andris Poga.

Other orchestral highlights include Christoph’s debut with HR Sinfonieorchester, performing Detlev Glanert’s percussion concerto in its German premiere alongside Andre de Ridder. Christoph will also bring the work to the Euskadiko Orchestra with Christoph-Mathias Meuller, with whom he recently performed the piece’s world premiere with the Arctic Philharmonic. Christoph has collaborated with orchestras such as the Bavarian, Austrian and Polish Radio Symphony Orchestras, Luxembourg Philharmonic, Mozarteum Orchestra Salzburg and conductors such as Francois-Xavier Roth, Ilan Volkov, Marin Alsop, Howard Griffiths, Yutaka Sado, Frank Strobel, Alexander Liebreich and Cristian Mandeal.

Upcoming recital highlights include performances at Konzerthaus Berlin in collaboration with Christian Jost, Elbphilharmonie Hamburg with Sao Soulez Lariviere for the ECHO Rising Star concerts and Heidelberger Fruhling Festival with MOTUS Percussion.

Christoph is based in Linz

Download programme biography   

Representation

Worldwide general management with Askonas Holt

Season Highlights

Sep 2024
Forum N, Frankfurt
Glanert, Percussion Concerto Hr Sinfonieorchester Andre de Ridder (Conductor)
Sep 2024
Kolner Philharmonie
A programme of early and contemporary works, arranged for percussion and chamber orchestra. Academy of Ancient Music The Wave Quartet
Nov 2024
Kolner Philharmonie / Essen Philhamronie
Staud, Whereas the Reality Trembles WDR Sinfonieorchester Brad Lubman (Conductor)

Selected Repertoire

GlanertPercussion Concerto
StaudWhereas Reality Tremebles, Percussion Concerto

Sample Programmes

  • Percussion & Organ

    Sofia Gubaidulina: Detto I Maki Ishii: Thirteen Drums for percussion solo Johann Sebastian Bach: Passacaglia BWV 582 Andrea Tarrodi: Poseidon (commande Philharmonie, KölnMusik, Bamberger Symphoniker et Wiener Konzerthaus) Toshi Ichiyanagi: The Source Arvo Pärt: Annum per annum Camille Saint-Saëns: Danse macabre (Totentanz) (arr. Christian Schmitt, Christoph Sietzen)

  • Percussion & Orchestra

    Programme IANNIS XENAKIS: Rebonds A LOUISE FARRENC: Symphony No. 3 Interval IANNIS XENAKIS: Rebonds B ARNOLD SCHOENBERG: Five pieces for Orchestra PETER EÖTVÖS: Speaking Drums, four poems for solo percussions and orchestra

News

Press

  • Staud, Percussion Concerto (World Premiere)

    Severance Hall, Cleveland
    • Passages that start as just great fun morph into moments of reckoning. Kinetic riffs give way to shimmering clouds of sound made with everything from ethereal bells to the mundane clunks of ceramic flowerpots, or the harsh rasp of a steel barrel used as a kick drum. After the work reaches a transfigured calm, it embarks on an entertaining but unsettling closing section, vigorous to the point of threat. ...the central role of the percussionist, combined with Sietzen’s flamboyant enthusiasm, casts him in a shamanic role in this concerto. An amazing performance of a compelling piece.

    • Sietzen is a real showman, given to raising his arms high in the air, aggressively hitting his targets, running to and from instruments, even engaging in some audience banter when building the Frank Gehry-like structure that would be his trap set for the evening. His playing was thrilling, not the least for his obvious commitment to this leviathan of a work, which he collaborated in bringing to life. Also amazing was the coordination of his part with the Orchestra’s percussion section.