Eldad Ben Sasson is a Lecturer at the Music and Arts Private University of the City of Vienna , affiliated with the Faculty of Music. His teaching focuses span multiple disciplines including piano, jazz, ensemble playing, and classical music performance. Specializes in Tasteninstrumente (keyboard instruments) Involved in Jazz-Klavier (jazz piano) instruction Contributes to Zertifikatslehrgang Ensemble Playing (certification program in ensemble playing) His academic work emphasizes practical music performance across classical and jazz traditions, with a focus on instrumental pedagogy and ensemble training.
Cassandra McConnell-Grujcic is a Lecturer at the Music and Arts University of the City of Vienna (MUK), affiliated with the Faculty of Music. She has been part of the institution since April 2025, contributing to teaching and academic programs in music performance and pedagogy. Her expertise spans multiple disciplines within music education, including keyboard instruments, conducting, composition, and jazz studies. Roles: Lecturer in Keyboard Instruments, Conducting, Composition, and Piano Accompaniment. Teaching Areas: Piano, Accordion, Jazz Piano, and Music Theory. Her work integrates both classical and contemporary music practices, emphasizing interdisciplinary approaches to performance and education. She is involved in academic diploma programs such as the Certificate of Ensemble Playing and contributes to the university's international collaboration initiatives through the Erasmus+ program.
Márton Borsányi is a Lecturer at the Music and Arts University of the City of Vienna (MUK), affiliated with the Faculty of Music since September 2021. He specializes in Keyboard Instruments, Conducting, and Composition. His teaching responsibilities include Piano Accompaniment and related disciplines within the department. No specific academic awards or publications are mentioned in the provided text. His professional focus aligns with artistic and pedagogical activities in classical music performance and education.
Mgr. Ján Krigovský has been affiliated with the Music and Arts University of the City of Vienna (MUK) since the summer semester of 2021. As a lecturer, his role is integral to the university's academic programs, though his specific field of specialization remains unexplicit in the provided text. His affiliation spans potential areas such as music pedagogy, performance, or ensemble training, given the university’s focus on disciplines like piano, conducting, composition, and jazz studies. While no formal educational background or doctoral supervision details are disclosed, his presence in the lecturers' directory suggests involvement in undergraduate or graduate teaching programs. The university’s emphasis on artistic-scholarly research and ensemble performance may align with his professional activities, though precise research themes or publications are not mentioned here. Further details on grants, awards, or specific student advisees are absent from the provided data.
Univ.-Prof. Carsten Lorenz is a University Professor of Literature Study with Thoroughbass at the Music and Arts University of the City of Vienna (MUK) since 2014. His career includes teaching roles at institutions such as the Landeskonservatorium für Vorarlberg (Feldkirch), Staatliche Musikhochschule Trossingen, Evangelische Kirchenmusikhochschule Tübingen, and Hochschule für Musik Würzburg. From 2015 to 2023, he supervised keyboardists in the Baden-Württemberg Landesjugendbarockorchester. Education: Studied under Harald Hoeren (Frankfurt), Siebe Henstra (Utrecht Conservatory, Solistenexamen 1994), and Jesper B. Christensen (CNSM Lyon/Schola Cantorum Basiliensis). His research focuses on early music performance, particularly the expressive subtleties of the clavichord and 17th-century music. He has participated in numerous radio and CD recordings, emphasizing historical instruments and Baroque repertoire. Awards: Semifinalist at Concours Musica Antiqua Brugge (1992), Finalist at Erwin Bodky Competition (2001). His pedagogical contributions span decades across Europe, blending scholarly and artistic expertise in historical performance practices.
Florian Birsak-Hayer is a Professor of Harpsichord, Basso Continuo, and Ensemble Direction at Mozarteum University's Department of Keyboard Instruments. He holds the title of Univ.-Prof. and serves as Deputy Department Head. His work focuses on Early Music performance, specializing in period instruments like harpsichord, fortepiano, and clavichord. Education and Training: While specific academic degrees aren't detailed, his extensive performance career and professorship imply advanced degrees in musicology and performance. He has conducted workshops and masterclasses globally, including at the Musicum Salzburg and Mozarteum Foundation. Research Interests: Dedicated to resurrecting forgotten Baroque and Classical repertoire, he explores historical performance practices, instrument authenticity (e.g., Anton Walter fortepiano), and interdisciplinary projects like the Mozart Fragments CD series. His work bridges musicology and performance, emphasizing contextually accurate interpretations. Recent Projects: Key works include recordings of Bach's Harpsichord Concertos, Mozart's Clavierkonzerte for multiple keyboards, and Haydn's Marianna Martinez concerto. He leads ensembles like ensemble federspiel and Petit Trianon , focusing on period instruments and collaborative chamber music. Awards: While no explicit prizes are mentioned, his contributions to Early Music revival and academic leadership are notable. He received the August Everding Prize (2003) with Isolde Hayer for their cello-piano duo work. Grants and Labs: Involved in projects like the Digital Mozart Edition (KV 457&475) and collaborations with institutions such as the Camerata Salzburg and Salzburg Festival. His research lab focuses on instrument restoration and performance pedagogy.
Pietro De Maria is a Professor of Piano at the Mozarteum University in Salzburg and the Academy of Music in Pinerolo. He holds a distinguished academic and performing career, specializing in classical piano repertoire from Bach to Ligeti. Born in Venice (1967), he graduated from the Conservatory of Venice and pursued advanced studies in Geneva under Maria Tipo. His awards include First Prizes at the Tchaikovsky, Géza Anda, and Mendelssohn competitions. Teaching Affiliations: Mozarteum University (Salzburg), Academy of Music (Pinerolo) Research Focus: Baroque and Romantic piano literature, Chopin's complete works, Beethoven's sonatas/concertos De Maria's recordings for Decca and Dynamic include Chopin's complete works, Bach's Goldberg Variations, and the Well-Tempered Clavier. His performances feature collaborations with orchestras led by conductors such as Roberto Abbado and Daniele Gatti. Awards: Critics' Prize (Tchaikovsky '90), Mendelssohn Award (Hamburg '97) He serves as an academician at Santa Cecilia and actively participates in masterclasses and festivals, including the Piné Musica Festival in 2025.
Prof. Lei Meng is a University Professor of Piano and Piano Didactics at the Mozarteum University Salzburg, teaching in the Keyboard Department. She also serves as a lecturer at the International Summer Academy and maintains active roles as competition jury member and masterclass instructor worldwide. Educations: M.M. Piano Soloist Education (Mozarteum, 2016) B.A. Instrumental Pedagogy (Mozarteum, 2016) Erasmus Semester at Conservatoire de Paris (2014-15) Habilitation in Piano Artistry (Mozarteum, 2022) Her research focuses on piano performance pedagogy, integrating historical interpretation with modern teaching methodologies. Active performance engagements include solo recitals across Europe, the Americas, and Asia, emphasizing Baroque through contemporary repertoire. She has produced several acclaimed recordings including Scarlatti-Mozart-Dutilleux CD and Bach concertos DVD with Mozarteum faculty. Awards: Mozart Prize (2009) Top finishes at Santa Cecilia (Portugal) and PianoRAMA (Denmark) competitions Recipient of Huebel Scholarship and Zonta Award Professional Activities: Senior Lecturer at Mozarteum since 2018 Jury member for Jugend musiziert (2020) Organizer of Wasserburger Klaviersommer festival since 2017 Her pedagogical work bridges traditional masterclass techniques with modern educational theory, evidenced by her DVD recordings documenting class performances and instructional methodologies.
Cornelia Steinschaden-Wögerer is a Lecturer in Piano and Accompaniment at Mozarteum University and Landesmusikschule Ried im Innkreis. Her professional roles include managing the 'Triolino' concert series for Jeunesse in Upper Austria and Schlosskonzerte Kammer am Attersee. Since 2012, she has also taught at the Austrian Master Classes. Education: Training at Linz Music School Studies with August Humer, Sven Birch (Bruckner University Linz) Studies under Harald Ossberger (University of Music Vienna) Instrumental/vocal pedagogy with Michael Lipp (Uni Vienna) Chamber music studies with Till Alexander Körber (Bruckner Uni Linz) Her artistic work emphasizes chamber music collaborations with members of the Bruckner Orchestra Linz and Vienna Radio Symphony Orchestra. She has performed as soloist with Upper Austrian Schubert Symphony Orchestra and in duos with violinist Evelyn Höllwerth. Awards: National Prima la Musica competition distinctions including chamber music special recognition Her pedagogical focus spans instrumental/vocal technique and collaborative performance practices. Active in concert management and tertiary music education across multiple institutions.
Valentin Oman is a Lecturer for Piano at the Faculty of Music at JAM Private University for Jazz and Popular Music. He has been teaching since 2017 and previously held positions at the Amstetten Music School (2003–2013) and Vienna Conservatory (2013–2016). His artistic and pedagogical background includes studies in keyboard instruments of popular music at the University of Music and Performing Arts Vienna with Prof. Heribert Kohlich (1998) and a concert diploma from the Vienna Conservatory (1999). His research and teaching focus on jazz, popular music, and piano pedagogy. He actively collaborates with artists such as Andy Middleton, Lionel Lodge, and Nina Proll, and has produced albums like Raw (2021) and Grooveyard Vienna (2018). He also contributed to theater productions including der gezähmte Widerspenstige (2012) and die Fledermaus (2019) at the Wiener Metropol. Oman’s work spans live performances, studio recordings, and educational initiatives. His YouTube channel Grooveyard Vienna showcases collaborative projects, while his albums explore groove-based and experimental piano techniques. He remains active in both academic and performance contexts, blending pedagogical innovation with artistic creativity.
Gerald Peter is a Guest Lecturer in the Piano Department at JAM Music Lab University, blending his expertise in music performance, technology, and composition. He holds an MSc in Multimedia and Software Engineering from FH Technikum Wien and a BSc in Media Informatics from TU Wien, focusing on computer graphics and digital image processing. His research spans music technology innovation (e.g., MIDI-reactive visualizations, expressive digital instruments like ROLI Seaboard), genre fusion (progressive rock, jazz, cinematic scoring), and interdisciplinary multimedia art . Gerald pioneers hybrid approaches where algorithmic visualizations respond to live musical input, creating immersive audiovisual experiences. Recent creative works exhibit strong cinematic and progressive rock influences, often featuring complex arrangements and collaborations with vocalists/instrumentalists. Awards include placement in the Top 12 of the 2014 CINE Film Scoring Competition. As a performer and educator, Gerald has led international workshops for ROLI, Audio Modeling, and GeoShred across Europe and North America. He maintains active collaborations with industry innovators like Jordan Rudess (Dream Theater) and performs with projects including The Gerald Peter Project.
Andrea Rittersberger is a Professor at the Music and Arts University of the City of Vienna (MUK), serving since 2005 with current roles as Deputy Program Coordinator for the Master of Arts Education (MAE) program (since 2015) and former leadership positions including Program Director of Elementary Music Education (2013-2015) and interim Deputy Program Director for Keyboard Instruments and Music Direction (2019-2021). Her educational background spans instrumental pedagogy with piano specialization, studying under Heinz Zarbock in Dortmund, Peter Feuchtwanger in London, Bernhard Kontarsky in Stuttgart, and Grigory Gruzman at Darmstadt's Academy of Music. Rittersberger's research centers on holistic human development through music, exploring interdisciplinary education models integrating brain research, developmental psychology, and natural sciences. She pioneers creative teaching frameworks for all ages—from kindergartens to corporate settings—emphasizing elementary music theater and cross-arts collaboration to expand music's societal educational impact. Author of the seminal work "Every child wants to make music" (2001), she founded Hamburg's musikKUNSTschule (2001) and Vorschule der Künste (2003), and develops music theater seminars for companies via GS-Consult since 2004. Her extensive partnerships include Microsoft's global Education Platform, ORF, Wiener Musikschule's ELEMU pilot project, and European researchers in Estonia, Belgium, and Croatia.
Peter Waldner is a Lecturer at the Tyrolean State Conservatory within the Department of Music Education Innsbruck, affiliated with Mozarteum University. A renowned harpsichordist and organist, he specializes in historical performance practice of keyboard repertoire spanning Renaissance to early Classical periods. His educational background includes: Musicology and German at Leopold-Franzens University in Innsbruck Harpsichord, organ, and piano at the Tyrolean State Conservatory under Reinhard Jaud and Bojidar Noev Advanced studies (1992-1995) in Holland, France, and Switzerland with Gustav Leonhardt (Amsterdam), William Christie (Paris), and specialists in historical organ performance Waldner's research centers on authentic interpretation of early keyboard works using period instruments, with particular expertise in Johann Sebastian Bach's oeuvre. His performance practice integrates deep scholarly understanding of historical contexts with technical mastery of harpsichord, organ, and fortepiano, emphasizing stylistic precision in Renaissance polyphony, Baroque counterpoint, and early Classical forms. He maintains rigorous focus on manuscript sources and historical treatises to inform contemporary performances. His notable scientific awards include: Pasticcio Prize of the Austrian Radio Ö1 for "Orgellandschaft Ritten I & II" Bösendorfer Vienna Scholarship (1989) Music Promotion Prize of the Tyrolean Savings Banks (1991) Jacob Stainer Prize of the State of Tyrol (1994) Waldner has maintained continuous artistic leadership since 1988 as organist of Mariahilf parish in Innsbruck, while directing the "Abendmusic - Lebensmusik" concert series and founding the Tyrolean early music ensemble "vita & anima". His collaborative projects with ensembles like La Capella Reial de Catalunya, Le Concert des Nations, and Atalanta Fugiens Milano demonstrate extensive international partnerships. Through regular CD productions for ORF and Extraplatte labels, he has documented historically informed performances of Bach's major cycles including the "Well-Tempered Clavier", "Goldberg Variations", and "Musical Offering".
Agata Katarzyna Meissner serves as Senior Lecturer in the Department of Early Music at Mozarteum University Salzburg, where she has worked as a répétiteur since 2020 with responsibilities for historical keyboard instruments including harpsichord tuning and maintenance. Her research centers on Baroque Music and Early Music Performance, particularly 17th-century keyboard repertoire within the Viennese court sphere. She actively explores intersections between music and period culture, including historical dance practices studied through Krakow's Cracovia Danza Festival. Her current dissertation under Thomas Hochradner examines this specialized keyboard tradition. As a performer, Meissner maintains an active profile in historically informed practice through solo and chamber engagements including Warsaw's Dramma per Musica Festival (2022), EBU-broadcast performances of Hasse's oratorios (2018), and major Baroque works by Bach and Monteverdi (2014). Her scholarly recognition includes the Mozarteum Research Competition Award (2019) for her project on historical performance practices. Meissner's academic training spans Mozarteum University Salzburg (harpsichord with Florian Birsak, performance practice with Reinhard Goebel), Fryderyk Chopin Music University, and Warsaw University's Institute of Musicology.
Tünde Kurucz is an Associate Professor for Piano and Chamber Music at the University Mozarteum Salzburg, affiliated with the Department of Keyboard Instruments and the Institute for Chamber Music. She holds a concert piano diploma earned with distinction from the Franz Liszt Academy of Music in Budapest (1984), where she studied under Kornél Zempléni, Imre Rohmann, and Ferenc Rados. Her artistic focus centers on piano performance and chamber music, with a professional career spanning solo and ensemble performances across Europe, Japan, the USA, and Canada. Notable engagements include appearances at the Salzburg Festival, Vienna Festival, and Schwätzinger Festival. Since 1985, she has collaborated in a piano duo with Imre Rohmann.
