Anne in conversation with cultural journalist Holger Heimann.
What does music mean to you?
Music is where I feel most at home.
When and how did your special relationship with music begin?
I think the first time I had contact with music was when I just started existing. When my mother was pregnant with me, she practiced the flute every day. She says that I always reacted to it with hiccups (laughs). Surely these early musical experiences shaped me in some way - in any case, I was already singing melodies before I spoke, and for as long as I can remember, I've fallen asleep to recordings my parents listened to in the next room at night. Mischa Maisky's and Martha Argerich's recordings of Bach's cello and viola da gamba sonatas still put me in a state of childlike comfort.
What about jazz or pop? Do you listen to different styles of music?
Now and then with pleasure, but often I don't listen to any music. I play so much myself, I'm surrounded by other musicians, and when I get home I listen to audio books or the radio with no music playing. Silence is something I appreciate very much.
In the beginning there is a first sonic musical idea (...). And then the journey of discovery begins.
How did you become a professional musician?
Even as a child, I listened closely when my Suzuki colleagues could do something I couldn't yet do, or someone played with a particularly beautiful sound. That always spurred me on, because I also wanted to sound that good. And so, from the age of four, I spent a lot of time on the violin. For example, I gave violin lessons to all my stuffed animals and played to them every day. They were always thrilled (laughs). As a teenager, there was no turning back. Music and especially the violin became such a big part of my life that at some point I knew: I had to become a musician. It was a very natural process.
Did your relationship with music change after that?
It has intensified: when you play music all day and talk about it with teachers and colleagues, music and life pretty much become one.
What has particularly influenced you in the course of your professional career so far?
The realization that my own well-being is essential for unrestricted musical expression. The more comfortable I feel in and with my environment, the freer and more uninhibited I can express myself musically.
What does playing the violin mean to you?
Joy and self-realization. Some days it works better than others and sometimes it is even frustrating. But even in those moments, I feel my strong connection to the violin and can't imagine my life without it.Because when I play the violin, I feel complete.
In the last instance, I rely (...) on my musical instinct.
How do you approach a new work?
It is a combination of musical ideas, body feeling and analysis. In the beginning, there is an initial tonal idea, a musical idea, and the greatest possible anticipation of the work. And then a journey of discovery begins. It is perhaps comparable to the way I paint: I have an idea, a color idea, and get going. As far as possible without judging. Then I take a step back and see what has come out of my ideas. After that, I start to go into more detail here and there, always adding something, changing it, taking it away again. Until a coherent landscape emerges. Transferred to the instrument, it's the moment when it feels physically good to play. This process is often quite technical and almost detective-like: What is the reason that it doesn't yet sound the way I want it to? The search for the right sound, a benevolent yet rigorous error analysis, attention to one's own doing, judgment-free trial and error - all these things are part of the creative process.
You paint too?
It clears my head. It's something I do just for me, and the results are by no means professional (laughs).
Bach's music exerts a special magic on many people. So it does for me, too.
What role does knowledge of the work and composer play?
In my eyes, a comprehensive background knowledge leads to more familiarity with the work and helps me in my search for a personal interpretation. Information about the circumstances of the work's creation is also usually very exciting. At the same time, I am convinced that a good work can stand on its own and listeners should be able to experience it as such. All the knowledge in the world does not necessarily lead to a convincing presentation. In the last instance, therefore, I always rely on my musical instinct.
Is there a composer who particularly fascinates you?
Johann Sebastian Bach. At the moment I am working on his C major sonata (BWV 1006), among others. I have already played BWV 1001-1005 and would like to include the entire cycle in my repertoire. Bach's music exerts a special magic on many people. This is also true for me. The depth, intensity and power inherent in his music touches and fascinates me again and again. The six solo sonatas and partitas for violin are a central point of reference for me as a violinist.
What do you love most about your profession?
The enormous variety. If you want it, no two days are the same. There is always something to discover: new works, new things in old familiar works, interesting colleagues, playing in different constellations; plus the joyful tension before a performance, spontaneity on stage and the connection with the audience. In addition, the repertoire for violin is large, there are still great works that are rarely played. For example, the Violin Concerto by Bernd Alois Zimmermann, which I recently added to my repertoire.
And besides music - what inspires you?
Well, as I said, I like to paint. And apart from that I love sailing, learning French, spending time in nature and watching snooker. Hard to believe, but I think snooker is a lot like playing the violin!