SOPHIE-MAYUKO VETTER has been praised as an artist of extraordinary expressivity and versatility by press and colleagues alike. She has been performing since an early age in the world’s renowned concert halls. Since the German radio station WDR made a documentary featuring her cycle of compositions Tonbilder (Pictures of Sound) when she was seven years old, Ms Vetter has been widely recorded by the major European and Asian radio broadcasters and TV stations.
At age 14 she gave her CD début with the Chopin’s 24 Préludes as a recipient of the Parke Davis Prize. Having performed at some of the most prestigious international festivals and concert series in recent years (including the Salzburg Festival, Tokyo City Opera Hall Series, Munich Biennale, Albert Concerts, Klavierfestival Ruhr, and Bad Kissinger Musiksommer), Ms Vetter currently looks forward to performances, master-classes for piano students and CD recordings in Asia and Europe.
Her repertoire ranges from early Baroque to contemporary, and she infuses her interpretations of each epoch with their own unique stylistic requirements. She also performs much of the 18th and 19th century repertoire on the fortepiano, which lends her interpretations of the same repertoire on the modern piano a distinctly fresh and historic touch, including improvisation and ornamentation.
Her close work with luminaries such as Karlheinz Stockhausen, Claus-Steffen Mahnkopf, Peter Ruzicka and Henri Pousseur has included numerous performances of their compositions under their guidance. Mahnkopf dedicated to her, among other works, his piano concerto Prospero’s Epilogue, which she premiered at the Salzburg Festival in 2005 with the RSO Wien. Ms Vetter is also active in the field of musicology. She contributes articles regularly to Germany’s “Musik & Ästhetik”, among other leading publications.
Sophie-Mayuko Vetter was born in Sapporo, Japan. She received her early musical training (Piano, Violin and Composition) from the age of four and, over the next few years, composed an extensive series of vocal overtone duets that were later published. Her father, Michael Vetter, was her mentor in overtone singing and a major influence in her early musical development. Ms Vetter studied Piano with Edith Picht-Axenfeld, Vitaly Margulis and Peter Feuchtwanger, period performance practice with Robert Hill, and musicology with Claus-Steffen Mahnkopf.