Mirjam-Luise Münzel is a recorder player, gambist and baroque cellist, and teaches at the conservatoires in Bremen and London. For her, early music offers an opportunity to explore timeless, pressing questions. She brings this to life through numerous, often interdisciplinary projects that she curates and leads together with fantastic colleagues: her Alte Musik Fest Friedenau festival, her duo GESTI with the dancer Imola Nagy, her podcast Being Fanny Mendelssohn, her opera pastiche PENELOPE, created especially for the International Telemann Festival in collaboration with the Wunderkammer ensemble, and a wide range of projects with her trio tiefsaits, such as the audio guide Cassandra’s Voice, and much more.
Numerous concert tours take her throughout the year to festivals and concert halls across Europe and beyond, including the Palace of Versailles, Wigmore Hall, English National Opera, Concertgebouw Amsterdam, Elbphilharmonie, Trigonale, St Thomas’ Church in Leipzig, Berlin Cathedral, the Felix! Festival of the Cologne Philharmonic, Thüringer Bachwochen, ZAMUS Festival, Konzerthaus Berlin, Musikfest Bremen and many more. Mirjam-Luise Münzel performs with ensembles such as the Lauttencompagney, Il pomo d’oro, AKAMUS and Continuum.

Where does this magic come from, actually, that lets the simplest songs move our hearts to the highest degree? They carry stories from generation to generation, and these can sometimes seem extremely relevant.
For me as a singer (vocalist), exploring the simplest songs with dedication and care is a valuable art: bringing their sounds to life, and engaging myself at every moment with the words of the text. Together with musicians who care just as much, we delve into old favourites and new discoveries, enjoying the richness of colour the compositions and historical instruments bring to us. Our collaboration is a great gift. I would especially like to thank the Parish of “Maria am Wasser” in Dresden Hosterwitz for enabling us to realize our project in this beautiful location.
Ever since my childhood, I have been accompanied by people who have believed in me. During my vocal studies at the Hochschule of Music in Dresden, while on the journey to find my own voice and musical personality, I had many extraordinary supporters, such as Hendrikje Wangemann, Hans-Christoph Rademann, Olaf Bär, Britta Schwarz and Ludger Rémy. I developed a basic trust in the idea that I could create something special. And that is what it takes to bring simple sounding melodies, which are the hardest to shape, to life. For many years, the music of Heinrich Schütz has been an essential companion and filled me with great happiness.
During the intense period in which my programme “Soul Comfort” completely consumed me, both emotionally and physically, I had the appreciative support of my closest companions. I thank them from my heart for conversations about emotions, and for their encouragement to intertwine the feelings and paths of life.
And yes, we can allow grief. Comfort is sure to come.

tiefsaits is a young Berlin ensemble that specialises in historical low string instruments such as the baroque cello, viola da gamba and violoncello piccolo. The three musicians dedicate themselves to a wide-ranging repertoire, from Renaissance consort to high Baroque sonatas and virtuoso music of the Romantic period. They explore the possibilities of low three-part ensemble sound and the multifaceted role of the cello throughout the centuries.
tiefsaits presents rarely heard original works as well as their own arrangements in their performances. Although the ensemble adopts a historical perspective, there are always references to current social and philosophical issues in their programmes as well as collaborations with contemporary composers. For example, they address the climate crisis in Cassandra's Voice, the individual experience of time in Stolen Time which included premiered works by composer Friedemann Stolte and an interdisciplinary collaboration with a Berlin independent cinema, or Last Words in collaboration with vocal ensemble Ælbgut which intertwined different musical languages and put works by Monteverdi and Schütz side by side with contemporary works by Reena Esmail. tiefsaits` artistic work and research is regularly funded by institutions such as the Berliner Senat, Kulturfunke Lübeck or the German Orchestra Foundation and performances include AEQUINOX festival, Int. Heinrich Schütz Musikfest, Int. Telemannfesttage, Festspiele Potsdam Sanssouci or Quedlinburger Musiksommer. Their debut album A TRE with unknown cello trios by Dall´Abaco was released in 2024. Their adaptation of the Suite in d minor for solo cello by J. S. Bach set for trio is one of their most ambitious and successful ensemble arrangements.