About us - the musicians - Die Tanzgeiger

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Johanna Kugler

Violin

Johanna wasn’t in school yet when she heard snatches of music by the Tanzgeiger carried in through her open window by a gentle spring breeze in the heart of Vienna. “I want to play the violin like that”, she thought. Meanwhile, she has finished her music degree, and the violin occupies a pivotal position in her live. Fascinated with the interdependence of music and movement, she enjoys playing in the street, at private parties, or in refugee hostels for and with and amongst people. But she also plays in concert halls, Hungarian style with the Tanzhausgeiger, or cabaret with the Landstreich plus. With the Tanzgeiger, she plays first violin. Those songs that had once inspired her decision to become a musician, she still plays them with great passion until her audience is fully immersed in rhythm and the dancefloor is shaking.

Landstreich+

Johanna Kugler

Violin

Johanna wasn’t in school yet when she heard snatches of music by the Tanzgeiger carried in through her open window by a gentle spring breeze in the heart of Vienna. “I want to play the violin like that”, she thought. Meanwhile, she has finished her music degree, and the violin occupies a pivotal position in her live. Fascinated with the interdependence of music and movement, she enjoys playing in the street, at private parties, or in refugee hostels for and with and amongst people. But she also plays in concert halls, Hungarian style with the Tanzhausgeiger, or cabaret with the Landstreich plus. With the Tanzgeiger, she plays first violin. Those songs that had once inspired her decision to become a musician, she still plays them with great passion until her audience is fully immersed in rhythm and the dancefloor is shaking.

Landstreich+

Theresa Aigner

Violin

Her world is a cloud of sound. Enveloped in music since her earliest childhood in Upper Austria, she adds to it with the violin, with folk music, classical music and, since her music studies in Vienna, also with Viennese music, which is particularly close to her heart. That is why she founded the Schrammel Ensemble Divinerinnen in 2021, which on the one hand presents exciting contemporary Viennese music, and on the other hand lifts treasures of Viennese music that have sunk into archives and gives them new splendour. With open ears, she encounters musical forms of expression from other cultures and is equally interested in the history and stories behind them. Her strength is her ability to take a step back and fully immerse herself in a body of sound. She traces what holds music together at its core and enjoys the refinement of playing together: in the orchestra, in the orchestra, in the orchestra, in the orchestra. Klangkollektiv Vienna and above all with the Tanzgeigern, where she also provides clear working structures in the background with her organising power.

Diviners

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Theresa Aigner

Violin

Her world is a cloud of sound. Enveloped in music since her earliest childhood in Upper Austria, she adds her own with the violin, with folk music, classical music and, since her music studies in Vienna, also with Viennese music, which is particularly close to her heart. That is why she founded the Schrammel Ensemble in 2021. Divinernwhich on the one hand presents exciting contemporary Viennese music, and on the other hand lifts treasures of Viennese music that have sunk into archives and gives them new lustre. With open ears, she encounters musical forms of expression from other cultures and is equally interested in the history and stories behind them. Her strength is her ability to take a step back and fully immerse herself in a body of sound. She traces what holds music together at its core and enjoys the refinement of playing together: in the orchestra, in the orchestra, in the orchestra, in the orchestra. Sound Collective Vienna and above all with the dance violinists, where she also provides clear working structures in the background with her organising power.

Diviners

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Michael Gmasz

Viola

With his viola, he stretches out a carpet of music and harmony for his fellow musicians: spherical for placid yodels, rousing for dance music, and with a distinctive flair for the Viennese waltz. Even after playing all night through, the next morning he is all set for hosting programmes on radio klassik Stephansdom, where he spreads his musicological expertise in his sonorous baritone. Having grown up close to the Hungarian border, he sings the Hungarian lyrics of the Csardas without accent, and with his timbre, he adds a pinch of sweet paprika powder that is a characteristic ingredient of the interpretations of the Tanzgeiger.

RadioKlassik

Michael Gmasz

Viola

With his viola, he stretches out a carpet of music and harmony for his fellow musicians: spherical for placid yodels, rousing for dance music, and with a distinctive flair for the Viennese waltz. Even after playing all night through, the next morning he is all set for hosting programmes on radio klassik Stephansdom, where he spreads his musicological expertise in his sonorous baritone. Having grown up close to the Hungarian border, he sings the Hungarian lyrics of the Csardas without accent, and with his timbre, he adds a pinch of sweet paprika powder that is a characteristic ingredient of the interpretations of the Tanzgeiger.

RadioKlassik

Sebastian Rastl

Double bass

Born in the Styrian Salzkammergut, where yodelling, clapping, and landler music have always been more alive than in any other place in Austria, he has absorbed genuine traditional music with his mother's milk, even though he prefers beer today - ideally home-brewed. When he blows the Seitlpfeife, it is quite obvious that Grundlseer Pfeiferlbuam taught him what no music school can teach. After a solid apprenticeship as a car mechanic, he followed the call of music and studied double bass. Today he plays in various orchestras as well as with the Fensageiger. A musician through-and-through, he contributes to the Tanzgeiger, casually, with his keen ear for those tones that cannot be recorded on music paper.

Today he plays in various orchestras and with the Fensageigers. As a full-blooded musician with the Tanzgeigern, he casually contributes his ear for the nuances that cannot be captured on music paper.

Musikantenpool

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Sebastian Rastl

Double bass

Born in the Styrian Salzkammergut, where yodelling, clapping, and landler music have always been more alive than in any other place in Austria, he has absorbed genuine traditional music with his mother's milk, even though he prefers beer today - ideally home-brewed. When he blows the Seitlpfeife, it is quite obvious that Grundlseer Pfeiferlbuam taught him what no music school can teach. After a solid apprenticeship as a car mechanic, he followed the call of music and studied double bass. Today he plays in various orchestras as well as with the Fensageiger. A musician through-and-through, he contributes to the Tanzgeiger, casually, with his keen ear for those tones that cannot be recorded on music paper.

Today he plays in various orchestras and with the Fensageigers. As a full-blooded musician with the Tanzgeigern, he casually contributes his ear for the nuances that cannot be captured on music paper.

Musikantenpool

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Marie-Theres Stickler

Harmonica

From Lower Austria to Vienna, out into the wide world and back, the train of life has brought her. Her ticket? An accordion, diatonic or chromatic, sometimes the object of theoretical discourse, but preferably unfolded in practice. Where? Wherever people enjoy listening, be it in New York or in Kazakhstan. Or in Grinzing, where the Heurigen beckon with their green wreaths. This is where she turns it up, where she delights people sitting over their wine with her yodelling, playing on and on until all faces are glowing with cheer. She makes every musical gem shine, be it as a solo performer, as a musician for contemporary folk music with Alma, or pulling out all the colourful stops with the Tanzgeiger. No matter the attire – dirndl or dress – on stage, she is always authentic and placid. And most importantly, she is always holding her pneuma in her arms.

Marie-Theres Stickler

Harmonica

From Lower Austria to Vienna, out into the wide world and back, the train of life has brought her. Her ticket? An accordion, diatonic or chromatic, sometimes the object of theoretical discourse, but preferably unfolded in practice. Where? Wherever people enjoy listening, be it in New York or in Kazakhstan. Or in Grinzing, where the Heurigen beckon with their green wreaths. This is where she turns it up, where she delights people sitting over their wine with her yodelling, playing on and on until all faces are glowing with cheer. She makes every musical gem shine, be it as a solo performer, as a musician for contemporary folk music with Alma, or pulling out all the colourful stops with the Tanzgeiger. No matter the attire – dirndl or dress – on stage, she is always authentic and placid. And most importantly, she is always holding her pneuma in her arms.

Marie-Theres Stickler

Dieter Schickbichler

Trombone

His tenor parts sound fleet-footed and agile, yet velvety and resonant. The view of the mountain peaks of his Styrian homeland resonates when he plays the trombone. His excursions into the international repertoire make you feel as if you were on vacation, that's how authentic his interpretations are. He has a strong inclination towards genuine, traditional brass music, which he follows when playing with Austrian brass band MaChlast. But also when he talks, people enjoy listening to him, a committed teacher who knows how to come straight to the point. His succinct style combined with his winning friendliness and sunny disposition make him the ideal go-to guy for making appointments with the Tanzgeiger.

MaChlast

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Dieter Schickbichler

Trombone

His tenor parts sound fleet-footed and agile, yet velvety and resonant. The view of the mountain peaks of his Styrian homeland resonates when he plays the trombone. His excursions into the international repertoire make you feel as if you were on vacation, that's how authentic his interpretations are. He has a strong inclination towards genuine, traditional brass music, which he follows when playing with Austrian brass band MaChlast. But also when he talks, people enjoy listening to him, a committed teacher who knows how to come straight to the point. His succinct style combined with his winning friendliness and sunny disposition make him the ideal go-to guy for making appointments with the Tanzgeiger.

MaChlast

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Claus Huber

Trumpet, flugelhorn

There is no such thing as a difficult passage for Claus. And if the earth was shaking and the world was turned upside down, it won’t bother him much. Have no fear, ladies and gentlemen, have no fear! The houses built by him wouldn’t be trembling either, for he is a master builder. Alert and masterful. He knows how to make both supporting lines and challenging soli shine. With the Tanzgeiger, he is a mainstay of utmost stability. With the Schürzenträger , he is the leading voice that, with vigour and wit, opens the gateway for explosive brass music entertainment.

Die Schürzenträger

Claus Huber

Trumpet, flugelhorn

There is no such thing as a difficult passage for Claus. And if the earth was shaking and the world was turned upside down, it won’t bother him much. Have no fear, ladies and gentlemen, have no fear! The houses built by him wouldn’t be trembling either, for he is a master builder. Alert and masterful. He knows how to make both supporting lines and challenging soli shine. With the Tanzgeiger, he is a mainstay of utmost stability. With the Schürzenträger , he is the leading voice that, with vigour and wit, opens the gateway for explosive brass music entertainment.

Die Schürzenträger

Rudi Pietsch

(*1951-†2020) Idea / Artistic Direction, Violin

Actually, everybody knew Rudi and all those who claim they didn't know him must be mistaken. Those who knew him better, remember an inflexible and honest musician, who wore the rogue in the neck, the world wrested a smile. No occasion was too small for him to spontaneously rhyme a song with it and to intonate it immediately with the people present at the time. A "Ehrenstückl" was always quick to hand and therefore always came from the heart. When you met him, he was always in a bad mood, according to his own words. He opened a conversation almost regularly with the sentence: "...this is a madness, I'm so exhausted...", immediately reached for the violin, not infrequently, and at the same moment was under high voltage. He jumped around, fidgeted while playing, nothing remained untouched - everything seemed staged, but was always improvised from the gut. Rudi perhaps went to his limits, but never too far.

Rudi did science literally from the dance floor for the dance floor, absolutely serious, but always from the perspective of the practicing musician. He opened up new horizons for generations of young students not by explaining to them how and why something was or was not, but by immediately testing the claims he made or the knowledge he gained for their suitability in practical music-making. Only in this way was research meaningful to him at all. (Text: Leonhard Paul)

Now our dear friend and mentor has locked his violin in the violin case forever. We are grateful for countless experiences and unforgettable musical moments that we were able to experience with him.

The love of music first! And to the last!

Rudi Pietsch

(*1951-†2020) Idea / Artistic Direction, Violin

Actually, everybody knew Rudi and all those who claim they didn't know him must be mistaken. Those who knew him better, remember an inflexible and honest musician, who wore the rogue in the neck, the world wrested a smile. No occasion was too small for him to spontaneously rhyme a song to it and also to intonate it immediately with the people present at the time.

A "Ehrenstückl" was always quickly at hand and therefore always came from the heart. When you met him, he was always in a bad mood, according to his own words. He almost regularly opened a conversation with the sentence: "...this is a madness, I'm so exhausted...", immediately reached for the violin, not infrequently, and at the same moment was under high voltage. He jumped around, fidgeted while playing, nothing remained untouched - everything seemed staged, but was always improvised from the gut. Rudi perhaps went to his limits, but never too far.

Rudi did science literally from the dance floor for the dance floor, absolutely serious, but always from the perspective of the practicing musician. He opened up new horizons for generations of young students not by explaining to them how and why something was or was not, but by immediately testing the claims he made or the knowledge he gained for their suitability in practical music-making. Only in this way was research meaningful to him at all. (Text: Leonhard Paul)

Now our dear friend and mentor has locked his violin in the violin case forever. We are grateful for countless experiences and unforgettable musical moments that we were able to experience with him.

The love of music first! And to the last!

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