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le.sens meets MAYA HOMBURGER

le.sens meets

is a new section where we share the work of people that are special to us - artists and friends whose work is driven and inspired by a creative, positive and sustainable contribution to their field of work and the world in general. I believe that only by working together towards an ecological, free and better world we can make a difference. Change starts with openness and inspiration for creative transformation, awareness and love - that has always been the inspiration behind le.sens

Leonie Sens

‘What reaches the ears has a feeling of a protestant-buddhist based pantheism. With Maya Homburger there is no grave ceremony, no frankincense, no romantic revelry and ecstasy, no vibrato, no blissful indulgence in the moment, in short: not a single grain of sugar. Instead a plenitude of the high art of interpretation, an amazing virtuosity that is never just a thing in itself, but dedicated to the cause of clarity, and all this with a great self-restrained elegance.’

Schmetterlingsfreiheit von Hans-Jürgen Linke
Frankfurter Rundschau 16.2.08

"Her music was full of poetry and fantasy and came across as fluently and as lightly as thought itself. Her playing of Biber's Passacaglia, 64 repetitions of a four-note descending bass line over which the music spins out and elaborates itself like smoke, was filled with freedom, balance and momentum."

(Stephen Pedersen, Halifax)

"Her music was full of poetry and fantasy and came across as fluently and as lightly as thought itself. Her playing of Biber's Passacaglia, 64 repetitions of a four-note descending bass line over which the music spins out and elaborates itself like smoke, was filled with freedom, balance and momentum."

(Stephen Pedersen, Halifax)

Maya holds her mother's calendar in her hand.

Ten year old Maya has immersed herself in her drawing - peacefully

A garden paradise for all creatures

I first met Maya Homburger during a music
project in Hamburg and was instantly taken
by Maya’s engaging, friendly and warm
personality and of course also mesmerized
by her artistic mastery.

During a visit at my workshop Maya was
excited about the le.sens designs and we
immediately connected as we discovered
that we both felt a deep love and enthusiasm
for all the little creatures with whom we
share our habitat.

Maya told me that she had spent long
joyful hours in nature from an early age.
Her mother was a photographer and
mainly focused on the microcosmos in
nature - insects such as grasshoppers,
butterflies, spiders… Accompanied by her daughter she
could spend hours waiting for the right moment, the right
light to capture the dewdrops on a spider's web in the early
morning.

An eye for the ‚little things‘ in nature and in life - that was
something that sparked mutual admiration between Maya and me.
I feel very fortunate that le.sens scarves and designs accompany
Maya Homburger in her rich human and artistic life.

Born and educated in Zurich/ Switzerland, Maya Homburger moved to England in 1986 to join various ancient music ensembles and became one of the leaders of John Eliot Gardiner's "English Baroque Soloists”. Ever since meeting the composer and solo bassist Barry Guy - on the occasion of an extended concert tour with Christopher Hogwood’s Academy of Ancient Music in 1988 - she has devoted her time developing her own personal style on the baroque violin as well as managing Improvised and New Music projects, Barry’s various big bands and running her own CD label Maya Recordings. The idea to perform baroque solo works in the context of free improvised music and newly commissioned pieces sparked off the Homburger/Guy Duo and together Maya Homburger and Barry Guy have given concerts in many major Jazz, New Music and Baroque Music Festivals all over Europe and in Canada. After living in Ireland for nine years where they contributed both to the early as well as the contemporary music scene, they moved to Switzerland in 2006.

I first met Maya Homburger during a music project in Hamburg and was instantly taken by Maya’s engaging, friendly and warm personality and of course also mesmerized by her artistic mastery.

During a visit at my workshop Maya was excited about the le.sens designs and we immediately connected as we discovered that we both felt a deep love and enthusiasm for all the little creatures with whom we share our habitat.

Maya told me that she had spent long joyful hours in nature from an early age. Her mother was a photographer and mainly focused on the microcosmos in nature - insects such as grasshoppers, butterflies, spiders… Accompanied by her daughter she could spend hours waiting for the right moment, the right light to capture the dewdrops on a spider's web in the early morning.

An eye for the ‚little things‘ in nature and in life - that was something that sparked mutual admiration between Maya and me. I feel very fortunate that le.sens scarves and designs accompany Maya Homburger in her rich human and artistic life.

Born and educated in Zurich/ Switzerland, Maya Homburger moved to England in 1986 to join various ancient music ensembles and became one of the leaders of John Eliot Gardiner's "English Baroque Soloists”. Ever since meeting the composer and solo bassist Barry Guy - on the occasion of an extended concert tour with Christopher Hogwood’s Academy of Ancient Music in 1988 - she has devoted her time developing her own personal style on the baroque violin as well as managing Improvised and New Music projects, Barry’s various big bands and running her own CD label Maya Recordings. The idea to perform baroque solo works in the context of free improvised music and newly commissioned pieces sparked off the Homburger/Guy Duo and together Maya Homburger and Barry Guy have given concerts in many major Jazz, New Music and Baroque Music Festivals all over Europe and in Canada. After living in Ireland for nine years where they contributed both to the early as well as the contemporary music scene, they moved to Switzerland in 2006.

In her hands - a blackbird,

a dragonfly,

and a praying mantris.

"It is partly the subtle flexibilities of her rhythmic approach that breathes life into these scores; one should also mention the beautiful sound she gets from the violin, a sound which seems to bloom in the acoustic of St. Ann's. In her hands the 'period instrument' becomes the only one that allows the music to communicate fully."