He is regarded as the undisputed master of percussion in the north-west: Axel Fries has been introducing university students to rhythm and percussion for 15 years, has given countless concerts with his ensembles and has successfully taken part in competitions. And his work is far from over.
Tuesday morning at the university, the fog hangs between the birch trees outside the Institute of Music. Muffled percussion sounds drift out through a door into the corridor. The students making music behind the door are wide awake and focussed. Their teacher Axel Fries is just introducing them to a new piece: "It's rhythmically tricky, you have to count well," he explains.
Counting is a common theme on this morning when the "Schlagwerk Ossietzky" rehearses. Fries, his long wavy hair loosely tied back at the nape of his neck, counts aloud during the rehearsal. He taps from one foot to the other and supports the students as they play. You can feel the joy of the rhythm - but also the concentration that the piece demands of everyone. It's just another day at work for Fries.
The percussionist from North Baden has been teaching at the university since 2004. Before that, he was principal timpanist of the Oldenburg State Orchestra for 20 years. Being able to move to the university back then was a great opportunity for him, he says looking back. "I'm grateful that I was able to start again at 50 - here in Oldenburg, where I was already well connected."
Promoting the next generation
It was clear to him from the outset that he didn't want to stay in the orchestra until he retired, says Fries. "Teaching and working with young people was always at the back of my mind." With the move to university and the "Schlagwerk Ossietzky", the music educator was able to dedicate himself even more to this work. Because the next generation is close to his heart.
Fries founded the youth ensemble "Schlagwerk Nordwest" at the city's music school back in 1999. He also initiated the Lower Saxony youth percussion ensemble "Gong", which he also directs. Fries works with schools, amateurs, professionals and young musicians in a number of projects - including the percussion festival "Der Norden trommelt", which he founded and directs. He is always fascinated by bringing people together and seeing how young people grow through music.
Teaching student teachers at the university presents particular challenges: Most of those who come to Fries have previous musical knowledge, but no experience with percussion instruments. "But the instruments are important to us because they play a big role in school," says student Miriam Lichtenborg, who is at the rehearsal this morning.
"You have to set yourself goals"
In general, Fries aims to grab the students from the very first minute: "They have to think: I want to do this." In fact, many of the students play in Schlagwerk Ossietzky for years, even though they only have to formally take the course once. Fries reports that even former students get together again and again at the end of projects.
Student teacher Lichtenborg is also taking part again. "Axel has a basic trust in us that we will learn the instruments quickly. And he wants us to have fun," she says. "Music should trigger emotions. That's what I want to convey," says Fries. The students appreciate Fries' easy-going manner. At the same time, however, they recognise his determination; he is focused during performances. "You have to set yourself goals," says Fries. Whether it's concerts or competitions - it's important to know what you're working towards.
An attitude that his own teacher had already instilled in him. As a teenager and student, Fries himself successfully took part in numerous competitions and received national and international honours. At the age of eleven, he only found his way into music relatively late - his father had enrolled him in music school and not in a sports club. "I didn't think that was great at the time. Today I'm very grateful to him for that."
The mallets are important for the sound
His fascination with rock and pop music and performances with school bands eventually led Fries to the drums. As a teenager at the conservatory in Würzburg, he entered a room full of percussion instruments for the first time. "It totally fascinated me and I knew: that's what I want to do," says Fries.
The musician has long since created such a room for himself and his students at the university: Drums, vibraphone, marimba, keyboard, cajons, congas and all kinds of other percussion instruments can be found here. Countless smaller percussion instruments are stacked on the wall shelves. The insulated walls are littered with pockets from which colourful mallet heads of various sizes protrude.
The mallets, explains Fries, are very important. "They make the sound." For example, the low notes of the marimba sound best with a soft mallet, while a harder mallet is suitable for the higher pitches. The variety of mallets reflects Fries' basic attitude: "I've always been attracted to variety," he emphasises.
No fear of contact
On the one hand, this applies to his love of instruments from all over the world - from the classical timpani to the simple triangle, from the marimba to the Brazilian berimbau. "We percussionists thrive on cultural exchange," says Fries - and he also means this politically: "Without this exchange, not only we percussionists but our entire culture would be poor."
Fries also loves breadth in terms of style: whether pop, rock, jazz, classical, new music or minimal music - everything has always appealed to him. "You could call that a weakness, but for me it's a strength," he adds. As a drummer, he is curious and interested in unusual sounds - such as those that can be elicited from everyday objects. Here, too, Fries sees himself as someone who wants to convey the joy of music to as many people as possible: "People have no fear of contact. That's the great strength of percussion instruments: Everyone immediately goes and plays."
Despite having just retired, Fries will continue to teach at the university for another year. And after that? Fries hints that he would like to continue his other ensembles and projects for as long as possible. And if he does have a little more time in the future, he would like to compose more - another of his many talents.
