Michael Muche has a particularly close affinity with choral music. He grew up in a family of church musicians and started singing in choirs at a very early age. He learned to play the piano and the violin, took singing lessons and was a member of various orchestras and bands. The time he spent as a chorister in the Nordhessischer Kammerchor and the Kammerchor St Jacobi in Göttingen was particularly influential in determining his later course in life.
He holds a degree in conducting from Dresden University of Music, where he studied with Professor Leißner and Professor Rademann. As part of his studies, he worked with professional orchestras such as the Saxon State Theatre Orchestra and the Erzgebirge Philharmonic in the town of Aue. He gained his first experience of opera productions in the University’s opera class, conducting, for example, Britten’s “The Turn of the Screw”.
While still a student, Michael Muche worked as the musical assistant of the Dresden Youth Symphony Orchestra and conducted the Werkstattorchester Dresden. He was also the musical director of the ecumenical choir of the Weinbergskirche in Dresden, where he conducted performances of Britten’s “Saint Nicolas Cantata” and Brahms’ “Liebesliederwalzer”.
After his graduation, Michael Muche was invited to work as the musical assistant at the Thuringia Castle Festival in Sondershausen. He has been teaching choral conducting at the Centre for Advanced Training in Sacred Music in Schlüchtern since 2012 and also works with the university orchestra in Gießen as its musical assistant. In June 2015 he was appointed as the new musical director of Trinity International Concert Choir, Frankfurt. He conducted the Marburg Chamber Orchestra, was the musical director in the production of Loewe’s oratorio “Jan Hus” with the Marburg Octet and conducted the world-premiere of ”Passio vitae II“ (Conrad Misch) with the choir Cantate Domino, Frankfurt. Current engagements have taken him to the Ringkirche in Wiesbaden and to the Vokalensemble Königstein, among others.
Especially the cooperation with Wolfgang Schäfer, Stefan Ottersbach and Matthias Mensching had a strong influence to his work.