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Maxwell Alemán is a Spanish-American violist newly based in Leipzig, Germany after several years in Amsterdam, Netherlands. Having collaborated in a copious array of artistic projects there, including those as principal violist with Ciconia Consort and Libero Strijkorkest, Alemán has performed on many of the country’s most respected stages, including the Royal Concertgebouw and Muziekgebouw aan ‘t IJ Amsterdam, TivoliVredenburg Utrecht, and De Doelen Rotterdam. Since moving to Germany, Alemán has has performed with camerata lipsiensis and the GewandhausChor in Leipzig and Switzerland, the Pauliner Barockensemble, and the lautten compagney BERLIN. Further international projects of note include concertizing in Belgium with the Intercontinental Ensemble, France with Génération Baroque, and Sweden with the Royal Swedish Opera under the direction of Andrew Litton.

Originally a student of the Galamian Method with Debra Moree at Ithaca College, Alemán continued his studies at the Conservatory of Amsterdam with respected soloists and chamber musicians, Sven Arne Tepl and Richard Wolfe, and with numerous masterclass technicians, including Jürgen Kussmaul and Nobuko Imai. A venture back to the US after these studies took Alemán through years of extensive training in Karen Tuttle’s “Coordination Method” – a revolutionary school of viola playing known internationally for producing some of the world’s best performers. Alemán studied this method under Michelle LaCourse, Tuttle’s longest and most devout teaching assistant. He has also studied the Coordination Method in masterclasses with Susan Dubois, Edward Gazouleas, Jeffrey Irvine, Lynne Ramsey, and Karen Ritscher.

Ever curious, Alemán seeks a broader range of colors on the instrument, a historical perspective to making music, and to deliberately place the mind, body, and viola on one axis. He pursues mentorship with London’s finest baroque violist, Jane Rogers, for further exploration of historically-informed performance (HIP) as it relates to both the modern and period viola. More recent mentonship in Germany has included Robert Lis of the Sächsische Staatskapelle Dresden and Tahlia Petrosian of the Gewandhausorchester Leipzig.


These past years have taken him to projects in Italy, France, and the UK led by experts in the field of HIP, including Rinaldo Alessandrini, Boris Begelman, Marco Frezzato, Martin Gester, Claire Holden, George Kennaway, and Rachel Podger. He has also been invited to participate in the masterclasses and coachings of Daniel Bard, Marjolein Dispa, Daniel Gaisford, Naum GrubertMaria Milstein, Robert Nairn, Kurt Nikkanen, Margaret Urquhart, Francien Schatborn, Donald Weilerstein, Teunis van der Zwart, and the New Zealand String Quartet. Directors of note from his performance history include Menno van Delft, Ed Spanjaard, Brian DeMaris, and Jeffery Meyer in concert at Alice Tully Hall (New York). Further tutors of note include Danielle Farina, Maureen Gallagher, and Elizabeth Simkin.

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