Age, Biography and Wiki
Ulrike Haage was born on 22 December, 1957 in Kassel, Germany, is a German musician. Discover Ulrike Haage's Biography, Age, Height, Physical Stats, Dating/Affairs, Family and career updates. Learn How rich is she in this year and how she spends money? Also learn how she earned most of networth at the age of 66 years old?
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Age |
66 years old |
Zodiac Sign |
Sagittarius |
Born |
22 December, 1957 |
Birthday |
22 December |
Birthplace |
Kassel, Germany |
Nationality |
Germany
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We recommend you to check the complete list of Famous People born on 22 December.
She is a member of famous musician with the age 66 years old group.
Ulrike Haage Height, Weight & Measurements
At 66 years old, Ulrike Haage height not available right now. We will update Ulrike Haage's Height, weight, Body Measurements, Eye Color, Hair Color, Shoe & Dress size soon as possible.
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Not Available |
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Not Available |
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Not Available |
Dating & Relationship status
She is currently single. She is not dating anyone. We don't have much information about She's past relationship and any previous engaged. According to our Database, She has no children.
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Ulrike Haage Net Worth
Her net worth has been growing significantly in 2023-2024. So, how much is Ulrike Haage worth at the age of 66 years old? Ulrike Haage’s income source is mostly from being a successful musician. She is from Germany. We have estimated Ulrike Haage's net worth, money, salary, income, and assets.
Net Worth in 2024 |
$1 Million - $5 Million |
Salary in 2024 |
Under Review |
Net Worth in 2023 |
Pending |
Salary in 2023 |
Under Review |
House |
Not Available |
Cars |
Not Available |
Source of Income |
musician |
Ulrike Haage Social Network
Timeline
Ulrike Haage (born in Kassel, lives and works in Berlin) is a German pianist and composer, producer for radio plays and a sound artist.
Ulrike Haage spent her childhood in Ruhr.
She grew up listening to the big jazz record collection of her parents and trained to play piano listening to masters as Bill Evans and Thelonious Monk, improvising.
As a teenager she started singing and playing guitar in a garage-band.
After studying music and music therapy at Musikhochschule Hamburg, she stayed on an taught improvisation and orchestra direction from 1985 to 1989.
During this time she begins to compose and starts playing piano for the first German Female Jazz band: Reichlich Weiblich.
With him, Alfred 23 Harth and Phil Minton, the group Vladimir Estragon is founded, where Ulrike begins to introduce electronic music.
A year later, because of the departure of Alfred Harth, the quartet becomes the trio GOTO, with the vocal acrobatics of Phil Minton.
In 1990, she joins Katharina Franck in the pop group Rainbirds, which is already facing recognition (their first album Rainbirds attained gold record).
They release Two faces and In A Different Light .
For the celebration of the 90th Anniversary of the Bauhaus, she performs her radio play Der Kreis ist rot, after the diary of Oskar Schlemmer.
In 1999 a close collaboration with the actress Meret Becker begins.
In addition she becomes the music director of the concert’s program Nachtmahr and records the CD Fragiles.
With the translator and publisher Sylvia de Hollanda (Pociao's Books), she founds Sans Soleil, a publishing house for books and radio plays.
In 2003 Ulrike Haage becomes the first and up to then the youngest woman to win the German Jazz Award.
Markus Müller, presenting the award, pays tribute "to her outstanding and truly versatile life-work that permanently reinvents itself ». He emphasizes her artistic way through pop, art and avant-garde.
Sélavy, her first instrumental solo album is released in 2004.
In the next two years, the Goethe Institut of Moscow invites her to tour the cities along the Wolga and Siberia, playing concerts and giving workshops.
In 2006, she records her second solo album Weißes Land.
Since then, she participates among other projects in the Ring with choreographer Felix Ruckert and musician Christian Meyer, where she plays simultaneously to the choreography happening in front of her in interaction with the dancers.
2007, she becomes an artist-in-residence at the Hartung-Bergman foundation, composing a "dialogue", a music piece for chamber vibraphone, marimbaphone and electronics (Nunatak), in correspondence to the paintings of Anna-Eva Bergman
and produces more and more radio plays for the German public radio.
For example, Alles aber Anders (2009), a radio play for the Bavarian Radio, Bayerischer Rundfunk, after the diary of the sculptor Eva Hesse.
The opera radio play Amnesie der Ozeane in collaboration with Stephan Krass, is produced in 2010, as is the music for the sound-book Heimsuchung (novel by Jenny Erpenbeck).
Between concerts and conferences her third solo album In:finitum is in the making and released in 2011.
In 2012 Ulrike Haage spends 3 months at the artist-residence Villa Kamagowa in Kyoto, Japan.
Here the idea for the composition of For all my walking takes root.
Another artist-in-residence program, this time at the Leuphana Universität Lüneburg, is where she produces an audio-visual piece between sound and silence, which deals with the subject of public space as a sound space.
2015 saw the release (September 4) of her fourth solo album Maelstrom. The same year the production of two radio plays Lockbuch and Geld were finished and the composition of the soundtrack to the new Doris Dörrie film Grüße aus Fukushima, which was running at the 66th Berlinale International Film Festival, was recorded.
Also showing at the 2016 Berlinale was the film Landstück by German filmmaker Volker Koepp featuring music by Ulrike Haage.
When you listen to her music, you can go to the quest for the different musics which have had a strong influence on her style.
Of course, there is the jazz – since her debuts with the records of her parents, up to her first jazz-band.
Her compositions, even today leave a big part to improvisation.
Oft one could find on her partitions only an indication of chord on which she will improvise during the concert.
Her very thorough and classic training of music brings an instrumental acuteness and sharpness to her music.
Each break is controlled, each period has its sens. She puts her music together using repetitions of more or less long terms, according to the tradition of the ostinato.
Music is not her sole inspiration, she is also an artist with words.
She works with them as she works with musical subjects.