Variables of an Artistic Identity – A Conversation with Psychologist Heidi Brandi

I had the great honor of having a profound conversation with Heidi Brandi, founder of the Center for Professional Musicians in Hamburg. With decades of experience working with classical and jazz musicians, she is now considered one of the leading experts in the field of musician’s health. Her book, "The Identity of the Professional Musician Between Self, Instrument, and Orchestra", explores the psychological challenges of a musical career.

Heidi's Mission: A Holistic Approach to Musician’s Health

Her main goal: Supporting musicians with preventive, diagnostic, and therapeutic tools – for a strong mind and a healthy body.

When I asked what motivated her to found the center, she replied:
“The short answer: because it didn’t exist yet. The long one: it’s the result of my own biography.”

During her years of academic research, she observed how physiological and psychological aspects in music education and practice are often treated separately – with a predominant focus on suffering and symptoms.

Her experience working with child development (12 years), cancer patients (also 12 years), and her deep engagement with emotional regulation and stress management have deeply shaped her perspective. However, the most important impulse came from Professor Hugo Schmale, who was the first in Germany to write about physical factors in orchestras back in 1984. Upon his encouragement, Heidi founded the center in 2013 – together with Schmale and Professor Christian Kunert.

A Center with a Unique Spirit

Today, the center employs around ten professionals, including four to five psychotherapists. These treatments are covered by public health insurance – a crucial factor, as private therapy is often unaffordable for many musicians. The center also works closely with physiotherapists and external specialists.
What makes the center truly unique is its holistic, preventive approach – with a special focus on musical and professional identity.

Taboo Topics in a Seemingly Open Generation

One core theme of our conversation was discretion. Heidi emphasized how essential it is to offer a safe space – because even though young musicians often appear more self-assured, many taboos remain: pain, fear, shame, performance anxiety, and fear of the future.
Especially within orchestras or academic institutions, many find it difficult to seek help – out of fear of being judged by colleagues or professors. This is where the independence of Heidi’s center becomes invaluable.

"Performance Music" and the Art of Regeneration

We also discussed Heidi’s concept of “performance music,” especially in the context of auditions. Musicians, she says, perform at the level of elite athletes. A five-hour Wagner opera demands complete physical and mental presence.
But unlike sports, music often lacks a culture of regeneration. In professional sports, rest is essential – in music, the opposite is often true: before auditions, practice intensifies, often with counterproductive results.

“Regeneration is a matter of responsibility. You have to learn how to manage body, soul, and environment – otherwise, your health will pay the price.”

Preparing for Auditions: More Than Just Technique

Heidi’s view on auditions:

“There is no one-size-fits-all plan. Every person needs something different.”

Instead of offering generic advice, she works individually, depending on personality structure. Many musicians believe that more practice equals more security. But the brain can falter when overloaded. Her suggestion:

“Before a difficult passage, focus on two others – one before and one after. Repeat those. The brain will link them and integrate the difficult part, reducing fear.”

Variables of an Artistic Identity

A central topic was artistic identity. For Heidi, it’s based on a triad:

• Bonding (to the instrument, to the music…)

• Autonomy (self-care, boundaries, responsibility…)

• Musical competence (emotional expression, technical mastery…)

This triad forms the inner artistic personality.

“Artistic identity begins where mere imitation ends.”

It often develops during adolescence – as we separate from teachers, parents, and external ideals. Identity is not something we create, but something we integrate – like an internal kaleidoscope. And: it cannot be destroyed, only blocked. Therapy helps reorganize and access it again.

Life in the Orchestra and Inner Strength

Integrating one's own identity into an orchestra is complex. Orchestras are, by nature, non-democratic systems. One must learn to adapt – without losing oneself.

Even during auditions, mental tools can help – such as the “storyboard” from sports psychology, a mental map of the challenge, or working with ego states. But the most important skill remains:

“To calm body and brain under stress – instantly. That must become part of life, not just part of preparation.”

Practical Tools for Everyday Life

One proven method is autogenic training for stress regulation. It’s based on the idea that stress-inducing thoughts can be quickly and specifically replaced with different ones.

“It’s not meditation or esotericism – it’s a mental skill for performance enhancement.”

Heidi also shared a simple but powerful breathing technique that can lower stress levels before or even during a performance: the 4-7-8 breathing method (inhale for 4 seconds, hold for 7, exhale for 8).

I am deeply grateful for this encounter and inspired by Heidi’s work. I look forward to continuing these important conversations.

🎧 Listen to the full episode here: