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For availability and general enquiries:

Rupert Chandler

Rupert Chandler

Associate Director

For contracts, logistics and press:

Joy Pidsley

Joy Pidsley

Assistant Artist Manager


Worldwide general management with Askonas Holt

About Christoph

The 2023 - 24 season sees Christoph make his Cleveland Orchestra debut with the world premiere of Johannes Maria Staud’s percussion concerto Whereas the Reality Trembles, conducted by Franz Welser-Möst. He will also bring Staud’s concerto to the Vienna Symphony for its Austrian premiere. Also this season, Christoph brings the world premiere of Glanert’s Percussion Concerto to the Arctic Philharmonic at the Bodø BEAT festival. Other orchestral highlights include Kammerakademie Potsdam and Academy of Ancient Music in Vienna and Viersen. Christoph will perform recitals with Motus Percussion at Klangspuren Schwaz, the Wave Quartet at Elbphilharmonie Hamburg and an organ duo with Christian Schmitt at Musikverein Graz, amongst others.

Christoph regularly performs at prestigious venues such as Vienna’s Konzerthaus and Musikverein, Salzburg’s Great Festival Hall and Mozarteum, Romanian Atheneum in Bucharest, Philharmonie Luxembourg, London’s Barbican Centre, Elbphilharmonie Hamburg, Berlin’s Konzerthaus, Cologne’s Philharmonie, Müpa Budapest, Gulbenkian Foundation Lisbon, Palau de la Música Barcelona, Stockholm Konserthuset, Bozar Brussels, Concertgebouw Amsterdam and Suntory Hall in Tokyo as well as at festivals such as Salzburg and Grafenegg.

His orchestral collaborations include the Bavarian, Austrian and Polish Radio Symphony orchestras, Luxembourg Philharmonic, Mozarteum Orchestra Salzburg, as well as the Academy of Ancient Music with conductors such as François-Xavier Roth, Ilan Volkov, Marin Alsop, Howard Griffiths, Yutaka Sado, Frank Strobel, Alexander Liebreich and Cristian Mandeal.

Christoph is based in Linz

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Worldwide general management with Askonas Holt

Season Highlights

Oct 2023
Severance Hall, Cleveland
Staud Percussion Concerto, World Premiere Cleveland Symphony Orchestra Franz Welser-Möst
Apr 2024
Wiener Konzerthaus
Staud, Percussion Concerto Vienna Symphony Andris Poga, Conductor
Apr 2024
Vienna, Viersen
Works by Bertali, Geminiani, Bach and Xenakis The Academy of Ancient Music Christoph Sietzen , percussion Bogdan Bacanu , percussion

Selected Repertoire

GlanertPercussion Concerto
StaudWhereas Reality Tremebles, Percussion Concerto

Sample Programmes

  • Percussion & Organ

    Sofia Gubaidulina: Detto I Maki Ishii: Thirteen Drums for percussion solo Johann Sebastian Bach: Passacaglia BWV 582 Andrea Tarrodi: Poseidon (commande Philharmonie, KölnMusik, Bamberger Symphoniker et Wiener Konzerthaus) Toshi Ichiyanagi: The Source Arvo Pärt: Annum per annum Camille Saint-Saëns: Danse macabre (Totentanz) (arr. Christian Schmitt, Christoph Sietzen)

  • Percussion & Orchestra

    Programme IANNIS XENAKIS: Rebonds A LOUISE FARRENC: Symphony No. 3 Interval IANNIS XENAKIS: Rebonds B ARNOLD SCHOENBERG: Five pieces for Orchestra PETER EÖTVÖS: Speaking Drums, four poems for solo percussions and orchestra



  • Staud, Percussion Concerto (World Premiere)

    Severance Hall, Cleveland
    • Passages that start as just great fun morph into moments of reckoning. Kinetic riffs give way to shimmering clouds of sound made with everything from ethereal bells to the mundane clunks of ceramic flowerpots, or the harsh rasp of a steel barrel used as a kick drum. After the work reaches a transfigured calm, it embarks on an entertaining but unsettling closing section, vigorous to the point of threat. ...the central role of the percussionist, combined with Sietzen’s flamboyant enthusiasm, casts him in a shamanic role in this concerto. An amazing performance of a compelling piece.

    • Sietzen is a real showman, given to raising his arms high in the air, aggressively hitting his targets, running to and from instruments, even engaging in some audience banter when building the Frank Gehry-like structure that would be his trap set for the evening. His playing was thrilling, not the least for his obvious commitment to this leviathan of a work, which he collaborated in bringing to life. Also amazing was the coordination of his part with the Orchestra’s percussion section.