Organist Jan Liebermann (20) Excels on TikTok and Instagram: 'Playing from Memory is Better Than with Sheet Music'

At just 20 years old, organist Jan Liebermann is making waves in the classical music world, particularly for his remarkable ability to perform complex pieces entirely from memory. Two years ago, at the age of 18, he tackled Johann Sebastian Bach's six Trio Sonatas, a feat few dare to attempt, let alone from memory. This performance cemented his reputation, with critics already using the term "wonderkind" (child prodigy).

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I don't like that word. It doesn't do justice to all the hard work that precedes it.

However, Liebermann, born in 2005, humbly rejects this label. "I don't like that word. It doesn't do justice to all the hard work that precedes it," he stated in a phone interview from his hometown of Munich. He began piano lessons at seven and was drawn to the organ at twelve. While acknowledging that some learn faster than others, he stressed that progress requires relentless effort. "The further you want to go, the more you will have to put in the work." He does, however, believe in the existence of geniuses, citing Bach as a prime example.

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The further you want to go, the more you will have to put in the work.

Liebermann is set to perform a recital in Kampen, Netherlands, featuring exclusively Bach's music, his favorite composer. He finds Bach's compositions particularly compelling because "every note is exactly in the right place; there are no coincidences in his music." He prefers playing from memory, describing it as the most natural way for him to perform. "When I have the sheet music in front of me, I sometimes play even worse because it's just a distraction," he explained.

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At his favorite composer, Bach, every note is exactly in the right place; there are no coincidences in his music.

This preference for memorization sets him apart from many organists who rely on sheet music, even with the complex coordination required for hands and feet. Liebermann believes this reliance is often a "psychological barrier." He suggests that many organists possess the technical skill to play without music but lack the self-belief to overcome the fear of making mistakes. "As soon as you get into that spiral, you are sure to mess up." He aims for a state of flow, where he can "completely turn off my thoughts and get lost in the music," likening the experience to that of a listener hearing a piece for the first time.

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When I have the sheet music in front of me, I sometimes play even worse because it's just a distraction.