Krisztina Kovacs

Playing music has been an important part of her life for a very long time; it has accompanied her since her youth. For an extended period, she had a preference for classical music. After many years of choir and private studies, she also trained as a classical musician-singer and pianist at the ETŰD Conservatory, obtaining an OKJ degree from the former institution. She met the handpan in the fall of 2017 (the prototype of this instrument was made in Switzerland around 2000, and since then it has been spreading rapidly around the world), then only on a YouTube video... then, at that moment, it immediately spoke to her, and she felt that it would become an important part of her life...

When asked what caught her in it, she explained that, in addition to the fact that its almost ethereal voice calms and creates harmony in people, as a musician, its wonderful uniqueness, diversity, versatility (both as a melodic and rhythmic instrument), and its creativity-inspiring beginning, where restrictions are only imposed by the limits of the given scale, were all factors. This is how she ended up with several different handpans, and she currently uses three instruments with different moods regularly.

She developed herself in a self-taught way, primarily through online resources and workshops. Thanks to this instrument, she became interested in hand drums (cajon, frame drum), and later, also in spiritual instruments and music.

In 2021, she continued her musical journey by undertaking Tibetan sound bowl training at the Budapest Sound Therapy Center. Later that same year, she completed group sound bath training at the same center. Additionally, she crafted her own shaman's drum.

Her musical endeavors also include accompanying yoga classes with handpans, conducting sound baths, giving live and online concerts, and having the opportunity to participate as a musical contributor at various events, weddings, and exhibition openings. When there was a need, she taught the basics of playing the instrument, emphasizing its intuitive nature.

Her musical creed centers around the belief that music is not solely about the systematic production of sounds but, most importantly, about the personal expression and unique message that one brings to it. This, she believes, is what makes music truly unique and unrepeatable.