Lukas Frank, born in Horn (Lower Austria), studied organ and harpsichord in Vienna (organ with Pier Damiano Peretti and Renate Sperger, harpsichord with Wolfgang Glüxam, basso continuo with Augusta Campagne), Hamburg (organ with Wolfgang Zerer and Pieter van Dijk, harpsichord and clavichord with Menno van Delft) and Basel (organ with Tobias Lindner and Wolfgang Zerer, harpsichord with Francesco Corti and basso continuo with Jörg-Andreas Bötticher).
Lukas Frank was awarded the Franz Joseph Aumann Prize as a solo harpsichordist at the International H.I.F. Biber Competition (Chorherrenstift St. Florian, Upper Austria) in 2021, and in 2018 he received the Hans Balmer Prize by the Basel Church Music Association for the best organ recital at the Schola Cantorum Basiliensis. At the 1° Concorso Organistico Internazionale “Fondazione della Torre” (Mendrisio TI, 2017) he was awarded the second prize.
With the ensemble L’Armonia Gioiosa he also received the second jury prize as a harpsichordist in 2016 at the Concoso internazionale Maurizio Pratola in L’Aquila, Italy.
As a soloist (organ & harpsichord) and accompagnist, he gives concerts regularly in a wide variety of ensembles, including the La Cetra Vocal Ensemble, the Lumen Consort and the Lumen Vocal Consort, the ensemble Viatoribus, Organic Opera, and the ensemble La Tibicina.
He is currently working as an organist, choirmaster and instrumental teacher in the Basel area and as a teacher for harpsichord and basso continuo at the Johann Joseph Fux Conservatory in Graz.
As an artist, Lukas Frank dedicates his work to a broad spectrum of music from the Renaissance, Baroque and Classical periods to modern and contemporary music. As a teacher, he dealt intensively with historically informed mediation processes, especially when writing his MA thesis (Müthels Claviersachen – Keyboard Methods in the Bach-Tradition [...], Basel 2020) and tries to convey impulses for a deeper understanding of music, even in lessons with beginners, which go beyond the mere performance of works, so that the «tones become the language of feeling» (D. G. Türk, Klavierschule, Halle & Leipzig 1789, p. 332).