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ENSEMBLES
and
SOLOISTS
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Andrassy Trio
NL |
Arabesque Winds
US |
L' Art du Bois
DE |
aXolot
NL |
Cantar alla Viola
US/JO-ES |
Collectief Reflexible
BE |
Nel Dolce
DE |
Proavitus
PL |
RicciCapricci
DE |
Riviera
BY |
Voyage en Block
DE |
Les Escapades
DE |
Arc Duo
US |
Ensemble Pipelife
DE |
SimoensTrio
BE |
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Bach Concentus
BE |
NI&CO
LT |
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http://www.waltmans-artists.com
(including all links to festivals, competitions and
masterclasses/workshops 2011) |
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Ilaria Baleani
IT |
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ANDRASSY TRIO (NL)
The Andrassy Trio is an ensemble dedicated to the performance of music for
clarinet and basset horn. Its members came together during their studies
in early clarinet at the Royal Conservatorium in The Hague. Since its
inception in 2006, the Andrassy Trio has given concerts in Vienna, Upper
Austria and Holland and were prize winners in the 2006 International Van
Wassenaer Concours and in 2007 won the International Young Artists
Presentation in Antwerp. The trio takes its name from Count Georg Andrassy,
a Hungarian nobleman and Freemason of the eighteenth century, who
possessed a set of three basset horns made by the Viennese Imperial Court
Maker Theodor Lotz. These unique instruments were rediscovered in the
1990s, and are still surviving. The trio, whose musical interests extend
to instrument making and research, plays on modern copies of Lotz
instruments.
The basset horn trio (the basset horn is a member of the clarinet family,
pitched in F) was a remarkably popular combination in the late eighteenth
century, particularly in Austria and Bohemia. A substantial volume of
repertoire exists for it of which the trios by W.A. Mozart (resulting from
the instrument’s close association with Freemasonry in the eighteenth
century) form the central core of the repertoire. However, many
lesser-known composers also wrote for basset horn trio, and the Andrassy
Trio is dedicated to bringing these works to light.
E-mail: Melanie Piddocke
mapiddocke(at)gmail.com.
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THE ARABESQUE WINDS (US)
Deidre Huckabay, flute
Liz Spector, oboe
Isabel Kim, clarinet
Eryn Bauer, bassoon
Sophia Goluses, horn
Recognized for their fresh, energetic, and interactive performances, the
Arabesque Winds are the recent winners of the 2008 International Chamber
Music Ensemble Competition. In what the judges described as "an astounding
performance" at Carnegie Hall's Weill Recital Hall, the group was awarded
with the Grand Prize out of over 70 international ensembles. In February
of 2009, they won 2nd Prize at the Henri Tomasi International Woodwind
Quintet Competition in Marseilles, France, where they also won the Lucien
Guerinel Prize for best interpretation of the composer's commissioned work
for the competition. The group has also won the Harvard Musical
Association’s 2009 Arthur W. Foote Prize, awarded to young musicians on
the verge of professional careers. This May, they will represent the
Eastman School of Music at the Kennedy Center's Conservatory Project.
Dedicated to the performance of contemporary wind music, the Arabesque
Winds acted as an ensemble-in-residence at the 2008 Festival Internacional
Chihuahua in Chihuahua, Mexico. There, they performed the world premiere
of Rodrigo Valdez Hermoso's "beyond the darkness, there's still the
light." They have also performed the American premieres of Carlos
Sanchez-Gutierrez's "Twittering Variations" and Juan Trigos’s “Ricercare
V.” In April of 2009, the Arabesque Winds will act as a featured ensemble
at Eastman’s Warren and Pat Benson Forum on Creativity. Ensemble members
also frequently perform with Ossia, NEO Orchestra, and Eastman BroadBand.
As active supporters of music outreach, the Arabesque Winds have presented
educational concerts throughout Rochester as participants in the Eastman
School's noted "Music For All" program. In January of 2009, they
collaborated with the Rochester City Ballet to present a children's
program featuring Prokofiev's "Peter and the Wolf." They have also served
as ensemble-in-residence in the public schools of Lake Placid and Tupper
Lake, NY, and have been invited to take part in similar educational
projects this upcoming year at schools in Texas, Florida, New York, and
New Jersey. This spring, the group will premiere a woodwind quintet
concerto by Baljinder Sekhon II, alongside young Rochester area music
students. They have also been selected to be fellows at the Atlantic Music
Festival this summer as resident performers and teachers.
The Arabesque Winds formed at the Eastman School of Music in 2005. The
group has been repeatedly selected to perform on the school's Honors
Chamber Music Recital series. While at Eastman, the quintet has been
coached by Robert DiLutis, Anne Harrow, and Kenneth Grant. They have also
taken part in coachings and masterclasses with members of the Imani Winds,
Zephyros Winds, and Windscape.
Deidre Huckabay, flute, is in her fourth year at the Eastman
School of Music, in the studio of Bonita Boyd. As general manager of the
student-run New Eastman Outreach Orchestra, she coordinates educational
and interactive orchestral programs in venues throughout Rochester. In
December 2007, she and a group of Eastman students performed two
contemporary operas at the SpazioMusica Festival in Cagliari, Italy,
alongside noted singers and actors from Mexico and Italy. As part of the
Eastman BroadBand, Deidre performed alongside the award-winning Garth
Fagan Dance Company at the Joyce Theater in New York City, at Nazareth
College in Rochester, and at the University of Rochester. She has
performed in Morelia, Mexico at the Conservatorio de las Rosas. She was
recently selected to the University of Rochester’s Take Five Scholars
program, and will continue work on a comprehensive project to record the
unique practices of her teacher, Bonita Boyd.
Liz Spector, oboe, is a senior at the Eastman School of Music
in the studio of Richard Killmer. She has been the English horn and
associate principal oboe of the Harrisburg Symphony Orchestra since Fall
of 2006. She has recently performed the United States premiere Rolf
Rudin’s “Am Ende des Tages” for solo English horn and Wind Ensemble. Liz
frequently performs with the Rochester Chamber Orchestra, the Mercury
Opera, the Eastman Wind Ensemble and the Eastman Philharmonia. Liz has
participated in summer festivals such as the Boston University Tanglewood
Institute, the American Institute of Musical Studies in Graz, Austria,
Music in the Mountains in Durango, Colorado, and the International
Festival Institute at Roundtop, Texas. In summer 2008, she attended master
classes at the Banff Center of the Arts as well as the orchestral program
at the Lucerne Academy in Switzerland.
Isabel Kim, clarinet, is a senior at the Eastman School of
Music in the studio of Jon Manasse. She has attended Juilliard Pre-College
and the Manhattan School of Music Pre-College. She has performed with many
ensembles including New York Youth Symphony, the Making Score Ensemble,
New Jersey All State Orchestra, Eastman Wind Ensemble, Ossia, and NEO.
Isabel has also participated in summer festivals such as the Kinhaven
Music School and the Eastern Music Festival. She has recorded with the
Eastman Wind Ensemble and the Canadian Brass for their “Manhattan Music”
album.
Sophia Goluses, horn holds the position of co-principal horn
with the Glens Falls Symphony Orchestra. Ms. Goluses has held the position
of principal horn in the Ohio Light Opera and the Sieur DuLuth Summer Arts
Festival Opera Orchestra. She has played with the Syracuse Symphony
Orchestra, Rochester Philharmonic Orchestra, Mercury Opera Rochester, and
the Rochester Oratorio Society. In November of 2008, she appeared as a
soloist with the Eastman Composer’s Sinfonietta, giving the world premiere
of Jennifer Bellor’s “Bell Song,” for solo horn and orchestra. Ms. Goluses
has attended music festivals such as Aspen Music festival and School,
Music Academy of the West, Pierre Monteux School for conductors and
musicians, and the Brevard Music Festival. She has recorded with the
Eastman Opera Theater for Troy Records, the Eastman Wind Ensemble and the
Canadian Brass with Archivmusik, and the Ohio Light Opera with Albany
Records. In the spring of 2008, Ms. Goluses completed her B.M. from the
Eastman School of Music in horn performance where she studied with W.
Peter Kurau and Jennifer Burch. Ms. Goluses maintains a private teaching
studio in Rochester, NY.
Eryn Bauer, bassoon, is currently a junior at the Eastman
School of Music and studies with John Hunt. She plays in a wide variety of
groups including chamber music, outreach performance, orchestras, and new
music ensembles. She has played with the Rochester Philharmonic Orchestra,
and soloed with the Tampa Bay Symphony at age 17. She traveled to
Chihuahua, Mexico with the Eastman Broad Band to perform newly
commissioned pieces. Eryn recorded Michael Tenzer’s Resolution which is to
be released in summer 2009. She has participated in summer music festivals
such as Sarasota Music Festival and Kinhaven Music School.
Website:
www.arabesquewinds.com.
Music on
www.youtube.com/user/huckabayda
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L' ART DU BOIS (DE)
(EN)
The young musicians of the Ensemble L’Art du Bois formed in 2004 under the
initiative of the Recorder Trio L’Art du Bois (together since 2002) and
have since then devoted themselves to the performance of early music on
historical instruments.
The Ensemble’s common vision and goal is however to bring early music to
an emotionally intense musical happening and approach a public composed by
people with the most different musical backgrounds. The result is a
special way to perform early music which is high lively, sounding somehow
modern and contemporary given the basic knowledge of the historical
tradition.
The young musicians profit not only from the intensive collaboration of
the three recorder players (Verena Fütterer, Margret Görner, Lena Hanisch),
but in particular also from the extensive duo experience of the two lute
players (Mirko Arnone, Maria Ferré Pérez), as well as the numerous shared
chamber music projects of the recorder players and the viol player (Judith
Sartor) together.
As a result, the Ensemble has already been appreciated in the many
concerts given in Germany and in other countries. It could win over the
public at the renowned concert series at the “Hohenloher Kultursommer” and
at the “Konzerte im Kloster Oberried” within a year of shared appearances.
2006 L’Art du Bois has been invited to perform at the prestigious “Fest
der Innenhöfe“ in Freiburg and qualified among the finalists at the
International Young Artists' Presentation - Early Music 2006 (Antwerpen,
Belge). It has also been invited to the „Oude Muziek Festival“ in Utrecht
(Holland). Appearances in Italy and Spain are currently planned. It has
been said: “L’Art du Bois convince with their superior virtuosity,
diversified instrumentation and refreshing enthusiasm”.
L’Art du Bois is:
Verena Fütterer studied recorder with Agnes Dorwarth in Freiburg and with
Pedro Memelsdorff in Barcelona. She has continued her studies with Walter
van Hauwe in Amsterdam since 2005.
Margret Görner has been studying recorder for the music teacher diploma
program and the state examinations since October 2001 with Agnes Dorwarth
and Michael Form in Freiburg. She received the scholarship
“Studienstiftung des deutschen Volkes”.
Lena Hanisch is studying flute in the program “Historical Interpretation”
with Karl Kaiser in Frankfurt a.M. after having completed her recorder
studies with Professor Agnes Dorwarth in Freiburg in 2004.
Maria Ferré Pérez studied classical guitar in Riudoms, Vila Seca and
Barcelona. After completing her lute studies with Rolf Lislevand in
Trossingen in 2003, she is currently continuing her studies at the Basel
Schola Cantorum with Hopkinson Smith.
Judith Sartor completed her studies of the viola de gamba with Ekkehard
Weber in Freiburg in 2005. Since then she has continued her studies with
Philippe Pierlot in Den Haag.
Mirko Arnone studied classic, electric guitar and music theory in Italy
prior to devote himself to the lute and other historical plucked
instruments with Rolf Lislevand in Trossingen, where he graduated with
full marks in early music performance in 2005.
www.artdubois.de
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(DE)
Die jungen Musiker des Ensembles L'Art du Bois fanden im Jahr 2004 auf
Initiative des bereits seit 2002 bestehenden Blockflötentrios L'Art du
Bois zusammen und widmen sich seither der Musik des Mittelalters, der
Renaissance und des Barock.
Bei ihren gemeinsamen Projekten profitieren die Musiker nicht nur von der
intensiven Zusammenarbeit der drei Blockflötistinnen (Verena Fütterer,
Margret Görner, Lena Hanisch), sondern in besonderem Maße auch von der
mehrjährigen Duoerfahrung der beiden Lautenisten (Mirko Arnone, Maria
Ferré) sowie zahlreichen gemeinsamen Kammermusikprojekten der
Blockflötistinnen und der Gambistin (Judith Sartor) miteinander.
So konnte das Ensemble bereits im ersten Jahr der gemeinsamen Auftritte
das Publikum renommierter Konzertreihen im Rahmen des Hohenloher
Kultursommers oder innerhalb der Konzerte im Kloster Oberried für sich
gewinnen. 2006 ist L’Art du Bois unter den Finalisten der International
Young Artists' Presentation - Early Music 2006 (Antwerpen, Belgien) und
nimmt erfolgreich an dem „Oude Muziek Festival“ in Utrecht (Holland).
Neben zahlreichen Engagements in Deutschland sind künftig auch Auftritte
in Italien und Spanien geplant. In seinen Konzerten überzeugt L'Art du
Bois durch souveräne Virtuosität, abwechslungsreiche Besetzungen und
musikalisch erfrischende Spiellust.
www.artdubois.de
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TRIO aXolot (NL)
NEDERLANDS
DEUTSCH
ENGLISH
Kim José Bode, Anna Stegmann
en Miako Klein leerden elkaar kennen op het Conservatorium van Amsterdam
en vormen samen het blokfluittrio ‘aXolot’. De drie muzikanten delen een
passie voor zowel nieuwe, experimentele muziek als voor de muziek uit het
middeleeuwse Europa.
Twee uiteenlopende stijlen, die echter niet zo onverenigbaar zijn als de
afstand in tijd doet vermoeden. Juist door het spelen met de
klankcontrasten creëert ‘aXolot’ een unieke sound. De groep maakt hierbij
naast moderne blokfluiten, ook gebruik van renaissance- en
barokblokfluiten.
Ook besteedt ‘aXolot’ ruim aandacht aan alternatieve
uitvoeringsmogelijkheden. De groep streeft ernaar hedendaagse muziek voor
een breed publiek toegankelijk te maken en uit de traditionele manier van
‘concerteren’ te halen.
Met hun muziek nemen Kim-José, Miako en Anna hun publiek mee op een reis
door de tijd en de klanken. Al spelend tonen zij dat het nieuwe reeds
diepe wortels heeft.
www.trioaxolot.com.
www.myspace.com/trioaxolot.
Das Blockflötentrio wurde 2007 gegründet und besteht heute aus den
Mitgliedern Miako Klein, Kim-José Bode und Anna Stegmann. Die ehemaligen
Schülerinnen von Gudula Rosa (NRW) und Studentinnen von Paul Leenhouts
(Konservatorium Amsterdam/ NL), verbindet ebenso die Leidenschaft für
neue/ experimentelle Musik sowie das Suchen von klanglichen Gegensätzen in
alter, vor allem mittelalterlicher Musik aus Europa. Ein Ziel des
Ensembles ist es, diese Klangkontraste in Konzertprogrammen zu vereinen
und hörbar zu machen.
Das Kunstwort aXolot ist von dem in Mexiko lebenden Tier Axolotl
abgeleitet, eine im Wasser lebenden Salamanderart. Das Axolotl ist eine
sehr alte Tierart, mutet aber durch sein fast surrealistisches Aussehen an
ein Fabelwesen an. Seine (wie Haare um den Kopf wachsenden) Kiemen können
sehr lang werden und wie unecht wirkende Antennen abstehen.
aXolot verbindet Altes und Neues in Konzertprogrammen genauso wie die drei
Musikerinnen die Blockflöte als altes- und neues Instrument verstehen,
denn diese darf sich auch in die Liste der “alten Instrumente” einreihen
und wird auf Grund ihrer Flexibilität und Diversität seit den 60er Jahren
wieder von Komponisten in der Neuen/ Experimentellen Musik eingesetzt.
Darüber hinaus möchte aXolot dazu beitragen, dass das bisher geringe
Repertoire an zeitgenössischer Musik für Blockflötentrio durch neue
Kompositionen bereichert wird und arbeitet eng mit verschiedenen
Komponisten/-innen zusammen.
www.myspace.com/trioaxolot
www.trioaxolot.com.
www.myspace.com/trioaxolot.
Since its formation in 2007 the trio aXolot has explored the boundaries
and edges of the recorder consort playing. Jose Bode, Anna Stegmann and
Miako Klein share not only the passion for mediaeval, renaissance and
contemporary music but also a good deal of history.
The concept behind trio aXolot is to combine new and experimental music
with european music from the middle-ages, in the search for a perfect
“soundscape”. In different conceptual programs the trio aXolot tries to
reach all aspects of recorder playing and performance practice. Its basis
in musicology and awareness of performance practice, coupled with the
highest technical expertise reached and absorbed at the well established
Amsterdam conservatoire under the supervision of Paul Leenhouts the trio
generates exciting, surprising and sophisticated concert programs
stretching the boundaries of recorder playing.
It is also our philosophy to provide many different sound-settings during
our concerts, and we use many different instruments to do this – from
modern recorders, to mediaeval, renaissance and baroque recorders.
The name "aXolot" closely resembles Axolotl - the Mexican salamander which
in natural conditions retains its aquatic newt-like larval form throughout
its life. Axolotls are known to have the ability to regenerate their
limbs, change colour depending on their mood, and their external hairlike
gills promote the impression of a strange alien creature. Today they are
mainly found in laboratories. Despite It's old age, the Axolotl has a
futuristic appearance. This makes the Axolotl a good representative and
symbol for the recorder, its history and the current work of the ensemble
aXolot: In todays time, the old seems often more modern than current art
and what seems very modern at first glance turns out to be a reminiscent
of a passed time. Like the Axolotl's regenerating limbs the recorder is
able to overcome many obstacles, and find its way back into concert halls
and peoples hearts in each century and like its external gills, an
ensemble would like to have an endless and everlasting breath.
aXolot - Old and new - a contradiction? Closer than expected - nearly
philosophical. . .
www.trioaxolot.com.
www.myspace.com/trioaxolot.
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CANTAR ALLA VIOLA (US/JO-ES)
"Cantar alla Viola," the art of accompanying the voice with the
Viola da Gamba, is a forgotten technique of using a bowed instrument to
play polyphony and harmony. The rediscovery of this method of
accompaniment inspired Nadine Balbeisi, soprano, and Fernando Marín, viola
da gamba, to create this rare duo. Detailed descriptions of the practice
of this delicate manner of accompanying the voice are found in sources as
"Regola Rubertiana" by Sylvestro Ganassi (1542) and in "Il libro del
cortegliano" by Baldassare Castiglione, Venezia (1528). According to
Ganassi's instructions, Fernando Marin adapts madrigals and songs from the
Renaissance and early Baroque for his instruments and Nadine Balbeisi. The
Spanish Vihuela de arco, a rediscovered bowed Vihuela and the the English
Lyra-viol are both historically reproduced, according to their shape as
well as in the methods and techniques for building these instruments.
Historical bows are just as carefully researched in order to sustain the
sounds and harmonies of these special instruments resembling and mixing
with the human voice. Cantar alla Viola has performed in festivals and
concert series in Germany, Spain, and the Czech Republic. Their extensive
research in the repertoire has also uncovered rare composers, whose works
have yet to be played and recorded. Introducing one of these rediscovered
composers, Cantar alla Viola has released its first CD "The Complete
Polyphonic Works of Juan Blas de Castro(1561-1631)."
The American/Jordanian soprano Nadine Balbeisi received her
Bachelor's degree in vocal performance from the University of Michigan
studying with George Shirley. She continued her vocal studies in Germany
in the Hochschule für Musik Köln with Barbara Schlick, obtaining a second
degree. Specializing in early music, her repertoire includes music from
the XV through the XVIII Centuries, focusing on Spanish and English music
with her duo "Cantar alla Viola." She has performed as a soloist in
Oratorios with various orchestras and given song recitals in Europe and
the United States. A prize winner of the International Competition of the
Kammeroper Schloß Rheinsberg, she has performed the roles of Despina,
Adele, Barbarina, Papagena, Sandmann, and Taumann.
Originally from Alicante, Fernando Marín has obtained an
international musical education in Prag, Cologne, and Brussels. He
received a Cello Degree from el Conservatorio de Oviedo, and Degrees in
Viola da Gamba and Chamber Music at the Hochschule für Musik Köln,
studying with Alexander Fedortchenco and Wieland Kuijken (Brussels).
Concert engagements as a soloist and basso continuo player have led him to
perform in various concert halls in Germany Mexico, Holland, Belgium, the
Czech Republic, and Poland. His specialization in unedited instruments
from the XVI century, as the Vihuela de arco and the Lyra viol, has been a
highlight of his projects. He has researched the origins, methods of
playing and repertoire of these instruments, developing a technique to
accompanying the voice, elaborated on in his duo "Cantar alla Viola."
He is currently on the faculty at the Conservatorio Profesional de Música
in Zaragoza for Viola da Gamba.
Video on:
http://www.youtube.com/watch?v=_NSbe87MsNM
http://www.youtube.com/watch?v=93FO5Kn06Wc&feature=related
http://www.youtube.com/watch?v=y9btknxq4mw
Info:
nbalbeisi@@gmail.com;
www.cantarallaviola.com
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COLLECTIEF REFLEXIBLE (BE)
The young Antwerp & Brussels-based collectief reFLEXible was founded
in 2001 by Joachim Devillé (trumpet, flugelhorn), Thomas Olbrechts (alto
saxophone), Stefan Prins (piano, objects and live-electronics) & Nicolas
Rombouts (double bass), who left the collectief early on. As a trio the
collectief reFLEXible, kept on focussing on free improvised music (or
instant composed music) often combined with other media as dance,
performance, video, and film.
The members of this collective all have very different backgrounds - it's
exactly this diversity which gives the collectief reFLEXible its unique
sound and character. Since its founding, the collectief reFLEXible has
realized several projects; created live soundtracks for "Metropolis" by
Fritz Lang and interpreted graphic scores by Logothetis and Cornelius
Cardew. It created performances such as "Liveness::Part of the Game",
conceptualized by Thomas Olbrechts and worked on the meta-composition
"More or Less" by and together with Austrian composer/performer Karlheinz
Essl.
The ensemble forms the musical core during the work-in-progress
performance "One by One" by Joachim Devillé and last but not least the
collective performs compositions by Stefan Prins such as
Ventriloquium. This composition was
especially written for the collective and the Antwerp-based ensemble for
contemporary and experimental music Champ d'Action, and reflects the
intensive and fruitfull long-term collaboration with Champ d'Action that
started in 2004. The piece premiered at Transit Festival, STUK Leuven in
2006 and was recorded and broadcasted by Klara radio.
Collectief reFLEXible worked the last five years in different ad hoc
settings or at long-term projects with Fred van Hove, Peter Jacqemyn, Bart
Maris, André Goudbeek, Dirk Wauters, Tatsuya Nakatani, Assif Tsahar,
c.r.i.m.e., John Russell, Horacio Curti, Scott Rosenberg, Paul Hubweber,
Nate Wooley, Jack Wright, Steve Swell, Building Transmissions,
Geographique, Aeyelen Parolin, Kayoko Minami and many others. Besides
these different collaborations and projects, they perform regularly as a
trio in Belgium and abroad.
In 2008 collectief reFLEXible was in residency at
STEIM (Amsterdam).
Furthermore the collaboration between reFLEXible and the ensemble for
contemporary and experimental music
Champ d'Action is being renewed and
will be structural between 2010-2013. In fall 2008, the Italian label
Amirani Records released
Realgar, a recording made live at "q-O2"
(Brussels, 15 September 2007), featuring Joachim Devillé (trumpet and
flugelhorn), Thomas Olbrechts (alto saxophone) and Stefan Prins
(live-electronics).
Important projects in 2008-2009 include "Black Mass Project" in which
reFLEXible, for the occasion enlarged with Matthias Koole on electric
guitar & Ann Eysermans on double bass, plays live-music with the
homonymous animation film made by
Joachim Devillé. In 2009 collectief
reFLEXible will be featured at Ars Musica Festival 2009 (Théâtre Marni,
Brussels), will perform at the Concertgebouw Brugge (playing Stefan
Prins's Ventriloquium, together with Champ d'Action and will perform in
many other places in Belgium and abroad.
See:
www.myspace.com/collectiefreflexible &
http://www.stefanprins.be/eng/performs/perf_reflexible.html
&
http://www.flandersmusic.be/identity.php?ID=103835
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NEL DOLCE BAROQUE ENSEMBLE (DE)
(EN)
Nel Dolce is a Cologne based baroque ensemble, which has been recognized
by the public and by critics for its fresh approach and for the virtuosity
and infectious enthusiasm it brings to the music. The five young
musicians, in various combinations, present works from the seventeenth and
eighteenth centuries. They have developed a deep understanding of baroque
music through attending master courses given by Dorothee Oberlinger,
Markus Möllenbeck, Ingeborg Scheerer, Gerald Hambitzer etc. and gained new
impulses by working with Richard Gwilt, Michael Niesemann, Ursula Schmidt-Laukamp
and Hille Perl. The ensemble was founded in 2003 and gives concerts
throughout Germany and abroad. Nel Dolce is supported by the organisation
‘Yehudi Menuhin – Live Music Now’ and in 2006 received the audience prize
at the ‘Biagio-Marini-Competition’. Since 2006, the ensemble has been
participating in the chamber music/baroque music course at the College of
Music Cologne.
Stephanie Buyken - recorder and soprano
Alban Peters - oboe
Sabine König - violin
Harm Meiners - cello
Philipp Spätling - harpsichord and recorder
www.neldolce.de
(DE)
Erfrischende Virtuosität und ansteckende Musizierfreude sind die
Kennzeichen des von Presse wie Publikum gleichermaßen anerkannten Kölner
Barockensembles Nel Dolce. In wechselnden Besetzungen bieten die fünf
jungen Musiker Werke des 17. und 18. Jahrhunderts dar. In Meisterkursen
bei Dorothee Oberlinger, Markus Möllenbeck, Ingeborg Scheerer, Gerald
Hambitzer etc. vertieften die Musiker ihre Auseinandersetzung mit der
Musik des Barock. Anregungen erhielten sie weiterhin durch Richard Gwilt,
Michael Niesemann, Ursula Schmidt-Laukamp und Hille Perl. Auftritte führen
das 2003 gegründete Ensemble sowohl in verschiedene Regionen Deutschlands
als auch ins Ausland. Nel Dolce wird gefördert durch »Yehudi Menuhin –
Live Music Now«. Zuletzt wurde das Ensemble 2006 mit dem Publikumspreis
des Biagio-Marini-Wettbewerbs ausgezeichnet. Seit 2006 absolviert das
Ensemble den Studiengang Kammermusik/Alte Musik an der Hochschule für
Musik Köln.
www.neldolce.de
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PROAVITUS (PL)
Proavitus - (Latin heritage, legacy) - this is both a name and a motto of
a vocal and instrumental ensemble created by students and graduates of the
Music School in Zdunska Wola, Poland. Its general assumption is the early
Polish and European music performing and promoting. Longing for the public
patronage of the arts of Renaissance and Baroque eras was the main reason
for founding the ensemble. Those were the times of traditional values with
music being an integral part of every aspect of life, accompanying people
from the moment of birth till death.
Proavitus was founded in November of 1993 by Arkadiusz Bogus, its
conductor and artistic director. Frequent changes of musicians are typical
of school ensembles. Students, who graduate from music school, enter music
academies, move to other cities and countries. That is why work on a
repertoire starts constantly from the very beginning. In spite of these
difficulties, Proavitus keeps high artistic standards for years. The
ensemble was awarded Grand Prix at The National Competition of the Early
Music Interpretation in Zywiec, Poland (twice, in 1996 and 2000). Also,
Proavitus has been invited to perform at numerous festivals and concerts
in Poland (in Lodz, Cracow, Tubadzin, Piotrkow Trybunalski), as well as in
many European countries (Germany, France, Latvia). Its projects have
resulted in radio and Tv recordings. Members of the ensemble repeatedly
participated in workshops taught by outstanding and world-famous early
music performers: Mark Caudle, Zbigniew Pilch, Romana Agnel, Dariusz
Brojek, Leszek Rembowski, Antoni Pilch, Robert Lawaty, among others.
Proavitus has a wide repertoire of both vocal and instrumental
compositions, religious as well as secular ones, from Polish and European
composers. There are, among others: psalms by Waclaw z Szamotul, Mikolaj
Gomolka, Cyprian Bazylik, motets by Grzegorz Gerwazy Gorczycki, madrigals
and canons by Orlando di Lasso and anonymous composers, sonatas by Georg
Philip Telemann, Georg Friedrich Haendel and many more.
Proavitus is Ensemble-in-Residence at the Early Music Admirers Society and
Music School in Zdunska Wola, Poland.
Arkadiusz Bogus studied choir and orchestra conducting with professor
Zygmunt Gzella at the Academy of Music in Lodz, Poland. For many years he
has been strongly involved in organizing cultural and artistic life in
Poland and abroad. He is a founder, conductor and artistic director of the
early music ensembles - Proavitus in Zdunska Wola and Capella
Piotrcoviensis in Piotrkow Trybunalski. Arkadiusz Bogus is also a founder
of the Early Music Admirers Society. He organized, along with Ewa Piasecka
and Rafal Nicze, two Festivals of The Early Culture in Zdunska Wola.
Personnel:
Paulina Bogus – soprano, violin
Justyna Jakubowska – cello
Katarzyna Malkiewicz – tenor, harpsichord
Malgorzata Malkiewicz – alto, violin
Agata Matusiak – alto, flute
Joanna Pawlak – soprano
Roksana Stasiakiewicz – soprano
Justyna Stupska – soprano
Monika Winczewska – alto, flute
Mateusz Glinski – tenor
Bartłomiej Kacperski – bass
Grzegorz Kujawiak – bass
Jakub Matusiak – tenor
Przemyslaw Pawlak – tenor
Mateusz Tomaszewski – tenor, bass, trumpet
Arkadiusz Bogus – bass, harpsichord, conductor, artistic director
Contact:
e-mail: proavitus.zw(@)gmail.com
www: http://www.proavitus.republika.pl
http://www.myspace.com/proavitus
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ENSEMBLE RICCICAPRICCI (DE)
ENGLISH
-
DEUTSCH
Verena Comploj - recorder
Christiane Herr - recorder
Kirsten Christmann - recorder and harpsichord
Sabine Kreutzberger - viola da gamba and viella
Emanuele Forni, lute - baroque guitar and theorbo
Michael Beilschmidt - viola da gamba and percussion
RicciCapricci was founded in 2004 by students at the Musikhochschule
Karlsruhe.
Members of the group have also studied in Trossingen, Mainz, Lyon and
Milano
and have participated in masterclasses with Dan Laurin, Karel van
Steenhoven,
Han Tol and Jesper Christensen. Concert tours have brought the six
musicians to
Italy, France, Holland, England and Switzerland.
Within a repertoire spanning the Middle Ages to the High Baroque, the
ensembles
main interest is focused on the highly affective and virtuoso music of
17th
century Italy which continually inspires the ensemble towards
unconventional
caprices and escapades in search of new tone colours and effects.
Members of RicciCapricci have received scholarships from the Yehudi
Menuhin
Foundation, the Kulturfonds Baden and the Erasmus Foundation and have been
prizewinners in various international competitions.
With a combination of historical performance practice and the avantgarde,
the
ensemble aroused much enthusiasm at the international competition
“Blockflöte
Kreativ” (September 2005) and was awarded first prize and the special
prize of
the jury. As a result, several composers have taken interest in the
ensemble and
composed new works for this unusual and richly contrasted combination of
instruments.
In August 2007, RicciCapricci has been awarded the prize of the audience
at the
International Biagio Marini Competition.
Verena Comploj took up the recorder at the age of eight. At an early
age she already took a great interest in chamber music and was several
times a prizewinner at the Austrian youth music competition „Prima la
Musica“.
She studied recorder and elementary music education at the Conservatory in
Innsbruck and continued her recorder studies at the Universitiy of Music
in Karlsruhe (with Karel van Steenhoven).
After receiving her teaching diploma in 2006 she commenced a course of
further study for chamber music with the ensemble RicciCapricci (tutored
by Karel van Steenhoven and Kristian Nyquist).
She is also studying towards a masters degree in solo performance and has
been inspired further by masterclasses with Dorit Wocher, John Tyson, Dan
Laurin, Claudio Astronio and Jesper Christensen.
Within her various musical activities spanning the Middle Ages to
contemporary music, Verena Comploj has specialized in the performance of
the Italian instrumental music between 1600 and 1700. She regularly
performs within Germany and abroad both as a soloist and with the Ensemble
RicciCapricci.
Christiane Herr began playing recorder at the age of 5. She also
took violin and piano lessons, and was several times a prizewinner at the
‘Jugend Musiziert’ competition. During her studies in Trossingen she
gained experience in the field of early music and historical performance
practice through projects with Anton Steck, Richard Wistreich, Charles
Toet, Rolf Lislevand, Steven Player und Marieke Spaans. Such experiences
have been further developed by her participation in various masterclasses,
for example with Jesper Christensen. Having successfully completed her
degrees in music teaching and performance at the Karlsruhe University of
Music, she continued to study chamber music there with the ensemble
RicciCapricci, under the guidance of Karel van Steenhoven and Kristian
Nyquist.
Both as a soloist and with RicciCapricci (which she co-founded in 2004),
she performs regularly within Germany and abroad.
Kirsten Christmann completed her studies in recorder (with Karel
van Steenhoven and Leonardo Muzii) and piano (with Ulrike Meyer and Heinz
Zarbock) at the Music Academies in Karlsruhe and Mainz from which she
graduated with diplomas in both teaching and performance. From 2006-2008
she was studying chamber music (historical keyboard instruments) with
Kristian Nyquist and Karel van Steenhoven.
In 1999 and 2001 she received an ERASMUS scholarship to study at the
Conservatoire National Supérieur de Musique de Lyon (with Pierre Hamon).
As a recorder player, harpsichordist and pianist she performed in various
chamber music groups. Playing three very contrasting instruments she has
been exposed to a highly varied repertoire: extremely “old” and “new”
music, the inclusion of elements of improvisation, and the combination of
text and music have been areas in which she has specialized. With the
recorder quartet “Pipelife” and the ensemble “RicciCapricci” she has
performed at festivals in Switzerland, Belgium, and Germany, and has been
a prize winner in several competitions, including: the Early Music
Competition at the Karlsruhe Music Academy (2000); the international
Competition for Young Culture (Düsseldorf 2001); the International
Recorder Competition Engelskirchen (2003); and the “Blockflöte Kreativ”
Competition (2005).
Michael Beilschmidt (born 1976 in Jena, Germany) studied double
bass at the Karlsruhe University of Music with Wolfgang Güttler. Since
2004 he has focused on the interpretation of early music and has played in
a number of chamber music groups. Since October 2006 he has been studying
Viola da Gamba at the Freiburg College of Music with Ekkehard Weber. In
addition, he has obtained much inspiration from masterclasses with Dane
Roberts , Hille Perl and Jesper Christensen.
As a percussionist, he has been intensively occupied with various Oriental
and European music styles in which percussion traditionally plays a
central role. Integrating this knowledge with the musical experience of
performing in a wide variety of ensembles, he has built up a virtuoso
technique on the frame drum, ric and tarabucca.
Masterclasses with Glen Velece (framedrum, ric) and the influence of
Burhan Öcal and Michael Metzler have greatly influenced his musical
outlook as a percussionist. The fusion of eastern techniques and the
western musical tradition characterizes his unusual and vivid playing.
Sabine Kreutzberger studied at the Musikhochschule Karlsruhe with
Pere Ros and at the Royal Conservatory of The Hague with Wieland Kuijken.
She also took part in masterclasses with Ariane Maurette (Geneve) and José
Vasquez (Vienna).
Today she is a member of various ensembles e.g. ecco la musica (Stuttgart,
music with wind and string instruments of the 17.c), Les Escapades,
RicciCapricci, (whole and broken consort) and EST (music of the late
Middle Ages). Since 1997, she has been teaching Basso continuo and viol
playing at the Musikhochschule Karlsruhe. As a player of different viols
and viellas she has made numerous radio (Radio France, SWR) and CD
recordings.
Emanuele Forni began his musical training as a selftaught musician,
concentrating on popular music, rock and jazz. He obtained his diploma in
guitar and jazz harmony with Alberto Ferra at the European Music
Institute; in classical guitar at the Giuseppe Verdi Conservatory in
Milan, with Lena Kokkaliari and Paolo Cherici; and in contemporary music
(Concert Diploma) at the High School of Arts in Bern (CH) with Elena
Casoli. He studied ancient music and different plucked istruments at the
Schola Cantorum Basilensis, composition, performing practice, taking part
in masterclasses and advance courses with Jordi Savall, Dave Liebman,
Fabio Vacchi, Paul O’Dette and Luciano Berio. The interpretation of
contemporary works, for and with the guitar, has enabled him to work with
many contemporary composers such as Peter Eötvös, Hugues Dufourt, Maurizio
Pisati, Ulrich Krieger, Alessandro Solbiati, Georges Aperghis and Beat
Fehlmann. He has played as soloist as well as in chamber music ensembles
and orchestras, among these the Lucerne Academy Orchestra, Venice Baroque
Orchestra, Orchestra Cantelli of Milan, Ensemble Tourdion, Accademia della
Selva, Accademia degli Orfei, Cantus Firmus, La Corona Freiburg,
RicciCapricci. He has recorded for various labels (Stradivarius, Maine),
radios (SWR, DRS 2, Radio Classica) and televisions channels (Rai).
www.riccicapricci.de
ENSEMBLE RICCICAPRICCI (DE)
Seit seiner Gründung im Sommer 2004 begeistert das Ensemble RicciCapricci
sein
Konzertpublikum mit Musik aus Mittelalter, Renaissance und Barock. Die
unkonventionellen und kreativen Arrangements werden von den sechs
MusikerInnen
mit mitreißender Spielfreude und atemberaubender Virtuosität präsentiert.
Innerhalb
des umfangreichen Repertoires stellt die affektvolle und virtuose
italienische Musik
des 17. und 18. Jahrhunderts einen der Schwerpunkte von RicciCapricci dar
und
inspiriert das Ensemble immer wieder zu ungewöhnlichen Capricen und
Eskapaden
auf der Suche nach neuen Klangfarben und Facetten.
Die MusikerInnen lernten sich beim gemeinsamen Studium an der
Musikhochschule
Karlsruhe kennen, wo sie im Sommer 2008 ein gemeinsames Kammermusik
Studium mit Auszeichnung abschlossen. Wichtige musikalische Impulse
erhielt das
Ensemble durch Studienaufenthalte in Freiburg, Trossingen, Mainz, Basel
und Lyon
sowie durch die Teilnahme an Meisterkursen bei Dan Laurin, Karel van
Steenhoven,
Han Tol und Jesper Christensen. Die MusikerInnen spielen auf
originalgetreuen
Nachbauten alter Instrumente, beispielsweise auf Consortflöten des
kanadischen
Flötenbauers Bob Marvin.
Die MusikerInnen von RicciCapricci sind Stipendiaten der
Yehudi-Menuhin-Stiftung,
der Erasmus Stiftung, des Kulturfonds Baden e.V., des Freundeskreises der
Musikhochschule Karlsruhe sowie Preisträger verschiedener internationaler
Wettbewerbe.
Mit der Gegenüberstellung von historischer Aufführungspraxis und
Avantgarde
erregte das Ensemble beim Internationalen Wettbewerb „Blockflöte Kreativ“
(September 2005) großes Aufsehen und wurde mit dem 1. Preis und dem
Sonderpreis der Jury ausgezeichnet. Daraufhin wurden mehrere Komponisten
auf
RicciCapricci aufmerksam und komponierten Werke für diese kontrastreiche
Besetzung.
Im August 2007 erspielte sich RicciCapricci den begehrten Publikumspreis
des
„Internationalen Mariniwettbewerbes“ in Neuburg an der Donau.
Die rege Konzerttätigkeit des Ensembles im In- und Ausland fand 2008 mit
der
Teilnahme an den Stockstädter Musiktagen für Alte Musik und an der
Internationalen
Messiaen Woche in Neustadt a. d. Weinstraße herausragende Höhepunkte.
Verena Comploj - Blockflöte
erhiehlt ihren ersten Blockflötenunterricht im Alter von 8 Jahren. Schon
im
Jugendalter widmete sie sich intensiv der Kammermusik und war mehrfache
Preisträgerin des österreichischen Jugendmusikwettbewerbes „Prima la
Musica“. Sie
studierte Blockflöte und Elementare Musikerziehung am Tiroler
Landeskonservatorium und setzte ihr Blockflötenstudium an der Staatlichen
Hochschule für Musik Karlsruhe bei Prof. Karel van Steenhoven fort. Nach
Ihrem
Abschluss für Diplommusiklehrer (2006) begann sie ein Aufbaustudium für
Kammermusik mit dem Ensemble RicciCapricci (Klasse Prof. Karel van
Steenhoven
und Kristian Nyquist), das sie 2008 mit Auszeichnung abschloss. Zusätzlich
absolvierte sie den solistischen Aufbaustudiengang Master of Music.
Einen Schwerpunkt ihres künstlerischen Schaffens stellt die Interpretation
italienischer Instrumentalmusik zwischen 1600 und 1700 dar. Musikalische
Impulse
erhielt sie auf Meisterkursen bei Dorit Wocher, John Tyson, Dan Laurin,
Dorothee
Oberlinger, Robert Ehrlich, Claudio Astronio und Jesper Christensen.
Als Solistin sowie als Mitglied des 2004 gegründeten Ensembles
RicciCapricci greift
sie auf eine rege Konzerttätigkeit im In- und Ausland zurück.
Christiane Herr - Blockflöte
begann im Alter von 5 Jahren Blockflöte zu spielen. Neben dem
Blockflötenspiel
erhielt sie auch Geigen- und Klavierunterricht, und war mit der Blockflöte
mehrfach
Preisträgerin beimWettbewerb „Jugend musiziert“. Sie begann ihr Studium an
der
Staatlichen Hochschule für Musik Trossingen. In dieser Zeit konnte sie in
verschiedenen Projekten mit Anton Steck, Richard Wistreich, Charles Toet,
Rolf
Lislevand, Steven Player und Marieke Spaans viele Erfahrungen im Bereich
der
Alten Musik und deren Aufführungspraxis sammeln, die sie in verschiedenen
Meisterkursen wie zum Beispiel bei Jesper Christensen erweiterte. Ihr
Studium setzte
sie an der Staatlichen Hochschule für Musik Karlsruhe bei Karel van
Steenhoven fort.
2008 schloss sie mit dem Ensemble RicciCapricci das Kammermusikstudium bei
Karel van Steenhoven und Kristian Nyquist mit Auszeichnung ab, nachdem sie
die
Studiengänge Diplom Musiklehrer und Diplom Künstlerische Ausbildung
bereits
ebenfalls mit Auszeichnung abgeschlossen hatte.
Seit Januar 2008 ist Christiane Herr als Lehrkraft an der Städtischen
Sing- und
Musikschule Landshut als Lehrkraft tätig.
Sowohl als Solistin, als auch als Mitglied des Ensembles RicciCapricci,
deren
Mitglied sie seit der Gründung 2004 ist, übt sie eine rege
Konzerttätigkeit im In- und
Ausland aus.
Kirsten Christmann - Cembalo und Blockflöte
absolvierte ihr Studium an den Musikhochschulen Karlsruhe und Mainz in den
Studiengängen Diplom-Musikerziehung, Künstlerische Ausbildung und
Schulmusik
mit den Hauptfächern Blockflöte (Klasse Prof. Karel van Steenhoven) und
Klavier
(Klasse Ulrike Meyer und Prof. Heinz Zarbock). 1999 und 2001 erhielt sie
ein
Stipendium der ERASMUS-Stiftung für ein Auslandssemester am Conservatoire
National Supérieur de Musique de Lyon (Klasse Pierre Hamon). Im Sommer
2008
schloss sie ein Kammermusikstudium und ein Korrepetitionsstudium mit den
Hauptfächern Cembalo und Hammerflügel bei Kristian Nyquist an der
Musikhochschule Karlsruhe ab.
Sie konzertiert als Cembalistin, Blockflötistin und Pianistin in
verschiedenen
Kammermusikformationen, mit denen sie sich vor allem auf die Extreme
„alte“ und
„neue“ Musik sowie die Einbeziehung von Improvisationselementen und
Kombination
von Texten und Musik spezialisiert hat. Mit dem Blockflötenquartett
Pipelife und dem
Ensemble RicciCapricci gastierte sie bei Festivals in der Schweiz, Belgien
und
Deutschland und war Preisträgerin verschiedener internationaler
Wettbewerbe.
Sabine Kreutzberger - Viola da gamba
studierte Viola da gamba bei Pere Ros an der Staatlichen Musikhochschule
Karlsruhe und am Königlichen Konservatorium Den Haag bei Wieland Kuijken.
Meisterkurse u.a. bei Ariane Maurette und José Vasquez rundeten ihre
Ausbildung
ab.
Der Schwerpunkt ihrer musikalischen Arbeit wurde das konzertieren in
verschiedenen Ensembles wie ecco la musica (Musik des 17. Jh.), Syntagma,
The
Duke his Viols, Music for a While, dem Ensemble für Musik des späten
Mittelalters
EST und dem Gambenconsort Les Escapades.
Sabine Kreutzberger erhielt 1997 einen Lehrauftrag für Viola da gamba und
Continuospiel an der Musikhochschule Karlsruhe. Bei Kursen für Alte Musik
vermittelt
sie ein Repertoire vom Mittelalter bis zur Frühklassik.
Sie wirkte bei zahlreichen CD-Produktionen, Rundfunkeinspielungen und
Live-
Auftritten u.a. in Radio France, im SWR und Südwest-Fernsehen mit.
Emanuele Forni - Arciliuto, Barockgitarre
wurde zunächst in den Fächern klassische Gitarre, Jazz Gitarre und Tonsatz
am
Giuseppe Verdi Konservatorium in Mailand ausgebildet, wo er mit
Auszeichnung
abschloss. An der Hochschule der Künste in Bern schloss er sein Studium
der Neuen
Musik bei Elena Casoli mit einem Konzertdiplom ab, und an der Schola
Cantorum
Basiliensis vertiefte er seine Studien in Alter Musik. Emanuele Forni
nimmt
regelmäßig an Workshops und Meisterkursen u.a. in den Bereichen
Komposition,
Alte Musik und Neue Musik teil. So hat er beispielsweise mit Musikern wie
Jordi
Savall, Luciano Berio und Fabio Vacchi gearbeitet. Die Interpretation
zeitgenössischer Werke für und mit Gitarre ermöglicht ihm die
Zusammenarbeit mit
Komponisten wie Peter Eötvös, Maurizio Pisati, Ulrich Krieger, Beat
Fehlmann,
Wolfgang Nening, Lucio Garau und Franco Oppo. Emanuele Forni ist Mitglied
mehrerer Ensembles (Quinteto de Tango Invisibile, Accademia della Selva,
Accademia degli Orfei, Cantus Firmus, RicciCapricci) und spielt mit
diversen
Orchestern (Philharmonisches Orchester des Konservatoriums Mailand, Venice
Baroque Orchestra, Akademie Orchester des Luzern Festivals ) sowie
Solisten
(Hilary Summers, Guido de Flaviis, Jason Calloway, Iris Malkin, Robert
Koller,
Elisabeth Pawelke). Er tritt bei unterschiedlichen Veranstaltungen und
Festivals auf
(Festival Luzern, Schwetzinger Festspiele, Rheingau Musik Festival,
Carnegie Hall
New York, Concert Hall Mito Art Tower Japan) und wirkte bei zahlreichen
CDProduktionen (Stradivarius, Maine), Rundfunkeinspielungen (SWR, DRS 2,
Radio
Calssica) und Fernsehaufnahmen (Rai) mit.
Michael Beilschmidt - Percussion, Viola da Gamba und Barockgitarre
studierte Kontrabass an der Staatlichen Hochschule für Musik Karlsruhe bei
Prof.
Wolfgang Güttler im Hauptfach Kontrabass. Seit 2004 widmet er sich vor
allem der
Interpretation alter Musik und konzertiert in verschiedenen
Kammermusikformationen.
Seit Oktober 2006 studiert er Viola da Gamba an der Musikhochschule
Freiburg bei Ekkehard Weber.
Wichtige Impulse für sein Generalbassspiel erhielt er in Meisterkursen bei
Dane
Roberts (historischer Kontrabass), Hille Perl und Jesper Christensen.
Als Perkussionist ist Michael Beilschmidt Mitglied des Ensembles
RicciCapricci. Seit
zehn Jahren beschäftigt er sich intensiv mit orientalischen und
europäischen
traditionellen Musikstilen, in denen Percussion eine tragende Rolle
spielt. Seine
Technik auf Rahmentrommel, Ric und Tarabuka erwarb er in langjährigem
Studium
und der Erfahrung und Konzerttätigkeit mit verschiedenen Ensembles.
Meisterkurse
bei Glen Velez (Rahmentrommel, Ric) und Impulse von Burhan Öcal und
Michael
Metzler haben sein musikalisches Schaffen als Percussionist entscheidend
geprägt.
Die Verschmelzung von östlichen Spieltechniken mit europäisch-historischem
Klangideal charakterisieren seinen außergewöhnlichen und lebendigen
Spielstil.
www.riccicapricci.de
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RIVIERA WIND QUARTET (BY)
Wonderful music, unusual interpretations of the worldwide known works,
exclusive staff – it’s all the quartet of wood wind instruments under the
romantic title “Riviera”. It includes: the “magic” flute – Tatjana
Karmazinova; the “enchanting” oboe – Maxim Rossoha, the “lyrical” clarinet
– Dmitrij Yarotsevich and the “velvet” bassoon – Dmitrij Soltan. The
many-sided repertoire of our group has the works of various styles
starting from the mysterious Renaissance to eccentric advance-guard
including also working-ups of world peoples’ melodies, music from favorite
films and cartoons. Every participant of our group is a soloist and
repeated prize-winner of different international competitions and
festivals (Belarus, Ukraine, Russia, Moldova, Romania, Estonia, Poland,
Holland, France, Denmark, Sweden, Finland, Faroe Islands, Spain). Our
quartet is the absolute winner of the international contest “Art of the
XXIst century” in the nomination “Chamber Ensembles” which took place in
Finland.
The history of our ensemble started in 2005 in Belarus, when 4
enterprising, indefatigable young musicians decided to play music
together. The problem with the repertoire we solve with the help of our
talented oboist, who is the professional arrangement-maker. The fruits of
our joint 2-year profitable work are the records of 2 disks (2006, 2007).
All in all, quartet ”Riviera” is a fresh look onto the classic reading of
different genres, creative striving of the 4 young hearts beating in
Allegro tempo; inexhaustible potential of the professional musicians, not
willing to stop…
www.riviera-music.org
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VOYAGE EN BLOCK (DE)
Voyage en BLOCK was founded as a pure instrumental ensemble in Freiburg
2003. In the meantime the initial instrumental make-up of group has
expanded: tenor Joachim Streckfuß, percussionists Max Riefer and Kevin
Sims, and lute player Erik Skanke Høsøien have all become active members
of the ensemble. Apart from public performances presented by the
University of Music, Freiburg, and concerts throughout Germany, in June
2005 the ensemble participated in the “10th Alte-Musik-Treff” Berlin. In
January 2006, Voyage en BLOCK was honoured with the exceptional prize for
early music from the Saarländische Rundfunk and the Fritz-Neumeyer-Akademie
for early music of Saarland, which was combined with a production with
Saarländische Rundfunk in June 2006.
In April 2007 the ensemble was a finalist at the “Musikpreis Schloss
Waldthausen” competition in Mainz. In the same year, Voyage en BLOCK
performed at concerts series such as the Oude Muziek Festival Utrecht
(Fringe), Endenicher Herbst, as well as a concert put on by the
Landesmusikrat Rheinland-Pfalz at the Mainz Landtag/State Parliament,
which was recorded by the Südwestrundfunk (SWR). In May 2008 Voyage en
BLOCK performed in the Festival de Música Antiga de Barcelona (Fringe) and
is going to play a concert in Aleppo/Syria during the Syrian-German days
of culture. The ensemble is finalist of the International Young Artist`s
Presentation in Antwerp in August 2008.
The Ensemble deals with a variety of music from the middle Ages, the
Renaissance, and the Baroque and in addition plays original music and
works especially arranged by and for the ensemble.
Website:
Musikportal.org
Mailto:
Kerstin Fahr
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top
ICH WILL IN FRIEDE FAHREN
REVIEW IN DUTCH
LANGUAGE
Op de CD staat geestelijke muziek
voor countertenor en gambaconsort uit de 17de eeuw. Het is de eeuw van
Claudio Monteverdi en Heinrich Schütz, en ook de eeuw van de voorvaderen
van Johann Sebastian Bach, hier vertegenwoordigd door Heinrich Bach,
Sebastians oudoom en de grootvader van Sebastians eerste vrouw Maria
Barbara Bach.
Veel componisten op de CD hebben elkaar persoonlijk gekend. Rigatti zong
als koorknaap onder kapelmeester Monteverdi in de San Marco te Venetië.
Aan het keizerlijke hof in Wenen, waar keizer en componist Ferdinand III
regeerde van 1637 tot 1657, was Monteverdi geen onbekende. Clemens Thieme
was bevriend met Heinrich Schütz. Hij ging in 1642 met Schütz mee naar
Kopenhagen waar hij koorknaap werd. Later zorgde Schütz ervoor dat Thieme
een aanstelling kreeg bij de hertog van Saksen. Ook Schütz
(leerling) en Monteverdi (leraar) hebben elkaar ontmoet tijdens Schütz'
tweede verblijf in Venetië in 1628-1629.
Het is dan ook niet zo verwonderlijk dat invloed van Monteverdi meermaals
doorklinkt in een aantal composities. Ter illustratie enkele voorbeelden.
Rigatti's Maria Antifoon heeft die typisch enge relatie tussen tekst en
muziek. Tekstexpressie beweegt zich tussen een klaaglijk arioso en een
grillig verloop van melodie en ritme. Dezelfde elementen zijn te
beluisteren in Ferdinands compositie. Verschillende stile monodico wisselen elkaar in kort tijdsbestek af met als bindend element een
ritornello. Ook Christian Geist gebruikt de tussenspelen als
structuurelement in zijn
doorgecomponeerd Vater Unser.
Gambaconsort Les Escapades en countertenor Franz Vitzthum mag lof
toegezwaaid worden. Franz Vitzthums stem leent zich uitstekend voor dit
soort barokrepertoire. Zijn elegante, beweeglijke stem schittert in lyriek en helderheid. Gambaconsort
Les Escapades begeleidt adequaat, speelt soepel en fris
en reduceert haar begeleiding niet tot een klaaglijk gezang. Kortom, een
zeer mooie uitvoering van een met zorg uitgekozen onalledaags repertoire.
CD: ICH WILL IN FRIEDE FAHREN
GEISTLICHE MUSIK für COUNTERTENOR und GAMBENCONSORT
SACRED MUSIC for COUNTERTENOR and VIOL CONSORT
MUSIQUE SACRÉE pour CONTRETÉNOR et ENSEMBLE de VIOLES de GAMBE
Giovanni Antonio RIGATTI (1613-1648) Ave Regina Caelorum (1640); Heinrich
Ignaz Franz BIBER (1644-1704) Balletti lamentabili à 4; FERDINAND III
(1608-1657) Jesu Corona Virginum; Giovanni LEGRENZI (1626-1690) Sonata
Sesta - La Cetra opus 10; Heinrich BACH (1615-1692) Ach, dass ich Wassers
gnug hätte; David FUNCK (1648-1701) Suite uit Stricturae Violae di
Gambicae; Christian GEIST (ca. 1650-1711) Vater unser, der du bist im
Himmel; Joh. Rudolf AHLE (1625-1673) Jesu dulcis memoria; Clemens THIEME
(1631-1668) Sonata a 5 Viole (d-moll/D minor); Joh. Philipp KRIEGER
(1649-1725) Ich will in Friede fahren.
Franz Vitzthum - countertenor; Les Escapades - Gambenconsort: Franziska
Finckh, Sabine Kreutzberger, Barbara Pfeifer, Adina Scheyhing; Als Gaeste:
Barbara Leitherer viola da gamba/viole de gambe; Swantje Hoffmann
violine/violin; Wiebke Weidanz Cembalo,Orgel/harpsichord,organ.
Recording: Oktober 1-4, 2008, Katholische Pfarrkirche St. Ignatius,
Malsch/Sulzbach.
CHRISTOPHORUS - ein Label der MusiContact, Heidelberg
www.christophorus-records.de. DDD CHR 77305 Total Time: 63:31
Website:
Les Escapades
Website:
Franz Vitzthum
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ARC DUO (US)
Arc Duo was born from an unwavering dedication to the music and
composers of our time, a shared approach to music-making, and a passion
for performance. As the smallest of ensembles-types, the Duo fuses the
richness of chamber music with the intimacy of a solo performance.
Virtuosic and engaging, Heather Holden and Bradley Colten
consistently create an atmosphere on stage which draws audiences into
performances and enriches the concert-experience with a dynamic exchange
of ideas and stories.
In their home base of New York City, Arc Duo’s performance highlights
include recitals at renowned venues such as Lincoln Center, Caramoor Music
Festival, Merkin Concert Hall, and Carnegie Hall, where their debut was
noted by Guitar Review magazine as “electrifying, reflective, and always
engaging”. In addition, Arc Duo has appeared in performance throughout the
United States and Canada. Upcoming seasons have Arc Duo slated to perform
in Georgia, Maryland, and New York City, as well as in Canada and Europe.
Past seasons have been filled with accolades and acclaim; presenters
universally herald the Duo, calling their performances “musically artistic
experience[s] from beginning to end”, and referring to the Duo as “an
exceptional ensemble”, and the artists as performing with “poetic
sensibility to all-out bravura”.
In 2004 Arc Duo launched their 'Commissioning Project'. Since then, the
Duo has consistently introduced virtuosic, new repertoire for the
ensemble-type to audiences. To date, Arc Duo has debuted works by Judah
Adashi, Duncan Neilson, Shafer Mahoney David Leisner and Roland Dyens. In
upcoming seasons, the Duo will premiere new pieces by David Schober, Reena
Esmail, and Edie Hill. The ‘Commissioning Project is marked by
collaborative work with the composer and with audiences; Arc Duo commits
to multiple performances of the new piece and takes care to highlight the
work’s structure, concept and origins to audiences at each performance.
These endeavors are being noted by luminaries in the field; Arc Duo has
received high praise from some of the leading artists of today such as Ned
Rorem, Joan Tower, Paula Robison, David Starobin, Linda Chesis, and David
Leisner. Arc Duo’s debut recital at Carnegie Hall inspired American
artist, LeRoy Neiman to sketch them on stage.
Arc Duo has been an ensemble-in-residence at the Diller-Quaile School of
Music in New York City since 2003. Each year as part of their residency,
the School presents Arc Duo in recital, commissions a major new work for
the Duo, and engages Heather and Bradley as educators in the classroom and
beyond. In 2003, the Duo initiated a residency partnership program between
Diller-Quaile and Mt. Sinai Medical Center, where they perform regular
concerts for patients, families and staff at the Cardiac Care Center.
Additionally, Arc Duo was awarded a 2006 Chamber Music America Residency
Partnership Grant to fund the Duo’s outreach program with Lenox Hill
Neighborhood House in New York City. This grant funded a year of workshops
and concerts for those who would not normally have access to classical
music.
Heather Holden, first prize winner of the 2006 Haynes International
Flute Competition, performed her Carnegie Hall solo debut in 1998 as a
winner of the 'Artist International Debut Recital Series'. She was
featured in recital on Italian National Television, and has been heard on
NPR’s ‘Performance Today’ on several occasions. Heather received the
'Woodwind Department Award' upon completion of her Bachelor of Music
Degree from Boston University and won the ‘MSM Concerto Competition’ while
pursuing her Master’s Degree at Manhattan School of Music. Heather was a
fellow at the National Repertory Orchestra, Norfolk Chamber Music Festival
and The Hampden-Sydney Chamber Music Festival. She has also performed at
the Kingston Chamber Music Festival and at the Cooperstown Chamber Music
Festival. New York Concert Review heralded Heather as “… a flutist who
would be an asset to any orchestra or woodwind quintet.” As a Haynes
Artist, Heather has been sponsored to teach masterclasses at colleges and
universities in Canada and the United States, most recently at Manhattan
School of Music.
Bradley Colten is a recipient of the 'Andrés Segovia Award' from
the Manhattan School of Music and was noted with ‘Performance Distinction’
after his studies at the New England Conservatory of Music. The Boston
Globe hailed Bradley for his “sensitive” Boston premiere of Mario
Davidovsky’s Synchronisms #10 in Jordan Hall. He has been acclaimed as
“Superb!” by renowned guitarist David Starobin, and as having “… a rich
blend of musical refinement, soulful communication and that rarity,
emotional intelligence.” by celebrated guitarist/composer David Leisner.
Bradley performed in the New World Symphony Orchestra’s chamber music
series in Miami. He was featured on NPR’s ‘Open Mic’ and performed on New
York City’s ‘Soundcheck’ on WNYC radio. In addition, Bradley appeared at
the Bowdoin Summer Music and New England Conservatory Music Festivals, and
at the Boston and Rhode Island Classical Guitar Societies. Bradley is
currently pursuing a Doctorate Degree at the Manhattan School of Music
where he has been awarded a full scholarship, a fellowship in music
history, and teaching responsibilities as a chamber music coach.
www.arcduo.com
Audio on:
http://cdbaby.com/cd/arcduo.
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ENSEMBLE PIPELIFE (DE)
Spielfreude, Virtuosität, Klangvielfalt und Phantasie bringt ensemble
pipelife seit vielen Jahren mit fliegenden Fingern auf verschiedensten
Blockflöten in die Konzertsäle.
Das Ensemble wurde im Frühjahr 1999 von den vier Blockflötistinnen Andrea
Bub, Kirsten Christmann, Annegret Friede und Gritli Kohler gegründet. Nach
Studienaufenthalten in Karlsruhe, Berlin, Trossingen, Amsterdam,
Kopenhagen, Den Haag und Lyon schlossen die Musikerinnen 2004 ein
gemeinsames künstlerisches Aufbaustudium bei Prof. Karel van Steenhoven an
der Musikhochschule Karlsruhe mit Auszeichnung ab. Seit 2005 ist Susanne
Dick festes Mitglied des Ensembles, wodurch die Möglichkeit einer
variablen Besetzung als Quartett oder Quintett entstand.
Innerhalb des Repertoires mit Werken vom Mittelalter bis zur Moderne
bildet die Renaissancemusik einen Schwerpunkt des Ensembles. Aus der
künstlerischen Auseinandersetzung mit der Musik dieser Epoche resultierten
eigene Bearbeitungen von Renaissancekompositionen, welche das Ensemble
u.a. mit großem Erfolg im Herbst 2004 bei der „International Young
Artist´s Presentation“ des „Festival van Vlaanderen“ in Antwerpen
präsentierte.
Die umfangreichen Erfahrungen der Musikerinnen im Consortspiel veranlasste
die Firma Mollenhauer 2008 zu einer Zusammenarbeit mit ensemble pipelife
im Rahmen eines musikwissenschaftlich begleiteten Projekts zur
Weiterentwicklung und Optimierung der Kynseker-Consortflöten.
Den Gegenpol zur Interpretation Alter Musik stellen für die
Blockflötistinnen die intensive Auseinandersetzung mit zeitgenössischen
Werken und die Verbindung mit anderen künstlerischen Ausdrucksformen dar.
Hieraus entstanden u.a. Auftritte beim Festival für zeitgenössische Musik
„(Kl)Angriffe“ im Zentrum für Kunst und Medientechnologie Karlsruhe,
Improvisationskonzerte in Zusammenarbeit mit der Kunstakademie Karlsruhe
sowie eine Reihe eigener und dem ensemble pipelife gewidmeten
Kompositionen.
Seit seiner Gründung wurde Ensemble Pipelife mit zahlreichen Preisen und
Auszeichnungen bedacht, wie etwa mit dem 1. Preis beim Wettbewerb für Alte
Musik des Freundeskreises der Musikhochschule Karlsruhe (2000), einem
Sonderpreis beim Internationalen Wettbewerb für Junge Kultur in Düsseldorf
(2001) sowie einem 2. Preis beim Internationalen Blockflötenwettbewerb in
Engelskirchen (2003).
Es folgten Rundfunkaufnahmen beim SWR, ein Instrumentenstipendium des
Kulturfonds Baden für ein Renaissanceconsort der holländischen
Blockflötenbauerin Adriana Breukink sowie ein Stipendium der
Yehudi-Menuhin-Stiftung „Life Music Now“, für welche das Ensemble 2003-
2006 Konzerte in den verschiedensten sozialen Einrichtungen konzipierte.
Im Oktober 2008 erschien beim Label Rondeau die CD „Suit(e)case“ mit
Suiten aus Renaissance, Barock und Moderne sowie eigenen Arrangements und
der eigens für ensemble pipelife komponierten Afrikanischen Suite von
Sören Sieg.
www.ensemblepipelife.de
Ensemble Pipelife
audio on:
www.ensemblepipelife.de/deu/cd.htm
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SIMOENSTRIO (BE)
DUTCH
ENGLISH
An Simoens, viool - Veerle Simoens, cello - Katrijn Simoens, piano
De drie zussen An, Veerle en Katrijn Simoens vormen sinds 2002 een hecht
pianotrio, het ‘SimoensTrio’. Ze zijn jong en gedreven en delen dezelfde
passie voor muziek. Op zoek gaan naar een eigen klank, is een uiterst
boeiende uitdaging. En het feit dat ze een familiale band hebben,
bevordert alleen maar hun onderlinge communicatie.
Hun enthousiasme leverde hen heel wat positieve reacties op van een
gevarieerd publiek. Ze gaven talrijke concerten in België, Duitsland,
Nederland, Spanje, Oostenrijk en Zwitserland. Zo concerteerden ze in het
Festival van Vlaanderen, het Paleis voor Schone Kunsten Brussel, het
Kursaal in Oostende en gaven ze live-concerten voor ‘Klara’.
Bovendien waren ze tweemaal te gast in Koeweit, op uitnodiging van de
Belgische ambassadeur. Andere blikvangers waren hun uitvoeringen van de
Tripelconcerto’s van Ludwig van Beethoven en van Bohuslav Martinu, en hun
concert op het Koninklijk Paleis voor Prins Filip en Prinses Mathilde.
Tijdens seizoen 2009-2010 is het Trio vaak te horen in toonaangevende
zalen in Nederland, zoals het Concertgebouw in Amsterdam. Bovendien
richten ze voor het eerst zelf een kamermuziekfestival op in Antwerpen en
zullen ze meermaals in Spanje te horen zijn met Beethovens Tripelconcerto.
Het SimoensTrio wordt opgeleid door Hatto Beyerle, stichtend lid van het
Alban Berg Quartett en vermaard pedagoog. Verder volgden de zussen
masterclasses bij internationaal gerenommeerde musici zoals de Hongaarse
componist Györgi Kurtàg, het Wanderer Trio, het Altenberg Pianotrio, het
Artemis Kwartet en het Florestan Pianotrio. Daarnaast kregen ze de kans
masterclasses te volgen bij Menahem Pressler van het wereldvermaarde Beaux
Arts Trio.
Bovendien zijn de zussen als enige Belgische ensemble lid van de ‘European
Chamber Music Academy’ waardoor ze kunnen deelnemen aan
masterclass-sessies doorheen Europa bij internationaal gerommeerde musici
zoals Anner Bylsma, Christoph Richter, het Trio Jean-Paul en het Artis
Kwartet.
In september 2005 verscheen hun eerste cd, met werk van Haydn, Schumann,
Martinů en Devreese. Deze cd werd in november door Klara verkozen tot ‘Cd
van de Week’.
In mei 2008 verscheen hun tweede cd met werk van Joseph Haydn, Vitezslav
Novak en Bedřich Smetana.
Het SimoensTrio sleepte ook al een rits nationale en internationale
prijzen in de wacht. Zo wonnen ze de ‘Prijs voor Beste Kamermuziek
Concert’ op het ‘Kuhmo Chamber Music Festival’ in Finland, werden ze
winnaar van ‘Jong Talent’, georganiseerd door Philippe Herreweghe, en
wonnen ze in het kader van ‘Gouden Vleugels’ de ‘Debuutprijs Kamermuziek
2004-2005’, een prijs toegekend aan het meest beloftevolle jonge Belgische
ensemble. In september 2006 werd hen de ‘Preis Jeunesses Musicales
Deutschland’ toegekend voor het meest overtuigende en veelbelovende
ensemble.
www.simoenstrio.be
An Simoens, violin - Veerle Simoens, cello -
Katrijn Simoens, piano
Since 2002 the three Simoens sisters, An, Veerle and Katrijn, have formed
a close-knit piano trio: the ‘Simoens Trio’. They are young and
enthusiastic and share the same passion for music. The quest for an
entirely individual sound is an extremely engaging challenge, but the fact
that they are related can only enhance their mutual communication.
Their enthusiasm has elicited many positive reactions from a wide range of
audiences. They have given numerous concerts in Belgium, Germany, the
Netherlands, Spain and Switzerland. They have performed in the Flanders
Festival, at the Centre for Fine Arts in Brussels and the Kursaal in
Ostend, and have played live concerts on the ‘Klara’ classical music radio
channel.
They have in addition appeared in Kuwait twice at the invitation of the
Belgian ambassador there. Other highlights include their performance of
the Triple Concertos by Beethoven and Martinu and a concert for the Royal
Family at the Royal Palace.
During the season 2009-2010, the Trio will perform regularly in important
halls in the Netherlands, such as the Concertgebouw Amsterdam. In February
2010 they will organize for the first time their own chamber music
festival in Antwerp and they will perform several times in Spain with
Beethovens triple Concerto.
The Simoens Trio were taught by Hatto Beyerle, a founding member of the
Alban Berg Quartet and a renowned educator. The sisters also attended
masterclasses by such internationally celebrated musicians as the
Hungarian composer György Kurtàg, the Wanderer Trio, the Altenberg Piano
Trio, the Artemis Quartet and the Florestan Piano Trio. They also had the
opportunity to attend masterclasses by Menahem Pressler of the
internationally acclaimed Beaux Arts Trio.
The sisters are, furthermore, the only Belgian ensemble invited by the
European Chamber Music Academy to take part in masterclass sessions all
over Europe given by such virtuoso musicians as Anner Bylsma, Christoph
Richter, the Jean-Paul Trio and the Artis Quartet.
September 2005 saw the issue of the trio’s first CD, which included works
by Haydn, Schumann, Martinu and Devreese. In November of that year it was
selected as Klara’s ‘CD of the Week’. Their second CD, with works by
Haydn, Novák and Smetana, appeared in May 2008.
The Simoens Trio has also landed a whole series of Belgian and
international prizes: the Prize for the Best Chamber Music Concert at the
Kuhmo Chamber Music Festival in Finland, the Young Talent competition
organised by Philippe Herreweghe, and the ‘Golden Wings’ 2004-2005 Chamber
Music Debut Prize, which is awarded to the most promising young Belgian
ensemble. In September 2006 they won the Preis Jeunesses Musicales
Deutschland for the most convincing and promising ensemble.
www.simoenstrio.be
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BACH CONCENTUS (BE)
ENGLISH
NEDERLANDS
Bach Concentus was founded in 2007 by Ewald Demeyere
(Artistic Director) and Giulio D'Alessio. This orchestra, playing period
instruments, devotes itself to the instrumental and vocal repertoire of
the Baroque and Classical periods, specialising in works by the Bach
dynasty: Johann Christoph, Johann Bernard, Johann Sebastian, Wilhelm
Friedemann, Carl Philipp Emanuel, Johann Christoph Friedrich and Johan
Christian. It also undertakes the very high quality repertoire, which has
come down to us from less well-known composers, for example Arne, G.
Benda, Böhm, Penzel, Platti and Roman, and plays little known compositions
by such illustrious composers as Handel, Mozart, Salieri, Telemann and
Vivaldi.
Historical authenticity, applied to all the parameters of performance, is
the keystone of Bach Concentus. In this historical perspective, the first
step consists of a contextual, critical and comparative study of the
different sources and (modern) editions, resulting in as 'correct' a
musical text as possible.
In order to get closest to the original sound concept and performance
practice of Baroque and Classical music, Bach Concentus calls exclusively
on the use of historical instruments, both for the strings and the wind.
Thus the core players of Bach Concentus, directed by Ewald Demeyere
(harpsichord/organ), consist of internationally renowned specialists in
the field of historical performance practice. Another essential aspect of
this approach consists of returning its central rôle to the basso
continuo, both from the point of view of the sound as well as the concept.
Eighteenth century orchestras were traditionally led from the harpsichord
or the organ, (the basso continuo), rather than by a conductor, in the
modern sense of that term.
Moreover, Ewald Demeyere, with his orchestra, wants to put into practice
the latest musicological discoveries regarding historical performance
practice. For example, he bases himself, for the Baroque vocal repertoire,
on the recent sensational discoveries made by Joshua Rifkin and Andrew
Parrott, who have convincingly demonstrated that the choral music of the
seventeenth and the first half of the eighteenth century (including the
vocal works by Johann Sebastian Bach) was not intended for a choir, in the
modern sense of the word, but for a specialist vocal quartet, supported by
an appropriate instrumental ensemble.
Despite these crucial aspects of a coherent and historical interpretation
of Baroque and Classical music, Bach Concentus aims never to be academic
or dogmatic; its respect for and constant application of the art of
rhetoric contributes to a spontaneous, lively and dynamic communication
with the audience.
© Ewald Demeyere, 21 August 2009.
www.bachconcentus.be
Ewald Demeyere (b.1974) studied at the Koninklijk Vlaams
Muziekconservatorium in Antwerp, where, besides winning first prizes in
solfège, written and practical harmony, counterpoint and fugue, he
obtained his master's degree for harpsichord in Jos van Immerseel's class.
On completion of his studies in 1997, he was engaged as a teacher of
harmony, counterpoint and fugue by the Koninklijk Vlaams
Muziekconservatorium. In 2002 he succeeded Jos van Immerseel as Professor
of Harpsichord, and teaches harpsichord there on the instruments in the
famous collection of the Vleeshuis Museum in Antwerp.
As a player of chamber music he has worked with, among others, Barthold
and Sigiswald Kuijken and Paul Dombrecht. Since 1993 he has been a member
of La Petite Bande (Sigiswald Kuijken) and Il Fondamento (Paul Dombrecht).
In July 2004 he was Guest of Honour at the Festival of Flanders Musica
Antiqua in Bruges.
Ewald Demeyere has taken part in many recordings for radio and television.
Among his CD recordings, for the ACCENT label, are Eight Keyboard Sonatas
by Thomas Augustine Arne, Sonatas & Fugues by Wilhelm Friedmann Bach,
Sonatas for Flute and Harpsichord by Johann Sebastian Bach (with Barthold
Kuijken), Johann Sebastian Bach – the Young Virtuoso, the complete Sonatas
for flute and basso continuo by Carl Philipp Emanuel Bach (with Barthold
Kuijken), Pièces de Clavecin by Joseph-Hector Fiocco, a disc of Sonatas by
Domenico Scarlatti and Flute Sonatas by the Bach Sons (with Barthold
Kuijken).
In 2007 he founded the Baroque orchestra Bach Concentus, which has already
appeared in Belgium, Italy and Spain. Its first (double) CD, devoted to
the Suites of Johann Bernard Bach and Georg Philipp Telemann, came out in
2008 (ACC 24198).
Apart from his work as a harpsichordist and conductor, Ewald Demeyere is
active in the field of musical theory. He is principally interested in the
influence of the theories from the Baroque era on instrumental practice,
and in particular on the interpretation of the music of Johann Sebastian
Bach.
He has published two articles in the Dutch Journal of Music Theory
(Amsterdam University Press): Ebenezer Prout: Bach as a model for the
teaching of fugue (2003) and The Art of Fugue: exemplary or experimental?
(2005).
In 2007 he wrote an article The partimento fugue: exercise or composition?
for the book Les Écritures Musicales (Éditions Mardaga, 2007), and On BWV
1080/8: Between Theory and Practice (Eighteenth-Century Music, 2007).
In 2009 he received the title of Doctor of Arts at the University of
Antwerp and the Artesis Hogeschool Antwerpen (Associatiefaculteit
Kunsten), when he presented his thesis A Contextual, Text-Critical
Analysis of Johann Sebastian Bach's Art of Fugue – Reflections on
Performance Practice and Text-Critical Analysis, and the interaction
between them.
www.ewalddemeyere.be
Bach Concentus werd in 2007 opgericht door Ewald Demeyere
(artistiek leider) en Giulio D'Alessio. Dit orkest on period instruments
legt zich toe zowel op het instrumentale als op het vocale barokke en
klassieke repertoire, met speciale aandacht voor de Bach-dynastie (Johann
Christoph, Johann Bernhard, Johann Sebastian, Wilhelm Friedemann, Carl
Philipp Emanuel, Johann Christoph Friedrich en Johan Christian). Hiernaast
wordt er ook kwalitatief hoogstaand repertoire van relatief onbekende
componisten (Arne, G. Benda, Böhm, Penzel, Platti, Roman,...) of minder
bekend werk van bekende componisten (Haendel, Mozart, Salieri, Telemann,
Vivaldi,...) uitgevoerd.
Historische authenticiteit toegepast op alle parameters van de uitvoering
is hét handelsmerk van Bach Concentus. Aan de basis van een dergelijke
historisch verantwoorde uitvoering ligt een grondig, contextueel
vergelijkend onderzoek van de diverse bronnen en (moderne) uitgaves, wat
een zo 'correct' mogelijke notentekst oplevert.
Om het originele klankbeeld en uitvoeringspraxis van de uit te voeren
barok- en klassieke muziek zo dicht mogelijk te benaderen, wordt exclusief
een beroep gedaan op het historische instrumentarium, zowel voor strijkers
als voor blazers. De vaste kern van Bach Concentus bestaat dan ook uit
internationaal gerenommeerde specialisten op het gebied van de authentieke
historische uitvoeringspraktijk. Een essentieel aspect van dit historische
klankbeeld is de centrale positie van de basso continuo, zowel ruimtelijk
als conceptueel; een barokensemble in de 18de eeuw werd geleid vanuit het
klavecimbel of orgel (de basso continuo), en niet door een dirigent zoals
we dat nu kennen.
Bach Concentus wil eveneens de laatste musicologische bevindingen, dit
zowel op het gebied van dispositie als van uitvoeringspraktijk, omzetten
in de praktijk. Bij het uitvoeren van het vocale barokke repertoire wordt
dan ook niet voorbij gegaan aan de meest opzienbarende ontdekking van de
laatste jaren: Joshua Rifkin en Andrew Parrott hebben op overtuigende
wijze aangetoond dat koormuziek in het Duitsland van de zeventiende en de
eerste helft van de achttiende eeuw, onder andere de vocale werken van
Johann Sebastian Bach, niet werd uitgevoerd met een 'koor' in de ons
bekende betekenis maar met een gespecialiseerd vocaal kwartet en
aangepaste instrumentale bezetting.
Hoewel al deze aspecten cruciaal zijn voor een historisch verantwoorde
uitvoering van barok- en klassieke muziek, wordt nooit vervallen in
dogmatisch academisme; de toepassing van de kunst van de retoriek immers
zorgt voor een directe, levende en dynamische communicatie met het
publiek.
© Ewald Demeyere, 21 augustus 2009.
www.bachconcentus.be
Ewald Demeyere (°1974) studeerde aan het Koninklijk
Muziekconservatorium Antwerpen, waar hij, naast eerste prijzen notenleer,
geschreven en praktische harmonie, contrapunt en fuga, een meesterdiploma
klavecimbel behaalde bij Jos van Immerseel.
Onmiddellijk na zijn studies in 1997 werd hij docent harmonie, contrapunt
en fuga aan het Koninklijk Muziekconservatorium Antwerpen. In 2002 volgde
hij er Jos van Immerseel op als hoofddocent historisch klavecimbel waar
hij lesgeeft op de beroemde collectie klavierinstrumenten van het Museum
Vleeshuis.
In kamermuziekverband werkt hij onder andere samen met Barthold en
Sigiswald Kuijken en Paul Dombrecht. Sinds 1993 maakt hij deel uit van La
Petite Bande (Sigiswald Kuijken) en van Il Fondamento (Paul Dombrecht).
In juli 2004 was hij de festivalster van het Festival van Vlaanderen
Musica Antiqua Brugge.
Ewald Demeyere realiseerde een groot aantal radio- en televisie-opnames.
Tot zijn CD-opnames als solist of kamermusicus, allemaal voor het label
ACCENT, behoren Eight Keyboard Sonatas van Thomas Augustine Arne, Sonatas
& Fugues van Wilhelm Friedemann Bach, de sonates voor fluit en klavecimbel
van Johann Sebastian Bach (met Barthold Kuijken), Johann Sebastian Bach –
The Young Virtuoso, de integrale sonates voor fluit en basso continuo van
Carl Philipp Emanuel Bach (met Barthold Kuijken), Pièces de Clavecin van
Joseph-Hector Fiocco, Sonatas van Domenico Scarlatti en Flute Sonatas by
the Bach Sons (met Barthold Kuijken).
In 2007 richtte hij het barokorkest Bach Concentus op dat reeds
verschillende concerten en tournees verzorgde in België, Italië en Spanje.
In 2008 verscheen een eerste dubbel-CD met ouvertures van Johann Bernhard
Bach en Georg Philipp Telemann (ACC 24198).
Naast klavecinist en dirigent is Ewald Demeyere ook actief als
muziektheoreticus. Hij legt zich vooral toe op de invloed van de
muziektheorie uit de barokperiode (basso continuo en contrapunt) op de
uitvoeringspraktijk, met speciale aandacht voor Johann Sebastian Bach.
Er verschenen twee artikels van zijn hand in het Dutch Journal of Music
Theory (Amsterdam University Press): Ebenezer Prout: Bach als model voor
fugaonderwijs (2003) en Die Kunst der Fuge: exemplarisch of experimenteel?
(2005).
In 2007 schreeft hij de artikels La fugue partimento : exercice ou
composition ? voor het boek Les Écritures Musicales (Éditions Mardaga,
2007) en On BWV 1080/8: Between Theory and Practice (Eighteenth-Century
Music, 2007).
In 2009 behaalde Ewald Demeyere de graad van Doctor in de Kunsten aan de
universiteit van Antwerpen en de Artesis Hogeschool Antwerpen
(Associatiefaculteit Kunsten) met het proefschrift A Contextual,
Text-Critical Analysis of Johann Sebastian Bach’s Art of Fugue –
Reflections on Performance Practice and Text-Critical Analysis, and the
interaction between them.
www.ewalddemeyere.be
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NEW IDEAS CHAMBER ORCHESTRA (NI&CO)
NICO has implemented a number of original musical projects in Lithuania
and abroad since 2006. The main activity of the orchestra is
representation and dispersion of music and artistic ideas by composer
Gediminas GELGOT, performance of musical projects of non-traditional
concept and the modern art music.
The young team was a great success during its concerts in different
concert halls and churches of Europe in Vilnius, Riga, Sankt Petersburg,
Moscow, London, Duisburg, Essen and other European cities. Orchestra
members are winners of international competitions, participants of
festivals and the most active Lithuanian stings.
Besides the main cast of NICO, there also exists the NICO School young
stings deepen into musical performance opportunities at. Due to intensive
and creative work, NICO concerts become an original, involving and
exciting performances conveying actual philosophical topics to the
audience. The founder, artistic director and conductor of the orchestra-
winner of international competitions composer Gediminas GELGOT.
More info and audio om website www.niko.lt.
NEW IDEAS CHAMBER ORCHESTRA (NI&CO)
Seit 2006 hat New Ideas Chamber Orchester NICO zahlreiche Musikprojekte in
Litauen und im Ausland verwirklicht. Das Kammerorchester führt aktuelle
Werke und Kompositionen von Gediminas GELGOT auf.
Das junge Kammerorchester ist mit Erfolg in Riga, Sankt Petersburg,
Moskau, London, Essen, Duisburg und anderen europäischen Städten
aufgetreten. Die Mitglieder des Orchesters sind Preisträger vieler
internationaler Musikwettbewerbe und Festivalteilnehmer. Sie gehören dem
Kreis der aktivsten und engagiersten Streicher der litauischen Musikszene.
Sein künstlerisches Konzept entwickelt Gelgotas gemeinsam mit
Orchesterteilnehmern in regelmäßigen Workshops. Er ermutigt die jungen
Musiker stets zu intensiver Suche nach neuen Darstellungsformen und
Improvisationen. GELGOT hat in seinem Kammerorchester zwei Plätze für
Nachwuchsmusiker eingerichtet und ihnen eine Möglichkeit geschaffen die
„NICO Schule“ als künstlerisches Coaching mit Bühnenerfahrung zu
durchlaufen. Der Gründer von NICO ist der junge Komponist und Dirigent
Gediminas GELGOT.
Website www.niko.lt
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AQUIL'ALTERA (BE)
...I strongly believe in the enthusiasms and the capabilities of this
young ensemble... (Fumiharu Yoshimine, composer and professor, Music
Conservatory Tokyo)
(EN) The young, talented recorder trio Aquil'AlterA (°2004)
combines intimate ensemble playing with the quest for historically
responsible performance. The ensemble defines itself as a proud promoter
of the recorder in all its sizes and possibilities, with fascinating and
inspired creations in performance.
Aquil'AlterA borrows its name from a famous fourteenth-century
caccia-madrigal by Jacopo da Bologna. The aquila, or eagle, was in many
early cultures an inspiring symbol of royal or godly origin, and
represented intelligence, freedom or friendship. In Greek mythology, the
eagle was rewarded for its service to Zeus with an image in the heavenly
vaults. Da Bologna displays honour toward his ruler by comparing him with
an eagle. For us, the eagle is the personification of musical expression
and quality.
Especially noteworthy for this trio is the union of three strong
personalities and their individual perspectives. Goedele Moons, Rein Van
Bree and Marie Verstraete met each other during their studies with Bart
Spanhove, Bart Coen and Koen Dieltiens at the Lemmensinstitute in Leuven.
They enriched their training through various international master classes
with renowned recorderists including Pedro Memelsdorff, Pierre Hamon,
Marion Verbruggen, Kees Boeke and Frédéric de Roos, and with concerts in
Belgium, the Netherlands, France, Germany, Italy and Sweden. Goedele Moons
joined the trio in 2009 in the place of Tom Beets. At the moment, she is
studying cornetto with William Dongois at the Conservatoire de Musique de
Genève. Marie is delving deeper into Medieval music with Kees Boeke and
recorder with Carsten Eckert in Trossingen, while Rein has finished her
bachelorstudies singing in Leuven with Dina Grossberger and Dirk
Snellings.
The trio has already performed in many small and medium concert halls and
is much in demand for recorder workshops in Flanders. Aquil'AlterA
collaborates with the Atelier Oude Muziek, directed by Erik van Nevel, and
with many ensembles for ad-hoc occasions. In 2006 the ensemble was invited
to present an evening concert featuring works of Frans Geysen and Antonio
Vivaldi, at the international Mechelen Recorder Days. For the final exam
of chamber music at the Lemmensinstitute in 2007, Aquil'AlterA received
the highest distinction.
Aquil'AlterA is very committed to encouraging and creating contemporary
Flemish works for recorder. Most recently, Janpieter Biesemans dedicated a
composition, Nimfeletten, to the trio; new compositions are in production
by Paul van Hooff and Gwendolyn Sommereyns, amongst others. Through
collaboration with contemporary composers, Aquil'AlterA will create new
works on a regular basis.
www.blokfluittrio.be
(NL) Het jonge getalenteerde blokfluittrio Aquil’AlterA (°2004)
combineert een intiem samenspel met de zoektocht naar een historisch
verantwoorde uitvoering. Het ensemble profileert zich als trotse promotor
van de blokfluit in al haar groottes en mogelijkheden, met boeiende en
geïnspireerde creaties op het podium.
Aquil’AlterA ontleent haar naam aan een beroemd 14e eeuws caccia-madrigaal
van Jacopo da Bologna. De aquila of adelaar was in vele oude culturen een
inspirerend symbool, van koninklijke of goddelijke afkomst, van
intelligentie, vrijheid of vriendschap. In de Griekse mythologie wordt de
adelaar voor zijn diensten aan Zeus beloond met een afbeelding aan het
hemelgewelf. Da Bologna bewijst eer aan zijn heerser door hem met een
adelaar te vergelijken. Voor ons is de aquila een verpersoonlijking van
muzikale expressie en kwaliteit.
Bijzonder markant voor het trio is de verbinding van drie sterke
persoonlijkheden en hun verschillende invalshoeken. Rein Van Bree, Marie
Verstraete en Goedele Moons ontmoetten elkaar tijdens hun een opleiding
aan het Lemmensinstituut in Leuven bij Bart Spanhove, Bart Coen en Koen
Dieltiens. Ze verrijkten hun opleiding met verscheidene internationale
masterclasses bij gerenommeerde blokfluitisten als ondermeer Pedro
Memelsdorff, Pierre Hamon, Marion Verbruggen, Kees Boeke, Fumiharu
Yoshimine en Frédéric De Roos, en via concerten in België, Nederland,
Frankrijk, Duitsland, Italië en Zweden. Goedele Moons volgde Tom Beets op
in 2009. Ze studeert momenteel cornetto bij William Dongois aan het
Conservatoire de Musique de Genève. Marie verdiept zich in middeleeuwse
muziek bij Kees Boeke en blokfluit bij Carsten Eckert in Trossingen en
Rein behaalde ondertussen haar bachelordiploma zang in Leuven bij Dina
Grossberger en Dirk Snellings.
Het trio stond reeds op vele kleine en middelgrote concertpodia en is
veelgevraagd bij blokfluitcursussen in Vlaanderen. Aquil’AlterA verleent
haar medewerking aan het Atelier Oude Muziek onder leiding van Erik Van
Nevel, en vele ensembles voor ad-hoc gelegenheden. In 2006 werd het
ensemble uitgenodigd een avondconcert te verzorgen rond Frans Geysen en
Antonio Vivaldi op de Internationale Mechelse Blokfluitdagen. Op het
eindexamen kamermuziek aan het Lemmensinstituut in 2007 behaalde
Aquil’AlterA een grootste onderscheiding.
Aquil’AlterA hecht veel belang aan het aanmoedigen en creëren van
hedendaags Vlaams werk voor blokfluit. Meest recent droeg Paul van Hooff
zijn compositie Lignum Sonoris op aan het trio; nieuwe composities zijn in
productie. Vanuit de samenwerking met hedendaagse componisten zal
Aquil’AlterA in de toekomst regelmatig nieuwe composities creëren.
…Het blokfluittrio slaagde er
ontegensprekelijk in de compositie op prachtige wijze te vertolken waarbij
de muzikale motieven en de sfeerschepping het publiek intens wist te
raken... sprankelende magie werd opgeroepen door de betoverende
blokfluitklanken.
(over 'Lenteconcert met Vivaldi', K. Moens in Streekkrant Oordegem-Lede,
2006-04-19)
... de ingehouden en toch warme klank van de blokfluiten schiep een
bijzondere 'Ars Nova' stemming... Delicate, sfeervolle muziek, zorgvuldig
gebracht...
(over 'Middeleeuwse Oden', T. Hermans in Kerk en Leven Hasselt,
2006-04-26)
... steeds dat “ietsje meer” waardoor hun muziek de sfeer in kerken van
weleer oproept. Het is telkens een belevenis één van hun concerten bij te
wonen. Kortom: Overweldigend en magisch...
(over ‘Lenteconcert met Vivaldi’, gastenboek)
www.blokfluittrio.be
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AQUILON - QUINTETTE A VENT (FR)
« Aquilon c’est le vent de bise »
J.Thierry, 1564
Le Quintette Aquilon est actuellement le quintette à vent le plus en vue
de la jeune génération. Premier quintette français à remporter en 2006 le
1er Prix du Concours International de l’ARD de Munich, il fut auparavant
lauréat du Concours européen « Musiques d’Ensemble » de la FNAPEC (2005)
et du Concours International Henri Tomasi (1er Prix en 2003).
L’année 2008 est riche en évènements puisque le quintette se voit nommé «
Rising Stars » par la Cité de la Musique de Paris et ECHO, ainsi se
produit-il dans les plus grandes salles européennes : Concertgebouw
d’Amsterdam, Town Hall de Birmingham, Palais des Beaux Arts de Bruxelles,
Philharmonie de Cologne, Konzerthaus de Vienne, Philharmonie de Luxembourg
et Laeiszhalle de Hambourg. C’est également l’année de la sortie de son
premier disque « Musique française pour quintette à vent » (label Premiers
Horizons- AJPR).
Le parcours du quintette commence au CNSM de Paris où il obtient en juin
2004 un Prix de musique de chambre mention Très Bien à l’unanimité dans la
classe de David Walter et Michel Moraguès. L’ensemble se perfectionne
ensuite auprès de diverses personnalités musicales comme Stefan Schilli
(Avalon Bläserquintett), Laurent Lefèvre (Quintette Debussy), Jens
MacManama (Quintette Nielsen), Jacques Tys et Maurice Bourgue (dans le
cadre du programme de formation professionnelle ProQuartet-CEMC).
Le Quintette Aquilon a le souci de varier et d’adapter les programmes de
ses concerts en fonction du public rencontré mais il est également très
attaché au fait de lui faire découvrir le répertoire méconnu du quintette
à vent. Il élargit son répertoire en jouant dans d'autres formations du
trio au nonet. Ainsi s'est il produit avec les pianistes Christian Ivaldi,
Abdel Rahman El Bacha, Anika Vavic, Anna Gourari, Denys Proshayev et Adam
Laloum, les quatuors Stamic, Ebène et Fauré.
Il est désormais invité à se produire dans de nombreuses salles et
festivals en France comme les Folles Journées de Nantes, le Théâtre de
Verdun, l'Orangerie de Sceaux, le Festival Jeunes Talents à Paris, le
Grand Salon de l’Hôtel des Invalides, en Autriche au Mozarteum de
Salzbourg, à la radio de Graz (ORF), en Allemagne: Rheingau, Oleg Kagan,
Mecklenburg-Vorpommern, MDR-Musiksommer, SWR-Schloßkonzert (...) et au
Moyen Orient (tournée Syrie, Israël et Territoires Palestiniens).
Le quintette est lauréat Déclic 2006-2007 (programme de promotion des
lauréats français de concours internationaux, initié par Culturesfrance en
collaboration avec Radio France, soutenu par Mécénat Musical Société
Générale) et lauréat du Festival Mecklenburg-Vorpommern "meilleur ensemble
2007"/ Prix de la Fondation Nordmetall.
Depuis septembre 2008 il est en résidence à la Fondation Singer-Polignac.
www.quintette-aquilon.com
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"THE DAVID and JULIE COUCHERON DUO" (NO)
The sibling duo of David Coucheron (violin) and his sister Julie
(piano),began when they were respectively seven and five years old.
David, now 24, began to play the violin at the age of three and Julie, now
22, had her first piano lesson two years later.
Already as small children they individually became well-known in their
native country and it was natural that they should also begin to play
together.
With a musical diet that included Beethoven and Mozart sonatas their
progress was rapid and brilliant. They began to compete, both at home and
abroad, in various national and international competitions, always with
outstanding results. Having played together from early childhood to
adulthood they have developed a unique affinity, approaching telepathy, as
a duo that has won the highest superlatives from the cream of the music
profession.
Although David and Julie have followed different paths during their
advanced studies this did not separate them as a duo.
David was awarded his Bachelor degree from the Curtis Institute in
Philadelphia and his Masters degree from the Julliard School of Music in
New York.
He also completed his Master of Performance program at the Guildhall
School of Music in London in 2008.
Julie received her Bachelor of Music degree from the Royal Academy of
Music, London in 2008 and her Master of Arts degree from the same
institution in 2009.
David and Julie have performed concerts all over Europe as well as in USA,
Asia, South America and Russia. They won the prestigious EMCY Jugend
Musiziert duo competition in Weimar, and the Pinerolo International
Chamber Music Competition in 2009.
david2julie@gmail.com
www.coucheron.com
http://www.youtube.com/watch?v=ey8mOx0iBzs
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DULCE MELOS (DE)
(EN)
"Dulce Melos” was founded in 2003 by lutenist Marc Lewon (Germany),
hammered-dulcimer specialist Margit Übellacker (Austria) and
multi-instrumentalist Yukiko Yaita (Japan), who met while pursuing
graduate studies in medieval music at the renowned Schola Cantorum in
Basel, Switzerland. Since then their virtuosity has earned them
high-profile performances in European festivals including “Freunde Alter
Musik Basel”, Kunsthalle Karlsruhe and “innovantiqua Winterthur”. In 2005
they were involved in a recording of music of the Lochamer Liederbuch
(with German tenor Martin Hummel; forthcoming from Naxos), a source
contemporary with the earliest treatises mentioning the hammered dulcimer
or “dulcemelos”.
“Dulce Melos” sees instrumental music of the late Middle Ages and early
Renaissance as a repertoire which calls for dynamic skills in both
performance and composition. This they do featuring instruments such as
the eschequier or chekker, dulcemelos and guiterne, sounds which are
little-heard in modern concerts but were precious to fifteenth-century
cognoscenti in the highly refined courts of Europe during the period which
culminated in the discovery of the New World.
www.dulcemelos.com
(DE)
2003 gegründet von Marc Lewon (Laute, Deutschland), Margit Übellacker (Hackbrett,
Österreich) und Yukiko Yaita (Flöten, Japan) ist „Dulce Melos“ ein
internationales Ensemble, das sich der Aufführung von Instrumentalmusik
des Mittelalters und der frühen Renaissance widmet. Die Mitglieder lernten
sich während ihrer Diplomstudien an der Mittelalterabteilung der
renommierten Schola Cantorum Basiliensis kennen und erhielten über ihr
virtuoses Ensemblespiel bereits Einladungen zu bedeutenden Festivals für
alte Musik, darunter „Freunde Alter Musik Basel“, Kunsthalle Karlsruhe, „Flauto
Fribourg“ und „innovantiqua Winterthur“. Im Jahre 2005 spielten sie eine
CD mit dem deutschen Bariton Martin Hummel zum „Lochamer Liederbuch“ ein
(erscheint in Kürze bei Naxos), einer Quelle, die zeitgleich zu den
frühesten Nennungen des Hackbretts – oder „Dulcemelos“ – verfaßt wurde.
Der charakteristische Klang des Ensembles ergibt sich aus der Abwägung von
Subtilität und Virtuosität im Musizierstil: hier der üppige, polyphone
Instrumentalsatz, dort die solistisch besetzte, virtuose Einstimmigkeit
sind Markenzeichen des Ensembles. Eine kritische Beschäftigung mit den
Quellen zeichnet sie als Interpreten von alter Musik aus, die auch ihre
persönlichen Arrangements in Form von instrumenten- und stilgerechten
Instrumentalsätzen herstellen. Dabei kommen die verschiedenen
Instrumentengattungen zum Einsatz, die den Klang der Musik des
Spätmittelalters so wesentlich bestimmen. Das Ensemble bemüht sich
besonders um die Rekonstruktion bislang vernachlässigter Instrumente und
ihre Wiedereinführung in die historische Musikpraxis, darunter eben auch
das „Dulcemelos”.
www.dulcemelos.com
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THE FERRARA LUTE DUO (SE)
As one of the most promising lute ensembles in the music scenes today, the
Ferrara Lute Duo offers an odyssey of heavenly music from the 15, 16 and
17th centuries. Praised for their outstanding musicianship, this duo
“really can convey emotions”.
The lute duo was one of the most highly esteemed and praised ensemble
forms during the 15 and 16th centuries. Its magic, compelling sound and
richness in terms of repertoire made this ensemble format a very special
favourite composers and audiences alike.
Finalists in several competitions, Dohyo Sol and Magnus Andersson from
Sweden base their performances on a subtle and a refined style. Their
impeccable technique and profound love for the music has made their
festival appearances highly appreciated by audiences in Europe.
Apart from writing dance music and semi-improvisational pieces like
recercatas and fantasias, lutenists from the renaissance also transcribed
a huge amount of vocal music for lute duo. There seems to have been a
special penchant from both professional lutenists and amateurs to perform
this music instrumentally on two lutes, as we can see from the numerous
prints and manuscripts sources from the 16th century.
The Ferrara Lute Duo offers a varied program of renaissance masterpieces,
exclusively performing original arrangements, as there is a vast – in our
days rarely performed – corpus of music preserved. By examining the scores
and iconography as well as written accounts from this astonishing time in
music history, the Ferrara Lute Duo is convinced that this music can offer
the people of today the same degree of pleasure as it did to audiences 500
years ago.
UPDATE JUNE 2009: Ferrara Lute Duo was formed in the fall of 2005
at the Royal College of Music in Stockholm. They have ever since performed
at festivals and given concerts throughout Sweden, Denmark, Belgium and
Spain. In 2006 they lasted second out of ten finalist at the IYAP
(International Young Artist’s Presentation) in the Festival van
Vlaanderen, Antwerpen. In 2007 they participated in Festival Musica
Antigua, Barcelona, performing three highly appreciated concerts. In June
2008, the Ferrara Lute Duo won the first prize in “Ear-ly”, a competition
devoted to early music ensembles held in Stockholm as a part of the
Stockholm Early Music Festival SEMF. During the 2009 season, the Ferrara
Lute Duo will perform a program dedicated to the Italian composer Giovanni
Terzi in Denmark, Sweden as well as in Valencia, Spain, at the REMA
SHOWCASE for young European early music ensembles in which they are
Scandinavia's only representants.
Contact: Dohyo Sol, mail:
d_s24(at)hotmail.com, phone: +46 70 7367827
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NADAR (BE)
The Nadar Ensemble was founded in 2006 by a group of students from
different Belgian conservatories, sharing a passion for contemporary
music.
What Nadar wants to share with the 'real' Nadar (1820-1910, alias
Gaspard-Félix Tournachon), are his multidisciplinary talents and his
unbridled searching spirit, based on an everlasting enthusiasm and
experimentation.
The main goals of the Nadar Ensemble are to offer a forum to young
national and international composers by giving assignments and organising
intensive workshops and concerts and to develop productions paying special
attention to diverse media such as video, dance and plastic arts.
In the season '08-'09 Nadar will bring among other things works of the
Danish composer Simon-Steen Andersen in Flagey (Brussels) and Handelsbeurs
(Ghent). For the project 'Entartung' Joachim Devillé made an animation
film that will be confronted with the music of M. Buyl, F. Romitelli, A.
Di Scipio and S. Prins. Nadar is in 2009, for the second year in a row,
invited to perform at the Ars Musica Festival Brussels, and has played at
several other Festivals and concert Series in Belgian the past years.
" Nadar conceives cunning concepts, fresh modes of presentation and
original combinations of new and old masterpieces or of different media,
never avoiding artistic risks. By virtue of its extraordinary commitment
this ensemble was soon noted by the big festivals in Belgium and managed
to position itself in the contemporary landscape at the cutting edge."
(Flanders Music Centre)
See:
www.nadarensemble.be.
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RED ROSE FOUR (NL)
Red Rose Four is a young recorder quintet made up of Nynke Algra, Janneke
Allaart, Nienke van der Meulen, Ester van der Veen and Tamara Weessies.
The group got started in 2003 after a summer course in the Czech Republic
as a quartet (the source of its name Red Rose Four). In 2007 the
ensemble has become a quintet and now performs some twenty concerts per
year throughout the Netherlands.
The members have been studying with various teachers in Amsterdam, Berlin,
Bern, The Hague, Enschede and Utrecht. As a group they took lessons with
Bert Honig, Saskia Coolen and Daniël Brüggen. In recent times, Red Rose
Four has worked together with a variety of instrumentalists and vocalists
who are finishing their Masters Studies at the Conservatory. Since 2008
Red Rose Four has a cooperation with soprano Kitty de Geus, who studies in
the Master Programme of Utrecht Conservatory with Henny Diemer. The
variety of the six musicians' backgrounds has made this musical
cooperation a source of inspiration.
Red Rose Four mainly performs music from the 16th century often performing
at small confidential locations. Although renaissance music on its own is
not the most accessible music for people who are not familiar with the
complicated polyphonic style of composing, Red Rose Four aims to bring the
renaissance music close to the audience, by letting them sympathize with
the emotions and events behind the pieces, which are nowadays still quite
recognizable.
Red Rose Four is frequently asked for different projects and musical
cooperations like in 2008 concerts with different Chamber Choirs, the
Internationale Muziekzomer Gelderland (the Netherlands) and the
International Young Artist’s Presentation - Early Music - 2008 (Laus
Polyphoniae – Antwerp). In 2008 Eefje Boschman will join the group as a
sixth recorder player and the collection of renaissance recorders will be
expanded with ten new renaissance instruments from recorder maker Adriana
Breukink including a second contrabass and a subbass which will be used
for a recorder consort programme with six voices.
www.redrosefour.nl
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SIGNUM SAXOPHONQUARTETT (DE)
The Signum Saxophonquartett is a dynamic and young Ensemble of
classical music where four different characters merge into a homogenous
body of sound. Next to an enormous range of dynamics and an outstanding
musicality it is also the thrilling joy of making music that
distinguishes the Signum Saxophonquartett from others.
The Ensemble was founded in 2006 by students of Prof. Daniel Gauthier
(Canada) who teaches in Cologne (Germany) at the renowned “Hochschule
für Musik Köln”. The quartet also worked with well-known musicians such
as the saxophonists Jean-Denis Michat and Christian Wirth but also with
chamber music specialists such as Prof. Han-An Liu and Prof. Christian
Wetzel.
The members – Blaz Kemperle (soprano saxophone), Simon Schuller (alto
saxophone), Alan Lužar (tenor saxophone) and David Brand (baritone
saxophone) – are prizewinners of numerous national and international
competitions such as the international saxophone competition in Gap
(France), Yamaha Sax Contest and “Jugend Musiziert”.
The repertoire consists of arrangements, e.g. the famous string quartets
by Mozart, Debussy and Schostakowitsch as well as original contemporary
works – each year around two new pieces are exclusively composed for the
quartet by composers such as Mariano Galussio, Timo Ruttkamp and Wen
Liu.
The Signum Saxophonquartett performs in national and international
chamber music series (“Best of NRW”, Mecklenburg-Vorpommern festival,
Euregio music festival, “mommenta münsterland”, classic young stars
international) and is currently receiving a scholarship of the
foundation “Werner Richard – Dr. Carl Dörken Stiftung”.
www.signumsaxophonquartett.de
youtube:
http://www.youtube.com/watch?v=8x3mueJc6fE&feature=player_embedded
contact: signumsax4@gmail.com
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LUCA D' AMORE GUITAR (IT)
Luca Pierpaolo D’Amore was born in Terni (Italy) in 1977.
Revealing early musical inclinations, he entered Terni's "Giulio
Briccialdi" Conservatory where he earned an honours degree in classical
guitar with Mario Jalenti.
He also attended courses with Alberto Ponce who quickly recognized his
outstanding technical and musical skills.
He moved to Paris in 2001, where he entered the Conservatoire National de
Region d’Aubervillers-La Courneuve in the Alberto Ponce’s class. There he
received the First Prize in classical guitar.
In 2003 and 2004 he studied at the Ecole Normale de Musique de Paris
“Alfred Cortot” with Alberto Ponce, obtaining a Licence Supérieure
d'Execution and a Licence Supérieure de Concertiste.
At the present time he lives in Paris and he teaches classical guitar in
the Conservatory of Villepinte (France).
He pursues a soloist activity focused on a wide classic and contemporary
repertoire, receiving considerable critical acclaim (Fermo, Festival
internazionale della chitarra – Palermo, Associazione Amici della Musica –
Paris, Salle Cortot - Paris, Théâtre Lucernaire).
E-mail:
lucapierpaolodamore(at)gmail.com
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KATHERINE ANOKHINA CYMBALUM (BY)
Performing classics on Belarusian cymbalum
Katerine Anokhina (29) born in Kiew, lives in Moscow, Russia, performs
classics on string cymbalum, winner of international competitions,
professor of Belarusian State Music Academy, speaks English, French.
Objective: recitals, master classes performances as a soloist of the
orchestra or in duet with piano.
Katerine Anokhina is a unique instrumental performer playing classics on
cymbalum. It is a rare ancient string instrument, which comes from the
East. There are similar instruments in other cultures known as santours or
dulcimers. 3-octave range and chromatic tuning allow cymbalum to be used
in performing a lot of classical works from violin repertory.
Anokhina is a highly experienced professional, having performed on stage
for over 20 years. She has often been a winner of several prestigious
international awards, enjoying working with world-renowned musicians. She
has performed in 12 countries, including Switzerland, Germany, Italy, USA
and Japan. In April 2008 she will have a tour through Europe and America,
which will end with a concert in Carnegie-Hall in New York on April 29.
Anokhina received this unique opportunity as a winner of IBLA Grand Prize
competition on Sicily (Raqusa-Ibla) in 2007.
Her previous awards are no less significant. She is a winner of
International
Competition for Interpreters of Modern Music in Rome (Italy) in 2006,
Grand-Prix winner of International Contemporary Penderezky Chamber Music
Competition in Krakow (Poland) in 2005, winner of International
Competition of Folk instruments Performers “Cup of the North” in
Cherepovetz (Russia) in 2000.
She has had recitals at Automne musicale a Chatellerault (France) in 2000,
EXPO 2000 in Hannover (Germany), Edinburg Art Festival (Scotland) in 1999,
Bath music festival (Great Britain) in 1994 etc. As a soloist Anokhina has
worked with major symphonic and chamber orchestras in Belarus and abroad,
including Symphonic orchestra of Mariinsky Theater in St.Petersburg,
Russia, conducted by Valeriy Gergiev, Singapore Chinese Orchestra
conducted.
Anokhina has brilliant educational background. In 2003 she received her
Master of Arts degree from Belarusian State Music Academy, specializing in
cymbalum solo performance. She became a professor of the Academy in the
young age of 21, which serves as a demonstration of her superb performing
skills, artistic personality, passion and teaching talent.
Anokhina spent her high school years in Republican Lyceum of Belarusian
Academy of music, graduating with honors in 1996. Being a 10-year-old girl
she became a winner of a prestigious Republican Zhinovich Competition in
Belarus. At the same period she started to perform abroad as a soloist of
Lyceum Junior Chamber Orchestra. At the age of 11 the young prodigy
received a scholarship from the famous international fund “Noviye imena”
(“The New Names“, Moscow). She starred in concerts, organized by the Fund
in Moscow P. I. Tchaikovsky Conservatory and Moscow P.I Tchaikovsky
Concert Hall. For a teenager it was a great experience to perform on stage
with such top professionals as Nikolai Tsiskaridze, Eugene Kissin and
Alexander Gindin. In 1997 she received the President of Belarus
Scholarship for Gifted Youth.
Anokhina is a universal performer. Her repertory ranges from Barocco
pieces to contemporary music, including modern compositions written
especially for cymbalum. Her favorite composers are Béla Bartók, Georgiy
Sviridov, Robert Schumann, Zoltan Koday, Eugene Ysaye and Alfred Schnittke.
Anokhina is often an object of interest for international press. Articles
covering her performances have recently appeared in Chinese,
German,Italian and French press. She is an active participant of studio
recordings and TV music shows. She gladly considers opportunities to
perform for international spectators.
Repertory:
B. Bartok - Sonata for solo violine,Romanian dances,2nd rhapsody for
violine and orchestra
A. Schnittke - A Paganini for solo violine
J.S. Bach - Sonatas for solo violine a-moll, d-moll
E. Ysaye - Sonata-ballade N3 for solo violine
V. Kuznetsov - Sonata for cymbalum solo,Sarabanda for cymbalum solo
R. Schuman - Fantasy for violine and orchestra
Z. Kodaly - Duo for violine and cello
I. Stravinsky - Three pieces for clarinet solo,Baika for soloists ensemble
and singers
Bella Kovach - Hommage to De Falla for clarinet solo
K. Shimanovsky - Nocturne and Tarantella for violine and piano
N. Rimsky-Korsakov - Fantasy on themes from "Zolotoi Petushok" for violine
and piano
M. Balakirev - Islamey (Transcription for cymbalum and piano)
P. Tchaikovski - Valse-Scherzo, "Meditation", Suite from the ballet
"Nutcracker"
S. Rachmaninoff - Tarantella from 2nd Suite for two pianos, "Joyful feast"
from 1st Suite for two pianos, Etude-tableau C-dur, Romance "Lilac"(transcription
for cymbalum), Prelude op.32 G-dur, Polka V.R.(transcription for cymbalum
and piano)
D. Shostakovich - Passacalia and Burlesque from Violin concerto a-moll,
Fantastic dances
G. Tartini - "Trilles de Diable" Sonate g-moll, "Korelli`s garland"
(variations)
C. Saint-Saens - Introduction and Rondo capriccioso,Etude in a form of
Valse
F. Liszt - Rapsodies 12,2, Spanish rhapsody
G. Bizet - Fantasy on themes from the opera "Carmen"
P. Sarasate - "Gipsy tunes", Zapateado
F. Chopin - Nocturnes Des-dur,Es-dur,cis-moll,Valse cis-moll
M. Ravel – Tsigane
I. Albeniz - Triana, Reminicence from Suite "Iberia", Tango, Asturia
G. Gershwin - Three Preludes, Fantasy on themes from the opera "Porgy and
Bess"
A. Piazzolla - Grand Tango, Libertango
www.myspace.com/kateanokhina
Email:
anokhina_cimbalum(at)yahoo.com
Phone: +7 916 605 47 22; +375 29 683 4412
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PROBIR BHATTACHARRYA SITAR (IN)
...I play North Indian classical music, based on Raga.
Indian classical music has a most complex and complete musical system.
Like Western classical music it divides the octave into 12 semitones. The
7 basic notes are Sa Re Ga Ma Pa Dha Ni Sa (Do Re Mi Fa Sol La Si Do).
However, it uses the just intonation. Indian classical music is monophonic
in nature and based around a single melody line which is played over a
fixed drone. The performance is based melodically on ragas and
rhythmically on talas....
PROBIR BHATTACHARRYA born in the year of 1975 in the state of West Bengal
in India. He is from very middle class family. At the age of 19 he started
learning sitar from his mother. After then he took lessons from Nikhil
Bhadury (student of pt Pulin Pal, sitarist) for six years in the district
of Murshidabad. After getting 6 years training from him he went to Kolkata
to take further lessons from Pt Kushal Das (the international famous sitar
player and a student of pt Ajoy Sinha Roy). He is still taking lessons
from him. He has performed in some stages.
E-mail: Probir
www.sursargam.wetpaint.com
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FRANTISEK BRIKCIUS CELLO (CZ)
František Brikcius was born in Prague, into a family with a distinguished
cultural background. From early childhood he began to play the cello and
quickly developed into a competent student. He was accepted into the
Janáček Academy of Music (JAMU) in Brno after completing his study of the
absolutory at the Prague Conservatoire, under Professor Jaroslav Kulhan.
As a student at JAMU, František studied in Bedřich Havlík’s cello class.
He furthered his study at The Toho Gakuen Academy in Japan, and continues
his studies today with master classes under the guidance of Professor Anna
Shuttleworth in United Kingdom. He graduated from JAMU with an MgA degree,
under the tutelage of Professor Evžen Rattay.
He has actively participated in many international cello master classes in
Czech Republic, Austria, Germany, Great Britain and Israel. French Academy
1999, 2000, 2001 (Prof. J.Bárta), Terezín Composers International Master
classes 1999 (Prof. D.Sella), Cello Master classes 2001 (Prof. L.Meze),
Jihlava Master classes 2000, 2001, 2002 (Prof. D.Sella, Prof. E.Rattay),
International Cello Interpretation Master classes 2002 (Prof. S.Apolín),
Summer Academy in Semmering 2000, 2001, 2003 (Prof. C.Onsczay, Prof.
T.Kühne), Cello Master classes 2003 (Prof. L.Uynterlinde), Eton Cello
Master classes 2002, 2004 (Prof. J.Goritzki, Prof. Melissa Phelps, Prof.
Anna Shuttleworth), Jerusalem Academy Master classes in Jezreel Valley
2004 (Prof. Z.Plesser, Prof. S.Magen), Terezín Composers Master classes in
Israel 2004 (Prof. D.Sella).
He has performed at many festivals including “Lotherton Hall Young Artists
Platform 2002” (UK), Festival Czech and Slovak Music in London 1999, 2000,
2002 (UK), Festival History, Music & Memory 2004 (Israel), Festival Music
in the Valley 2004 (Israel), Violoncello 2005 in Brussels (Belgium),
Spring in Russia 2006 (Moscow). He also enthusiastically visits cello
festivals where he is able to mix with other young artists. These include
the RNCM Manchester International Cello Festival 2004, Cello Meisterkurse
& Konzerte Kronberg Academy 2004.
František Brikcius was the winner of the Anglo-Czech Competition in London
(1999). He was awarded 2nd prize at The International String Competition
London (2000), and 2nd prize at The International String Competition
Jihlava (2003).
He was a fellow of The Czech Music Foundation (ČHF) in the 2001 and 2002
for the interpretation of contemporary Czech composers.
František Brikcius has been supported by Foundation Nadání Josefa, Marie a
Zdeňky Hlávkových (1999), Österreichisches Kulturinstitut Prag (1999),
Johannes Brahms Wettbewerb (1999), Czech Music Foundation (ČHF),
Foundation Gideon Klein for the propagation of works written by Gideon
Klein (2004), Foundation Pro talent (2005), Foundation OSA (2005),
Foundation Charta 77 (2005), Summer Academy in Semmering Scholarship
(2000, 2001, 2003), Socrates-Erasmus Scholarship (2001, 2002), Japanese
Toho Gakuen Fellowship (2002), Kronberg Cello Academy Scholarship (2004),
Israeli government scholarship (2004).
He chose to dedicate his life to the interpretation of cello compositions
written by composers of the 17th, 18th, 19th, 20th and 21st century, with
special consideration given to the compositions for cello solo. He also
allows himself time to concentrate on works by Czech, Terezín and
contemporary composers.
František Brikcius plays a "George Kriwalski" cello made in the 1904. He
is together with his sister Anna Brikcius, founding member of the "Duo
Brikcius".
www.brikcius.com
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RICHARD HAYNES CLARINETS/IMPROVISER (CH)
ENGLISH
DEUTSCH
Richard was born in Brisbane, studied at Griffith University, Australia
and at the Hochschule der Künste Bern, Switzerland. He is a doctor of
philosophy candidate at SIAL (Spatial Information Architecture
Laboratory), a part of the school of Architecture+Design at the Royal
Melbourne Institute of Technology (RMIT). He is the winner of major prizes
in performance such as the 2003 Symphony Australia Young Performer of the
Year, the award for Best Performance of Australian Composition from the
Australian Performing Rights Association (APRA) and the Australian Music
Centre (AMC), a Lord Mayor of Brisbane Performing Arts Fellowship, the
2006 Musikpreis of the Berner Oddfellows (Switzerland) and the prize for
most outstanding graduating soloist, the Tschumi Musikpreis 2008.
Richard has appeared as soloist with the Melbourne Symphony Orchestra, the
Tasmanian Symphony Orchestra, The Queensland Orchestra and members of the
New Zealand Symphony Orchestra, under the direction of Markus Stenz,
Sebastian Lang Lessing, Hamish McKeich, Paul Mann, Kenneth Young, Michael
Christie and Ola Rudner, performing works by Aaron Copland, W. A. Mozart,
Peter Rankine, Nigel Sabin, Giacinto Scelsi, Michael Smetanin, John Veale
and Iannis Xenakis. Richard has recorded works by Richard Barrett, Alban
Berg, Chris Dench, Brian Ferneyhough, Andrew Ford, Guus Janssen, Dominik
Karski, Liza Lim, Theo Loevendie, Michael Schneider and Johannes Maria
Staud for CD release and broadcast.
He is a member of 175 East (NZ), ELISION Ensemble (UK), PRAESENZ
(Switzerland/Germany), Stroma (NZ) and works as a freelance musician with
Ensemble Modern (Germany), musikFabrik (Germany), Klangforum Wien
(Austria), CIKADA (Norway), as an improviser and on solo projects at
festivals in London, Melbourne, Berlin and Auckland.
http://web.me.com/richardehaynes
Richard Haynes - Klarinette (CH)
Richard Haynes wurde 1983 in Brisbane, Australien geboren. Er studierte
klassische Musik an der Griffith University (Brisbane) bei Floyd Williams,
Brian Catchlove und Diana Tolmie, sowohl bei Ernesto Molinari und Donna
Wagner-Molinari an der Hochschule der Künste Bern. Er besuchte Akademien
für zeitgenössische Musik in Frankreich, Österreich und in den USA.
Richard trat bei verschiedenen Orchestern wie den Melbourne, Tasmanien und
Queensland Symphonikern auf, sowie mit Mitgliedern des New Zealand
Symphony Orchestras und dem Berner Symphonie Orchester. Als Solist spielte
er Konzertstücke von Copland, Mozart, Rankine, Scelsi, Smetanin, Westlake
und Xenakis mit den Dirigenten Michael Christie, Srboljub Dinić, Sebastian
Lang Lessing, Paul Mann, Hamish McKeich, Markus Stenz und Kenneth Young.
Richard ist Mitglied des internationalen ELISION Ensembles, des
schweizerischen-deutschen PRAESENZ-Kollektives und der neuseeländischen
Ensembles 175 East und Stroma, mit welchen er in Russland, Norwegen,
Polen, Deutschland, der Schweiz, England, Australien und Neuseeland
auftrat. Mit diesen Ensembles nahm er unter anderem Werke von Chris Dench,
Brian Ferneyhough, Dominik Karski und Liza Lim auf, und arbeitete eng mit
Richard Barrett, John Butcher, James Gardner, Maurizio Pisati, Jeroen
Speak und David Young zusammen. Richard erhielt diverse Preise unter
anderem «Symphony Australia Young Performer of the Year» (2003), den
«Australian Classical Music Award for Best Performance of an Australian
Composition» (2004) und den Tschumi Musikpreis (2008).
Richard hatte Engagements unter anderem mit Ensemble Modern, den
Salzburger Festspielen, MaerzMusik, Melbourne Festival, Klangforum Wien,
Warszawska Jesień, Budapesti Øszi Fesztivál, musikFabrik, Tage für Neue
Musik Zürich, La Biennale di Venezia, Cikada Ensemble, Ultraschall, Sydney
Festival, Huddersfield Contemporary Music Festival, Karnatic Lab, Brisbane
Festival und Asia-Pacific Festival Wellington.
Richards solistische Tätigkeit umfasst auch Produktionen für
Installationen und Performance-Art und er führte bisher seine solo-Shows
(“asphxia”, “Listen my secret fetish“ und “ZYKLUS :: BARRETT”) in Bern,
London, Brisbane und Melbourne auf.
http://web.me.com/richardehaynes
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ASHLEY HRIBAR PIANO (AU)
"Ashley Hribar, a brilliant pianist and an exceptional artist "
Heilbronner Stimme, Stuttgart. 18.3.2007
"Pouring forth a dazzling quantity of notes onto the piano with a
transparent touch, complete ease and sovereign control, Ashley Hribar
succeeded in keeping a clear view of the music, even in the most complex
passages. "The Gelders Dagblad
ed. 26.04.2005, Amsterdam.
Australian pianist, Ashley Hribar, is a prize- winning solo artist,
improviser and chamber musician. In 2005, he became the first Australian
to win the Gaudeamus Interpreters Competition (Amsterdam) and has since
been heard in countless festivals across Europe, Australasia and the the
Middle-East. Highlights have included: solo recitals at the 2006 Ultima
Festival (Oslo); soloist with the Radio Kammer Philharmonic Orchestra
(2006 Gaudeamus Week, Amsterdam); Australian solo concert tour in 2006
celebrating the 400th year anniversary of the Dutch arrival; live
broadcasts for ABC Classic FM radio (Australia’s National Broadcasting
Corporation); solo recordings with the Bavarian Radio (Munich); German
solo concert tour in 2005 including lecture recitals at the School for
Music and Theatre in Leipzig; premiere of the solo piano work “Oxymoron”
written for him by Dutch composer, Theo Loevendie.
Dedicated to the performance of contemporary music, he is constantly
commissioning new works for piano. Recently, he became the inaugural
winner of the 2008 Michael Kieren-Harvey Scholarship, a two year grant to
help pursue numerous projects involving contemporary music.
In 2008 and 2009 he will premiere works by Matthew Shlomowitz, Cameron
Roberts, Christina Viola Oorebeek and Marko Ciciliani for his multimedia
programs "Mystische Farben" and "21st Century Beats".
Other scholarships and prizes include: the D.A.A.D. German Government
Scholarship (1997-1999), The Australian Postgraduate Award (2001- 2002),
The Arts SA Emerging Artist’s Award (2003), The Dame Ruby Litchfield
Scholarship (2000) and 1st prizes in the Miriam Hyde piano Competition
(1997) and the Geoffrey Parson’s Accompanist’s Award (2003). Ashley
studied in Australia, with Stefan Ammer, Stephen McIntyre, Dr. Graham
Williams (pupil of Olivier Messiaen and Yvonne Loriod) and with Prof.
Karl-Heinz Kaemmerling in Hanover, Germany. Ashley is lecturer at the
School for Music and Theater in Hanover and the CJD School Schlaffhorst-
Andersen in Bad Nenndorf.
www.ashleyhribar.com
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SHAHRIYAR JAMSHIDI (IR)
Shahriyar Jamshidi was born in 1971 in Kermanshah, a city with the
majority population of Kurds in Iran, in which
Kamancheh was/is one of the
most celebrated musical instruments. In 1988, I started playing Kamancheh,
attending Mahmood Merati classes for a period of two years. Afterward, I
went to Tehran University, there I studied harmony and counterpoint with
Prof. Ahmad Pejman, Prof. Hushang Kamkar, and Mostafa Kamal Purtorab, I
also learnt and played Iranian traditional/classic music (radif). I had
further practical courses with Maestro Mojtaba Mirzadeh and Maestro
Ardeshir Kamkar and a short period of training course with Maestro Munis
Sharifov. After graduation, I started my studies on Kurdish music. Since,
there was no academic course available for Folk music in general and
Kurdish music in particular,
I started collecting and working on different samples, Vocal and
instrumental, and studying various books on the subject. I worked and
played with different ensembles, traditional and folk. I established my
own band, named Dilan in 2003, since then we had different performances in
Iran. Most of my works are improvising which is based on Meqams and Avaz
(Song) of Kurdish music. I am also a Kurdish songs vocalist.
Kamancheh is a bowed spike fiddle. It has four metal strings and the body
consists of a wooden hemisphere covered with thin sheepskin membrane. The
instruments bridge runs diagonally across this membrane. It is highly
ornated and is about the size of a viola. The tuning varies depending upon
the regions where it is being played. It has three main tuning, the
general one is in the same manner as a violin: E, A, D, G, but usually it
is tuned as D, G, C, F, for it is a low-pitched instrument. The Rast
tuning (Right tuning) is suitable for male vocal range: D, A, D, A (also
C, G, C, G); the Chap tuning (Left tuning) is suitable for female vocal
range: E, A, E, A (also D, G, D, G). The gamut of this instrument is two
octaves and five intervals.
In most Middle East regions, music has several similarities. Various
meqams and songs (Avaz) of these regions have the same root but with a
different name. Iranian music has seven modes (Dastgah) with roots of
Greek mode. For example, Shur Mode (Dastgah) in Iran, which is named Bayat
in Arabic music, is similar to a Greek mode. Kurdish music with a history
of thousand years is vocals which has been among Kurdish people for many
years. These vocals are the basis of Kurdish meqams, which has been
accompanied by musical instruments such as Zorna (Sorna), Tanbur and
Balaban. What we have today is a series of these meqams, which many lyrics
has been composed based on them. Usually Daf accompanies this kind of
music. We do two different tasks with Kurdish music: first, collecting and
re-performing of these lyrics, second, composing and improvising based on
the mentioned meqams.
www.shahriyarjamshidi.com
http://www.youtube.com/user/pishvaz
http://shahriyarjamshidi.com/page/music.gallery.e.htm
Email:shahriyar@shahriyarjamshidi.com;
shahriyar_jam@yahoo.com
P.O.Box: 14395/984 Tehran, Iran
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PATRIK KLEEMOLA GUITAR (FI)
Patrik Kleemola (b.1981) started his guitar studies at the Valkeakoski
Music Institute. In 1999 he continued his musical studies at the Music
Academy of Turku under the tuition of Timo Korhonen and Ismo Eskelinen,
where he graduated in 2005 with top marks. Kleemola then continued his
guitar studies with Massimo Felici at the Conservatory of Monopoli in
Italy, where he took his Master’s Degree and finished his guitar diploma
with maximum points and a mention of honour. Apart from that, Kleemola
has studied with Oscar Ghiglia in Siena, Italy at Accademia Musicale
Chigiana where he received a Diploma of honour (Diploma di Merito) three
times. He has also participated in many master classes.
In 2004 Kleemola won the International II Guitaristival Competition in
Turku (Finland), which was dedicated to the Japanese composer Tôru
Takemitsu. In the final round of the competition Kleemola performed as a
soloist of the Turku Philharmonic Orchestra Mauro Giuliani`s Concerto
op.30 and Takemitsu´s To the Edge of Dream. Kleemola was also given a
special prize for the best interpretation of Takemitsu’s work. Kleemola
has also been a prize winner twice in the International Guitar
Competition of Gargnano in Italy and finalist in many other
international competitions.
In the recent years Kleemola has given numerous recitals in Europe and
South America. Some concerts to mention: Rome (Nuovi Spazi
Musicali-festival) and ( Dialoghi della antica & moderna musica), Milano
(festival REBUS), Reggio Emilia (Chitarra e Dintorni), Athens (recital
in Maria Callas concert series), Limina Festival in Argentina (Buenos
Aires, Rosario, Santa Fe), Rieti (the 2nd International Guitar Festival
of Rieti), Lidköping Musica Festival in Sweden, Rive-Gauche Concerti
(Torino, Genova), Fiesta de la Guitarra festival in Estonia, Mogliano
Veneto (Talea Festival), Martina Franca (Notti Barocchi-music festival),
Helsinki (Ears open Society´s concert for solo guitar), Turku (the 4th
Guitar Festival of Turku). Kleemola´s wide repertoire includes music
from the early 1600th century until the newest comtemporary compositions
written for him. Composers like Ada Gentile, Mario Cesa, Riccardo
Piacentini, Mauro Porro, Andrea Talmelli, Sonia Bo, Biagio Putignano,
Marcela Pavia, Francesco Maggio, Lorenzo Tomio, and Markku Klami have
composed and dedicated their works to him.
Kleemola has done recordings for the Finnish national Radio and for the
Vatican Radio. He is also enthusiastic guitar teacher and has given
masterclasses in Finland and Italy. Kleemola is the artistic director of
Brinkhall Summer Concerts festival at Turku in Finland. Kleemola plays
guitar by Brian Cohen (2003).
E-Mail: patrikkleemola@yahoo.com.
On youtube: Ada Gentile: Perchitarrasola (Patrik Kleemola, guitar)
http://www.youtube.com/watch?v=6cZh1FjMmBY
Riccardo Piacentini: Yantra (Patrik Kleemola, guitar)
http://www.youtube.com/watch?v=7mcSWDm8Qqo
Sylvius Leopold Weiss: Tombeau sur la mort de M. Comte de Logy
(Patrik Kleemola, guitar)
http://www.youtube.com/watch?v=VKQ7B-sO_Eg
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IRENA KOSIKOVA (CZ) - Czech organist and composer
Czech organist and composer Irena Kosíková was born in Prague into the
intellectual family of the forbidden philosopher Karel Kosík and
literature scientist Růžena Grebeníčková, the Herder prize laureate.
She started her studies of organ playing with prof. Jan Hora, together
with piano lessons given by prof. Eliška Kleinová and prof. Arnoštka
Grünfeldová. Irena Kosíková studied organ performance (prof. Jaroslava
Potměšilová) and conducting (prof. Karel Fiala) at Ježek's Conservatory.
She wasn't allowed for further studies because of political reasons.
Private compositions lessons with prof. Miroslav Raichl.
Finally after the Velvet Revolution she was accepted at the Janáček
Academy of Music (JAMU) in Brno into the organ class of prof. Alena Veselá
and prof. Kamila Klugarová. She graduated at the Academy of Music (HAMU)
in Prague, under the guidance of prof. Josef Popelka.
Irena Kosíková is giving organ concerts. She is now intensively composing
too. Her works have been performed in Czech Republic, Belgium, Bosnia and
Herzegovina, Germany, Israel, Russia, Sweden and United Kingdom. As the
Organist she is specialising in the interpretation of organ works written
by Johann Sebastian Bach: complete performance of Organ Toccatas,
Voluntaries, Leipzig Chorals, Art of the Fugue, Organ Mass etc.
For more information visit
http://www.iKosik.com.
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EWELINA NOWICKA (PL/DE)
DEUTSCH
ENGLISH
Ewelina Nowicka, geb. am 26.10.1982 in Danzig, ist eine polnische Geigerin
und Komponistin. Seit ihrem 6. Lebensjahr spielt sie Geige. Ihre ersten
Erfahrungen auf dem Gebiet der Komposition hat sie im Alter von 8 Jahren
gesammelt.
In den Jahren 2001 - 2007 hat sie Violine und Musikpädagogik an der
Hochschule für Musik und Theater in Hamburg studiert. Seit 2007 belegt Sie
ein Aufbaustudium in der Violinklasse von Prof. Katrin Scholz an der
Hochschule für Künste in Bremen.
Als Solistin erhielt sie mehrere Preise bei nationalen sowie
internationalen Violinwettbewerben, darunter 1997 den II. Preis beim
internationalen Violinwettbewerb in Goch, 2001 den I. Preis beim
gesamtpolnischen Wettbewerb der Kammerensembles in Breslau, 2003 den III.
Preis beim Elise Meyer Wettbewerb in Hamburg sowie 2008 den III. Preis
beim Wettbewerb "Moderne Solo Streicher" in Bremen.
Im Alter von 16 Jahren debütierte sie als Solistin mit dem Orchester der
Polnischen Baltischen Philharmonie in Danzig. Darüber hinaus spielte sie
mit vielen weiteren Orchestern, darunter dem Lemberger
Philharmonieorchester in der Ukraine, dem Polnischen Kammerorchester
„Amadeus", der Sinfonia Varsovia, dem Nationalen Symphonieorchester des
Polnischen Rundfunks, der Jihočeská Komorni Filharmonie in České
Budějovice, der Hamburger Klassik Philharmonie, der Orchesterakademie NRW
in Düsseldorf und vielen anderen Orchestern.
Ihr Repertoire umfasst Konzerte von Mozart, Paganini, Wieniawski,
Tschaikowsky, Glasunov, Stravinsky, Saint-Säens und vielen anderen
Komponisten. 2001 hat sie zusammen mit dem Dirigenten Zygmunt Rychert zwei
einzigartige unbekannte Violinkonzerte von Ludomir Rozycki und Ignacy Jan
Paderewski entdeckt, die sie als Solistin unter Leitung von Zygmunt
Rychert und mit dem Nationalen Rundfunk Sinfonieorchester, der Stettiner
Philharmonie sowie der Baltischen Philharmonie uraufgeführt und
aufgenommen hat.
Ewelina Nowicka nahm an vielen Meisterkursen teil unter der Leitung von
renommierten Pädagogen, wie Wolfgang Marschner, Thomas Brandis, Krzysztof
Węgrzyn, Petru Munteanu, Katrin Scholz, Mieczyslaw Lawrynowicz, Herman
Krebbers, Krzysztof Jakowicz, Konstanty Andrzej Kulka, Wanda Wilkomirska,
Takaya Urakawa.
Bereits seit ihrer Kindheit komponiert sie und hat seitdem Unterricht bei
vielen namhaften Komponisten gehabt, unter anderem bei Michael Volpe,
Krzysztof Olczak, Stanislaw Moryto, Peter Michael Hamel, Elisabeth Sikora,
Helmut Zapf, Eugeniusz Glowski, Matthias Jann, Sebastian Stier, Georg
Hajdu und Helmut Erdmann.
Ihre Kompositionen führt Sie gern selbst auf, meist in Zusammenarbeit mit
professionellen Orchestern und Chören. Im 2008 hat sie den Förderpreis
beim Wettbewerb Jugend Komponiert für das Stück "Kaddish 1944“ für Violine
und Klavier gewonnen. Das Stück ist inspiriert durch einen Brief Ihrer
Tante, die aus dem Ghetto Lodz berichtet hat. Im gleichen Jahr erhielt sie
den Bremer Kompositionspreis für das Violinkonzert "Concerto ebraico" und
das Trompetenkonzert "Concerto für Amadeo". Im Jahr 2009 erhielt sie den
V. Preis für das Stück „Jongleurs“ für zwei Violinen auf dem Crossover
Composition Award sowie die Inverlagnahme des Werkes durch den Ries &
Erler Verlag.
Ewelina ist Stipendiatin des polnischen Präsidenten Aleksander Kwasniewski
(1999), des polnischen Kulturministers (1999-2001), der
Otto-Stöterau-Stiftung (2001-2005) sowie der Oskar und Vera Ritter
Stiftung (2009/2010). Neben ihrer solistischen und kompositorischen
Tätigkeit unterrichtet sie Violine an Hamburger Musikschulen.
Zudem ist sie Mitglied im Deutschen Komponistenverband, GEDOK Hamburg
sowie der International Alliance for Women in Music.
www.ewelinanowicka.com
www.myspace.com/ewelinanowicka
Ewelina Nowicka, born 26 Oct 1982 in Gdansk, Poland, is polish violinist
and composer. Graduated with honours in violin and violin related training
at Hochschule fur Musik und Theater in Hamburg, Germany. She has been
perfecting her further violin skills under the eye of Prof. Katrin Scholz
at Hochschule fur Kunste in Bremen, Germany.
Ewelina has been awarded many a prize at international and national violin
competitions, i.e. she received an award from the Hessian Radio, Frankfurt
um Main, Germany; the 2nd prize at the International Violin Competition at
Goch (1997); the 1st award at National Chamber Music Competition in
Wroclaw (2001); the 3rd prize at The Elise Meyer Competition in Hamburg
(2003); and finally, the 3rd prize at the Moderne Solo Streicher
Competition in Bremen, Germany (2008).
At the age of 16th, she made her solo debut with several orchestras, i.e.
Polish Baltic Philarmonics, Lvov Orchestra, Polish Chamber Orchestra
‘Amadeus,’ Sinfonia Varsovia, National Polish Radio Symphonic Orchestra in
Katowice, Jihocecka Komorni Filharmonie at Czech Budziejowice, Hamburger
Klassik Philharmonie, Orchesterakademie in Dusseldorf and other similar
orchestras.
Ewelina performs famous violin masterpieces by such composers as Mozart,
Paganini, Wieniawski, Tschaikowsky, Glasunov, Stravinsky, Saint-Säens et
al.
In 2001 she discovered, together with Zygmunt Rychter, a unique set of
violin concerts by Ludomir Rozycki and Ignacy Paderewski. She then gave
the pre-premiere of these pieces and recorded them with the National
Polish Radio Symphonic Orchestra, Szczecin Philharmonic Orchestra and
Baltic Philharmonic Orchestra.
She took part in many music master workshops with such famous teachers as
Wolfgang Marschner, Thomas Brandis, Krzysztof Wegrzyn, Petru Munteanu,
Katrin Scholz, Mieczysław Ławrynowicz, Herman Krebbers, Krzysztof
Jakowicz, Konstanty Andrzej Kulka, Wanda Wiłkomirska and Takaya Urakawa.
Ewelina has been composing for many years and co-operated with such other
composers as: Michael Volpe, Krzysztof Olczak, Stanislaw Moryto, Peter
Michael Hamel, Elisabeth Sikora, Helmut Zapf, Eugeniusz Głowski, Matthias
Jann, Sebastian Stier, Georg Hajdu and Helmut Erdmann.
You can experience Ewelina's own compositions during her concerts, where
she performs them either as a soloist or with orchestras or/and choirs. In
2008 she received an award for her violin and piano piece 'Kaddish 1944'
at Jugend Komponiert Competition; she also won a prize for her music
'Concerto ebraico' and 'Concerto für Amadeo' at Bremer Kompositionspreis
2008. In 2009 she was given a V Prize at Crossover Composition Award in
Mannheim, and was offered to have her piece (for two violins) entitled
'Jongleurs' published by Verlag Ries & Erler
Ewelina has received the scholarship from the following institutions: The
Polish President Aleksander Kwaśniewski Scholarship (1999), The Ministry
of Culture Scholarship (1999-2001), Otto Stöterau- Stiftung Scholarship
(2001-2005) and Oskar und Vera Ritter Stiftung (2009-2010).
Apart from her soloist and composing achievements, Ewelina also teaches
violin at the Hamburg Musical School, is a member of such organisations as
German Composers Association, GEDOK Hamburg and International Alliance for
Women in Music.
www.ewelinanowicka.com
www.myspace.com/ewelinanowicka
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ALEXANDER POLYAKOV PIANO (BY)
Alexander Polyakov was born in 1983 in Orsha (Belarus). He received his
first music education at the music school of Orsha.
In 1995–2003 Alexander studied in the Music College of the Belarusian
Academy of Music. His teachers were Inna Bartoshevich, Yuri Gildiuk.
In 2003–2008 Alexander Polyakov studied in the Belarusian Academy of Music
under Honored Artist of Belarus Professor Yuri Gildiuk.
Since 2008 A. Polyakov is a soloist of the Belarusian State Philharmonic.
From his childhood the young pianist was active as a talented performer.
At the age of 9 Alexander participated in the festival of young pianists (Vitebsk,
Belarus). At 11 he gave his first recital in Orsha. At 13 Alexander
Polyakov performed in the Hall of Belarusian State Philharmonic.
For the time being Alexander gives recitals in many cities of Belarus and
other countries (Russia, Ukraine, Estonia, France, Germany and Spain).
Many times he performed with the Symphonic orchestra of Belarusian State
Philharmonic.
Alexander Polyakov is a laureate of some International Competitions. In
2002 he was awarded with the I Prize he received and a Gold Medal at the
International Delphic Games of Arts (Bryansk, Russia). In 2003 Alexander
won the II Prize at the International Piano Competition (Tolyatti,
Russia).
Alexander Polyakov is a participant of various International festivals
such as “Minsk Spring” (Belarus), “Schumann and his friends” (Solingen,
Germany), “The days of Belarusian Culture in Moscow” (Russia), the “Day of
Belarusian Culture” (Tallinn, Estonia), The Festival of Modern Music
“Dialogs” (Minsk, Belarus), “Gomel Festival of Arts”, (Belarus), “Extra
Piano Festival” (France) and others.
Alexander Polyakov is awarded with the Grant by Special Fund of the
President of the Republic of Belarus in Support of Talented Youth.
Alexander is a young brilliant virtuoso pianist, a musician of bright
individuality and vivid emotionality. He attracts a listener with his
artistry and quick temper. His performing is characterized with a
diversity of descriptions and tone colors combined with the sound culture
and virtuosity. Alexander has a good sense of style and attracts a
listener with the deepness of works comprehension that he performs.
We can find many notes about Alexander Polyakov in the Belarusian and
European press.
The pianist recorded CD with all Chopin Scherzos and now he is preparing a
new CD recording.
The performance of A.Polyakov: youtube.com/watch?v=PDOdsH4kGUY
E-mail:
shurapolyana@yandex.ru
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HUBERT RUTKOWSKI PIANO (PL)
(EN)
Born in Poland in 1981. He started learning to play the piano at the age
of eight. He graduated with honour from Fryderyk Chopin Academy of Music
in Warsaw in the piano class of Prof. Anna Jastrzebska-Quinn (2005).
Simultaneously, in the years 2001-2003, he studied Multimedial Techniques
on the Warsaw Politechnic. At present he is a student of Hochschule für
Musik und Theater in Hamburg in the class of Professor Evgenij Koroliov.
He participated in many prestigous master classes. He worked under Prof.
Halina Czerny-Stefanska, Andrzej Jasinski, Valery Kozlow, Victor Makarov,
Tatiana Shebanova, Jan Micheils, Vera Gornostaeva, Epifanio Comis, Hiroko
Nakamura, Piero Rattalino, Piotr Paleczny, Michel Beroff and Arie Vardi,
Inge-Susann Römhild and Artemis Quartett. In 2005 he took part in the 10th
International Hamamatsu Piano Academy in Japan.
He won prizes in many piano competitions, among others:
2007 - Main Prize at F. Chopin Piano Competition in Hannover/Germany;
2006 - Grand Prix at 3rd Acte Préalable Recording Project Competiton/
Recording pianopieces of Julian Fontana;
2006 – 2nd Prize at XV Elise Meyer Wettbewerb/ Hamburg;
2006 – Distinction "Medalla per Unanimitat" at 52nd Maria Canals
International Piano Competition/ Barcelona;
2000 - Grand Prix at The 4th Young Pianists Festival in Siedlce/Poland;
2000 - 1st Prize at The National Piano Competition of the Secondary Music
Schools in Warsaw.
As a soloist he has been appearing with symphony orchestra in Witold
Lutoslawski Polish Radio Concert Hall in Warsaw, National Philharmonic in
Warsaw, Olsztyn Philharmonic as well as in Lithuania, Italy, Spain, Japan
and Germany. In the summer 2004, he took part at The Catania Summer
Festival in Italy (performances in Sicily). He made archival recording for
SüdWestRundfunk Broadcasting Company and NDR Rundfunk in Germany.
As a student of Hochschule für Musik und Theater Hamburg he has been
giving many solo recitals in Hamburg and in the other german cities (Laeiszhalle/Musikhalle
Hamburg, Museum Ernst Barlachhaus, Hamburg Steinway Haus-Horowitz Saal,
Technisches Universität Hamburg, Palace in Eutin, Grosser Mozartsaal,
Bechstein Centrum Konzertsaal).
In recognition of his acheviements he obtained The Scholarship of Polish
Children's Fund (2001) and The Artistic Scholarship of Culture and
National Heritage Ministry (2002, 2004). He was the scholar of the Budge
Stiftung in 2005/2006. Since October 2005 he is the scholar of Otto
Stöterau Stiftung in Hamburg.
www.hubertrutkowski.com
(DE)
1981 in Polen geboren, begann mit 8 Jahren mit dem Klavierspiel. Im Jahr
2000 machte er seinen Abschluss an der Fryderyk Chopin Musikakademie in
Warschau mit Auszeichnung in der Klavierklasse von Prof. Anna Jastrzebska-Quinn.
Parallel, studierte Hubert Rutkowski 2001-2003 Multimedialtechniken am
Warschauer Polytechnikum. Derzeit studiert er bei Prof. Evgenij Koroliov
an der Hochschule für Musik und Theater Hamburg und bereitet sich auf das
Konzertexamen vor.
Hubert Rutkowski hat auch an mehreren Meisterkursen bei renommierten
Piano-Professoren teilgenommen: so z. B. Meisterkusen bei Prof. Halina
Czerny-Stefanska, Andrzej Jasinski, Valery Kozlow, Victor Makarov, Tatiana
Shebanova, Jan Micheils, Vera Gornostaeva, Epifanio Comis, Hiroko
Nakamura, Piero Rattalino, Piotr Paleczny, Michel Beroff and Arie Vardi,
Inge-Susann Römhild and Artemis Quartett. In 2005 er hat an "10th
International Hamamatsu Piano Academy" in Japan teilgenommen.
Er ist Preisträger bei den vielen Klavierwettbewerbe (Sehen Sie oben).
Er hat bereits viele Konzerte gegeben: so z. B. Solo-Auftritte mit dem
Symphonischen Orchester in Witold Lutoslawski Konzertstudio des Polnischen
Rundfunk, mit der Nationalen Philharmonie in Warschau, der F. Nowowiejski
Philharmonie in Olsztyn sowie Konzerte in Litauen, Italien, Spanien, Japan
und Deutschland. In Sommer 2004 hat Hubert Rutkowski an "The Catania
Summer Festival" in Italien teilgenommen (Solo- und Kammermusik Recitals
auf der Sizilien). Er hat Aufnahmen für SüdWestRundfunk und NDR Rundfunk
in Deutschland gemacht.
Als Student der Hochschule für Musik und Theater Hamburg er gibt viele
Konzerten: so z. B.: Laeiszhalle/Musikhalle Hamburg, Museum Ernst
Barlachhaus, Hamburg Steinway Haus-Horowitz Saal, Technisches Universität
Hamburg, Schloss in Eutin, Grosser Mozartsaal, Bechstein Centrum
Konzertsaal.
Hubert Rutkowski hat zweimal das Stipendium des Ländlichen Kinderfondes
und des Polnischen Kulturministeriums erhalten (2002,2004). In 2005/2006
er war der Stipendiat der "Budge Stiftung". Seit Oktober 2005 er ist der
Stipendiat der "Otto-Stöterau Stiftung" in Hamburg.
www.hubertrutkowski.com
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ILARIA BALEANI PIANO (IT)
ITALIANO
ENGLISH
ILARIA BALEANI nasce a Recanati nel 1981 in una famiglia dalle antiche
tradizioni musicali. A soli cinque anni inizia lo studio del pianoforte.
Premiata più volte dalla Fondazione “G. Rossini” distinguendosi fra i
migliori allievi del Conservatorio di Pesaro, si diploma presso tale
istituto nel Settembre 2004 con Massimo dei voti,Lode e Menzione speciale
sotto la guida della Prof.ssa Maria Teresa Carunchio e dove ha conseguito,
sempre con Lode, il Diploma Accademico di II livello.
Attualmente laureanda anche in Musicologia,ha ricevuto la Borsa di Studio
dall’ “Ente per l’educazione e l’istruzione Notaio Augusto Marchesini” di
Macerata e la Borsa di Studio “Silio Taddei” di Livorno riservate al
miglior diplomato del Centro Italia.
Suoi docenti sono stati anche i M° Edith Fisher e Francois-Joel Thiollier.
Si è poi perfezionata all’ Ecole NORMALE de Musique “Alfred Cortot” di
Parigi con maestri di fama internazionale , in particolare con il M°
France Clidat..
Si è imposta con premi assoluti e riconoscimenti speciali in circa 30
concorsi di tutta Italia fra i quali i più importanti “D.Milella” di
Taranto, “G.Gandolfi” di Salsomaggiore Terme, Premio “Città di
Cesenatico”, “M.Masin” di San Gemini, “C.Vitale” di Fasano, “Liburni
civitas” (dove vince anche anche il premio speciale F.Liszt) e negli
Internazionali “Città di Manerbio” ,Premio “Città di Valentino”
e“V.Scaramuzza” di Crotone, “Riviera della Versilia”…
Considerata uno dei talenti emergenti del pianismo italiano svolge
attività concertistica in tutta Italia e all’estero per vari Enti ed
Associazioni culturali, riscuotendo entusiastici consensi di pubblico e di
critica in Stagioni concertistiche e Festival,tra i più importanti per
l’Istituto Italiano di Cultura di Wolfsburg (Germany), per l’ “Ente
Concerti” di Pesaro, per l’AGIMUS di Bologna, per le Celebrazioni del 50°
anniversario della morte di “B.Gigli”, per la Festa Europea della Musica
2008 nella prestigiosa Sala Paolina di Castel S.Angelo in Roma…
Il 2001 l’ha vista vincitrice dei concorsi nazionali “Hiperion” di Roma e
“Città di Brindisi” dove è stata invitata a incidere in CD dalla casa
discografica “Village Records”.
Nel 2003 si è esibita come Solista con l’Orchestra Sinfonica di Pesaro
eseguendo il Concerto N.3 Op.26 di S.Prokofiev con incisione dal vivo.
Nel giugno 2004 viene proclamata Vincitrice Assoluta della Settima
Edizione del Concorso Pianistico Europeo “Pietro Argento” di Gioia del
Colle (Ba).
Medaglia di Bronzo al Premio Europeo di Esecuzione Pianistica “Città di
Avezzano” (2007)e al Premio Internazionle di ASSISI (2008) .
Sua è l’ideazione e la realizzazione del Progetto di Studio e Ricerca
“Musica InAudita” , Il volto nascosto del genio femminile,un repertorio di
opere pianistiche di compositrici femminili dall’Ottocento ai giorni
nostri per valorizzare e recuperare un patrimonio artistico lasciato
nell’oblio dalla storia e dai costumi sociali, inciso in Audio CD edito
dalla “Philology Classica” e mandato in filodiffusione da Radio Belgrado.
www.ilariabaleani.it
ILARIA BALEANI was born in Recanati in 1981. Influenced by the ancient
musical traditions of her family, she began to study the piano at the age
of five .
She was awarded several times by the “G.Rossini” Foundation as one of the
best students of Pesaro Conservatory,where she graduated in September 2004
with full marks, Honours and a Special Mention, under the guide of
Professor Maria Teresa Carunchio, and in 2006 she obtained the II Level
Academical Diploma with Honours.
As a student in Musicology,she received a scholarship from the
Organization for Education “Notary Augusto Marchesini” of Macerata, and
the scholarship “Silio Taddei” of Livorno reserved for the best graduates
of Centre Italy.
She also studied with M° Edith Fisher and M° Francois-Joel Thiollier.
She specialized at the Ecole Normale de Musique “Alfred Cortot” of Paris
with highly reputed teachers,especially M° France Clidat.
She was awarded the first prize and obtained special awards in about 30
contests all over Italy,the most important of which are “D.Milella” of
Taranto, “G.Gandolfi” of Salsomaggiore Terme, Prize “City of Cesenatico”,
“ M.Masin” of San Gemini, ”C.Vitale” of Fasano, “Liburni civitas” (where
she also won the special prize “Franz Liszt”) , and in International
contests, such as “City of Manerbio” , Prize “City of Valentino” and
“V.Scaramuzza” of Crotone, “Riviera della Versilia”...
Considered as one of the most interesting and talented young Italian
pianists, Ilaria Baleani carries on an intense concert activity in Italy
and abroad, winning enthusiastic appreciation of audiences and critics in
Festivals and Concert Seasons,at the invitation of Cultural Organizations
and Associations ( Italian Institute of Culture of Wolfsburg -Germany,
Concert Organisation of Pesaro, AGIMUS of Bologna, Celebrations for the
50th Anniversary of Beniamino Gigli's death, 2008 European Music Festival
in the “Sala Paolina” of Castel S.Angelo in Roma....).
In 2001 she won the national contests “Hiperion” of Rome and “City of
Brindisi” where “Village Records” invited her to record a CD.
In 2003 she performed and recorded the Piano Concert N.3 Op.26 by
S.Prokofiev as a soloist with the “Pesaro Symphony Orchestra”.
She won the Seventh Edition (2004) of the European Piano Contest “Pietro
Argento” of Gioia del Colle -Bari (Absolute Winner), the European Prize
for Piano Performance “City of Avezzano”(2007) and the International Prize
of Assisi (2008) (Bronze Medal).
She conceived and realized the Study and Research Project “Musica
InAudita” (Never-Heard Music) -”The hidden aspect of women's genius”, a
repertoire of piano works from XIX century to the present day. The aim is
to recover and emphasize an important artistic inheritance, completely
forgotten by history and society. These works have been recorded in CD by
“Philology Classic” and transmitted by Radio Belgrado.
www.ilariabaleani.it
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FRANS WALTMANS
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master musicology
INTERNATIONAL MUSIC
SERVICES
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