Programme Book 2012 - European Union Baroque Orchestra

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Programme Book 2012 - European Union Baroque Orchestra
an ambassador for the European Union
Inspired performance. Real experience.
eubo 2012
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01274 288100 or 0207 632 3960
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European Union Baroque Orchestra
President:
Chairman, Committee of Patrons:
Patrons ex officio:
Patrons:
Directors/Trustees:
Advisory Council:
Music Director:
Director of Studies:
Director Emeritus:
Director General:
Dr Walter Scheel
HRH The Duke of Kent KG
EU Commissioner for Education and Culture:
Androulla Vassiliou
Chairman EP Culture Committee: Doris Pack
EU Ministers of Culture
Cyprus Presidency of the European Union
Council of Cultural Ministers:
Giorgos Demosthenous
James Bowman, Christopher Hogwood,
Ton Koopman
Ian Forrester QC, Struan McBride (Chairman),
Simon Mundy, Frances Sunderland (Company
Secretary); trustees designate Matthew Halls,
Michael Roberts, Jonathan Scheele
Members include Paul Agnew,
Jean-Claude Eeckhout, Erwan Fouéré,
Lidia Geringer De Oedenberg, Geoffrey Keating,
Toomas Siitan, Ernst-Dieter Wiesner
Lars Ulrik Mortensen
Margaret Faultless
Dr Roy Goodman
Paul James
Orchestral Manager:
Emma Wilkinson
Liaison Manager:
Noora Heiskanen
Bookkeeper:
Helen Webber
Legal status:
EUBO is a registered charity in the United
Kingdom No.800906 and a company limited
by guarantee No.2171965
EUBO 2012 is funded with support from the
European Commission budget line “Support
for Organisations active at European Level in
the field of Culture”
Funding Programme:
EUBO is Orchestra-in-Residence in
Echternach, Luxembourg
Bienfaiteurs de l’orchestre
EUBO 2012:
The Early Music Shop, UBI Banca International,
White and Case
European Union Baroque Orchestra
Hordley, Wootton, Woodstock OX20 1EP, UK
T: +44 1993 812 111 F: +44 1993 812 911
E: [email protected] W: www.eubo.eu
EU Member States: Ministers of Culture: Patrons ex officio of
the European Union Baroque Orchestra
Austria: Claudia Schmied
Belgium: Fadila Laanan, Joke Schauvliege, Isabelle Weykmans
Bulgaria: Vezhdi Rashidov
Cyprus: Giorgos Demosthenous
Czech Republic: Alena Hanáková
Denmark: Uffe Elbæk
Estonia: Rein Lang
Finland: Paavo Arhinmäki
France: Aurélie Filippetti
Germany: Bernd Neumann
Greece: Tatiana Karapanagioti
Hungary: Miklós Réthelyi
Ireland: Jimmy Deenihan
Italy: Lorenzo Ornaghi
Latvia: Žaneta Jaunzeme-Grende
Lithuania: Arūnas Gelūnas
Luxembourg: Octavie Modert
Malta: Mario de Marco
The Netherlands: Halbe Zijlstra
Poland: Bogdan Zdrojewski
Portugal: Francisco José Viegas
Romania: Puiu Hasotti
Slovakia: Marek Maďarič
Slovenia: Žiga Turk
Spain: José Ignacio Wert Ortega
Sweden: Lena Adelsohn Liljeroth
United Kingdom: Jeremy Hunt
EUBO is an official cultural training initiative of the
European Parliament and the European Commission,
and in 2012 has been funded with support from the
European Commission. Among the many supporters of
the Orchestra, EUBO is grateful to the following for their
special attention
Commission Commissioner Androulla Vassiliou
Catherine Sustek
Sophia Eriksson Waterschoot
DG EAC Jan Truszczyński
Xavier Troussard
Ann Branch
EAC EA Gilbert Gascard
Barbara Gessler
Tatiana Niskacova
Delfido Minucci
2|3
EUBO 2012 Tours
EUBO 2012 Programmes
Europe Day
Danse des Zéphirs
9 May St John’s Smith Square, London, UK
Danse des Zéphirs
19 July
22 July
24 July
25 July
27 July
28 July
02 November
04 November
Echter'Barock, Echternach, Luxembourg
Festival Glasperlenspiel, Tartu, Estonia
Música Antiga dels Pirineus, Puigcerdà, Spain
Música Antiga dels Pirineus, Ribes de Freser, Spain
Festival Seviqc Brežice, Ljubljana, Slovenia
Festival Seviqc Brežice, Slovenska Bistrica, Slovenia
De Bijloke, Gent, Belgium
Concerto Gandersheim, Bad Gandersheim, Germany
Baroque Splash!
07 September
09 September
11 September
13 September
15 September
16 September
Les Jardins d’Agrément, Amilly, France
Banchetto Musicale, Vilnius, Lithuania
Goldberg Festival, Gdańsk, Poland
Korkyra Baroque Festival, Korčula, Croatia
Musica Viva, Osnabrück/Hagen, Germany
Echter’Barock, Bitburg, Germany
Corelli’s Legacy
11 October
13 October
14 October
16 October
17 October
Teatru Manoel, Valletta, Malta
Kempen Klassik, Kempen, Germany
Musik im Schloss, Bad Homburg, Germany
Brussels, Belgium, (by invitation only)
Echter’Barock, Echternach, Luxembourg
All Roads lead to Rome
09 November
10 November
12 November
14 November
15 November
17 November
Stiftung Kloster Michaelstein, Blankenburg, Germany
Greenwich Early Music Festival, London, UK
Oviedo Auditorium, Oviedo, Spain
Baroque Arts Festival, Sofia, Bulgaria
Music Academy, Sofia, Bulgaria
Deutsche Philharmonie Merck, Darmstadt, Germany
Myth and Magic
02 December
03 December
04 December
07 December
08 December
10 December
11 December
12 December
13 December
14 December
15 December
Settimane Barocche, Brescia, Italy
Circuito Lombardo di Musica Antica, Vigevano, Italy
Ghislierimusica, Pavia, Italy
Teatr Wielki Opera Narodowa, Warsaw, Poland
Poznan, Poland
Amici della Musica, Firenze, Italy
Sapienza-Università, Roma, Italy
Ferrara, Italy
Workshop, Echternach, Luxembourg
Echter’Barock, Echternach, Luxembourg
De Bijloke, Gent, Belgium
Director & harpsichord Lars Ulrik Mortensen
Concertmaster Zefira Valova
JF REBEL
MA CHARPENTIER
JF REBEL
JPh RAMEAU
Les Elémens
Pour un reposoir H508
Les Caractères de la Danse
Opera Suite ‘Danse des Zéphirs’
Baroque Splash!
Director & violin Margaret Faultless
Concertmaster Mechthild Karkow
GPh TELEMANN
JS BACH
GF HANDEL
Wassermusik ‘Hamburger Ebb und Fluth’
Orchestral Suite No 4 BWV1069
Water Music Suite (selection)
Corelli’s Legacy
Director & violin Riccardo Minasi
Concertmaster Kinga Ujszászi
P CASTRUCCI
G MOSSI
G VALENTINI
AM MONTANARI
A CORELLI
G VISCONTI
F GEMINIANI
Concerto grosso in D Op 3 No 12
Concerto grosso Op 4 No 11
Concerto for strings in a minor Op 7 No 11
Concerto grosso in A
Concerto grosso Op 6 No 11
Concerto for two violins in B flat
Concerto grosso in d minor after
Corelli Op 5 No 12 'Follia’
All Roads lead to Rome
Director & harpsichord Lars Ulrik Mortensen
Concertmaster Bojan Čičić
G MUFFAT
GF HANDEL
GF HANDEL
A CORELLI
A CORELLI
G MUFFAT
Sonata II in g minor Armonico Tributo
Ouverture in B flat HWV336
Sonata a5 in B flat HWV288
Concerto Grosso in D Op 6 No 4
Concerto Grosso in c minor Op 6 No 3
Sonata V in G Armonico Tributo
Myth and Magic
Director Paul Agnew
Soprano Élodie Fonnard
Soprano Rachel Redmond
Tenor Reinoud Van Mechelen
Bass-baritone Yannis François
Concertmaster Huw Daniel
JPh RAMEAU
H PURCELL
Pigmalion
The Fairy Queen (abridged)
EUBO 2012 Members
Violins Magdalena Cieślak
Anna Curzon
Dominika Fehér
Nadine Henrichs
Joanna Kaniewska
Jacek Kurzydło
Emma Lake
Claudia Norz
Lena Weckesser
Poland
UK
Hungary
Germany
Poland
Poland
UK
Austria
Germany
Violas Ricardo Cuende Isuskiza
Magdalena Bader
Annemarie Kosten-Dür
Spain
Germany
Austria
Cellos Petr Hamouz
Lea Rahel Bader
Czech Republic
Germany
Double Bass Zaynab Martin
UK
Flutes Anne Freitag
Annegret Polster
Germany
Germany
Oboes Robert Herden
Julia Bauer
Karen Gibbard
Germany
Germany
UK
Bassoons Karin Gemeinhardt
Kim Stockx
Theorbo Francesco Tomasi
Harpsichords Jean-Christophe Dijoux
Eloy Orzaiz Galarza
Singers Élodie Fonnard (soprano)
Rachel Redmond (soprano)
Reinoud Van Mechelen (tenor)
Yannis François (bass-baritone)
Simon Duus (bass-baritone)
Germany
The Netherlands
Italy
France
Spain
France
UK
Belgium
France
Denmark
EUBO 2012 Faculty
EUBO Directors
Lars Ulrik Mortensen
Margaret Faultless
Riccardo Minasi
Paul Agnew
Denmark
UK
Italy
UK
EUBO Concertmasters
Peter Spissky
Zefira Valova
Mechthild Karkow
Kinga Ujszászi
Bojan Čičić
Huw Daniel
Slovakia
Bulgaria
Germany
Hungary
Croatia
UK
EUBO Tutors
Lars Ulrik Mortensen (Music Director)
Margaret Faultless (Director of Studies)
Anton Steck (violin)
Sirkka-Liisa Kaakinen-Pilch (violin)
Jane Rogers (viola)
David Watkin (cello)
Maggie Urquhart (double bass)
Katharina Arfken (oboe)
Györgyi Farkas (bassoon)
Patrick Ayrton (harpsichord)
Simon Neal (tuning & temperament)
EUBO Tour Management
Paul James
Emma Wilkinson
Noora Heiskanen
Simon Neal
European Union Baroque Orchestra
Hordley, Wootton, Woodstock,
Oxfordshire OX20 1EP, UK
T: +44 1993 812 111
F: +44 1993 812 911
E: [email protected]
W: www.eubo.eu
Denmark
UK
Germany
Finland
UK
UK
UK
Germany
Hungary
France
UK
UK
UK
Finland
UK
4|5
It is real honour to support the cultural activities
of the European Union Baroque Orchestra. In
search of talented young Europeans to interpret
baroque pieces, this Orchestra uncovers the most
beautiful gems of our musical heritage and the
diversity of its influences and sources of
inspiration. EUBO’s hallmark is this harmony between our musical
heritage and the vigour with which it is interpreted by young
performers. It is a harmony which arouses our curiosity and
stimulates our desire to rediscover this unique heritage. It feeds our
taste for music. It is also our best asset for defending the living
culture which is common to us all. As my friend Jordi Savall aptly
put it, ‘Giving a voice to this legacy, unique in its richness and
precision, ...cannot heal but revives the hope of healing’.
It is a pleasure to see how the European Union
Baroque Orchestra has become, since its
creation, one of the most renowned
ambassadors for music in Europe. Once again,
young talented musicians from different EU
countries come together for one year to perform
concerts across the continent. They bring baroque music, part of
our shared cultural heritage, to audiences and, what is more, they
are a living and compelling symbol of European integration. Joining
the Orchestra will be a personally enriching and professionally
inspiring experience for all involved. Their mission is not just to
delight audiences but also to embody the breaking down of borders
and the creation of unity from diversity which is at the heart of the
European Union’s approach to culture. I am very proud of the fact
that the European Commission has been continuously supporting
the Orchestra under the Culture Programme. For the coming tour
and concerts I sincerely wish the Orchestra and its members every
success and many enchanted audiences.
The residency of the EUBO in Echternach and the
series of concerts « Echter’Barock » will once
again make this historic town a centre point for
baroque music. If Luxembourg did not really
have a tradition in the domain of this musical
canon before, then the presence of the EUBO in
Echternach has definitely motivated us to venture in that musical
direction today. I strongly encourage our young music students to
acquaint themselves with this music and to be adventurous in their
musical studies. Not only does the EUBO provide an artistic
presence of the highest calibre, but a melting pot of young people
from different countries, cultures and traditions. I also salute the
first steps that the EUBO has taken to establish itself in the Greater
Region. Let us take advantage of this positive energy and cultural
enrichment that this can offer us. I hope that the young members of
the orchestra feel at home with us during their preliminary work so
that they can deliver their enthusiasm during their much anticipated
tours at the four corners of Europe.
Mrs Androulla Vassiliou, Member of the European Commission,
Commissioner for Education, Culture, Multilingualism, Sport,
Media and Youth
Octavie Modert, Minister for Culture, Grand Duchy of Luxembourg
José Manuel Barroso, President of the European Commission
EU Ministers of Culture
Claudia Schmied
Austria
Fadila Laanan
Belgium
Joke Schauvliege
Belgium
Isabelle Weykmans
Belgium
Vezhdi Rashidov
Bulgaria
Giorgos Demosthenous
Cyprus
Alena Hanáková
Czech Republic
Uffe Elbæk
Denmark
Rein Lang
Estonia
Paavo Arhinmäki
Finland
Aurélie Filippetti
France
Bernd Neumann
Germany
Tatiana Karapanagioti
Greece
Miklós Réthelyi
Hungary
Jimmy Deenihan
Ireland
Lorenzo Ornaghi
Italy
Žaneta Jaunzeme-Grende
Latvia
Arūnas Gelūnas
Lithuania
Octavie Modert
Luxembourg
Mario de Marco
Malta
Halbe Zijlstra
The Netherlands
Bogdan Zdrojewski
Poland
Francisco José Viegas
Portugal
Puiu Hasotti
Romania
Marek Maďarič
Slovakia
Žiga Turk
Slovenia
José Ignacio Wert Ortega
Spain
Lena Adelsohn Liljeroth
Sweden
Jeremy Hunt
United Kingdom
6|7
European Union Baroque Orchestra
Cultural Ambassador for the European Union
Each year EUBO offers talented young musicians from all over
the EU the unique opportunity to gain performing experience
which enables them to bridge with confidence the gap
between conservatoire study and the professional world.
Inspired and enriched by their experiences with EUBO, the
majority go on to perform regularly with most of Europe’s
finest orchestras and ensembles, and to teach in the world’s
most celebrated conservatoires.
The European Union Baroque Orchestra is like no other orchestra:
a veritable “harmony of nations” with completely new personnel
auditioned and selected every year. It is this ephemeral existence
which makes EUBO’s concerts so special and original: lively fresh
performances enjoying all the technical accomplishment of the
best young baroque musicians in Europe, allied to an infectious
undimmed sense of discovery and enjoyment.
Each EUBO season commences with audition courses in its
home city of Echternach in Luxembourg, where EUBO is proud to
be the “orchestra-in-residence”. The new orchestra comes
together in July for intensive training and rehearsals, followed
typically by about 35 public performances over the following six
months, planned as five international tours under the
inspirational guidance of Lars Ulrik Mortensen and fellow worldclass guest directors. Each tour is prepared by a different director
and concertmaster, exposing the young players, who perform on
period instruments, to a variety of influences and styles, and
widening their network of professional contacts. The five different
programmes, which cover many orchestral works central to the
baroque period, such as Bach Suites and Handel Concerti Grossi,
are chosen to complement each other and to broaden and
improve the emerging musicians’ repertoire, skills and
understanding. At the end of the year, the orchestra disbands and
the whole process starts all over again.
The tours take EUBO to all corners of Europe – from prestigious
city concert halls, to seaside summer festivals, to monasteries
nestling in autumnal forests, and to winter celebrations in
beautiful churches. Since 1985 EUBO has reached millions
through its 800 performances in 53 different countries, and
launched the careers of over 750 musicians. As well as all 27 EU
countries, the Orchestra has included many less-frequented
places in its tours, from Bosnia to Brazil, Gaza to Gozo,
Macedonia to Morocco, Soweto to Syria…
And at the centre of these great arcs of international travelling
EUBO has established residencies: most notably in Echternach in
Luxembourg, and in Amilly in France, Kloster Michaelstein in
Germany, Pavia in Italy, Gent in Belgium, and from 2013 in
London at St John’s Smith Square; each of them a centre of
excellence for baroque music.
Concert performances alone cannot sustain EUBO’s activities:
loyal corporate sponsors are essential, as are significant
contributions from the Ville d’Echternach and the Ministry of
Culture in Luxembourg, and above all a grant from the European
Commission’s culture programme. Flying the flag for Europe,
“EUBO is”, as EC President José Manuel Barroso says, “a perfect
symbol of the power of integration, a subtle and potent
instrument of harmonisation between people and nations”.
Inspired performance. Real experience.
“ All the technical accomplishment in the world
allied to an infectious, undimmed sense of
enjoyment and discovery. Rarely have I seen so
much smiling communication and listening
between musicians on a concert stage. EUBO's
concert was a delicate, joyous gem…
wonderful uplifting stuff.”
The Daily Telegraph (London, 20 December 2011)
EUROPE DAY
Director & harpsichord Lars Ulrik Mortensen
Concertmaster Peter Spissky
Bass-baritone Simon Duus
Trumpet Sebastian Philpott
L VAN BEETHOVEN
European Anthem
G TORELLI
Sonata in D for trumpet & strings
JS BACH
Brandenburg Concerto No 3 in G
JS BACH
‘Ich habe genug’ BWV82
JA SCHEIBE
Sinfonia in B flat
GF HANDEL
Concerto Grosso HWV320
GF HANDEL
For biographical details of Lars Ulrik Mortensen please refer to page 11.
PETER SPISSKY
Concertmaster
Peter Spissky studied violin at the Music
Academy in Bratislava, Slovakia and the
Music Academy in Malmö, Sweden. He is
now concertmaster for Concerto
Copenhagen and with them is involved in
concert tours to, for example, the
Musikverein in Vienna, Concertgebouw
Amsterdam, USA and Japan, and
recordings, with conductors such as Lars
Ulrik Mortensen, Paul Hillier, Andrew
Lawrence-King and Alfredo Bernardini. In 2009 Peter Spissky co-founded
a new orchestra, Camerata Øresund, with a group of the younger
generation of Scandinavian players. Camerata Øresund made its debut
in November 2010 with a series of concerts called ‘Bach on the Bridge’
(hinting at the Øresund bridge connecting south Sweden with
Denmark). Peter Spissky teaches baroque violin at the Musikhögskolan i
Malmö, Det Kongelige Danske Musikkonservatorium in Copenhagen
and gives masterclasses all around Scandinavia. In September 2010 he
was accepted at Lund University for doctoral research programme.
Arias from Messiah HWV56 including ‘Trumpet shall sound’
SIMON DUUS
Bass-baritone
EUBO celebrated Europe Day, 9 May 2012, with a concert at St John’s
Danish bass-baritone Simon Duus graduated in 2011 from the Opera
Academy at The Royal Danish Theatre as a
student of singing teacher Susanna Eken.
This season he has sung an acclaimed
Seneca in Monteverdi's L'Incoronazione di
Poppea at Københavns Musikteater and
concert performances of works by JS Bach
including the Mass in b minor and Wachet
auf, ruft uns die Stimme, Handel's Messiah
and Mozart's Requiem. He received a
Léonie Sonning Music Foundation
Scholarship in 2010 and was a student at the Académie Européenne at
the festival in Aix-en-Provênce, studying Mozart roles such as Figaro,
Nardo, Sprecher and Leporello. He has been coached by Fiona
McSherry, Rachel Andrist, Martin Isepp, Dominic Eckersley, Peter Berne,
Smith Square in London, at the invitation of the European Commission
and under the auspices of the Danish Presidency of the European Union.
Ouri Bronchti and James Johnson. He has participated in masterclasses
with Mikael Eliasen, Tina Kiberg and Mireille Delunsch. Handel roles such
as Zebul (Jephtha), Zoroastro (Orlando) and Re di Scozia (Ariodante)
are in his repertoire, but his debut at The Royal Theatre Copenhagen
was Shchelkalov in Boris Godunov, and throughout his education he has
been interested in works of the later composers.
Violin I
Liv Heym
Lucia Giraudo
Federico Brigantino
Eveleen Olsen
Violin II
Lorea Aranzasti Pardo
Gemma Longoni
Davina Clarke
Klaudia Matlak
Justyna Niznik
Viola
Femke Huizinga
Lola Fernandez Mateos
Ildiko Ludwig
Cello
Gulrim Choi
Federico Toffano
Carina Drury
Double Bass
Pippa Macmillan
Harpsichord
Tom Foster
Germany
Italy
Italy
UK
Spain
Italy
UK
Poland
Poland
The Netherlands
Spain
Germany
France
Italy
Ireland
UK
UK
Following the success of the
Europe Day 2012 concert
EUBO has been invited to be "Artist-in-Residence"
at St John’s Smith Square from 2013.
8|9
ECHTER’BAROCK 2012
From 10 to 16 April 2012
Trifolion
Orchestral Courses
Thursday 19 July 20:00
Église SS Pierre-et-Paul
Danse des Zéphirs
Sunday 16 September 19:00
Haus Beda in Bitburg, Germany
Baroque Splash!
Wednesday 17 October 20:00
Trifolion
Corelli’s Legacy
Thursday 13 December
Trifolion
Workshop
Friday 14 December 20:00
Trifolion
Myth and Magic
From 02 to 08 April 2013
Trifolion
Orchestral Courses
Ville d’Echternach
“ The residency of the EUBO in Echternach and the
series of concerts “Echter’Barock” will once again
make this historic town a centre point for baroque
music….I strongly encourage our young music
students to acquaint themselves with this music.
Let us take advantage of this positive energy and
cultural enrichment that this can offer us.”
Octavie Modert, Minister of Culture, Luxembourg
EUBO’s residency and activities in Echternach are made
possible by grants from the Ville d’Echternach and the Ministry
of Culture in Luxembourg, in partnership with the Festival
International Echternach and Trifolion – Centre Culturel,
Touristique et de Congrès Echternach and in association with
the École de Musique Echternach and the Conservatoire de
Musique de la Ville de Luxembourg. In 2012 EUBO will be
performing in the ‘Grande Région’, including for the first time in
Bitburg, as part of the “Echter’Barock” series.
“ Echternach, the oldest town in Luxembourg
and situated at the heart of Europe, has
always tried to support the education of
young people. The multitude of associations,
sports clubs and cultural institutions and
organizations in our town is a testament to
this. So it is a pleasure to be involved in this
field on a European level, and offer young and
talented baroque musicians a residency in
Echternach, where they have the possibility to
show what they are capable of and deepen
their experience. I am delighted to announce
that the residency has recently been extended
for a further three years until 2015. The young
musicians are not the only ones to profit from
this symbiosis: the series of concerts
“Echter’Barock“ given annually by the
European Union Baroque Orchestra, in cooperation with the Cultural Centre Trifolion,
the Festival International Echternach and the
Ville d’Echternach, is an important cultural
enrichment for the city, and one which brings
profile and visibility to our cultural life, high
level international cultural contacts, and
supports local enterprises. It is an honour for
me to welcome the European Union Baroque
Orchestra back to Echternach for their 2012
concerts and to wish the Orchestra every
success for this year’s tours, to each individual
musician a fulfilling musical career and a good
memory of our town, and to all their listeners
a highly enjoyable concert experience.”
Théo Thiry, Bourgmestre (Mayor), Ville d’Echternach, Luxembourg
Children’s Echter’Barock Competition
In June 2012 EUBO
organised a competition in
the ‘Grande Région’ for music
students aged from 6 to 12
years, in collaboration with
the École de Musique
Echternach, to design a
poster for the Orchestra by
colouring the Echter’Barock
logo with imaginative
combinations of colours.The
overall winner was Alissa
Franz (12) who wins a cash
prize and tickets to EUBO’s
concerts. Over 50 entries
were received with the
winners in each age group
winning tickets.
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10 | 11
DANSE DES ZÉPHIRS
Director & harpsichord Lars Ulrik Mortensen
Concertmaster Zefira Valova
JF REBEL (1666-1747)
Les Elémens
Le Cahos – Loure: La Terre et l’Eau – Chaconne: Le Feu – Ramage –
Rossignolo – Loure – 1er tambourin – 2e tambourin – Sicilienne – Rondeau
We start this concert programme with probably the most shocking
movement of the entire repertoire of baroque music, namely Rebel’s
representation of chaos, of the world before creation, the first
movement of his suite Les Elémens. This movement depicts the darkness
before creation, by sounding all the notes of the scale simultaneously, in
an absolute discord: no order, no structure, the individual elements earth,
wind, water and fire have not yet emerged and there is utter chaos; as
the suite continues, gradually an order, a structure, is imposed on the
world. This piece of music is basically a tone poem. In my opinion, France
has always been the country where the illustration of scenes, images,
ideas or moods in music has had a particular value and I actually don’t
think the distance from Rebel and his Elémens to Debussy and Ravel and
their orchestral music is very far. EUBO will then perform music by
Charpentier, a contemporary of Lully. His responsorium Pour un
Reposoir is a sacred piece and again a ‘mood’ piece; it is not an
illustration of anything specific, but the music for the time in a church
service where reflection and contemplation is due. This is exactly what
this music evokes and should provoke and trigger.
(Air pour l’Amour) – Caprice (Rondeau)
MA CHARPENTIER (1643-1704)
Pour un reposoir H508
Ouverture – Tantum ergo – Quand les prestres auront chanté Tantum ergo –
Amen – Allemande grave
More illustrative music by Rebel follows, namely a piece of music where
Rebel shows the different styles of dance. Dance and dance forms in
France were in fact the basis of most instrumental music, and Rebel here
creates a kaleidoscope showing all the characteristic features of dances
like the gavotte, the menuet, the sarabande, the chaconne, before ending
the piece with a very happy and exuberant and virtuosic close that
brings the first half of the concert to an appropriate end.
JF REBEL
Les Caractères de la Danse
[Prélude – Courante – Menuet – Bourrée – Chaconne – Sarabande – Gigue –
Rigaudon – Passepied – Gavotte – Sonate – Loure – Musette – Sonate]
Interval
JPh RAMEAU (1683-1764)
Opera Suite “Danse des Zéphirs”
dances from the operas Zaïs, Les Boréades and Platée
Ouverture – Entrée – Gavottes pour les suivants de Borée/pour Orithié –
Passepieds – Air andante – Les vents – Air pour Borée – Entrée de Polymnie –
Rigaudons pour les Zéphirs – Gavottes pour les Heures et les Zéphirs – Orage
The second half of the programme consists of a suite by, in my opinion,
the greatest French composer of all, Jean-Philippe Rameau. For this suite,
I have not selected dances from a particular opera but from three
different operas. We start with the overture from Zaïs, an otherwise
unknown opera by Rameau, which interestingly enough also begins with
a depiction of chaos. This looks back to the Rebel which opened the
concert, and again is music which begins completely unstructured,
completely confused, completely incidental and which then only gradually
assumes the form that we would expect.
The movements that follow are mostly about winds, hence our calling
the suite the ‘dance of the winds’, ‘danse des zephirs’. Many of the
selected movements are from Rameau’s Les Boréades and describe
winds of various intensity, ferocity and strength; others are dances
dedicated to the god of the north wind Borée, after whom the opera is
named. The suite ends with a bang, with a tempest from Rameau’s Platée
where all four elements once more combine to create music of
astonishing force and intensity.
Lars Ulrik Mortensen
19 July
Echter'Barock
SS Pierre et Paul
Echternach
Luxembourg
22 July
Festival Glasperlenspiel
Church of St John
Tartu
Estonia
24 July
Música Antiga dels Pirineus
Església de Sant Domènec
Puigcerdà
Spain
LARS ULRIK MORTENSEN
Director and harpsichord
ZEFIRA VALOVA
Concertmaster
When Lars Ulrik Mortensen began studying musicology at university, he
came across a book about English music for the virginal – he was
fascinated, and it led him to the harpsichord. It was love at first delicate
note: Lars Ulrik Mortensen decided to become a harpsichordist.
In 2006 Zefira obtained both her Bachelor and Masters degrees from
the National Music Academy in Sofia. Subsequently, she studied baroque
violin with Anton Steck and Lucy van Dael
and has been a prize-winner at several
international competitions. With Concerto
Antico she has performed at the Festival
de Musica Antiga Barcelona and at the
Oude Muziek Festival in Utrecht. In 2007
she initiated the foundation of the Sofia
Baroque Arts Festival. From 2003 until
2008 she was concertmaster of Classic FM
Radio Orchestra Sofia and the Sofia Festival Orchestra, and in 2007 she
was concertmaster with the Dutch National Youth Orchestra. She was a
member of EUBO 2008 working with Roy Goodman, Lars Ulrik
Mortensen and Enrico Onofri, and a concertmaster with EUBO under
the direction of Petra Mullejans in 2009, Ton Koopman in 2010 and
Alexis Kossenko in 2011.
He studied first in Copenhagen and then in London, becoming harpsichordist with London Baroque and Collegium Musicum 90. In 2004, after
a long association with the European Union Baroque Orchestra as
harpsichord tutor and guest director, Lars Ulrik Mortensen became its
Music Director. With EUBO in 2012, he will give 15 concerts in 10
European countries. A Financial Times reviewer, writing after a EUBO
concert, said “Mortensen is exceptional not just for his scholarship and
virtuosity at the keyboard, but also because he makes music with his
entire body and soul.”
In his home country Lars Ulrik is the artistic
director of Concerto Copenhagen (CoCo),
whose opera productions at the Royal
Theatre in Copenhagen have helped to
build a profile for the group nationally and
internationally. In addition to his work with
his “own” orchestras, Lars Ulrik also
performs extensively as guest director, soloist and chamber musician in
Europe, the United States, Japan and Australia, with distinguished
colleagues including Emma Kirkby, Susanne Rydén, Maria Keohane, John
Holloway and Jaap ter Linden. Lars Ulrik Mortensen’s many CD
recordings have reaped major awards. Directing Concerto Copenhagen,
his recent recordings include the complete harpsichord concertos by JS
Bach, Haydn piano concertos (with soloist Ronald Brautigam), as well as
symphonies by Danish composers Hartmann, Kunzen and Gerson.
Lars Ulrik Mortensen has received a number of prizes, among them the
Danish Music Critics Award, the Danish Radio DMA/P2 award, and in
2007 he received Denmark’s most prestigious music award, the Léonie
Sonning Music Prize. In 2008 he was made a member of the Royal
Swedish Academy of Music.
EUBO is pleased to launch its new
'residency partnership' with De Bijloke in
Gent, Belgium, with performances on
Friday 2 November and Saturday
15 December 2012.
25 July
Música Antiga dels Pirineus
Església
Ribes de Freser
Spain
27 July
Festival Seviqc Brežice
Slovenian Philharmonic
Ljubljana
Slovenia
28 July
Festival Seviqc Brežice
Castle
Slovenska Bistrica
Slovenia
02 November
De Bijloke
Gent
Belgium
She has appeared as soloist with the Academic Symphony Orchestra
Sofia, Chamber Orchestra Orpheus, Ars Barocca Ensemble, and recently
she has played with the Holland Baroque Society, La Chambre
Philharmonique, Ensemble Matheus, Arte dei Suonatori, Ensemble
Cordevento, Wroclaw Baroque Orchestra and Lutherse Bach Ensemble.
She is a founder member with Alexis Kossenko of Les Ambassadeurs.
In 2009 Zefira Valova was a prize-winner in the competition of the
Jumpstart Junior Foundation, which provides original historical
instruments to talented young musicians.
EUBO is proud to announce that it will continue as
“Orchestra-in-Residence” in Echternach for a further 3 years
(2013-2015), in partnership with the Ville d’Echternach,
Trifolion Centre Culturel, Touristique et de Congrès and the
Festival International Echternach.
Ville d’Echternach
04 November
Concerto Gandersheim
Stiftkirche
Bad Gandersheim
Germany
12 | 13
BAROQUE SPLASH!
Director & violin Margaret Faultless
Concertmaster Mechthild Karkow
GPh TELEMANN (1681-1767)
Wassermusik ‘Hamburger Ebb und Fluth’ TWV 55:C3
Ouverture: Hamburger Ebb und Fluth - Sarabande: Die schlaffende Thetis Bouree: Die erwachende Thetis - Loure: Der verliebte Neptunus - Gavotte: Die
spielenden Najaden - Harlequinade: Der scherzende Tritonus - Der sturmende
Aeolus - Menuet: Der angenehme Zephir - Gigue: Ebbe und Fluth - Canarie:
When devising a concert programme to include works by the three
giants of the German high baroque, one is bound to include some of the
finest repertoire of the age and in doing so will create a celebration of
the sound world of the grand baroque orchestral style.
Telemann’s ‘water’ music, written for the centenary of the Hamburg
Admiralty, includes some representational elements but most of the
movements are wonderfully standard dance forms of the 18th century
with quirky, evocative, rather charming titles. Handel's Water Music was
famously premiered on a barge on the River Thames after King George I
had the idea of a watery idiosyncratic venue for an event.
The formality of the concert hall was clearly not so firmly established in
the 18th century, nor were rigid composing traditions. Many composers
re-worked their material for different combinations of instruments and
'arranged' pieces for different occasions; there was little or no precedent
for playing 'old' music so invention was the order of the day. Bach's
fourth orchestral suite began its life as a version for strings and wind –
and was only later reworked to include trumpets and timpani, and then
yet again adding a choir.
Die lustigen Bots-Leute
JS BACH (1685-1750)
Orchestral Suite No 4 in D Major BWV1069 (original version)
Ouverture - Bourree I & II – Gavotte - Menuet I & II – Rejouissance
Like Telemann and Handel, Bach explores the conventions of the French
ouverture during the first movement and then uses many dance forms,
all totally familiar to the audience of the day, some conventionally and
others with a delicious twist that breaks with convention, but all with the
genius that has kept his music alive for the past 300 years.
Margaret Faultless
Interval
GF HANDEL (1685-1759)
Water Music Suite
Ouverture – [Allegro] – Rigaudon – [Allegro] – Andante – Air – Menuets –
Andante – [Gigue] – [Gigue] – Bourrée – Hornpipe
EUBO has enjoyed a 'residency partnership'
with the Ville d'Amilly since 2005. The
rehearsals in 2012 are hosted by Les Jardins
d’Agrément, an association promoting early music in Amilly,
and culminate in a concert at the Église St Martin on Friday
7 September 2012.
07 September
Les Jardins d’Agrément
Église St Martin
Amilly
France
09 September
Banchetto Musicale
Šv Kotrynos bažnyčia
Vilnius
Lithuania
11 September
Goldberg Festival
Holy Trinity Church
Gdańsk
Poland
13 September
Korkyra Baroque Festival
St Nicholas Church
Korčula
Croatia
15 September
Musica Viva
Ehemalige Kirche
Osnabrück/Hagen
Germany
MARGARET FAULTLESS
Director & violin
MECHTHILD KARKOW
Concertmaster
Margaret Faultless is an internationally renowned
violinist – a specialist in historical performance
practice and in great demand, particularly as a
concertmaster and
director. Since 1989 she
has been a leader of the
Orchestra of the Age of
Enlightenment (OAE),
working with Sir Simon
Rattle, Sir Roger
Norrington, Ivan Fischer,
Mark Elder and Vladimir
Jurowski in diverse repertoire at major venues in, for
example, London, Glyndebourne, Salzburg and New
York. She directed OAE on their first trip to Mexico
and more recently in a series of Italian baroque
programmes. For over 12 years Margaret led the
Amsterdam Baroque Orchestra (ABO) under Ton
Koopman with whom she recorded all the Bach
cantatas, including every obbligato for violin, violin
piccolo and viola d¹amore. As a soloist with the ABO,
she made her BBC proms debut in 1997 and in 2005
released a CD of music by Locatelli to critical
acclaim. She founded the ensemble Music for Awhile
in 1996 and has directed the group in many
programmes including English baroque opera,
sequences of poetry with music, and recordings with
flautist Wilbert Hazelzet and harpsichordist Matthew
Halls. For over a decade Margaret was Artistic
Director of Devon Baroque with whom she directed
many performances, including oratorio and opera,
frequently working with soloists Emma Kirkby and
Michael Chance. Margaret was a member of The
London Haydn Quartet for a decade. As a duo with
pianist Adrian Partington she is performing, in
particular, sonatas of Beethoven and Brahms. Herself
a graduate of Cambridge University, Margaret has
established a baroque project there. She lectures on
performance practice, is Director of Studies of the
European Union Baroque Orchestra and has recently
been appointed Head of Historical Performance at
the Royal Academy of Music in London.
Mechthild Karkow was born in Emden, Germany. Her
performing career began whilst she was studying at
the music academies of Lübeck, Hannover, Frankfurt
and at the Schola Cantorum Basiliensis in Basel. She
initially studied modern violin with Nora Chastain in
Lübeck and Winterthur/Zürich, and following this she
was a student of Ulf Schneider at the HMT
Hannover, where she graduated with distinction in
2005. Since 2002 one of Mechthild Karkow's
interests has been historical performance practice.
She has had lessons with John Holloway, Simon
Standage and Anton Steck, amongst others. In 2006
she began specialising in baroque violin, studying with
Petra Müllejans at the HfMDK in Frankfurt and with
Chiara Banchini at the Schola Cantorum Basiliensis,
receiving a Master of Arts with distinction in June
2010. In addition to this she has been studying
historical improvisation with Rudolf Lutz at the SCB
since 2009. Mechthild Karkow regularly appears as a
soloist, concertmaster and chamber musician in
numerous early music ensembles, and she has
performed in various European festivals including the
Internationale Händel Festspiele in Göttingen and in
Halle, the Neue Forum für Alte Musik Zürich, the
Festival Seviqc Brežice, the York Early Music Festival,
and the Schleswig Holstein Musikfestival. She has
worked with various
conductors including
Marc Minkowski, William
Christie and Nikolaus
Harnoncourt, and
performs with many
baroque orchestras
including Ensemble
Baroque de Limoges,
Orchestra of the Age of Enlightenment, Ensemble
415 and Freiburger Barockorchester. Mechthild was a
member of EUBO in 2007. Mechthild Karkow is a
musician of the foundation Yehudi Menuhin – Live
Music Now, and winner of the International
Competition for Baroque Violin “Bonporti 2007”
in Rovereto, Italy; she received a special prize from
the jury at the International Bach Competition in
Leipzig 2010.
16 September
Echter’Barock
Haus Beda
Bitburg
Germany
14 | 15
CORELLI’S LEGACY
Director & violin Riccardo Minasi
Concertmaster Kinga Ujszászi
P CASTRUCCI (1679-1752)
Concerto grosso in D Op 3 No 12
Introduzione: Allegro - Adagio Andantino - Allegro - Gavotta Andante Finale con Eco: Andantino
G MOSSI (c1680-1742)
Concerto grosso in e minor Op 4 No 11
Allegro - Adagio - Allegro
G VALENTINI (1681-1753)
Concerto for four violins, viola and cello concertanti in a minor
Op 7 No 11
Largo - Allegro - Grave - Allegro - Presto
AM MONTANARI (1676-1737)
Concerto grosso in A
Adagio - Allegro - Grave - Vivace
Interval
A CORELLI (1653-1713)
Concerto grosso Op 6 No 11 in B flat
Preludio: Andante Largo - Allemanda: Allegro - Adagio - Largo - Sarabanda:
The lionising of Arcangelo Corelli, known as ‘il Bolognese’, during his lifetime no doubt contributed to the revival of Rome as the European capital of
culture at the beginning of the eighteenth century.
Key elements of the spread throughout Europe of Corelli’s reputation were the continuous growth of major violin schools deriving directly or indirectly
from the school of “il Bolognese”, the adherence to his aesthetic vision by composers belonging to the operatic world which was increasingly in vogue,
and especially the continued commitment to popularizing his message abroad by those who had the good fortune to study personally with Corelli, (or
perhaps the unstoppable flight abroad of Italian violinists looking for new and more stable employment opportunities, still as timely as ever).
Largo - Giga: Vivace
G VISCONTI (1683-1713)
So listening to this programme you will come across many different European styles, from some of the most famous works of Corelli to those of lesserknown composers such as Pietro Castrucci, Giovanni Mossi, Giuseppe Valentini and Antonio Montanari; a rich mix of formal and aesthetic visions,
though all refined through the same profoundly Roman ‘filter’.
Concerto for two violins in B flat
Allegro - Grave - Presto sempre staccato
Maybe it is not true that “all roads lead to Rome”; certainly the experience of the composers featured in this programme is that everything starts from
the eternal city!
F GEMINIANI (1687-1762)
Riccardo Minasi
"Follia" Concerto grosso Op 3 No 12 after Corelli Op 5 No 12
Theme & variations
11 October
Teatru Manoel
Valletta
Malta
13 October
Kempen Klassik
Paterskirche
Kempen
Germany
14 October
Musik im Schloss
Schlosskirche
Bad Homburg
Germany
RICCARDO MINASI
Director & violin
Riccardo Minasi, was born in Rome in 1978. He has performed both as soloist and
concertmaster with Jordi Savall’s Le Concert des Nations, Accademia Bizantina,
Concerto Italiano, Il Giardino Armonico, Al Ayre Español, Orchestra dell’Accademia
Nazionale di S.Cecilia and the Orchestra of the Teatro Real of Madrid. He has also
worked with René Jacobs and Concerto Vocale, Ensemble 415, Viktoria Mullova,
Albrecht Mayer, Christophe Coin and Reinhard Goebel.
As a conductor he has conducted the Kammerakademie Potsdam, Zurich Kammerorchester, Balthasar Neumann
Ensemble, Australian Brandenburg Orchestra, Orquesta Barroca Argentina, L'Arpa Festante, Recreation-Grosses
Orchester of Graz, Attersee-Akademie Orchestra, ensemble Resonanz, Il Complesso Barocco and the Helsinki
Baroque Orchestra, of which he has been the associate director since 2008. In 2006 he was invited to conduct
the opening concert of the Camerata Strumentale Fiesolana – the most recent ensemble created at the Scuola
di Musica di Fiesole. In 2010 he worked as assistant conductor, concertmaster, curator and editor of the critical
edition (in collaboration with Maurizio Biondi) of the upcoming publication of the opera Norma by Vincenzo
Bellini with Cecilia Bartoli and Thomas Hengelbrock. From 2004 to 2010 he was professor of chamber music at
the Conservatorio V. Bellini of Palermo.
He has also given violin and baroque orchestra masterclasses, and lectures in historical practice at the Longy
School of Music in Cambridge (USA), the Sibelius Academy of Helsinki, the Chinese Culture University of Taipei
(Taiwan), the Kùks Residence in the Czech Republic, at the Scuola di Musica di Fiesole, and, as the Italian representative of the jury in 2009, at the auditions for the European Union Baroque Orchestra (EUBO), which he will
direct for the first time in 2012. His recording of Biber’s Rosenkranz Sonatas published by Arts was a finalist at
the Midem Classical Award in Cannes.
KINGA UJSZÁSZI
Concertmaster
Hungarian violinist Kinga Ujszászi began her musical training at the age of four.
After graduating from the Franz Liszt Music Academy in Budapest she moved to
London to study at the Royal Academy of Music with Igor Petrushevski. Shortly
after arriving she also started to have baroque violin lessons with Simon Standage,
later studying Historical Performance with Matthew Truscott at RAM, and playing
in masterclasses for Rachel Podger and Enrico Onofri.
In 2010 she took part in the Monteverdi Apprenticeship Scheme under Sir John Eliot Gardiner and has been
playing with his ensembles since. She was a member of the European Union Baroque Orchestra in 2010, and is
a participant of the Orchestra of the Age of Enlightenment's Experience Scheme 2012. Kinga has toured
throughout Europe and Asia with various orchestras and chamber groups, including the Gustav Mahler
Jugendorchester and the Hungarian Philharmonie Orchestra. She has played with the BBC National Orchestra
of Wales and has worked with Sir Colin Davis, Sir Charles Mackerras, Trevor Pinnock and Vladimir Ashkenazy.
She plays with the International Baroque Players and also with the Wallfisch Band and the Gabrieli Players. She
leads the chamber music group Spiritato! which is currently part of the Brighton Early Music Live scheme. They
have performed live on BBC Radio 3 and their first CD, First Act, will be released in 2012.
16 October
Cultural Ambassador Showcase
By invitation only
Brussels
Belgium
17 October
Echter’Barock
Trifolion
Echternach
Luxembourg
October 2012 will be the third visit by EUBO to Malta, but its rehearsals and
concert in Valletta this year will mark its first as "Artist-in-Association" with the
baroque Teatru 'Manoel' .
16 | 17
ALL ROADS LEAD TO ROME
Director & harpsichord Lars Ulrik Mortensen
Concertmaster Bojan Čičić
G MUFFAT (1653-1704)
Sonata II in g minor from Armonico Tributo
Sonata – Allemanda – Gavotta – Menuet
GF HANDEL (1685-1759)
Ouverture in B Flat HWV 336
Largo – [Allegro]
GF HANDEL
Sonata a5 in B flat HWV 288
Andante – Adagio – Allegro
[soloist Bojan Čičić]
A CORELLI (1653-1713)
Concerto Grosso in D Op 6 No 4
The theme for this EUBO
programme is music in Italy around
1700 – music composed slightly
before the turn of the century,
music composed in 1700 and music
composed slightly after, together
forming a kaleidoscope of
instrumental music as might have
been heard in Rome at that time.
The programme begins and ends
with two suites by one of my
favourite 17th century instrumental
composers, Georg Muffat, who
throughout his life wrote a variety
of works for instrumental
ensembles. Some of his works were
composed in Austria before he went to Rome; some were composed in
France where the dance music of Lully and the instrumental performing
style at the French court was a great inspiration to him; and some
concerti grossi were composed under Corelli’s influence in Rome.
In these works we definitely hear the inheritance of Corelli but infused
with the very special warmth and intensity of Muffat’s language. Muffat’s
instrumental colours are less predictable than Corelli’s, one must say, and
the programme begins with one of my favourite movements, the slow
dark brooding introduction of the second Armonico Tributo concerto.
The concert ends with one of the most beautiful examples of the
passacaglia, the blues of the baroque, which really shows Muffat’s
emotional and musical and compositional powers to the very full.
Adagio/Allegro – Adagio/Vivace – Allegro
Interval
A CORELLI
Concerto Grosso in c minor Op 6 No 3
Largo – Allegro-Adagio – Grave – Vivace – Allegro
G MUFFAT
Sonata V in G from Armonico Tributo
Allemanda – Adagio – Fuga – Adagio – Passacaglia
We of course include also music by Corelli; his music formed the
‘standard’ of the day, music from which all other music took its inspiration,
and is in itself a model of perfection and the Italian language transformed
into inimitable music. And then we also have music by a talented young
provocateur, the Saxon Mr Handel, who visited Italy in a very early stage
of his life and was tremendously inspired by all the music he heard there,
not only the instrumental forms by Corelli and others but also by
contemporary opera.
We include two of his early works, one of which is basically a chamber
piece, a sonata, where the Corelli influence is very clearly audible. But we
hear Handel at the age of 22 or 23 already developing and evolving a
very personal musical language; his music is under Corelli’s shadow but
it’s very independent and gives a good inkling of what is to come in
Handel’s future life.
Lars Ulrik Mortensen
09 November
Stiftung Kloster Michaelstein
Kloster Michaelstein
Blankenburg
Germany
BOJAN ČIČIĆ
Concertmaster & soloist
Bojan Čičić originally graduated with a diploma in modern violin from
the Zagreb Academy of Music. After finishing his studies at the Paris
Conservatoire and The Guildhall School of Music and Drama with
François Fernandez and Rachel Podger, he embarked on a career as a
chamber musician and leader drawing on the vast and diverse musical
influences he was lucky to have gained in his formative years. He
regularly performs with leading ensembles and orchestras including The
Academy of Ancient Music, Orchestra of
the Age of Enlightenment and Florilegium.
In 2006 Trevor Pinnock asked him to be
one of the soloists in the European
Brandenburg Ensemble for their tour
throughout Europe and the Far East. Their
recording of Johann Sebastian Bach’s
Brandenburg Concertos won the
Gramophone Award in 2008. Since
becoming the principal violinist of the ensemble Florilegium in 2010, he
regularly leads this group in their various orchestral and chamber
projects in the most renowned concert halls: the Wigmore Hall, Royal
Festival Hall, Concertgebouw, Singapore. Future projects include leading
the ensemble La Nuova Musica for five recordings for Harmonia Mundi
USA with director David Bates, as well as an exciting tour with his own
group Suonar Cantando of Venetian, Croatian and Viennese baroque
music, taking place in Belgium and The Netherlands in 2012. He will lead
EUBO for the first time in 2012, with director Lars Ulrik Mortensen.
Bojan plays on a violin by F. Rugieri c1680, kindly loaned to him by the
Jumpstart Junior Foundation.
For biographical details of Lars Ulrik Mortensen please refer to page 11.
10 November
Greenwich Early Music Festival
Old Royal Naval College
Greenwich
UK
12 November
Oviedo Auditorium
Oviedo
Spain
14 & 15 November
Baroque Arts Festival
Sofia
Bulgaria
17 November
Philharmonie Merck
Stadtkirche
Darmstadt
Germany
EUBO Development Trust
The EUBO Development
Trust would like to
thank the following for
their support
What is the EUBO Development Trust?
EUBO began its
association with Kloster
Michaelstein in 1990 and
has rehearsed and
performed in the ancient
monastery, now a
research institute for
early music, nearly every
year since. This long
partnership has enabled a
dozen of the world’s finest
baroque directors to work
in association with EUBO
at Michaelstein.
“ My profession is very
far from the tumult of
arms and from the
reasons of state that
cause them to be
taken up. I occupy
myself with notes,
with words and with
sounds. I exercise
myself in the study of
a sweet symphony:
when I mingle French
airs with those of the
Germans and the
Italians, it is not in
order to incite a war,
but it is rather,
perhaps, a prelude to
the harmony of so
many nations and to
amiable peace.”
Georg Muffat
The EUBO Development Trust supports young European
baroque musicians at the start of their careers as well
as specific areas of the work of the European Union
Baroque Orchestra.
Why support EUBO?
It can be tempting to think of arts sponsorship as
more worthy than necessary. After all, the world will
not stop turning if – in EUBO’s specific case – talented
young musicians do not get the chance to develop into
skilled professionals, with a lifetime of service to music
ahead of them. And does it really matter if we never again
hear the masterpieces of the baroque performed in a historically informed style? Or performed at all? It is not a new
argument. But the price of neglect is potentially far greater than a
few hundred unfulfilled lives.
To support EUBO is to make an active contribution to continuing the (as yet) unbroken line that, along
the way, has given us Mozart, Beethoven, Brahms, Stravinsky, Ellington and The Beatles. In just 100
years out of the last 2,000 (between 1650 and 1750) music burst its formal and imaginative shackles
to lay the groundwork for everything that has followed. A revolution, in the finest sense of the word,
made possible almost entirely through the enlightenment of a handful of private philanthropists.
There are many more headline-grabbing causes than EUBO, from natural disasters to avoidable
diseases to environmental projects. They are to be honoured and supported too. But as well as, not
instead of. Most of us, at some point in time, have dreamed of devoting ourselves to an artistic or
other passion. But for most of us, the insecurities of such a life make it unliveable. Respect, then, to
those who are so driven by their passion for music that they can live that life, in spite of everything.
And respect to those who choose to use a portion of their wealth to support them. To the incalculable
benefit of all of us.
Nick Berry, Founder Trustee
EUBO Development Trust
prize winners Anne Freitag
(back right) and Lea Rahel
Bader (front right) in the
2012 European Union
Baroque Orchestra.
The EUBO Development Trust
gives awards to promising
young musicians at a number
of the most prestigious early
music competitions in Europe
including the MA
International Competition,
Brugge and the XVIII Bach
Competition, Leipzig.
In 2011 the EUBO
Development Trust prize was
awarded to Anne Freitag
(baroque flute) who was also
the overall winner of the MA
International Competition.
At the XVIII Bach
Competition, Leipzig in 2012,
the EUBO Development Trust
prize was awarded to Lea
Rahel Bader (baroque cello).
On 9 August 2012 the prize at
the MA International
Competition was
awarded to
Jean Rondeau
(harpsichord).
The Big Give
Ken and Vera Barnes
Nick Berry
Nan Brenninkmeyer
Charles Cozens
Struan and Jacqueline McBride
Alan and Clare Todd
Bernadette Bailey
Johanna Büker
Roy and Rosemary Croft
Van and Eva DuBose
Aloise Fiala-Murphy
Iain and Gillian Gray
Fiona Herron
Ivan Iliev
Paul James
John and Margaret Leighfield
Michael and Yvonne Musgrave
Simon Neal
Jose Phillips
Tony and Michelle Raper
Malaria Riksdottir
John and Alethea Rogers
Oliver Sändig
Sue Waldman
Emma Wilkinson
Friends and Alumni Donors
Sir Richard and Lady Aikens
Elise Becket Smith
Classical Communications
Huw Daniel
David Gordon and
Virginie Guiffray
Matthew Halls
Paul James
Margie McGregor
Simon Neal
Emma Wilkinson
Charitable Trusts supporting
UK musicians
Fidelio Charitable Trust for
support in 2011
Doris Field Charitable Trust for
support in 2012
By making a donation to the EUBO Development Trust, you can
be certain that you are playing a significant role in helping us
continue our vital work. To find out more about how you can
give, please contact Jose Phillips at EUBO Development Trust
on: T +44 1993 812 111 F +44 1993 812 911
E [email protected] www.eubodevelopmenttrust.org.uk
The EUBO Development Trust is a charity registered in the UK no. 1082932
Trustees: Ken Barnes (chairman), Sue Waldman, Anna Gustafson, Simon Neal, Alan Todd
18 | 19
MYTH AND MAGIC
Director Paul Agnew
Sopranos Élodie Fonnard & Rachel Redmond
Tenor Reinoud Van Mechelen
Bass-baritone Yannis François
Concertmaster Huw Daniel
JPh RAMEAU (1683-1764)
Pigmalion
Synopsis: Based on the myth as told in Ovid's Metamorphoses, the sculptor
Pigmalion creates a beautiful statue to which he declares his love. His
girlfriend, Céphise, begs for attention; Pigmalion spurns her and entreats the
goddess Venus to bring his statue to life. Magically the statue comes to life,
sings, and dances; Amour (Love/Venus) arrives and praises Pigmalion for his
artistry and faith in her powers. Celebrations follow, attesting to the power of
At first glance there is little in common between Henry Purcell’s semi-opera The Fairy Queen and Jean-Philippe
Rameau’s Pigmalion. They are not only divided geographically, but are born of different centuries, and yet both
are formed out of the turbulent maelstrom of musical styles that characterizes the end of the 17th century.
In the latter half of the 17th century it was French music, and specifically that of the court of Louis XIV that
dominated musical style and taste in northern Europe. On the restoration of the monarchy in 1660, Charles II
of England had created a musical establishment modelled on that of his cousin, Louis of France. His orchestra of
the ‘Twenty Four Violins’ was an exact copy of the ‘Vingt Quatre Violons’ directed with such flare and discipline
by Lully in Paris, and the musical directors appointed to the court by Charles were either French or immediately
sent to France to be educated in the French style. Much of the concert music that the young Purcell would
have heard in the London of his childhood and adolescence would have been French in style and inspiration.
No surprise then that Purcell’s earliest music has a Gallic flavour even while maintaining a quintessentially English
harmonic idiom. His dances skip to the beat of a Galliard and Courante and his vocal lines are ornamented with
the trills and inegalité of his continental contemporaries. By the late 1680s however, Italy was again to take up
the mantle of taste, and Charpentier was to return from his southern travels with an altogether new dramatic
impetus. He had met and studied with many Italian masters and returned to France with copies of new Italian
music which challenged the delicacy and restraint of the French court style. Carissimi’s more extravagant
harmonies were soon to be found in the collections published by Ballard in Paris, and Corelli’s sonatas were
enjoying huge success throughout northern Europe. This intrusion of passion, colour and virtuosity caused
consternation in Parisian intellectual circles, but there was to be no stopping the Italian invasion, and what
excited the palate of the French would immediately be tasted in England. Purcell would publish his sonatas in
the hope of profiting from the new popularity of Italian sonatas, and he would turn his vocal music towards the
theatre and the new passionate expressivity to be found in the fusion of the French and Italian styles. It is
exactly at this time, when Purcell was forced towards the theatre after the suppression of the religious musical
establishments by the new puritanical King William, that The Fairy Queen is created.
love, and Amour helpfully finds another lover for Céphise.
Interval
H PURCELL (1659-1695)
The Fairy Queen (abridged for EUBO by Dr Simon Heighes)
First Music: Prelude & Hornpipe
Masque of the Enchantments: ‘Titania’s Sleep’
The Fairy Queen, of 1692, is the last of the musical extravaganzas mounted in London’s Dorset Garden Theatre.
The text of the play that surrounds the music is relatively faithful to Shakespeare’s original, but the singers for
whom Purcell writes his music are not the actor/singers who might have been responsible for the core of the
play, but instead, the professional singers involved exclusively in the masque-like scenes of music. As such, they
have little of the original text and do not occupy any of the principal roles. As a result, the music can seem
somewhat divorced from its original inspiration, but what it lacks sometimes in specific context it makes up for in
humour and beauty. In our performance the music and the action of the play are condensed to their essential
elements of magic and of comedy and Titania herself will guide us through some of Purcell’s most inspired
writing from the secrets of the night and sensuality of the lovers to the bucolic extravagance of the mechanicals.
Night / Mystery / Secrecy / Sleep
A Dance for the Followers of Night
Anti-Masque, Coridon & Mopsa
Dance for the Haymakers
Third Act Tune – Hornpipe
‘Now the night is chased away’
Masque of the Seasons: ‘Oberon’s Birthday’
Fast forward fifty years to 1748 and the musical transition is complete. In Rameau’s mature dramatic works little
remains of the delicate balance between recitative and arioso that characterises the Lullian style. The intimacy
of a music based so closely on the spoken cadence has given way to the dominance and virtuosity of the voice;
Pigmalion was written as a vehicle for one of the great stars of the Paris Opera of the mid-18th century, Pierre
Jelyotte. The ballet however, which had been an essential part of French dramatic music since the dancing days
of the late Louis XIV, is still very much present and now uses the full force and colour of the developed 18th
century orchestra. In Pigmalion we have all the power and beauty of the great Rameau ‘tragedies’ condensed
into one act of musical exuberance and perfection. So soon to be superseded by the new classicism of
Rousseau and Gluck, in Pigmalion Italian virtuosity dominates, the delicacy of the ancient French style is still
ever-present, combining in the culmination of the French baroque art; splendid, extravagant and marvellous.
Spring / Summer / Autumn / Winter
Chaconne
Paul Agnew
Anti-Masque: Drunken Poet/Fairies
Third Act Tune – Hornpipe
02 December
Settimane Barocche
Teatro Grande
Brescia
Italy
03 December
Circuito Lombardo di Musica
Antica
Teatro Cagnoni, Vigevano
Italy
04 December
Pavia Barocca
Teatro Fraschini
Pavia
Italy
07 December
Teatr Wielki Opera Narodowa
Warsaw
Poland
08 December
Poznan
Poland
PAUL AGNEW
Director
HUW DANIEL
Concertmaster
Born in Glasgow, Paul Agnew received his musical education with the Birmingham Cathedral
choir and at the University of Oxford. On graduating, he joined the Consort of Musicke and
performed music from the Italian and English Renaissance. In 1992 he was auditioned by
William Christie, which proved to be a turning point in his life. Paul made his debut as a
soloist performing Hippolyte in Rameau's Hippolyte et Aricie, with Les Arts Florissants,
conducted by William Christie.
Huw Daniel was a pupil at Ysgol Gymraeg Castell-nedd and Ysgol Gyfun Ystalyfera, South
Wales, and continued his education as an organ scholar at Robinson College, Cambridge,
where he graduated with first-class honours in music in 2001.
He then studied at the Royal Academy of Music for two years,
learning the baroque violin with Simon Standage and the
modern violin with Hu Kun.
He became the performer of choice for the high tenor (haut-contre) roles of the French
baroque repertoire and was acclaimed in the major roles of Rameau's operas (Platée, Les
Boréades, Les Indes galantes). After a long association with Les
Arts Florissants, he is now their Associate Conductor and will
direct over 100 concerts in the next seasons.
In 2004, Huw was a member of EUBO, the members of which
formed Harmony of Nations and continue to play together
under this name; they released their first CD in 2007, and a
CD of “Bach Triples” is about to be released. He is a member
of the Irish Baroque Orchestra and the English Concert, and also plays with the Dunedin
Consort, the Sixteen, London Handel Orchestra, Retrospect Ensemble, King’s Consort, and
the Orchestra of the Age of Enlightenment. As leader he works regularly with the
Orquestra Barroca Casa da Música, Porto, Portugal, Harmony of Nations, and English
Touring Opera’s baroque orchestra, and as guest-leader with EUBO and Barokkanerne
Oslo. Huw plays regularly with many chamber groups including Florilegium, the Feinstein
Ensemble and the recently-formed Truscott Quartet. Huw plays a violin by Alessandro
Mezzadri c.1720, on loan from the Jumpstart Junior Foundation.
As a soloist, Paul is regularly invited to festivals such as the
Edinburgh Festival, the BBC Proms and the Lufthansa Festival.
He frequently sings with orchestras such as the Berlin
Philharmonic, the City of Birmingham Symphony Orchestra,
Orchestra of the Komische Oper Berlin, the Orchestra of the
Age of Enlightenment and the Gabrieli Consort and Players. He appears with conductors
such as Marc Minkowski, Ton Koopman, Sir John Eliot Gardiner, Philippe Herreweghe and
Emmanuelle Haïm.
Paul Agnew is also co-director of Le Jardin des Voix, Les Arts Florissants' academy for young
singers. This interest in the training of new generations of musicians has also led him to
conduct the French Baroque Youth Orchestra on several occasions, and he will make his
directing debut with the European Union Baroque Orchestra in December 2012 with a
programme of English and French music.
10 December
Harmonie Barocche
Teatro della Pergola
Firenze
Italy
11 December
Sapienza-Università
Roma
Italy
12 December
Ferrara
Italy
13 December
Workshop
Trifolion
Echternach
Luxembourg
2012 is second year of the 'residency partnership' at the
esteemed Collegio Ghislieri, where EUBO will prepare its operatic
programme, and collaborating with singers from the region in
cover roles, as part of the Circuito Lombardo di Musica Antica,
before performances in Pavia and adjacent cities.
14 December
Echter’Barock
Trifolion
Echternach
Luxembourg
15 December
De Bijloke
Gent
Belgium
20 | 21
Singers
EUBO Members 2012
Élodie Fonnard
France Soprano
Élodie Fonnard studied at the
Conservatoire de Paris with Howard
Crook, Kenneth Weiss and Patrick
Cohen. She made her first professional appearance at
the Théâtre de Caen in the role of Mastrilla
(Offenbach’s La Périchole) and Cugina in Puccini’s
Madama Butterfly, conducted by Jean-Yves Ossonce.
Since then she has sung Juno in the Fairy Queen with
the Concert d’Astrée (Emmanuelle Haïm), Hymen in
Cadmus et Hermione, and Flore in Atys by Lully at
the Opéra Comique in Paris. As an oratorio soloist,
Élodie has performed in Mozart’s Requiem, Haydn’s
Paukenmesse and Nelson Mass, Saint-Saëns’ Oratorio
de Noël and the Beethoven Mass in C. As a recitalist,
Élodie Fonnard enjoys performing the works of
composers such as Hanns Eisler, Szymanowski and
Lutoslawski. Selected for Les Arts Florissants’
academy Le Jardin des Voix 2011, Elodie performed
the roles of Galatea (Handel’s Acis & Galatea) and
Belinda (Purcell’s Dido & Aeneas). She also has sung
in Charpentier’s David & Jonathas (Aix-En-Provence
festival) and given a recital of French opera arias with
Les Arts Florissants conducted by Paul Agnew.
Reinoud Van Mechelen
Belgium Tenor
Reinoud Van Mechelen started to
sing in the children’s choir Clari
Cantuli. In 2007 he took his first
singing classes from Anne Mertens and Nicolas
Achten in Louvain and a year later joined the Royal
Conservatory of Brussels to take up vocal studies
with Lena Lootens and Dina Grossberger. At the
same time he also took part in masterclasses with
Greta De Reyghere, Frédérick Haas, Claire Lefilliâtre,
Alain Buet, Jean-Paul Fouchécourt and Howard
Crook. In 2007 he participated in the Académie
Baroque Européenne d'Ambronnay with Hervé
Niquet. He was soon invited as a soloist by
ensembles including l'Arpeggiata, Capilla Flamenca, Ex
Tempore, Ausonia, Ludus Modalis, le Poème
Harmonique, B’rock, Ricercar Consort, Il Gardellino,
and the European Union Baroque Orchestra. He
works regularly with Scherzi Musicali, conducted by
Nicolas Achten, and has made several recordings with
the group. In 2011 Reinoud was selected to take part
in Le Jardin des Voix, baroque academy of Les Arts
Florissants. Since then he has performed regularly as
a soloist with Les Arts Florissants under the direction
of William Christie, Paul Agnew and Jonathan Cohen.
Rachel Redmond
UK Soprano
Scottish soprano Rachel Redmond
studied in Glasgow and London
before making her Glyndebourne
debut in 2009 in Purcell’s Fairy Queen. Other recent
solo performances include Apparition in Verdi's
Macbeth (Glyndebourne Festival Opera), Bernstein's
Chichester Psalms (Royal Albert Hall, with the BBC
Scottish Symphony Orchestra), Handel's Saul, as part
of the Britten-Pears Young Artist Programme, Bach’s
St Matthew Passion, Beethoven Mass in C in Lisbon,
and Carmina Burana at the Auditorio Manuel de Falla
in Granada and Handel’s Messiah. In 2010 Rachel was
a semi-finalist in the Kathleen Ferrier Awards and a
finalist in the London Bach Prize, and in 2011 she was
selected to be a member of Le Jardin des Voix, the
academy for young singers of Les Arts Florissants
under the direction of William Christie and Paul
Agnew. Her future plans include Caecilia in
Charpentier’s Caecilia, Virgin and Martyr and 1er
Captif in Charpentier’s opera David et Jonathas at
the Aix en Provence Music Festival with Les Arts
Florissants and William Christie and The Magic Flute
and 1st Niece in Peter Grimes at L'opéra de Toulon.
Yannis François
France Bass-baritone
Born in Guadeloupe, Yannis François
began his career as a dancer. He
trained at the École Atelier Rudra
Béjart in Lausanne and became a member of the
Béjart Ballet. Maurice Béjart was impressed by Yannis'
voice and encouraged him to explore a singing
career parallel to ballet. In 2010 he graduated with a
master's degree from the Conservatoire de Lausanne
where his teacher was Gary Magby. On the opera
stage, Yannis has sung Mozart’s Figaro, Curio in Giulio
Cesare, and Peter Quince in Midsummer Night's
Dream. Other operatic roles include: Don Alfonso in
Cosi fan tutte, Seneca in L'incoronazione di Poppea,
Nettuno and dancer in La liberazione di Ruggiero by
Caccini directed by Gabriel Garrido, Radamanto and
dancer in Peri's Euridice with L'Arpeggiata and
Christina Pluhar, and in 2010 the title role in Don
Giovanni. In 2011, Yannis performed the title role in
Jekyll by Raoul Lay with Ensemble Télémaque, and in
2012 Melisso in Handel’s Alcina. Yannis also performs
a wide variety of oratorio and chamber music, and
his dancing career continues with performances
including The Ugly Duckling and Blummenkabarett,
Purgatoire of Shahrokh Moshkhin Ghalam, and as
dancer and singer with EUBO and Christina Pluhar in
2010, in Dido and Aeneas and Amours
baroques/Monteverdi. Yannis collects baroque and
early classical scores and manuscripts.
Magdalena Cieslak
Poland Violin
Magdalena Cieślak was honoured to
perform at Buckingham Palace for
the Royal Gala in 2010. After initially
training with Rachel Podger,
Magdalena opted to specialise in baroque violin,
studying at the Royal Welsh College of Music and
Drama in Cardiff. Before receiving her diploma
Magdalena was awarded the Steinitz Prize for best
stylistic performance of solo Bach music at RWCMD
and performed with Florilegium. She graduated with
distinction and was invited to perform in several
prestigious concerts including a ceremonial dinner
with Quincy Jones, Menna Richards and Harry
Christophers. Magdalena was born and brought up in
Warsaw, Poland. During her studies at the University
of Warsaw she realised she wanted to specialize in
baroque music and decided to undertake studies in
Wales. She is currently working on several innovative
projects that involve professional artists from
different backgrounds collaborating to blur boundaries that exist between separate art forms such as
music, photography and art.
Dominika Fehér
Hungary Violin
Dominika Fehér began her musical
studies aged six and since then has
performed throughout the UK,
Hungary and China. She completed her masters
studies at the Franz Liszt Academy of Music where, as
part of her degree she studied with the Bartók
Quartet. In 2009 she won the Weingarten
Scholarship to study at Birmingham Conservatoire
under Rimma Sushanskaya. She is in the final year of
her postgraduate studies, specializing in historical
performance with Oliver Webber and Lucy Russell.
Dominika was principal 2nd violin of the European
Student Chamber Orchestra under the leadership of
Pierre Amoyal. She participated in the Orchestra of
the Age of Enlightenment’s Academy and the
International Orchestra Institute Attergau under the
patronage of the Vienna Philharmonic Orchestra. She
successfully auditioned for the Cheltenham Festival
Academy Strings and for the Royal Ballet Birmingham
and City of Birmingham Symphony Orchestra training
schemes. She leads Birmingham Conservatoire’s
baroque ensemble, performs with Chesterton
Baroque, Musica Poetica London, Apollo Baroque
Consort and the London Chamber Players.
Anna Curzon
UK Violin
Anna Curzon is a scholar and prizewinner at the Royal Academy of
Music in London where she studies
with Richard Deakin and Nicolette Moonen. Anna
holds a first class honours degree in Music from
Nottingham University where she studied the violin
with Peter Hanson and majored in performance.
Earlier this year Anna was the winner of the Mica
Comberti Prize for Solo Bach at the RAM, and gave
her first shared recital at the Wigmore Hall. Anna
divides her playing between baroque and modern
ensembles; recently she has been concertmaster for
Hampstead Garden Opera’s Cosi Fan Tutte, played
with Birmingham Royal Ballet under their mentor
scheme, and performed with the Brook Street Band.
A busy teacher, Anna teaches at the Junior Royal
Academy of Music and Kings College London, and
regularly takes part in education projects with the
Orchestra of the Age of Enlightenment and English
Touring Opera.
Nadine Henrichs
Germany Violin
Nadine Henrichs was born in 1984
and had her first violin lesson at the
age of 11 from Marie-Luise Jauch in
Hannover. She won the first prize of Jugend musiziert
auf Landesebene in 2004 and participated in the
Jugend Sinfonie Orchester Hannover,
Niedersächsisches Jugend Sinfonieorchester and in a
range of chamber music projects, playing both violin
and viola. After finishing secondary school, she went
to the Musikhochschule in Münster to study modern
violin with Martin Dehning. In 2008, Nadine finished
her postgraduate study with a performance diploma
and moved to Bremen, for baroque violin studies at
the Hochschule für Künste with Thomas Albert
receiving her diploma in 2012. Subsequently Nadine
will move to the Musikhochschule Nürnberg to study
the classical violin with Anne Röhrig. Nadine is a
member of various ensembles, including Bremer
Ratsmusik, and she participated in concerts at the
Musikfest Bremen and with the Ensemble WeserRenaissance Bremen. She is also the first violin of a
string quartet with historical instruments and
attended a masterclass with Mira Glodeanu.
Joanna Kaniewska
Poland Violin
Joanna Kaniewska was born in 1982
in Warsaw, Poland, and started violin
aged seven. She graduated with
honours from the Fryderyk Chopin University of
Music in Warsaw receiving a masters degree, and
continued to study music at the University of Music
and Performing Arts in Vienna. Since 2011 she has
been studying baroque violin with Ulrike Engel at the
Conservatory of Music in Vienna. Joanna has won
prizes at national and international music competitions. She has also taken part in masterclasses, with
such artists as: Leonidas Kavakos, Hagai Shaham, Antje
Weithaas, Igor Ozim, Pavel Vernikov, Paul Gulda, Sergio
Azzolini, Artemis, Artis, Aaron and Leipziger String
quartets. She has performed as a soloist and a
chamber and has also collaborated with various
orchestras – Vienna Chamber Orchestra, Radio
Symphony Orchestra (Vienna), Vienna Chamber
Opera, Chamber Philharmony Amade (Cologne),
Vienna Classical Players, Schönbrunn Palace Orchestra
(Vienna), Chamber Orchestra InnStrumenti
(Innsbruck). She has given concerts in different continents, performing in Germany, Austria, UK, France,
Spain, Luxemburg, Netherlands, Switzerland, Denmark,
Italy, Greece, Finland, Russia, Slovakia, Poland, USA,
India, Brazil, South Africa and Japan.
Lena Weckesser
Germany Violin
Born in 1985 in Kassel, Germany,
Lena Weckesser had her first violin
lesson at the age of seven. She
subsequently studied modern violin with Andreas
Lehmann at the Hochschule für Musik Franz Liszt in
Weimar and graduated with a diploma in 2010. She
then started her baroque violin studies with Midori
Seiler. Lena has taken part in masterclasses with
teachers including Midori Seiler, Pauline Nobes, Anton
Steck and John Holloway. During her studies she
gained experience by participating in baroque
orchestra workshops with Stefan Mai, Anton Steck
and Jos van Immerseel and by taking part in a
baroque opera production under the musical
direction of Wolfgang Katschner. Since 2006, she has
been a member of the Kammerorchester Luis Spohr
Kassel and plays as a freelancer with many orchestras
and baroque ensembles including Lautten Compagney,
Musica Baltica and the Chemnitzer Barockorchester.
Jacek Kurzydło
Poland Violin
Jacek Kurzydło was born in 1986
and received his first musical training
as a modern violin and organ player
in Krakow, Poland. At an early stage he developed an
interest in early music and after having attended
many masterclasses and obtaining a bachelor degree
in baroque violin at the Music Academy in Krakow, he
decided to study at the Royal Conservatory of The
Hague and its world-renowned Department of Early
Music and Historical Performance Practice. As part of
his master's degree, Jacek is focusing his research on
exploring the often neglected repertoire for viola
d'amore. His teachers include Kati Debretzeni,
Catherine Mackintosh, Enrico Gatti and Walter Reiter.
He is increasingly in demand as a chamber musician,
performing with many European period-instrument
groups and orchestras.
Ricardo Cuende Isuskiza
Spain Viola
Ricardo Cuende began playing the
viola with Castor Narvarte in Irun.
He obtained his bachelor degree at
Musikene, San Sebastian, with David Quiggle, Garth
Knox and Casals Quartet. In 2007 he moved to Basel,
where he studied with Silvia Simionescu and had
chamber music lessons with Rainer Schmidt, Walter
Levin, the Zemlinsky Quartet, Anton Kernjak and
Sergio Azzolini. During this time he started playing
baroque viola and had lessons with various teachers
from the Schola Cantorum. He has attended masterclasses with Maximo Paris, Igor Soulyga, Jessy Levine,
Thomas Riebl, Predrag Katanic and Andoni Mercero.
Ricardo was a member of EGO (Basque Country
Youth Orchestra) and JONDE (Spanish Youth
Orchestra) where he worked with conductors like
Ros Marba, Lutz Kohler, Jose Luis Temes, Arturo
Tamayo and Gunther Schuller. He has collaborated
with RTVE and the Basque Country Symphony
Orchestra, and baroque ensembles Divino Sospiro,
L´Estro Armonico and Ars Combinatoria.
Emma Lake
UK Violin
Emma Lake was born in
Buckinghamshire, UK in 1987. She
developed a keen interest in
historical performance while studying for her undergraduate music degree at the University of York. After
completing a master’s degree at York, specialising in
performance practice, Emma began further study at
the Royal Academy of Music, London, studying the
baroque violin with Simon Standage and Lucy Russell
and the modern violin with Diana Cummings. While
at the Royal Academy of Music, Emma had many
opportunities to work with musicians including
Rachel Podger, Margaret Faultless, Pavlo Beznosiuk,
Elizabeth Wallfisch, Laurence Cummings and Sir John
Eliot Gardiner and performed in masterclasses with
violinists such as Kati Debretzeni and Ingrid Seifert.
Emma has given historically-informed performances
of a wide range of music from Monteverdi to
Mendelssohn, in various early music ensembles,
including the Gabrieli Consort & Players, Yorkshire
Baroque Soloists, Britten-Pears Baroque Orchestra
and the Dartington International Summer School
Baroque Orchestra. With these ensembles and
others, she has had the opportunity to perform in
festivals including the BBC Proms, the London Handel
Festival and the York Early Music Festival.
Magdalena Bader
Germany Viola
Magdalena Bader gained her first
experience of historical performance
from Professor Dr Pauline Nobes
and Michael Niesemann while studying in Würzburg
for a degree in secondary education. Since 2008 she
has devoted herself to early music. She studied
baroque violin with Volker Mühlberg and Susanne
Scholz at the Hochschule für Musik und Theater Felix
Mendelssohn Bartholdy in Leipzig. A degree in
German studies followed in 2009. She is regularly
part of chamber music ensembles, opera productions
and various baroque orchestras, such as the
ensemble scenitas, productions at the Nationaltheater
Weimar and the Telemannisches Collegium
Michaelstein. During courses with Kati Debretzeni,
Sigiswald Kuijken, Claudia Hoffmann, Odile Edouard
and Stanley Ritchie she gained further experience in
historical performance. In 2011 she performed as a
violin and viola player at the Festival Grandezze e
Meraviglie in Modena, and in 2012 she was invited to
participate in the project Giovani della Montis Regalis.
Claudia Norz
Austria Violin
Claudia was born in Tyrol and
started to play recorder and guitar
before her parents gave in to her
demands to learn the violin. She studied modern
violin with Christos Kanettis and viola with Mirjam
Tschopp at the University Mozarteum in her
hometown of Innsbruck, graduating with distinction.
Additionally she focused on music work with young
children and studied comparative literature at the
Leopold Franzens University in Innsbruck. In 2010
Claudia moved to London, where she will complete
her masters degree at the Royal Academy of Music,
studying baroque violin with Walter Reiter, in 2012.
She has worked with Sir John Eliot Gardiner, Rachel
Podger, Maggie Faultless and Laurence Cummings and
appeared as a soloist alongside Elizabeth Wallfisch.
Forthcoming engagements include concerts at Kings
Place and the Wigmore Hall in London. Claudia cofounded the baroque ensemble Klingzeug with whom
she has already performed in several concert series
around Austria, and the England-based group Musica
Poetica London, which is currently part of the
Brighton Early Music Live scheme.
Annemarie Kosten-Dür
Austria Viola
Annemarie Kosten-Dür was born in
Feldkirch, Austria. She holds a
bachelor degree in music education
and modern viola from the Royal Conservatory of
The Hague, where she studied with Ferdinand Erblich
and Ron Ephrat. Currently she is finishing a degree in
German language and literature at Leiden University.
During her studies she has also received musical
tuition from Esther van Stralen at the Hochschule für
Musik Bremen. Annemarie’s interest in historical
performance led her to the baroque viola. Since
2010, she has been a student of Kati Debretzeni and
Walter Reiter at the Royal Conservatory of The
Hague. She has performed at various festivals
including the Utrecht Early Music Festival, Tiroler
Festspiele, Festival junger Künstler Bayreuth, Cantiere
Internationale d’Arte di Montepulciano with
conductors such as Peter van Heyghen, Gustav Kuhn
and Alexander Lonquich. She has attended chamber
music workshops with Barbara Westphal, Hartmut
Rohde and the Vogler Quartet. Annemarie also
played with the Junge Deutsche Philharmonie and
Symphonieorchester Vorarlberg under the direction
of Andrés Orozco-Estrada, Kirill Petrenko and Gérard
Korsten and is a member of the Bach Orchestra of
the Netherlands.
22 | 23
EUBO Members 2012
Petr Hamouz
Czech Republic Cello
Petr Hamouz began his cello studies
at the age of six and continued at The
Prague Conservatory with Tomáš
Strašil. During his studies he developed an interest in
early music and baroque cello. He attended summer
courses and masterclasses with eminent performers,
many of whom are equally adept on both baroque
and modern cello. These include Jennifer Morsches,
Bruno Cocset, Nicolas Crnjanski, Pieter Wispelwey,
Irmtraud Hubatschek, Marek Štryncl and Jiří Bárta. Petr
Hamouz has performed and participated in recordings
with numerous ensembles, focusing mainly on repertoire composed between 1650 and 1850. These
include Harmonia delectabilis (leader Lukáš Vendl) and
Musica Florea (Marek Štryncl) in The Prague Spring
2008. Through a collaboration with the ensembles
Musica Florea and Le Poéme Harmonique, he participated in a reconstruction of the comédie ballet by
Lully and Moliére, Le Bourgeois Gentilhomme, in
France and Poland in 2009. He has also played with
Collegium Marianum (Jana Semerádová), Capella Regia
Praha (Robert Hugo) and Musica salutaris (Vojtěch
Spurný). After completing a bachelor degree at The
Charles University in Prague with Marek Štryncl, Petr
Hamouz is continuing his studies in early music at the
Royal Conservatory of The Hague with Lucia Swarts.
Annegret Polster
Germany Traverso
Annegret Polster was born in Munich,
and received her lessons in recorder,
flute, piano and cello at Musikschule
Freising. She later studied music science, Chinese and
economics. In 2004 she started the baroque flute, first
at the Richard-Strauss-Konservatorium in Munich, then
at the Koninklijk Conservatorium Brussels with
Barthold Kuijken and Frank Theuns, where she
obtained her master’s degree in 2010 with high
distinction. A scholarship allowed her to study at Escola
Superior de Musica de Catalunya in Barcelona with
Marc Hantaï in 2008/9. In 2009 she took part in the
Netherlands Youth Academy directed by Richard Egarr,
and played with Les Abbagliati in the final of the
International Young Artist’s presentation in Antwerp.
Annegret plays in orchestras such as L’Arpa festante
and in chamber music groups at festivals including
Dartington and Aldeburgh. In 2010 she was a finalist at
the International Competition Prince Francesco Maria
Ruspoli in Vignanello, Italy, and has received scholarships
from the Britten-Pears Foundation to work with
Richard Egarr and Mark Padmore. With her own
ensemble Motus Animae she has performed at the
Utrecht and Brugge festivals and is organizing several
concerts in Bavaria of music by Rupert Ignaz Mayr.
Lea Rahel Bader
Germany Cello
Lea Rahel Bader has been studying
historical performance in Frankfurt
am Main with Kristin von der Goltz
since 2010. Her interest in the baroque cello also led
her to masterclasses with Siegfried Pank, Phoebe
Carrai and Markus Möllenbeck. Rahel plays with
several baroque ensembles, in festivals including the
Thüringer Bachwochen and Göttinger Händelfestspiele.
She is member of the Rheinsberger Hofkapelle 2012
which is ensemble-in-residence at the castle of
Rheinsberg. In 2009 Rahel completed her diploma at
the Hochschule für Musik Hanns Eisler Berlin where
she studied with Hans-Jakob Eschenburg and Stephan
Forck. Her other teachers included Claudio Bohorques
and Peter Bruns. In 2006 she won the chamber music
prize at the Oberstdorfer Musiksommer and in 2008
the first prize in the Hanns-Eisler competition for the
interpretation of contemporary music. In 2012 she
won the EUBO Development Trust Prize at the XVIII
Bach Competition Leipzig. Since 2008 Rahel has been
supported by a scholarship from Yehudi Menuhin’s
charity Live Music Now. For many years Rahel has
performed contemporary music at various festivals, for
example, Crosssound Festival Alaska, Tonlagen Dresden,
Maerz Musik Berlin and Milano Musica.
Robert Herden
Germany Oboe
Robert Herden was born in 1984 in
Leipzig and started his musical career
with lessons in recorder and voice.
From 1993 until 2000 he was a member of the St
Thomas' Boys Choir Leipzig, where he came into
contact with the repertoire of JS Bach at a young age.
With the choir he gave performances in France,
Greece, the United Kingdom, Japan and the United
States of America. Robert Herden received his first
oboe lessons in 1997. After being a student at the
University for Music and Theatre Leipzig (2000),
Robert began to study oboe at the University of the
Arts in Berlin with Burkhard Glaetzner and graduated
from there in 2010. In the same year Robert started
his baroque oboe studies with Xenia Löffler at the
University of the Arts in Bremen. Robert regularly
performs with ensembles such as Akademie für Alte
Musik Berlin, Le Concert Lorraine, Hannoversche
Hofkapelle, Ensemble Universelle, Bachconsort
Leipzig and Collegium 1704. In 2012 Robert was
selected to be the first oboe of the European
Union Baroque Orchestra.
Zaynab Martin
UK Double Bass
Zaynab Martin began playing double
bass at the age of seven. She was
principal bassist in the National Youth
Strings Academy, conducted by Sir Neville Marriner
with members of the Academy of St-Martin-in-theFields. Zaynab then studied at the Guildhall School of
Music and Drama in London, completing her bachelor
and master degrees with Thomas Martin and Kevin
Rundell. During her time in London Zaynab took part
in orchestral projects with conductors such as Sir
Colin Davis, Sir Roger Norrington, Vasilly Petrenko and
James Gaffigan, and was principal of the University of
London Symphony Orchestra. She has attended
summer courses in Holland and Germany, including
the Moritzburg Festival Academy in 2011 where she
won the Moritzburg Academy Prize for chamber
music. In September 2011 Zaynab moved to
Amsterdam to study violone with Margaret Urquhart
and in 2012 began her masters degree at the
Conservatorium van Amsterdam. Since being in
Netherlands, she has worked with Richard Egarr and
Concerto Barocco and performed in early music
projects led by Teunis van der Zwart, Jed Wentz and
Patrick Ayrton.
Julia Bauer
Germany Oboe
Julia Bauer grew up near Stuttgart in
southern Germany. She began studying
recorder and at fourteen started to
play the modern oboe. Soon, she became principal oboe
of the Tübinger Jugendsinfonieorchester under the
direction of Gudni Emilsson. The orchestra toured widely
in Europe and Asia and won several competitions. Julia
began her higher education studies at the
Musikhochschule Freiburg studying rhythmics and
modern oboe with Hans Elhorst and Marianne Siegwolf.
While in Freiburg, Julia encountered historical oboes and
started taking lessons with Maike Buhrow and AnnKathrin Brüggemann. After receiving her diploma in
modern oboe in 2008, Julia participated in the Freiburger
Barockorchester’s Ensemble-Akademie, and in 2009 was
accepted into the prestigious Schola Cantorum
Basiliensis in 2009, where she studied with Katharina
Arfken, and performed her masters degree recital in
2012. During this time she also received lessons from
Alfredo Bernardini (Amsterdam) and Benoît Laurent
(Frankfurt). She has toured and performed widely,
including the Britten Pears Festival in Aldeburgh,
(performing Bach’s St Matthew Passion under Masaaki
Suzuki), and with Chapelle de la Vigne (Freiburg),
Freiburger Kammerchor, Lukas Barockorchester Stuttgart,
Ensemble la Fontaine (Zürich), Capriccio Basel and
L'Académie Bach d'Aix en Provence. In 2011 she played
for the first time with the Freiburger Barockorchester.
Anne Freitag
Germany Traverso
Anne Freitag was born in Leipzig in
1984. Whilst still at school, she was a
student of Robert Ehrlich (recorder)
at the Music Academy in Leipzig and of Christoph
Huntgeburth (baroque flute) at the Berlin University
of the Arts. Currently she is studying at the Music
Academy Basel with Marc Hantai and Anne Smith
(historical flutes), Nicola Cumer and Rudolf Lutz
(historical improvisation) and orchestral conducting
with Rodolfo Fischer. She was a trainee with the
Orchestra of the Age of Enlightenment, London, where
she participated in classical and romantic projects
under Robin Ticciati, Sir Simon Rattle and Vladimir
Jurowski, amongst others. In 2009 she won second
prize at the 5th International Telemann-Competition in
Magdeburg and in 2011 first prizes in the International
Competitions in Melk, Bad Liebenwerda and Brugge,
where she also received the EUBO Development
Trust Award. As a soloist, chamber and orchestral
musician she has given concerts in festivals in Austria,
Belgium, France, Germany, the Netherlands, Poland,
Slovenia and Switzerland. Besides her musical activities,
she graduated in 2012 from a four year professional
training programme in the Feldenkrais method.
Karen Gibbard
UK Oboe
Karen Gibbard is a freelance oboist
and professional member of the
Incorporated Society of Musicians.
She regularly performs in a variety of orchestral,
chamber and solo settings. These have included
engagements with the Gabrieli Consort & Players,
New London Consort, Orchestra of the Age of
Enlightenment, Dunedin Consort, London Handel
Festival, Parley of Instruments, Brook Street Band and
Brighton Early Music Festival. Karen was a member of
the 2010 Orchestra of the Age of Enlightenment
Experience scheme (funded by Ann and Peter Law)
and she regularly performed on classical and romantic
oboes with the Jeune Orchestre Atlantique. Karen is
currently completing a masters in baroque and classical
oboe performance with Katharina Arfken at the Schola
Cantorum Basiliensis in Basel. Prior to this Karen
studied baroque oboe with Katharina Spreckelsen and
Gail Hennessy in London, after graduating with an
MMus Distinction in modern oboe from the Guildhall
School of Music and Drama. This was generously
funded by the HR Taylor Charitable Trust and the
Mercers' Company. Karen enjoys taking music into
community settings, having taken part in a variety of
education workshops with Live Music Now!, Wigmore
Hall, LSO Discovery Scheme, City of London Festival,
Brighton Early Music Festival and the Orchestra of the
Age of Enlightenment.
Karin Gemeinhardt
Germany Bassoon
Karin Gemeinhardt was born in 1986
and started her musical education
with the recorder. During her studies
with Inge Reinelt in Passau, Germany, she received
several prizes at national and international
competitions both as a soloist and with her ensemble
Quadriga della Musica, which won the first prize in the
final of the Open Holland Recorder Festival 2004.
While studying the recorder with Professor Karel van
Steenhoven in Karlsruhe, Germany, Karin became
enthused by the historical bassoon and moved to
Trossingen in 2009 to concentrate on early music.
There she completed her recorder studies with
Carsten Eckert and is studying bassoon and dulcian
with Eckhard Lenzing while broadening her repertoire
to include classical and early-romantic music. In 2011
Karin founded Trio Cammerton with Kayo Nishida
(clarinet and chalumeau) and Barbara Adamczyk
(keyboard instruments), to play repertoire from the
baroque to early romantic period. She has participated
in masterclasses with among others: Sergio Azzolini,
Alberto Grazzi, Xavier Zafra, Jos van Immerseel, the
Amsterdam Loeki Stardust Quartet and Paul
Leenhouts. Karin regularly performs with orchestras
such as L’Arpa Festante München, Chapelle de la Vigne
(Freiburg), Cantus Cölln and Ars Antiqua Austria and
has contributed to different CD and radio productions.
Francesco Tomasi
Italy Theorbo
Francesco Tomasi started guitar aged
eight and at 13 decided to study lute
with Marco Pesci and Andrea
Damiani at the Conservatory Santa Cecilia in Rome,
where he gained his diploma in 2009 with the highest
mark. He attended masterclasses with Paul O’Dette,
Jakob Lindberg and Nigel North, and is now doing a
masters degree with Rolf Lislevand at the
Musikhochschule Trossingen, Germany. Francesco gives
many concerts with ensembles including Arte Musica,
Concerto Romano, Swiss Baroque soloists, Cappella
Gabetta, Ricercare Antico, La Malaspina, Anfione
ensemble, at festivals throughout Europe including:
Malgartner Kloster Konzerte, Rheingau Musik Festival
(Germany), Wiener Konzerthaus, Barocktage Stift Melk
(Austria), Festival Flatus Siòn (Switzerland), Festival
Mozart Rovereto, Festival di Musica Antica di Urbino,
Festival di Polifonia e Musica Antica di Palestrina,
Roma Festival Barocco (Italy), to critical acclaim. In
2009 he participated in the showcase “Ponti Sonori”
organized by the National Academy of Santa Cecilia.
He has been a member of the European Union
Baroque Orchestra (EUBO) since 2010, when he also
won first prize at the “Biagio Marini” competition in
Neuburg an der Donau with ensemble La Malaspina.
He has contributed to different radio and TV
productions and recorded CDs of Monteverdi
madrigals and music by Biagio Marini.
Kim Stockx
The Netherlands Bassoon
Kim Stockx was born in 1987 in
Helmond, The Netherlands, and
started her recorder studies in 2005
at the Royal Conservatory in The Hague. There she
studied with Dorothea Winter and Daniël Brüggen,
receiving her bachelor diploma in 2009. During these
studies she attended masterclasses with some of the
best professionals including Reine-Marie Verhagen,
Peter van Heyghen, Sebastian Marq, Christina Pluhar,
Wilbert Hazelzet, Frank de Bruine, Charles Toet and
Patrick Ayrton. Kim has taken part in various
competitions: in 2004 she won the Laureaten
concours in Veldhoven and in 2005 the 24 Caraats
competition. In 2008, Kim was accepted for her
second bachelor studies in classical bassoon, baroque
bassoon and dulcian at the Royal Conservatory in
The Hague. Her teachers are Donna Agrell and
Wouter Verschuren. Her musical collaborators
include conductors like Patrick Ayrton, Peter van
Heyghen, Charles Toet, Jos Vermunt, Christina Pluhar,
Andrew Parrot and Nicolette Moonen. She has
performed within The Netherlands and further afield
in Japan, Spain, France and Italy with groups including
the Residentie Bachorkest, Concerto d'Amsterdam,
Restoration Company, Sinfoniëtta Geleen, La Ritirata
and Red Rose Four. Kim is artistic director of the
baroque ensemble La Villanesca.
Jean-Christophe Dijoux
France Harpsichord
Jean-Christophe Dijoux was born in
Saint-Louis (Réunion Island) in 1982.
After graduating there, he moved to
Paris to continue his piano studies at the Paris
Conservatory, where he discovered the sound of early
instruments. He then studied harpsichord at the
conservatories in Angers with Françoise Marmin and
Boulogne-Billancourt in the basso continuo class of
Frédéric Michel. Subsequently, he moved to Freiburg
(Germany) where he graduated with distinction in the
harpsichord classes of Robert Hill and Michael
Behringer. Currently he is continuing his basso continuo
studies at the Schola Cantorum Basiliensis with JörgAndreas Bötticher and Jesper Christensen; he also has
improvisation lessons from Nicola Cumer and guidance
from Marieke Spaans. Jean-Christophe won prizes in
Viseu and Porto International Competitions (Portugal),
and F.L.A.M.E. International Competition (Paris). He was
the harpsichordist of the Orchestre Francais des Jeunes
in 2010, directed by Paul Agnew, and has played with
conductors including Gottfried von der Goltz, Michael
Behringer and Thomas Engelbrock. He has performed
at the Printemps des Arts Festival in Nantes, the Grand
Théâtre d'Aix-en-Provence, the Opéra Comique and
the Musée de la Vie Romantique in Paris, Forum für
Alte Musik in Freiburg and on Radio France. In 2012 he
lectured on opera and its social context at the Paris
Institut for Political Studies (Sciences Po).
Eloy Orzaiz Galarza
Spain Harpsichord
Eloy Orzaiz Galarza divides his
career between harpsichord,
fortepiano and modern piano.
He has been a prize-winner in several competitions
and played in renowned concert halls throughout
Europe, such as the Rhapsody in Blue tour in the
Netherlands in 2009. As a harpsichord soloist
Eloy has given numerous concerts. He has played
in Germany and the Netherlands conducted by
Thomas Gluck and Anton Steck and performs
regularly in different chamber music groups, such
as the Trio Baroque with Linde Brunmayr Tutz and
Lorenz Duftschmidt. He has also participated in
radio recordings for Radio 4 Netherlands and DLF
(Germany). He studied classical piano at the Music
Conservatory of the Basque Country (Musikene)
and afterwards, Eloy continued his studies at the
Royal Conservatory in The Hague, Staatliche
Hochschule für Musik Trossingen and the Schola
Cantorum Basiliensis, sponsored by different
foundations including the Huygens Excellence
Programme and the Humboldt Foundation.
He received musical tuition from Paul Komen,
Johan Hofmann, Marieke Spaans and
Jörg-Andreas Bötticher.
AUDITION COURSES 2013
To select the 2013 orchestra there will be two identical AUDITION COURSES which
take place in Echternach, Luxembourg. The first course will be from 02 to 05 April
2013 and the second course from 05 to 08 April 2013. Tutors to include:
Lars Ulrik Mortensen, Music Director
Margaret Faultless, Director of Studies
Sirkka-Liisa Kaakinen-Pilch & Anton Steck, violins
Richard Gwilt, viola
Tutor for cello – to be confirmed
Love Persson, double bass
Katharina Arfken, oboe, & Alberto Grazzi, bassoon
Béatrice Martin, harpsichord
Simon Neal, tuning & temperament
To receive more information about the auditions please visit: www.eubo.eu
or contact [email protected]
24
Thank you
The Board of Trustees of the Orchestra thanks the following individuals and organisations for their support. Without their assistance the training and performances
by the European Union Baroque Orchestra during 2012 would not be possible.
Commissioner Androulla Vassiliou
Ville d’Echternach
Festival International Echternach
Centre Culturel, Touristique et de
Congrès Trifolion
École de Musique,
Echternach
Harmonie Municipale,
Echternach
Le Gouvernement du Grand-Duché
de Luxembourg
EUBO Development Trust
Jose Phillips
Selsey Press
Ray Box
Jon Bull
white space
Peter Mays
Hill+Knowlton Strategies
EUBO is grateful for the support
and the co-operation of the
following persons and
organisations in connection with
the “Echter’Barock” series:
Désirée Dall’Agnol
Massimo Amato
Julien Alex
Lisa Banz
Marco Battistella
Beim Wohli
Marco Bernard
Bollig Voyages
Brasserie 1900
Ralf Britten
Georges Calteux
Luc Cannivy
Edith Dellwing
Marc Demuth
Marc Diederich
Rosi Faber
Monique Flaurimont
Marie-Paule Gerson
Norbert Golumbeck
André Hartmann
Haus Beda
Yves Hengel
Benedikt Herz
Hostellerie Basilique
Hotel des Ardennes
Imprimerie Fr. Faber
Marc Juncker
Adrien Meisch
Angelika Mereien
Viktoria Mladenovski
Alexander Mullenbach
Francis Reuter
Svenja Richter
Georges Santer
Ben Scheuer
Mariette Scholtes
Heiko Sterner
Fernand Theisen
Josée Thiltges
Théo Thiry
Andy Wagenknecht
Youth Hostel Echternach
Bienfaiteurs de l’Orchestre
EUBO gratefully acknowledges the support and
commitment of its bienfaiteurs.
Baudouin Abraham
Richard Heason
Heather Sager
Stephen Allen
HE Anne Hedensted Steffensen
St Stephen’s House, Oxford
Lottie Allpress
Simon Heighes
St John the Evangelist, Oxford
Violeta Amargant
Martin Heubach
Adela Sanchez
Valentina Argentieri
Mario Ingrassia
Marie Sauer-Johansen
Ray Attard
Jelf Group plc
Jonathan Scheele
Nelda Bagdonavičiūtė
Tihana Jokic
Carl Schuurbiers
Bank of Scotland
Kadri Kiis
Renate Schwitalla
Daan Bauwens
Bjorn Kjellstrom
Gessica Siragusa
Franz Biersack
Martin Klapheck
Andrew Smardon
Jacopo Binazzi
Jérémie Leroy-Ringuet
Michèle Smith
Peter Booth
Barry Lewisman
Martin Souter
Jakub Boronczyk
Anthony Martinez Vannerom
Alan Stevensen
Ann Branch
Barbara Matera MEP
Robin Swailes
Amici della Musica, Firenze
White & Case LLP
UBI Banca International
The Early Music Shop
EUBO would like to thank the following festivals, concert
series and organisations:
Henrietta Bredin
Margie McGregor
Paul Storm-Larsen
Banchetto Musicale
Lone Britt Molloy
Delfido Minucci
Frances Sunderland
Baroque Arts Festival
Saša Britvić
Simon Neal
Catherine Sustek
Bibliothèque Solvay
Chris Butler
Tatiana Niskacova
Oliver Sändig
Concerto Gandersheim
Pauline Cantin
Volker & Ulrike Northoff
Pauline Tart
De Bijloke
Marta Cassano
Aneta Nowak
Thomas Tindemans
Echter’Barock
Žan Cimerman
Jeremy O’Sullivan
Miles & Mary Tuely
FeMAP
Classical Recording Company Ltd
Ute Omonsky
Lilian Unger
Festival Glasperlenspiel
Danish Embassy
Doris Pack MEP
Peeter Vähi
Festival International Echternach
Helena de Winter
Frank Pauwels
Zefira Valova
Festival Seviqc Brežice
Gérard Dupaty
Annemarie Peeters
Herbert Vieth
Ghislierimusica (Pavia Barocca)
Jean-Claude Eeckhout
Bénédicte Peres-Caldas
Julian Wolstencroft
Goldberg Festival
James Elles MEP
Rumen Petkov
Richard Wood
Greenwich International Early Music Festival
Sophia Eriksson Waterschoot
Giulio Prandi
Andrew Wooderson
Istituzione Universitaria dei Concerti, Roma
Anette Fleming
Klemen Ramovs
Amanda Zambon
Jardins d’Agrément, Amilly
Ian Forrester
Alina Ratkowska
Kenneth Zammit Tabone
Kempen Klassik
David Gadsby
Stefan Reinhardt
Burkhard Zander
Kloster Michaelstein
Barbara Gessler
Restaurant Cellarius
Stefan Zednik
Korkyra Baroque Festival
Michael Good
Federico Rinaldi
Cezary Zych
Musica Viva
Musik im Schloss
EUBO is a member of Culture Action Europe, ABO (Association of British Orchestras), REMA
(Réseau Européen de Musique Ancienne), and NEMA (UK National Early Music Association).
This project has been funded with support from the European Commission. This publication reflects the views
only of the European Union Baroque Orchestra, and the Commission cannot be held responsible for any use
which may be made of the information contained herein. Information correct at time of going to press.
European Union Baroque Orchestra Hordley, Wootton, Woodstock OX20 1EP, UK
Tel: +44 1993 812111 Fax: +44 1993 812911 Email: [email protected] Website: www.eubo.eu
in memory of Eric Bean
friend of EUBO
1989 to 1999 sponsor
National Academy of Music, Bulgaria
Oviedo Barroco
Philharmonie Merck
Settimane Barocche di Brescia
St John’s Smith Square
1999 to 2012 trustee
Teatru Manoel