Programme Book 2013 - European Union Baroque Orchestra



Programme Book 2013 - European Union Baroque Orchestra
an ambassador for the European Union
Inspired performance. Real experience.
Chairman, Committee of Patrons:
Patrons ex officio:
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
Lithuanian Presidency of the European Union
Council of Cultural Ministers: Šarūnas Birutis
James Bowman, Christopher Hogwood,Ton Koopman
Struan McBride (Chairman), Ian Forrester QC,
Matthew Halls, Simon Mundy, Michael Roberts,
Jonathan Scheele, Frances Sunderland (Company
Members include Paul Agnew, Jean-Claude Eeckhout,
Erwan Fouéré, Lidia Geringer De Oedenberg,
Geoffrey Keating,Toomas Siitan, Ernst-Dieter Wiesner
Lars Ulrik Mortensen
Advisory Council:
Music Director:
Director of Studies:
Margaret Faultless
Director Emeritus:
Dr Roy Goodman
Director General:
Orchestral Manager:
Communications Manager:
Luxembourg Liaison Manager:
Paul James
Emma Wilkinson
Noora Heiskanen
Dominique Steiner
Helen Webber
Legal status:
EUBO is a registered charity in the United
Kingdom No. 800906 and a company limited
by guarantee No.2171965
Funding Programme:
EUBO 2013 is funded with support from the
European Commission budget line “Support
for Organisations active at European Level in
the field of Culture”
EU Member States: Ministers of Culture: Patrons ex officio of
the European Union Baroque Orchestra
Czech Republic:
The Netherlands:
United Kingdom:
Claudia Schmied
Fadila Laanan, Joke Schauvliege, Isabelle Weykmans
Petar Stoyanovich
Andrea Zlatar Violić
Kyriakos Kenevezos
Jiří Balvín
Marianne Jelved
Rein Lang
Paavo Arhinmäki
Aurélie Filippetti
Bernd Neumann
Tatiana Karapanagioti
Miklós Réthelyi
Jimmy Deenihan
Massimo Bray
Žaneta Jaunzeme-Grende
Šarūnas Birutis
Octavie Modert
Karmenu Vella
Jet Bussemaker
Bogdan Zdrojewski
Jorge Barreto Xavier
Daniel Constantin Barbu
Marek Maďarič
Uroš Grilc
José Ignacio Wert Ortega
Lena Adelsohn Liljeroth
Maria Miller
EUBO is an official cultural training initiative of the European
Parliament and the European Commission, and in 2013 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
Echternach, Luxembourg
Commission Commissioner Androulla Vassiliou
Bienfaiteurs de l’orchestre
EUBO 2013:
The Early Music Shop, Kieger (Luxembourg) SA,
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:
Anna Athanasopoulou
DG EAC Jan Truszczyński
Michel Magnier
Catherine Magnant
Xavier Troussard
EAC EA Brian Holmes
Barbara Gessler
Tatiana Niskacova
Delfido Minucci
10 May Festival International Echternach, LU
11 May Göttingen International Handel Festival, DE
12 May Lufthansa Festival of Baroque Music, London, UK
Lars Ulrik Mortensen director & harpsichord
Zefira Valova concertmaster
GF HANDEL Concerto Grosso Op 3 No 2
GF HANDEL Concerto Grosso Op 6 No 5
G SAMMARTINI Concerto Grosso Op 5 No 4
W BOYCE Symphony No 2 in A
FS GEMINIANI ‘Follia’ Concerto grosso Op 3 No 12
JH ROMAN Golovin Music Suite
C AVISON Concerto 3 in d minor
25 July Música Antiga dels Pirineus, Puigcerdà, ES
26 July Música Antiga dels Pirineus, Andorra la Vella, AD
27 July Música Antiga dels Pirineus, Sort, ES
30 July Musical Evenings at St Donat, Zadar, HR
5 September Rioja Forum, Logroño, ES
3 August MAFestival, Brugge, BE*
29 August Arte Musica Festival, Milan, IT
31 August Festival Oude Muziek, Utrecht, NL
1 September Musica Viva, Hagen/Osnabrück, DE
2 September Philharmonie Merck, Darmstadt, DE
3 September St John’s Smith Square, London, UK*
8 October Kloster Michaelstein, Blankenburg, DE
10 October Bach Days, Diyarbakir,TR
11 October Bach Days, Istanbul,TR
12 October Concerto Gandersheim, Bad Gandersheim, DE
14 October Bibliothèque Solvay, Brussels, BE
15 October Echter’Barock, Echternach, LU
16 October Oude Muziek - De Bijloke, Gent, BE
17 October St John’s Smith Square, London, UK
9 November GhislieriMusica, Pavia, IT
10 November Circuito Barocco, Brescia, IT
11 November Circuito Barocco, Monza, IT
13 November Echter’Barock, Echternach, LU
14 November Filharmonia Narodowa, Warsaw, PL
15 November Baroque Festiwal, Poznań, PL
17 November St John’s Smith Square, London, UK
4 December Echter’Barock, Echternach, LU
5 December Bachwochen, Wiesbaden, DE
6 December Den Sorte Diamant, Copenhagen, DK
7 December Early Music Festival, Stockholm, SE
9 December Conservatorio G.Verdi,Turin, IT
10 December Istituzione Universitaria dei Concerti, Rome, IT
11 December to be confirmed
15 December Early Music Festival,York, UK
Lars Ulrik Mortensen director
Alex Potter countertenor
Zefira Valova concertmaster
Clare College Choir, Cambridge (Graham Ross director)
Birthday Ode for Queen Anne HWV74
Concerto Grosso Op 3 No 2 HWV313
Coronation Anthems HWV258-261*
Zadok the Priest
Let thy hand be strengthened
The King shall rejoice
My heart is inditing
Utrecht Te Deum & Jubilate HWV278-279
Gottfried von der Goltz director & violin
Lorea Aranzasti Pardo concertmaster
JD ZELENKA Ouverture a7 concertanti in F
JG PISENDEL Violin Concerto in D
JG PISENDEL Imitation des Caractères de la Danse
A VIVALDI Oboe Concerto in F RV455
GPh TELEMANN Overture, Suite & Conclusion Tafelmusik III
Stefano Montanari director & violin
Kinga Ujszászi concertmaster
A CORELLI Concerto Grosso Op 6 No 8
A SCARLATTI Concerto Grosso 5
A CORELLI Concerto Grosso Op 6 No 1
CA RAZETTI Violin Concerto in f minor
A VIVALDI Violin Concerto in A RV552
AM MONTANARI Concerto Grosso in A
A VIVALDI ‘Winter’ from Quattro Stagioni RV297
Lars Ulrik Mortensen director & harpsichord
Bojan Čičić concertmaster
Anne Freitag flute
JS BACH Suite No 1 in C BWV1066
JS BACH Suite No 2 in B minor BWV1067
JM LECLAIR Flute Concerto in C Op 7 No 3
JPh RAMEAU Suite from Acanthe & Céphise
Violins Roldán Bernabé-Carrión
Christiane Eidsten Dahl
Antonio De Sarlo
Yotam Gaton
Saron Houben
Sarina Matt
Daphne Oltheten
Jamiang Santi
Alicja Sierpińska
Violas Rafael Roth
Hilla Heller
Andrea Angela Ravandoni
Cellos Guillermo Turina Serrano
Nicola Paoli
Double Bass Lisa De Boos
EUBO Directors
Lars Ulrik Mortensen
Gottfried von der Goltz
Stefano Montanari
EUBO Concertmasters
Huw Daniel
Zefira Valova
Lorea Aranzasti Pardo
Kinga Ujszászi
Bojan Čičić
EUBO Soloists
Maria Keohane (soprano)
Alex Potter (countertenor)
Alexis Kossenko (flute)
Anne Freitag (flute)
EUBO Tutors
Oboes Clara Geuchen
Katharina Humpel
Johannes Knoll
Bassoon Andrew Burn
Trumpets Sebastian Philpott
Gerard Serrano Garcia
Darren Moore
Timpani Pedro Segundo
Harpsichords Marianna Henriksson
Rossella Policardo
Choir Clare College, Cambridge
Lars Ulrik Mortensen (Music Director)
Margaret Faultless (Director of Studies)
Anton Steck (violin)
Sirkka-Liisa Kaakinen-Pilch (violin)
Richard Gwilt (viola)
Kristin von der Goltz (cello)
Love Persson (double bass)
Katharina Arfken (oboe)
Alberto Grazzi (bassoon)
Béatrice Martin (harpsichord)
Simon Neal (tuning & temperament)
EUBO Management
Paul James
Emma Wilkinson
Noora Heiskanen
Dominique Steiner
European Union Baroque Orchestra
Hordley,Wootton,Woodstock OX20 1EP, UK
T: +44 1993 812 111 F: +44 1993 812 911
E: [email protected] W:
EUBO’s début in Andorra 26 July 2013, the 54th country in which it has performed.
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 not only a self-characterization but totally true:
EUBO is like no other orchestra. Based on this, it
has continuously inspired people for nearly three
decades now. In doing so, it has deserved to be
called "Cultural Ambassador of the European
Union". And even if this title will not be awarded
any longer as from 2014 on, I am very happy that we have finally
ensured EUBO to be allowed to keep it. And I am convinced that the
audience will see, listen and subsequently understand why.
All best wishes!
Doris Pack
Chair of the Committee on Culture and
Education in the European Parliament
José Manuel Barroso
President of the European Commission
I am very proud to present the work the
European Union Baroque Orchestra has done for
years to the benefit of European music, with the
support of the EU Culture Programme.This year
the Orchestra brings together 25 young talented
musicians, from 19 EU Member States, to share
their talent and their love for baroque music.They play in 13
European countries, highlighting the outstanding richness and variety
of baroque music.
The Orchestra has greatly contributed to safeguarding, promoting
and energising this European classical musical heritage.This Orchestra
also illustrates perfectly the reason why Europe supports cultural
organisations – it is giving artists the opportunity of working together
beyond national barriers, helping them to develop international
careers and to exchange experience and to learn from each other.
As a result, the Orchestra unifies various talents to promote
European cultures. I sincerely wish the Orchestra and its members
every success in their activities and tours in 2013 and beyond.
Jan Truszczyński
Director General for Education,Training, Culture
and Youth in the European Commission
Claudia Schmied
Fadila Laanan
Joke Schauvliege
Isabelle Weykmans
Petar Stoyanovich
Andrea Zlatar Violić
Kyriakos Kenevezos
Jiří Balvín
Marianne Jelved
Rein Lang
Paavo Arhinmäki
Aurélie Filippetti
Bernd Neumann
Tatiana Karapanagioti
Miklós Réthelyi
Jimmy Deenihan
Massimo Bray
Žaneta Jaunzeme-Grende
Šarūnas Birutis
Octavie Modert
Karmenu Vella
Jet Bussemaker
Bogdan Zdrojewski
Jorge Barreto Xavier
Daniel Constantin Barbu
Marek Maďarič
Uroš Grilc
José Ignacio Wert Ortega
Lena Adelsohn Liljeroth
Maria Miller
Czech Republic
The Netherlands
United Kingdom
Cultural Ambassador for the European Union
The European Union Baroque Orchestra is like no other orchestra:
EUBO auditions and selects completely new personnel every year.
EUBO’s ephemeral existence makes its concerts special: live
performances enjoying all the technical accomplishment of the best
young baroque musicians in Europe, allied to an infectious undimmed
sense of discovery and enjoyment.
Members of EUBO come from all over the EU to gain performing
experience after their conservatoire studies, working together for a
season under the inspirational leadership of Music Director Lars Ulrik
Mortensen and some of the world’s finest baroque musicians.Ton
Koopman, Margaret Faultless, Enrico Onofri, Roy Goodman, Alexis
Kossenko, Riccardo Minasi, Edward Higginbottom and Paul Agnew all
have been guest directors in recent seasons and violinists Stefano
Montanari and Gottfried von der Goltz will direct EUBO in 2013.
Tours take the talented young orchestra to all corners of Europe –
from celebrated city concert halls, to seaside summer festivals, to
monasteries nestling in autumnal forests, and to winter celebrations
in beautiful churches. In 2013 EUBO comprises musicians from 21
different European countries who will give nearly 40 performances
across 13 European countries. And at the centre of these great arcs
of European travelling EUBO has established residencies in several
cities, notably as “orchestra-in-residence” in Echternach, Luxembourg,
where, with the support of its local partners, it is creating a new
destination for baroque music. EUBO has recently been appointed
an Associate Artist at St John’s Smith Square, which will enable the
orchestra to present a series of four concerts each year, reinforcing
St John’s position as a centre for baroque music in London.
“ Ab dem ersten instrumentalen Einsatz in die dramatische
Soloszene "Ero e Leandro" HWV 150 des 22jährigen
"italienischen" Haendel ist klar, dass ein konsequentes
Affektmusizieren den Aufführungsstil des Abends bestimmen
wird. …Jede rhythmische und dynamische Nuance wird mit
erstaunlicher instrumentaler Beherrschung ausgeführt. Beleg
einer faszinierenden, prägenden Schulung dieser jungen
Musiker in Sachen stilgerechter Barockinterpretation!”
EUBO’s touring programme is assisted by sponsorship from The
Early Music Shop and from the newly-launched EUBO Development
Trust Associate Artist programme, and the orchestra’s core activities
are supported by a significant grant from the European Commission’s
programme for “cultural ambassadors”. Flying the flag for Europe,
“EUBO is” as 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.
Luxemburger Wort
“ Mit Frische, Fantasie, einem erstaunlichen Reichtum an Farben
und einer geradezu überwältigenden Spielfreude präsentierten
sich die jungen Musiker. Die Zuhörer bedankten sich für das
mitreissende jugendliche Engagement mit anhaltendem Beifall
und Standing Ovations.”
TV Nachbericht Bitburg
2 to 8 April 2013
Orchestral Courses
Friday 10 May 2013
Naturally Handel
Lars Ulrik Mortensen (director/harpsichord)
Maria Keohane (soprano)
From 16 to 23 July 2013
Orchestral rehearsal period
20 July 2013
Workshop with ‘Ambitus’ choir
Handel’s Coronation Anthems
23 July 2013
Denzelt, Echternach
Lars Ulrik Mortensen (director)
11 October 2013
Art competition for children
Vivaldi’s Winter
15 October 2013
The Dresden Network
Gottfried von der Goltz (director/violin)
13 November 2013
Vivaldi Workshop for children
The Four Seasons:Winter
13 November 2013
Corelli, Charisma & Concerti
Stefano Montanari (director/violin)
4 December 2013
Barock meets Baroque
Lars Ulrik Mortensen (director/harpsichord)
Anne Freitag (flute)
From 5 to 11 April 2014
Orchestral Courses
Ville dʼEchternach
EUBO with Lars Ulrik Mortensen (director) and Maria Keohane (soprano) at Festival International Echternach 10 May 2013
“ 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
“ 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. I am honoured to welcome the
European Union Baroque Orchestra back to Echternach
for their 2013 concerts and to wish the Orchestra
every success for this year’s tours.”
Théo Thiry, Bourgmestre, Ville d’Echternach
The agreement to
extend EUBO’s
residency in
Luxembourg, for a
further three
years, from 2013
to 2015, was
signed in the
presence of (from
the left in the photo) Mariette Scholtes (Festival International
Echternach), Ben Scheuer, Paul James (Director General, EUBO),
Bourgmestre Théo Thiry, Marc Diderich and Ralf Britten
(Director of Trifolion). EUBO’s residency and the Echter’Barock
series of concerts are made possible by grants from the Ville
d’Echternach and the Ministry of Culture in Luxembourg,
in partnership with the Festival International Enchternach
and Trifolion Echternach - Centre Culturel,Touristique
et de Congrès, and in association with the École de
Musique Echternach.
If you would like to receive news about
EUBO’s forthcoming events in Echternach
please contact EUBO’s Luxembourg Liaison
Manager Dominique Steiner at
[email protected]
EUBO 2013 and the Choir of Clare College, Cambridge,
will record the final concert of their joint touring project
on 3 September 2013, directed by Lars Ulrik Mortensen.
The choral works of this programme have a special
historical background. Handel’s spectacular Coronation
Anthems were written in 1727 for the coronation of
George II and have been performed at all British
coronations ever since. The aria Eternal Source of Light
Divine, one of the most beautiful baroque arias ever
written, opens the Birthday Ode for Queen Anne which
was composed 300 years ago in 1713.
EUBO and the Choir of Clare College, Cambridge, at MAfestival in Brugge, Belgium, 3 August 2013
Pure Handel
The Gramophone review
speaks for itself!
“It may not look like it, but there are
three completely different orchestras
on this disc.The European Union
Baroque Orchestra personnel changes every year and here
we have performances from concerts by the 2008, 2010
and 2011 teams. It doesn’t sound like it either, for there is
a near-total consistency of sound and approach, making a
more than usually fitting and generous celebration of this
estimable organisation’s continuing high achievement.These
are live-wire performances, technically excellent and
propelled with exactly the right degree of driving energy by
Lars Ulrik Mortensen, a director of great imagination and
musicality with a special ability to find details in the music
you maybe hadn’t registered before, draw them out and
thrill you with them.The ‘encore’ is the final aria from Il
trionfo del Tempo e del Disinganno, a heart-stoppingly pure
and beautiful disavowal of life’s frivolous distractions in
which soprano Maria Keohane's rapt singing is intimate
with Huw Daniel’s sympathetic solo violin.This track is
worth your money on its own. Handel was young when he
wrote most of this music, his growing art confident, sincere
and direct.What a fine fit for these performers.”
Lindsay Kemp
Gramophone (August 2013)
Joy and Sorrow
Although the European Union
Baroque Orchestra has, over the
years, been the subject of many
short films and documentaries and
had many of its concerts recorded
for TV and radio, this is the first time
EUBO itself has produced, in association with Estonian
Record Productions, a film for public distribution Joy and
Sorrow Unmasked (ERP6412).
An introductory film opens a window onto the workings
of the orchestra and its members on tour. This short
presentation follows the orchestra on its way to
Echternach in Luxembourg, where EUBO is “orchestra-
in-residence”, to give a public performance in the Atrium
concert hall at Trifolion as part of its Echter’Barock
series. The programme is directed from the harpsichord
by EUBO’s Music Director Lars Ulrik Mortensen and
features music by Bach, Handel, Ferrandini and Torelli.
EUBO is joined by concertmaster Huw Daniel, trumpet
soloist Sebastian Philpott and soprano Maria Keohane.
The performance was filmed ‘live’ on five cameras by
fz films (Stefan Zednik & Anette Fleming) and recorded
for sound by Studio 4 (Carl Schuurbiers).
We are grateful to all backers of EUBO’s crowdfunding campaign whose kind support makes this
recording possible.
‘Handel in London – A Royal Celebration’ CD will be
released in December 2013
“ To me recordings have always been the most rewarding
part of being in a choir, a recording gives you the feeling
that you are doing something permanent and so it means
a lot more.”
Gabrielle Haigh, Soprano, Clare College Choir
“ In EUBO we play together for just six months and to
record one of our performances captures our enthusiasm
and makes it last longer.“
Antonio De Sarlo,Violin, EUBO 2013
“It is a valuable thing to record for CD all the work we have
done in this period, to have a permanent memory of it and
to bring it to the enjoyment of other people.”
Andrea Angela Ravandoni,Viola, EUBO 2013
“ To see the whole group, EUBO and the Choir of Clare
College, Cambridge, performing together is quite an
impressive sight. Clare College Choir is the best choir I've
ever worked with and I look forward to our polished
performances and recording together.”
Andrew Burn, Bassoon, EUBO 2013
W W W . E U B O . E U / S H O P
EUBO (2012) performed vocal and orchestral works by
GF Handel at three major European early music
festivals in May 2013.
Director Lars Ulrik Mortensen
“ Unter dem Titel „Naturally Handel “ präsentierte das EUBO,
Soprano Maria Keohane
geführt durch Lars Ulrik Mortensen, ein straffes Programm aus
Concertmaster Huw Daniel
Kantaten und Orchesterwerken Georg Friedrich Händels. Das
Ergebnis war ein mit Energie gefülltes, aufmerksames und hoch
motiviertes Ensemble, das sich an diesem Abend zu beson-
GF HANDEL (1685-1759)
Overture in B flat HWV 336
Cantata Ero e Leandro HWV 150
Concerto Grosso in F Op 6 No 2 HWV 320
deren Leistungen fähig gezeigt hat. Das Konzert erzeugte eine
Gesamtleistung, deren Verantwortliche man gerne wieder
wählen würde.”
Jonas Rohde, Göttinger Tageblatt
“ EUBO was joined on this occasion by the marvellous Swedish
Aria Cor di padre e cor d’amante
Sonata a5 in B flat HWV 288
Cantata Silete Venti HWV 242
soprano Maria Keohane.The orchestra, under what was clearly
inspirational leadership from Lars Ulrik Mortensen, matched
her beautifully, interacting and responding acutely.The little
duets she formed with the orchestra's leader, Huw Daniel,
were a particular joy, not least in the encore, the final number
EUBO 2012
Violins I
Joanna Kaniewska
Magdalena Cieślak
Claudia Norz
Anna Curzon
Violins II
Jacek Kurzydło
Nadine Henrichs
Dominika Fehér
Emma Lake
Lola Fernandez Mateos
Magdalena Schenk-Bader
Annemarie Kosten-Dür
Petr Hamouz
Lea Rahel Bader
Czech Republic
Double Bass
Zaynab Martin
Robert Herden
Julia Bauer
Kim Stockx
The Netherlands
Jean-Christophe Dijoux
from Il trionfo del tempo e del disinganno.They're a really
wonderful band, and I'm very pleased to see they're going to
be playing regularly at St John's Smith Square as Associate
Artist there."
Hugo Shirley, The Daily Telegraph, online review
We are pleased to announce that EUBO
has been appointed an Associate Artist of
St John's Smith Square, London.
10 May
11 May
12 May
Festival International Echternach
International Handel Festival
Lufthansa Festival of Baroque Music
St John’s Smith Square
10 | 11
Director & harpsichord Lars Ulrik Mortensen
Concertmaster Zefira Valova
GF HANDEL (1685-1759)
Concerto Grosso Op 3 No 2 in B flat HWV 313
Vivace – Largo – Allegro – Minuet – Gavotte
G SAMMARTINI (1695-1750)
Concerto Grosso in a minor Op 5 No 4
Allegro – Andantino e cantabile – Allegro moderato – Minuet gratioso
W BOYCE (1711-1779)
Symphony No 2 in A
Allegro assai – Vivace – Presto (Allegro)
FX GEMINIANI (1687-1762)
“Follia” Concerto grosso Op 3 No 12 after Corelli
Op 5 No 12
Theme & variations
JH ROMAN (1694-1758)
Golovinmusiken Suite
Entrée – Larghetto – Gavottes I & II – Hornpipe – Andante – Allegro – Allegro
C AVISON (1709-1770)
Concerto 3 in d minor after sonatas by D Scarlatti
Largo andante – Allegro spiritoso – Vivace – Piu Allegro
GF HANDEL (1685-1759)
Concerto Grosso Op 6 No 5 in D HWV 323
This programme called “The Lure
of London” contains two ideas:
firstly, it features a selection of
composers who were all active in
London in the 1730s and 1740s,
although only one, William Boyce,
was actually born in the city. Early
in their composing careers both
Johan Helmich Roman (from
Sweden) and Charles Avison (from
Newcastle) moved to the capital to
study, and both had contact with
Geminiani. Francesco Geminiani, a
virtuoso violinist, had come to
London (from Lucca) and
developed an active performing
and teaching career. So too had the Milanese oboist and composer
Giuseppe Baldassare Sammartini, credited with significantly advancing the
skills of wind players at this time. And, naturally in this context, we also
include music by George Frederic Handel, the ‘Saxon’ who became a
naturalised Englishman in 1727. He was undoubtedly London’s most
famous musical resident; he lived in the city from 1712 until his death in
1759 and influenced just about every sphere of concert life, from
courtly entertainment via church music to the opera house.
Usually when EUBO programmes music by Handel he is the core of
that particular programme. But the second idea in this programme is an
attempt to view Handel’s music as a starting point for musical evolution.
Most of the other composers featured played very important roles in
the stylistic development in music of the mid-18th century, a gradual
process of changed conventions and tastes leading to the Enlightenment,
the Rococo and, eventually, to the Classical style.
Giuseppe Baldassare Sammartini and his brother Giovanni Battista were
both oboe players and an important part of the musical scene in
London. It is interesting to see how their music develops during the
courses of their respective careers: initially, they write in the pure
baroque style, but at the end of their lives both of them write almost
Haydn-esque works in a completely modern musical language. It is fascinating to experience this kind of progression.
The same pattern of development applies to Boyce, who was also at
first firmly grounded in the baroque, but whose symphony in this
programme clearly features elements which point forward in time. A
similar role is played by the organist Charles Avison: we have chosen
one of his Concerti Grossi modelled on the keyboard sonatas by
Domenico Scarlatti. Avison would have known some of these works
because 30 of them had been published in London in 1738.
These sonatas clearly made an enormous impact at the time because of
their unusual keyboard textures and their radically different means of
musical expression, which indeed came to represent truly modern
music. Avison took advantage of this interest in Scarlatti’s music by
transcribing and ordering a number of the sonatas into Concerti Grossi.
He maintained many of the quirky and unpredictable effects of which
Scarlatti was so fond, but also – interestingly enough – removed some
of the weirdest and most whacky bits, thus presenting Scarlatti in a
slightly more civilised and predictable light than that which Scarlatti
himself might have envisaged. I think Avison must have felt that Scarlatti’s
music would become more generally acceptable or influential if it were
“Handel-ified” or gentrified.
The programme also features music by Francesco Geminiani, who was
the most influential Italian violinist in London, composing and publishing
extensively, and who also had an important role as a pedagogue, both
through practical teaching and through his many writings about almost
all aspects of contemporary performance practice. His “Follia” is an
arrangement of the last violin sonata by Arcangelo Corelli from his
famous Opus 5 collection, which – published on 1 January 1700 –
became the absolute standard model of sonata writing. Geminiani is
treating Corelli like Avison did Scarlatti, clothing him in a more contemporary fashion. He expands Corelli’s original two-part structure into the
full concerto grosso format by adding contrapuntal parts and by
extending the range and element of contrast in the musical language.
The Swedish composer Johan Helmich Roman travelled extensively
throughout Europe and spent a number of years in England, meeting
and playing with Geminiani and also participating in Handel’s various
ensembles and orchestras. He brought a lot of music and influences with
him back to Sweden, where his extensive activities as a composer and
organiser later earned him the epithet “the Father of Swedish music”.
We play a selection of movements from the three hour long
Larghetto e staccato – Allegro – Presto – Largo – Allegro – Menuet
23 July
25 July
Música Antiga dels Pirineus
Església de Sant Domènec
“Tafelmusik” written for a banquet for the Russian Ambassador to
Stockholm, whose name was Golovin. I think you can hear something
peculiarly Scandinavian in this music. Especially in the slow movements,
there is what to me as a Scandinavian seems quite familiar as a kind of
proto-Scandinavian language, which one may characterize as a special
mixture of idyllic nostalgia and “weltschmerz”. It is a quietly glowing but
not very extrovert style of music, and I sense here a particular colour
which I have never found in music of any other nationality.
Lars Ulrik Mortensen
Director & harpsichord
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. 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 2013, he will give 23 concerts
in 11 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 an international profile for the
group. 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 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. Directing Concerto Copenhagen, Lars
Ulrik’s 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. In 2013
a CD of music by Handel was released, recorded by Lars Ulrik Mortensen
with three generations EUBO, a testament to his careful nurturing of
youthful musical talent.
EUBO performance in Zadar, Croatia, 30 July 2013.
26 July
27 July
30 July
Música Antiga dels Pirineus
Església Parroquial de Sant Esteve
Música Antiga dels Pirineus
Esglèsia Parroquial de Sant Feliu
Musical Evenings at St Donat
Church of St Donat
In 2006 Zefira obtained both her bachelor and master’s 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, the only festival of its kind in Bulgaria. 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 and has returned
for several further tours as concertmaster
with EUBO for directors Petra Müllejans,
Ton Koopman, Alexis Kossenko and Lars
Ulrik Mortensen. 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 and
Wroclaw Baroque Orchestra. Since its foundation in 2011 she has been
concertmaster of the orchestra Les Ambassadeurs with musical director
Alexis Kossenko. In 2009 Zefira Valova was a prize-winner in the
competition of the Jumpstart Junior Foundation, which provided her with
a violin labelled Lorenzo & Tomaso Carcassi 1760, Florence.
EUBO is pleased to continue its relationship as
“orchestra-in-residence” in Echternach, Luxembourg, with
Ville d’Echternach, Luxembourg Ministry of Culture,
Festival International Echternach and Trifolion – Centre
Culturel,Touristique et de Congrès, which recently
celebrated its 5th anniversary.
Ville dʼEchternach
5 September
Rioja Forum
12 | 13
Director Lars Ulrik Mortensen
Countertenor Alex Potter
Concertmaster Zefira Valova
Choir of Clare College, Cambridge
(Director of Music Graham Ross)
GF HANDEL (1685-1759)
Coronation Anthems (1727)
Zadok the Priest HWV 258
Let thy hand be strengthened HWV 259
Signed in April 1713, the Treaty of the Peace of Utrecht brought to an end the War of Spanish succession, a
conflict in which Britain, Austria, Portugal and the Dutch republic joined forces to prevent the unification of
France and Spain under a single monarchy; the Treaty also put an end to the centuries of Spanish occupation in
the southern Netherlands.The Treaty heralded an exceptionally long period of peace in Europe and precipitated
major celebrations in London, with the ringing of church bells and the lighting of bonfires in the street. Handel
contributed to the festivities with his grand Utrecht Te Deum and Jubilate, premiered on 7 July 1713 in Sir
Christopher Wren’s recently-completed St Paul's Cathedral in London.These canticles, performed aptly in
Utrecht by EUBO and Clare Choir on the 300th anniversary of the signing of the Treaty, are among the great
18th century choral works.They were deliberately conceived by Handel along the same lines as settings
previously used on similar state occasions by Purcell and Croft, and according to a contemporary writer “more
than a hundred musicians are going to be employed for this”.
Handel had only arrived in London in 1712, but quickly made an impression on Britain’s royal family. Queen
Anne is said to have granted him an annuity of £200 for life after hearing some of his choral music and Handel
expressed his thanks with his Ode for the Birthday of Queen Anne.Written in 1713, the Ode opens with one
of Handel’s most beautiful arias,“Eternal Source of Light Divine” which is scored for solo countertenor and
trumpet. It is a secular cantata with a libretto by Ambrose Philips which, in addition to celebrating the Queen’s
49th birthday, also marks the successful negotiations which led to the Treaty of Utrecht.This is summarised in
each of the nine sections of the cantata which conclude with the words:
Concerto Grosso Op 3 No 2 in B flat HWV 313
The day that gave great Anne birth, who fixed a lasting peace on earth.
My heart is inditing HWV 261
Whilst it is not certain that the Ode was ever actually performed at court since Queen Anne was in poor
health, we do know that the architect Thomas Archer consulted the ailing Queen in 1713 (her death in 1714
initiated the Hanoverian Accession) about his designs for the new St John’s church in Smith Square.The story
goes that the Queen, not noted for her interest in architecture, petulantly kicked over her footstool, pointed at
its upturned shape and snapped “Like that!”The nickname ‘Queen Anne’s Footstool’ has stuck ever since.Work
on the church proceeded slowly and it was only finally completed and consecrated in 1728 after the coronation
of George II.
Birthday Ode for Queen Anne HWV 74 (1713)
The King shall rejoice HWV 260
GF HANDEL (1685-1759)
Utrecht Te Deum in D HWV 278 (1713)
Utrecht Jubilate in D HWV 279 (1713)
Concerto Grosso Op 3 No 2 in B flat HWV 313
Birthday Ode for Queen Anne HWV 74 (1713)
One of the last acts of Queen Anne’s successor, King George I, before his death in 1727 was to make Handel a
naturalized British citizen.The Coronation Anthems were commissioned from Handel for the coronation of
George’s son, King George II, which took place on 11 October the same year. At the ceremony Let thy hand be
strengthened was played first, then Zadok the Priest, then The King shall rejoice, and finally My heart is inditing at the
coronation itself.The texts were chosen by Handel from the King James Bible.The Anthems were an instant
success, being performed on many occasions during Handel’s own lifetime and in concerts and festivals ever
since. Composed for the spacious grandeur of Westminster Abbey, the anthems show a completely extrovert
tone, ceremonial splendour, managing massed forces (apparently there were 47 singers and the orchestra is said
to have numbered 160) and vivid contrasts, rather than delicate colours.The anthems have become a traditional
part of all subsequent British coronations.
By the time that his concerti grossi Opus 3 were published in London (by John Walsh in 1734) Handel was wellestablished in England.While the solo concerto, which evolved at much the same time as the concerto grosso,
rapidly gained precedence in Italy, the concerto grosso soon became established as the favoured form in
England. Its combination of three or four fairly demanding solo parts (the concertino) with easier parts for the
body of strings (the ripieno) made it an ideal vehicle for the rapid spread of amateur music-making in England
during the 18th century. The concerto grosso Op 3 No 2 was composed long before its eventual publication
and shares a close relationship with Handel’s Brockes Passion of 1716, particularly in the first and third
movements, and elsewhere deriving inspiration from Corelli’s Concerto Grosso Op 6 No 8. But Handel did
write one strikingly original movement – the second. Over a rippling accompaniment from the cellos and
pulsating chords from the upper strings, a solo oboe rises phoenix-like with singing, expressive phrases.
3 August*
6 August*
29 August
MAFestival (50th Anniversary)
‘Klara’ Radio Festival!
Milano Arte Musica
Basilica di Santa Maria della Passione
Jenny Ashworth
Janneke Dupre
Gabrielle Haigh
Alice Halstead
Sophie Horrocks
Helen Lilley
Caroline Meinhardt
Camilla Seale
Madeleine Seale
Rachael Ward
Clara Betts-Dean
Abigail Gostick
Emma Simmons
Eva Smith-Leggatt
Eleanor Warner
Laurence Booth-Clibborn
Nils Greenhow
Peter Harrison
Christopher Loyn
Alexander Peter
Adam Cigman-Mark
William Cole
Elliot Fitzgerald
Matthew Jorysz
Charles Littlewood
Magnus Maharg
Alexander McBride
Hugo Popplewell
James Proctor
Matthew Ward
Since the founding of a mixed
voice choir in 1971, the Choir of
Clare College, Cambridge, has
gained an international reputation
as one of the world’s leading
university choral groups. In
addition to its primary function of
leading services in the College
chapel, the choir has an active
schedule recording, broadcasting,
and performing worldwide.The
choir has been fortunate to have
had four outstanding directors:
Peter Dennison, John Rutter,
Timothy Brown, and since 2010,
Graham Ross, and has toured
widely in Europe, the United
States of America, Japan, China,
Russia, and the Middle East. In
addition to live performances, the
choir has an impressive catalogue
of recordings, and regularly
contributes to the Choral
Evensong broadcasts on BBC
Radio 3. In 2012 the choir toured
Australia to sing Beethoven’s
Ninth Symphony with the
Australian Chamber Orchestra,
and performed Elgar’s The Dream
of Gerontius in London with the
London Philharmonic Orchestra
and Sir Mark Elder.
Director of Music
Choir of Clare College, Cambridge
Graham Ross is Director of Music and Fellow of Clare
College, Cambridge, and co-founder and Principal Conductor
of The Dmitri Ensemble. A composer and conductor of a
wide range of repertoire and one of today's youngest published
composers, he has had works performed throughout the UK and
beyond. Graham Ross studied music at Clare College, Cambridge and
conducting at the Royal College of Music, London. He has served as
Chorus Master for Sir Colin Davis and Ivor Bolton, and held a
Conducting Scholarship with the London Symphony Chorus. With The
Dmitri Ensemble, he has conducted several recordings including a disc of
previously unrecorded works by Vaughan Williams. He guest conducts
numerous orchestras, including the Haydn,Tallis, Kensington, Covent
Garden and East Anglia Chamber Orchestras, and is increasingly involved
in the field of opera, having conducted in Jerusalem, Aldeburgh,
Provence, and Glyndebourne. He holds a special relationship with
Aalborg Symfoniorkester, Denmark, where he has appeared many times
as guest conductor.
Countertenor soloist Alex Potter is a sought-after interpreter
of 17th and 18th century music. He has performed with
conductors including Philippe Herreweghe,Thomas
Hengelbrock, Lars Ulrik Mortensen, Peter Neumann and Paul Goodwin.
Alongside performances of works by Bach and Handel, he takes
particular interest in seeking out and singing lesser known repertoire in
concerts and recordings. After beginning his musical career as a chorister
at Southwark Cathedral, Alex Potter was a Choral Scholar and read
Music at New College, Oxford. He then went on to study at the Schola
Cantorum Basel with Gerd Türk and Evelyn Tubb. Recent performances
include Bach’s St Matthew Passion with Kammerorchester Basel/Winfried
Toll, a programme of English Renaissance music in the Styriarte Festival
with Hespèrion XXI/Jordi Savall, concerts and a CD recording of Bach’s
B Minor Mass with Concerto Copenhagen/Lars Ulrik Mortensen, and a
solo concert of music by Johann Rosenmüller at the Utrecht Early Music
Festival. His discography includes Heinrich Schütz’s Schwanengesang with
Collegium Vocale Gent/Herreweghe and Handel’s Joshua with the
Cologne Chamber Choir/Peter Neumann. A new solo CD, of Viennese
baroque music for alto voice with obbligato trombones, will be released
in 2013.
31 August
1 September
2 September
3 September*
Festival Oude Muziek
The Netherlands
Musica Viva
Ehemalige Kirche
Philharmonie Merck
Associate Artist Series
St John’s Smith Square
United Kingdom
14 | 15
Director & violin Gottfried von der Goltz
Concertmaster Lorea Aranzasti Pardo
JD ZELENKA (1679-1745)
Ouverture a7 concertanti in F
Ouverture: Grave-Allegro-Grave – Aria – Menuets – Siciliano – Folie
JG PISENDEL (1687-1755)
Violin Concerto in D
Vivace-Andante-Vivace – Andante – Allegro
Imitation des Caractères de la Danse
Loure – Rigaudon Rondeau – Canarie – Bourée – Musette – Passepied –
Polonois – Presto Concertino
GPh TELEMANN (1681-1767)
Overture and Suite from Tafelmusik III
Ouverture – Bergèrie – Allegresse – Postillons – Flaterie – Badinage –
A VIVALDI (1678-1741)
Oboe Concerto in F “Sassonia” RV455
Allegro – Grave – Allegro
(solo oboe Clara Geuchen)
Conclusion from Tafelmusik III
Pisendel was the famous concert master of the Dresdner Hofkapelle, which was one of the leading orchestras in the first half of the 18th century. He
was the leading violinist of his time in Germany to whom renowned composers such as Vivaldi, Albinoni and Telemann dedicated pieces. And at the
same time Dresden was enjoying the flowering of its musical life during the Saxon-Polish Union (1697-1763), which began with the election of Augustus
the Strong, King of Poland and extended to the end of the Seven Years' War.
At the heart of Dresden's musical life of this period was the court chapel orchestra, the Hofkapelle, which became famous from 1733 under the
influence of conductor Johann Adolf Hasse and concertmaster Johann Georg Pisendel.
Other major musical figures at the Hofkapelle included the composers Zelenka (who also played double bass in the Dresden Orchestra), Porpora, Lotti
and Heinichen, the instrumental virtuosi Volumier,Veracini,White, and Buffardin, and the singing stars Durastanti,Tesi, and Senesino.
The congregation of so much talent truly shows that Dresden could be considered as a European music centre of excellence. And one of today’s
leading German violinists Gottfried von der Goltz can draw together talents from all over Europe in the members of EUBO to re-explore some of the
music from this wonderful period in Dresden’s history.
8 October
10 October
11 October
Kloster Michaelstein
Bach Days
Bach Days
Director & violin
Gottfried von der Goltz has made an international name for himself as a baroque
violinist and as Artistic Director of the Freiburg Baroque Orchestra, which he
directs from the violin according to 18th century practice. Having studied in
Hannover, New York and Freiburg, he first came to the attention of the specialist
musical world with successful CD recordings of long-forgotten music of the
Dresden baroque and by Bach’s sons. Nevertheless, he does not restrict himself to
a particular repertoire; his discography, ranging from the 17th century to the modern, shows instead that he is a
versatile and flexible musician. His latest CD with Freiburg Baroque Orchestra features two concertos by the
young Felix Mendelssohn (with pianist Kristian Bezuidenhout), which was released in 2011 and greeted with
excellent reviews by international music critics: "If there were only three CDs a well-informed classical music
lover was supposed to buy per year, this should be one of them" (Radio Berlin Brandenburg). In addition to his
many chamber music engagements, Gottfried von der Goltz is Artistic Director of the Norsk Barokkorkester. He
is an active teacher of baroque and modern violin at the Hochschule für Musik Freiburg, and in 2013 will direct
the European Union Baroque Orchestra for the first time.
Born in Madrid in 1984, Lorea began violin and piano lessons at the age of five
and went on to study with Fernando Rius, Polina Kotliarskaya, Ana Comesaña and
Laura Diaz-Kayel. Lorea was a member of JONDE (National Youth Orchestra of
Spain) working with artists such as Fabio Biondi, Antoni Ros-Marba, Krysztoff
Penderecki and George Pelhivanian. In 2005 she was awarded a scholarship to
continue her Master studies at Texas Christian University with Curt Thompson.
Returning to Europe in 2008 and basing herself in Vienna, she started specialising
in baroque violin. During her time there, Lorea worked with baroque ensembles
such as Wiener Akademie, Capella Leopoldina, Concerto Köln and Barucco, and had masterclasses with Ulli
Engel,Thomas Fheodoroff, David Drabek, Ilia Korol and Gottfried von der Goltz, with whom she now studies in
Freiburg, Germany. In 2012 she had the opportunity to collaborate with great artists including Gottfried von der
Goltz, Anne Katharina Schreiber and Jean-Guihen Queyras as a soloist, chamber musician and orchestra player.
She was a member of EUBO 2011 and returns as a concertmaster in 2013.
EUBO is pleased to continue its residency
at Kloster Michaelstein in Blankenburg,
Germany, a partnership with the Stiftung
which began in 1990.
12 October
14 October
15 October
16 October
17 October
Concerto Gandersheim
Bad Gandersheim
Cultural Ambassador Showcase
Bibliothèque Solvay
Oude Muziek - De Bijloke
Associate Artist Series
St John’s Smith Square
United Kingdom
16 | 17
Director & violin Stefano Montanari
Concertmaster Kinga Ujszászi
A CORELLI (1653-1713)
Concerto Grosso Op 6 No 8 in g minor
Vivace-Grave – Allegro – Adagio-Allegro-Adagio – Vivace –
Allegro – Pastorale: Largo
A SCARLATTI (1660-1725)
Concerto Grosso 5 in d minor
Allegro – Grave – Allegro – Minuetto
Concerto Grosso Op 6 No 1 in D
Largo-Allegro – Largo-Allegro – Largo – Allegro – Allegro
CA RAZETTI (fl.1720-1750)
Violin Concerto in f minor
Allegro ma non presto – Grave – Allegro
A VIVALDI (1678-1741)
Violin Concerto in A ‘per eco in lontano’ RV552
Allegro – Larghetto – Allegro
The Corelli, Charisma and
Concerto concert is an all-Italian
programme. In the baroque era
national styles were very distinctive,
every country had its own musical
taste. It is quite easy to compare
Italian music to Italian shoes: quality
is very, very important and the
material has to be classy.The style is
extrovert and it is created to be
heard/seen. It was also made to
satisfy the customer's vanity with
elaborate decoration.
This year marks the 300th
anniversary of Arcangelo Corelli's
death, and it is his influence which
very clearly brings our programme
together. He was a renowned
composer and a well respected
violinist in his time, and for a long time afterwards influencing form, style
and instrumental technique not only in Rome - where he was based for
most of his life - but in most parts of Europe. He is generally credited
with the creation of the concerto. Alessandro Scarlatti and A.M.
Montanari were also based in Rome for at least a few years of their lives
and together with Corelli all three musicians were employed for shorter
or longer periods by Cardinal Ottoboni.
The next great innovator in the concerto genre after Corelli was the
Venetian Antonio Vivaldi. He made substantial contributions to musical
style, violin technique and the practice of orchestration, and he was a
pioneer of orchestral programme music.
All the composers whose music features in this concert programme
were great violinists, most of them having leading positions in different
orchestras.These concertos not only reveal their individual playing styles
and abilities on the violin, but the history of concerto writing from the
earliest examples to the mature baroque concerto.
Kinga Ujszászi
AM MONTANARI (1676-c.1737)
Concerto Grosso in A
EUBO is grateful for the support it receives from
Adagio – Allegro – Grave – Vivace
its partner GhislieriMusica for the residency in
Pavia, Italy, by providing rehearsal facilities and
Violin Concerto in f minor ‘Winter’ from Quattro
organising a series of performances for the
Stagioni RV297
orchestra in the Lombardy region, Italy.
Director & violin
After studies focussed on early music in
Firenze and Lugano, Stefano Montanari was
soon appointed principal first violin of the
leading Italian early music ensemble
Accademia Bizantina of Ravenna, with
whom he has toured throughout the world.
He is also concertmaster and director of the period instrument
ensemble Estravagante, has worked with many important early music
specialists, and has appeared with the Kammerorchester Basel and
Concerto Köln as both concertmaster and conductor. As a director he
appears regularly in theatres including Theatre Coccia Novara,Teatro del
Giglio in Lucca,Teatro Donizetti in Bergamo, La Fenice Venice, Lyon
Opera, and at the Opera Atelier in Toronto. His recording of Corelli’s
Sonatas Opus 5 won the Diapason d'Or in France, and in 2007 and
2010 his recordings of Vivaldi and Handel won MIDEM prizes for best
baroque albums of the year; "O Solitude" his recording with Accademia
Bizantina and countertenor Andreas Scholl for Decca, was nominated
for a Grammy Award in 2012. Stefano Montanari teaches baroque violin
in Milan,Verona and at the international early music course in Urbino.
For the publisher Carisch he is presently preparing a book Metodo per
violino Barocco (Method for Baroque Violin). For several years he was
the director of the European youth project Jugendspodium Incontri
Musicali Dresda-Venezia, and in 2013 will direct the European Union
Baroque Orchestra for the first time.
Allegro non molto – Largo – Allegro
9 November
10 November
11 November
Collegio Ghislieri
Circuito Barocco
Teatro Grande
Circuito Barocco
The EUBO Development
Trust would like to thank the
The EUBO Development Trust supports young European baroque
musicians at the start of their careers as well as giving financial
assistance to certain areas of the work of the European Union
Baroque Orchestra.
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 also a participant in the Orchestra of the Age of
Enlightenment's Experience Scheme. Kinga was a member of the
European Union Baroque Orchestra in 2010, and returned to EUBO as
concertmaster for a tour with Riccardo Minasi in 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, was
released in 2012.
Donations from regular supporters have made it possible
for the EUBO Development Trust to establish a series of
prizes to be awarded at internationally-recognised Early
Music competitions.The Trust has also been able to
support the production of a CD and a DVD by EUBO and
to help other emerging early music ensembles, such as the
International Baroque Players, produce their first CD
recordings.The Trust is supporting a number of training
initiatives to encourage increased participation by young
performers including courses in Prague and Freiburg and is
working with the orchestra to identify areas where baroque music
education is less well developed such as Lithuania and Romania.To this end
the Trust has made it possible, for example, for a promising young Romanian
oboe student to study at the Freiburg Baroque Orchestra’s summer Akademie
as well as for a small ensemble from EUBO 2011 to attend the Akademie.The
Trust continues to support EUBO’s training programme for young baroque
musicians, as well as the concerts at St John’s Smith Square, London through the
Associate Artist Appeal. All this would not be possible without the donations,
both small and large, received from individuals as well as from Trusts and
EUBO Development Trust Awards
Der Musikalische Garten
The EUBO Development Trust has established a number of prizes to be
awarded by the juries at internationally-recognised Early Music competitions such
as the York Early Music International Young Artists Competition, the Bach Competition Leipzig and the
Bruges International Competition Musica Antiqua.This year the Trust’s prize has been awarded to the most
promising ensemble taking part in the York Early Music Competition, Der Musikalische Garten. In 2011 the
prize was awarded to Anne Freitag (baroque flute) who was also the overall winner of the Competition
Musica Antiqua in Bruges. In 2012 prizes were awarded at the Competition Musica Antiqua in Bruges to the
most promising young European musician, Jean Rondeau (harpsichord), and to the most promising young
European player of a baroque orchestral instrument at the XVIII Bach Competition Leipzig, Lea Rahel Bader
(baroque cello).
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]
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, Charles Cozens
13 November
14 November
15 November
17 November
Filharmonia Narodowa
Concert Hall
Baroque Festiwal
Associate Artist Series
St John’s Smith Square
United Kingdom
following for their support
Ken & Vera Barnes
Nan Brenninkmeyer
Maggie Faultless
Anna Gustafson
Michael & Kathy Johnson
Struan & Jacqueline McBride
Bernadette Bailey
Johanna Büker
Classical Communications
Lucy & Garry Cope
Roy & Rosemary Croft
Jane, Lady Cuckney
Huw Daniel
Van & Eva DuBose
Iain & Gillian Gray
Alistair & Dolores Gray
David Gordon & Virginie Guiffray
Matthew Halls
Andrew Harding
Noora Heiskanen
Patricia James
Paul James
Catherine Mackintosh
Zaynab Martin
Michael &Yvonne Musgrave
Simon Neal
Jose Phillips
Tony & Michelle Raper
Helen Rogers
John & Alethea Rogers
Oliver Sändig
David & Dorothy Thomson
Sue Waldman
Mark & Helen Webber
Emma Wilkinson
Trusts & Foundations
Angus Allnatt Charitable Foundation
Doris Field Charitable Trust
Orchard Trust
Morris-Venables Charitable Foundation
The Betty Lawes Foundation
18 | 19
Why did you choose the Bach Orchestral Suites? It has been quite some time since EUBO programmed the
first two Bach orchestral suites, even though they have appeared quite regularly since the foundation of the
orchestra. Most baroque players would probably agree that Bach’s suites are one of the most important areas of
our repertoire.
Flute Anne Freitag
These works still amaze me with their freshness. I must have been involved in performances of the b minor suite
at least 50 times, but every time I play it I discover new details and surprising features; the more you play this
music, the greater the range of possibilities.There is also a pedagogical aspect to it: we should indeed expect any
specialised baroque musician to have formed a relationship with this refined musical language, complex
construction and technical virtuosity as well as with its emotional and musical effect, and to have found answers
to the very many questions that this music puts to each and every performer.
JS BACH (1685-1750)
So what’s the French connection? We sometimes forget an important feature of the Bach suites, namely that
they have their true origin in the French style. As Bach was always open to whichever influence he could put to
artistic and practical use in his own compositions, I thought it was interesting to pair him with native French
music in the second half of the programme. Admittedly, these particular French works were both composed
after Bach wrote his suites, but the relationship is still very audible.
Director & harpsichord Lars Ulrik Mortensen
Concertmaster Bojan Čičić
Suite No 1 in C BWV 1066
Ouverture – Courante – Gavotte I, II – Forlane – Menuett I, II – Bourrée I, II
– Passepied I, II
Suite No 2 in B minor BWV 1067
Ouverture – Rondeau – Sarabande – Bourrées I & II – Polonaise & Double
– Menuett – Badinerie
JM LECLAIR (1697-1764)
Flute Concerto in C Op 7 No 3
Allegro ma non troppo – Adagio – Allegro assai
JPh RAMEAU (1683-1764)
Suite from Acanthe & Céphise
Entrée des Suivants du Génie – Air gracieux – Air très vif – Gavotte – Loure –
Musette en rondeau – Air pour les Génies et les Fées – Tambourins
Leclair was the most outstanding French violinist of his time and, in a way, as much a model for the French violin
language as Bach was for violin composition in Germany. His two opuses of violin concertos constitute a refined
and complete version of the concerto manner translated into French.We chose the particular concerto in this
programme, Opus 7 No 3, because Leclair himself states that it – unlike the rest of the collection – can be
played on the flute, so this forms a very nice link with the second Bach suite before the interval.
What should the listener listen out for in French music that makes it particularly different from Italian music,
for example? A somewhat over-simplified answer could be: in Italian music the important thing is what you say;
in French music what matters most is how you say it. Because of the very particular rhetorical conventions of
French baroque music, the whole challenge of integrating millions of little details, ornaments or typical turns of
phrase or harmony into a greater whole needs a completely different balance or approach compared to Italian
music. I would recommend trying to listen beyond or below the surface in order to feel the glow, the
understated refinement and the “bon goût”.
The Rameau suite that EUBO will perform is an edition you have made; why in particular did you choose the
Acanthe et Céphise suite for EUBO? Rameau wrote more than 25 operas, and of course making up suites
from selected dance or instrumental movements from these is nothing new. But I like researching a little bit
further into operas that are less well-known than the ones from which we traditionally select such suites, and
Acanthe et Céphise - even though it is in many respects one of Rameau’s grandest creations - is still relatively
unknown. I also find that in this opera we experience a different and maybe more mature composer, a Rameau
illustrating or inviting gesture in a different way from what was the norm in his earlier works (Acanthe et
Céphise is quite late in his production). After all, Rameau surely was anything but a static composer. He kept
renewing himself, he kept refining or rethinking previously held ideas, and that is one of the reasons why this
music for me has such a lot of freshness and immediacy. I think that suits the EUBO-players and our style of
approach very well.
Do you think it will be difficult for the players to change from playing Bach in the first half to the French style
of performing in the second half? I think that when we do the programme in that order, starting with Bach and
then going into the native French style, it actually becomes a more organic affair than if we had played, for
instance, Italian music in the first half and then gone on to a very different language in the second half.There is
an internal logic or progression in the programme order which makes it a little easier for us, but hopefully even
more exciting for the listener.
Interview with Lars Ulrik Mortensen
4 December
5 December
6 December
6 December
Wiesbadener Bachwochen
Herzog-Friedrich-August Saal
Royal Danish Academy of Music
Den Sorte Diamant
Anne Freitag was born in Leipzig in 1984. She studied recorder
with Robert Ehrlich and Karel van Steenhoven and traverso
with Christoph Huntgeburth, Marten Root and Marc Hantai. 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 the most promising musician. Anne Freitag was a member of the 2012 European
Union Baroque Orchestra. Following a successful collaboration with EUBO and Lars Ulrik
Mortensen, she returns as a soloist in 2013. She took part in the Orchestra of the Age of
Enlightenment’s experience scheme in 2012. Currently she is studying historically-informed
improvisation with Rudolf Lutz, Renaissance traverso with Anne Smith and orchestral
conducting with Rodolfo Fischer at the Music Academy in Basel. In conjunction with her
musical activities, Anne Freitag is a trained Feldenkrais practitioner and since 2012 has
taught in Basel as a member of the Swiss Feldenkrais Federation. She has given concerts
with groups including Musica Saeculorum, New Century Baroque, Les Ambassadeurs
(Alexis Kossenko), La Cetra (Andrea Marcon), Concerto Copenhagen (Lars Ulrik
Mortensen) and Il Fondamento (Paul Dombrecht).
EUBO is a founder member of REMA Réseau
Européen de Musique Ancienne – EEMN European
Early Music Network
Bojan Čičić originally graduated with a diploma in modern
violin from the Zagreb Academy of Music in Croatia. Bojan
was a member of EUBO 2000, and after finishing his studies at
the Paris Conservatoire and the Guildhall School of Music
with François Fernandez and Rachel Podger, he embarked on a
career as a chamber musician and leader. He now regularly
performs with leading ensembles 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 with the European Brandenburg Ensemble for
their tour throughout Europe and the Far East.Their recording of JS Bach’s Brandenburg
Concertos won the Gramophone Award in 2008. Since becoming the principal violinist of
Florilegium in 2010, he regularly leads the group in various projects in the most renowned
concert halls: Wigmore Hall and Royal Festival Hall in London, Amsterdam Concertgebouw
and in Singapore. He has recorded JS Bach’s Double and Triple Concertos with Rachel
Podger and Brecon Baroque to wide critical acclaim. Highlights of 2013 include a
performance of Mozart's Sinfonia Concertante in Gloucester Cathedral and a recording of
the complete Brandenburg Concertos with Florilegium. Future projects include leading the
ensemble La Nuova Musica for five recordings for Harmonia Mundi USA with director
David Bates. Having led a tour with EUBO 2012 he returns to work again with director
Lars Ulrik Mortensen this year. Bojan plays on a violin by F. Ruggieri c1680, kindly loaned to
him by the Jumpstart Junior Foundation.
7 December
9 December
10 December
11/12 December
14 December
15 December
Early Music Festival
Conservatorio G.Verdi
Istituzione Universitaria dei Concerti
Sapienza Università
To be confirmed
United Kingdom
York Early Music Christmas Festival
Sir Jack Lyons Concert Hall
University of York
United Kingdom
20 | 21
EUBO with Lars Ulrik Mortensen and Bojan Čičić at the Greenwich Early Music Festival 2012.
Roldán Bernabé-Carrión
Spain Violin
After graduating in 2010 from the
Conservatorio Superior de Música
de Aragón in Zaragoza, Roldán
continued his studies on modern violin with Vicente
Huerta, and baroque violin under Hiro Kurosaki in
Madrid. At the same time he became a member of
the Jeune Orchestre Atlantique, based at the Abbayeaux-Dames in Saintes, France, preparing and
performing classical and romantic repertoire on
period instruments with directors Philippe
Herreweghe, Alessandro Moccia, Louis Langrée,
David Stern and Jos van Immerseel. In December
2012 he was offered the opportunity to play as a
junior member with Les Arts Florissants and director
William Christie, taking part in a European tour and
recording sessions. Roldán lives in Paris, where he is a
regular member of the Insula Orchestra (Laurence
Equilbey), and works under Patrick Cohën-Akenine.
Roldán leads Academia de las Luces, a recently
created ensemble devoted to in-depth study of the
music of 18th century in Spain.
Christiane Eidsten Dahl
Norway Violin
Christiane Eidsten Dahl, born in
1987 in Norway, has a growing international reputation as a modern and
baroque violin performer. While studying for her
undergraduate degree in violin performance at
Barratt Due Institute of Music in Oslo, she took up
the baroque violin as a second study in 2006. She has
since then studied historical performance with SirkkaLiisa Kaakinen-Pilch and Pavlo Beznosiuk alongside
her studies on the modern violin. After finishing her
master’s degree with David Takeno at the Guildhall
School of Music in London in 2011, Christiane joined
Southbank Sinfonia for the year 2012. Christiane has
appeared on several recordings, including Grieg String
Quartets (2010) with Oslo Camerata, CPE Bach
Symphonies (2012) with Norwegian Baroque
Orchestra and music by Johan Berlin (2013) with
Barokkanerne. She regularly gives concerts with The
Hanover Band and La Serenissima and her
performing highlights include Beethoven’s Violin
Concerto with Drammen Symphony Orchestra and
JS Bach’s Concerto for 3 Violins with the Guildhall
Baroque Orchestra. She performs the Vanhal Violin
Concerto in B-flat and Vivaldi Violin Concerto RV332
in London in 2013.
Daphne Oltheten
The Netherlands Violin
Daphne Oltheten was born in 1989
and started violin lessons aged three.
At the age of five, she was selected
for the class of Coosje Wijzenbeek, and soon began
to have chamber music lessons as well. She had the
chance to play with many great musicians, including
Paolo Giacometti and Janine Jansen, and won third
prize at the Interprovincial Music Competition. In
2002 Daphne was admitted to the Young Talent class
of the Royal Conservatory of The Hague. She then
studied for three years with Mireille van der Wart
and participate in a masterclass of Frederieke Saeijs, a
highly respected Dutch violinist and teacher. Daphne
won third prize at the Princess Christina Competition
and a masterclass with Vera Beths at the Davina van
Wely Competition.Throughout her studies, Daphne
has participated in summer schools including Austrian
Masterclasses (Salzburg, Austria), Stringtime
Niederrhein (Goch, Germany) and Peter de Grote
Festival (Groningen,The Netherlands). She took part
for over 10 years in the Apollo Zomeracademie
(Dronten,The Netherlands), where she received her
first early music lessons from David Rabinovich. After
finishing her bachelor degree in modern violin with
Theodora Geraets, Daphne now studies baroque
violin with Walter Reiter at the Royal Conservatory
of The Hague.
Jamiang Santi
Italy Violin
Born in Milan in 1984, Jamiang
started to study the violin when he
was five years old with his grandmother Vittoria. Aged ten, he won a young talent
award at a music competition promoted by the city
of Milan. He was admitted to the Conservatorio “G
Verdi” Milano with top marks where he continued his
violin studies with Umberto Oliveti and Fulvio Luciani
for his postgraduate degree. He has worked with
many orchestras including Orchestra Nuova
Cameristica, Camerata Nordica, Milano Classica,
Orchestra Verdi and Orchestra della Statale di Milano.
In 2003 Jamiang took part in a music school exchange
between Milan and Stockholm and in 2006 he was
selected for the Erasmus European project in
Stuttgart. Jamiang has experience in violin teaching,
having taught for three years at the Accademia
Ambrosiana in Milan. At present he is the second
violin of the Quartetto Indaco, which has won several
prizes and appeared in Italy, UK, Ireland, Switzerland,
Latvia and France. Quartetto Indaco have taken
lessons with teachers such as Hatto Bayerle, Peter
Cropper, Oliver Wille, Rainer Schmidt and the
Artemis, Brodsky, Berg and Belcea Quartets. Jamiang
studies baroque violin with Cinzia Barbagelata and is
member of the baroque ensembles Arcantico, Follia
Barocca and Magnifica Comunità.
Antonio De Sarlo
Italy Violin
Antonio De Sarlo was born in 1988
in Florence, Italy. He started studying
violin at the age of five at the Music
School of Fiesole, showing an early predilection for
chamber music. At the school he founded a string
quartet with which he participated in masterclasses
held by György Kurtág and members of the Quatuor
Mosaïques, Kuss Quartett and Altenberg trio Wien.
Antonio has worked with the Italian Youth Orchestra
and Camerata Strumentale Fiesolana; with the latter
he had the chance to deepen his knowledge of
historically informed performance practice under the
guidance of artists such as Giuliano Carmignola,
Francesco D'Orazio, Riccardo Minasi and Giulia Nuti.
Having obtained his diploma in violin, Antonio
continued to specialize in early repertoire with Erich
Höbarth and Paolo Cantamessa. He is currently
studying baroque violin on a master’s programme at
the Hochschule für Musik Köln, under the guidance of
Richard Gwilt. In 2013 he was selected to EUBO and
invited to perform at MAfestival Bruges and Festival
Oude Muziek Utrecht with the ensemble Paper Kite,
which is the first prize winner of the 14th Biagio
Marini competition. Antonio also holds a degree in
Philosophy from the University of Florence with the
highest grades.
Yotam Gaton
Romania Violin
Yotam Gaton started to play the
violin at the age of four. Oriented
towards chamber music from an
early age, he performed with various chamber
ensembles and played as concertmaster and principal
second violin with Israel’s finest ensembles such as
the TLV soloists ensemble and the Israeli soloists
ensemble. After studying in Paris,Yotam joined the
IDF where he won the title of “outstanding musician”,
and served as the leader and first violinist of the IDF
string quartet, where he also wrote and performed
series of lecture concerts. Graduating from the
Jerusalem Academy of Music and Dance with the
highest marks, he performed several recitals
throughout Israel, and performed as soloist at the
“Israeli music festival”,Tel Aviv museum.Yotam has
been awarded several grants, including the AmericaIsrael cultural foundation grant, outstanding chamber
musician grant from the JAMD, and the “Italian
institute of culture in Israel” grant.Yotam plays a 1670
Thomas Alban violin loaned to him by the Dutch
Nationaal Muziekinstrumenten Fonds. He is a former
student of Enrico Onofri in Palermo and François
Fernandez in Brussels, and today studies at the Royal
Conservatory of The Hague with Kati Debretzeni and
Walter Reiter.
Saron Houben
The Netherlands Violin
Saron was born in Eindhoven,The
Netherlands, in 1981. She started
playing the violin at the age of 11,
first studying modern violin with Jeanelotte
Hertzberger and later with Hebe Mensinga and
Tinta Schmidt von Altenschadt. She took part in
masterclasses with Moshe Hammer, Ilona Sie Dhian
Ho and the Matangi Quartet. During her studies,
Holland Baroque Society did several projects at the
conservatory which gave her the opportunity to play
baroque repertoire, and in so doing her interest in
historical performance practice increased. During her
master studies Saron began taking lessons with Tineke
Steenbrink and followed masterclasses with Veronika
Skuplik, Hiro Kurosaki and Lidewij van de Voort.
After completing her master’s degree at the ArtEZ
conservatory in Zwolle, she studied baroque violin
with Antoinette Lohmann. As well as teaching at the
music school in her hometown Zwolle, Saron
performs as a freelance musician with various
orchestras and chamber music ensembles, both
modern and baroque. She has performed with NJO
Orchestra of the 19th Century conducted by Richard
Egarr, and other historically informed ensembles such
as Arcade Ensemble and Accademia Amsterdam.
Sarina Matt
Liechtenstein Violin
Sarina Matt grew up with five siblings
in beautiful Mauren, Liechtenstein.
She studied violin at the
Konservatorium in Feldkirch, Austria, and completed
her bachelor studies with the highest possible mark.
She then moved to Lucerne in Switzerland, where in
2012 she successfully completed her master’s degree.
During her studies she received several scholarships,
for which she remains grateful. She gained valuable
experience playing with a variety of orchestras: Junge
Künstler Bayreuth, Basler Kammersolisten, BrittenPears Chamber Orchestra, Epos Chamber Orchestra,
young soundforum of central europe, Jeune
Orchestre Atlantique, JSB Ensemble, Animatofoundation Orchestra, Collegium Musicum Lucerne,
Feldkirch Festival Orchestra, and SJSO. She has
performed in more than 19 countries, in major
concert halls including: KKL Lucerne,Tonhalle Zürich,
Berlin Konzerthaus, Wien Konzerthaus, Smetana Hall
Prag,Teatro Carlo Felice and Expo Shanghai. Sarina is
a member of the Sinfonieorchester Liechtenstein. She
has played under conductors Philippe Herrenweghe
and Jos van Immerseel and had masterclasses with
Rachel Podger. As well as playing concerts, Sarina likes
teaching children and travelling.
Alicja Sierpińska
Poland Violin
After completing a master's degree
in modern violin studies at the Karol
Szymanowski Academy of Music in
Katowice and six-month scholarship at the Royal
Conservatory of The Hague, Alicja decided to focus
her musical life towards the world of historically
informed performance. In recent seasons Alicja has
had the chance to perform with many ensembles on
period instruments; in Poland she collaborates with
{oh!}Orkiestra Historyczna, Wrocław Baroque
Orchestra, Musica Humana, Concerto Polacco, and
Goldberg Baroque Ensemble. She was a member of
I Giovani della Montis Regalis (2012) and Génération
Baroque (2011). During various workshops and
masterclasses, Alicja has had opportunities to learn
from artists including Vera Beths, Jaap ter Linden,
Giovanni Antonini, Enrico Onofri, Martin Gester,
Anton Steck, Sirkka-Liisa Kaakinen-Pilch, Olivia
Centurioni, Irmgard Schaller, Antoinette Lohmann,
Peter Lissauer and many others. She is finishing her
second master's degree in baroque violin
performance at the Karol Szymanowski Academy
of Music in Katowice under the guidance of
Martyna Pastuszka.
Rafael Roth
Germany Viola
Rafael started playing the violin aged
seven before changing to viola,
studying both with his father in
Hamburg. After winning 1st and 2nd prizes at the
federal state level Jugend Musiziert competition,
Rafael began studying modern viola with Jone
Kaliunaite-Fassbender in Saarbrücken and graduated
with a master’s degree. Rafael was member of the
Junge Deutsche Philharmonie. After becoming interested in early music in Saarbrücken with teacher
Mechthild Blaumer, Rafael started to study baroque
viola with Sophie Gent at the Conservatorium van
Amsterdam before moving to Cologne, studying
violin, viola and viola d’amore with Richard Gwilt.
Rafael’s other passion is contemporary music; he has
made several recordings and given premieres, worked
for German broadcasting companies, and had a viola
concerto dedicated to him, as well as paying special
attention to viola d’amore repertoire. In the early
music field, he has worked with Ivor Bolton, Gottfried
von der Goltz, Stephan Mai and performed at the
TAMIS festival in Saarland, Festival de Música Morelia,
Gaudeamus muziekweek, Musiksommer Berlin,
Festival "Mouvement" Saarbrücken, and the David
Oistrakh Festival in Pärnu, Estonia. He has played with
l’arte del mondo and with barockwerk hamburg he
recorded arias by Faustina Bordoni-Hasse.
Hilla Heller
Hungary Viola
Hilla holds a bachelor degree in
modern viola performance from the
Jerusalem Academy of Music and
Dance where her teachers included Viola Hacohen,
Lilach Levanon and Zvi Carmeli. Alongside modern
viola studies she developed a growing interest in
early music and historically informed performance.
She participated in early music workshops and took
masterclasses with baroque violinists including Sophie
Gent, Boris Begelman and Judy Tarling. In 2011 she
performed with The Jerusalem Baroque Orchestra, in
a project led by Alfredo Bernardini. As a viola player
she enjoys playing chamber music and has participated in many festivals and workshops, recorded for
the radio (Israeli and Czech) and won a prize in a
chamber music competition at the Jerusalem
Academy in 2007. In 2012 Hilla started her formal
baroque viola studies with Noam Schuess. Currently
she is studying with Kati Debretzeni and Walter
Reiter at the Royal Conservatory of The Hague,
participating in many early music projects for the
Musica Antica Da Camera concert series, allowing
her to work with Kate Clark, Enrico Gatti, Fabio
Bonizzoni, Jaap ter Linden and others. Hilla is a
scholar of the America-Israel Cultural Foundation.
Andrea Angela Ravandoni
Sweden Viola
Andrea Angela Ravandoni was born
and grew up in Stockholm, where
she started to play violin and piano
at the age of 8. While at Södra Latins High School in
Stockholm she studied violin and viola, and then
modern viola at the Falun Conservatory of Music
with Henry Gammelgård. In 2008 she started at the
Early Music department of the Royal Academy of
Music in Stockholm with baroque viola as her main
subject. She studied principally with Ann Wallström
but also with teachers such as Dan Laurin and
Mayumi Kamata, taking her master’s degree in
baroque viola in June 2013. Andrea Angela will
continue at the Royal Academy of Music in Stockholm
studying for a post-graduate diploma in interpretation,
with early music as her subject. Andrea Angela has
played projects with various early music ensembles in
Sweden. She participated in Vadstena Academy’s
opera production Star Cross D’Lovers and has been
touring since 2010 with the new and upcoming
company Operabyrån performing the chamber opera
Lovisa Ulrika. She is also member of Rokaikvartetten,
a string quartet specialised in performing Swedish
music from the 18th century by composers such as
JH Roman and Johan Wikmanson.
22 | 23
Guillermo Turina Serrano
Spain Cello
Guillermo Turina was born in Madrid
in 1986. He holds a bachelor degree
on modern cello from CSMA
Zaragoza and in historical performance from ESMUC
Barcelona, where he studied with Bruno Cocset and
Emmanuel Balssa. During his studies he also received
tuition from Andrew Ackerman, Manfredo Kraemer,
and Emilio Moreno. His interest in historical
performance practice led him to join the Jeune
Orchestre Atlantique in Saintes, France, where he
studied classical and romantic repertoire under the
guidance of cellists Hilary Metzger and Christophe
Coin. As a participant in various festivals, Guillermo
has performed in masterclasses with musicians such
as Anner Bylsma, Pieter Wispelwey, Jaap ter Linden
and Balázs Máté. Guillermo has been principal cellist
of orchestras including JONDE (Spanish Youth
Orchestra) and NJO (Dutch Youth Orchestra), and is
a founding member of Academia de las Luces. He
also performs throughout Spain and Europe with
several groups including La Tempestad, Sphera
Antiqva, Os músicos do Tejo, Regina Ibérica, and the
Atrium Ensemble. Currently he is undertaking
research into the cellists and brothers Jean-Pierre
and Jean-Louis Duport.
Nicola Paoli
Italy Cello
Nicola Paoli was born in 1988, he
began his cello studies at the age of
six and completed his degree in
2009 at the Conservatorio Paganini in Genova, under
the guidance of Matteo Ronchini. Since 2009, Nicola
has been studying historical cello with Gaetano
Nasillo at Milano Civica Scuola di Musica, where he
graduated with honours in 2012. He attended
masterclasses given by Charles Rosen, Barthold
Kuijken, Diego Fratelli and Marc Hantaï. Nicola has
performed as principal cellist or as a soloist with
Stefano Montanari, Lorenzo Ghielmi, Roberto Balconi
and Alfredo Bernardini. Since 2010 he has attended
early music courses in Granada with Jaap ter Linden,
Catherine Manson, Wilbert Hazelzet and Corrado
Bolsi. Nicola is co-founder of AbChordis Ensemble,
which won two residences at the Académie Baroque
Européenne d’Ambronay, and was voted as the best
young group during the Marseille REMA Showcase
2013; with this and other ensembles he has recorded
for RTS (Espace2) and performed at the Ambronay
Festival 2012, in the festivals Les Riches Heures de
Valère, Pavia Barocca, Echi Lontani, Les Baroquiales,
Orgelfestival Holland and others.
Lisa De Boos
Belgium Double Bass
Lisa De Boos was born in 1985 in
Belgium and started double bass as
a first instrument aged 14. She
finished her master’s degree at the Royal
Conservatory of Gent (2009) with Frank Coppieters
with the maximum marks, continued studying at the
Conservatory of Amsterdam with Peter Stotijn
(modern bass) and Maggie Urquhart (baroque bass
and G-violone) and finished in 2011. She also had
lessons with Duncan McTier, Dane Roberts, Dominic
Seldis, Szymon Marciniak, Rick Stotijn, Rinat Ibragimov,
and Ekkehard Beringer. Lisa is the permanent bass
player in Het Kamerorkest Brugge and often
deputizes in other Belgian and Dutch orchestras
including the Rotterdam Philharmonic, Amsterdam
Sinfonietta, Royal Concertgebouw Orchestra, De
Munt, Brussels Philharmonic, and Flemish Opera. Lisa
worked with the NJO, JMWO/TWO, EUYO and
SHMF and with conductors including Vladimir
Ashkenazy, Colin Davis,Vasily Petrenko, Herbert
Blomstedt, Christoph Eschenbach, and Manfred
Honeck. She also has solo experience in pieces like
Concertino by Lars-Erik Larsson, and Bottesini’s
Concerto and Gran Duo Concertante. She participated at baroque courses in Segovia, Amsterdam and
Irsee and played with baroque orchestras Octopus
and Gent Baroque Players.
Clara Geuchen
Germany Oboe
Clara Geuchen was born in 1992
and began playing recorder aged five.
In 2003 she started to study oboe
with Christian Schneider at the Hochschule für Musik
Köln and subsequently baroque oboe, combining her
previous studies and her interest in early music, first at
the Hochschule für Musik Köln and later at Folkwang
Universität der Künste Essen. Currently she is studying
with Michael Niesemann.To broaden her repertoire
and knowledge of period instruments she now also
plays classical oboe and is about to widen her range
of instruments to the romantic oboe. Clara is a
versatile orchestra and chamber musician: she is a
member of various youth orchestras supported by
the government of North Rhine-Westphalia, has
performed with jazz orchestras and in an international
project with Tokyo National University of Fine Arts
and Music, performs with early music ensembles such
as Das Neue Orchester and Naturhornakademie, and
is a founder member of the ensemble Les Visionnaires.
Clara regularly participates in music competitions. She
is a Jugend Musiziert first prize winner with recorder
and has held a scholarship of the Deutsche Stiftung
Musikleben; currently, she is sponsored by Yehudi
Menuhin Live Music Now and Studienstiftung des
deutschen Volkes.
Katharina Humpel
Austria Oboe
Katharina Humpel was born in
Austria and started to study the
oboe at the age of 10. In 2011 she
took her bachelor’s degree in modern oboe with
Thomas Höniger at the Conservatory of Music in
Vienna. Since then she has studied modern oboe at
the Mozarteum Salzburg with Stefan Schilli and
baroque oboe with Andreas Helm in Vienna. Katharina
has also participated in many masterclasses with some
of the leading baroque specialists, such as Alfredo
Bernardini, Katharina Arfken, Marie Wolf and Sergio
Azzolini. She has performed with various artists and
played with orchestras including the Vienna Radio
Symphony Orchestra,Vienna Volksoper, AustroHungarian Haydn Philharmonic and Concentus
Musicus Wien, in concert halls such as Wiener
Musikverein and Konzerthaus Wien as well as in
Turkey, Japan, Hungary, Germany, Spain and France.
Katharina is a prize-winner in various national contests,
both for solo playing and with chamber music groups
(for example Prima la Musica). She has been teaching
modern oboe in a music school since 2010.
Johannes Knoll
Austria Oboe
After graduating from high school
and serving with the Austrian
military band, Johannes studied
modern oboe with Josef Blank at the Anton Bruckner
University for Music in Linz, Austria, from where he
graduated with a bachelor degree in 2010. During his
studies he performed in many orchestras including
the Bavarian Youth Symphony, the Vienna Jeunesse
Orchestra and with the Passau opera orchestra. In
2007 Johannes began studying baroque oboe with
Carin van Heerden in Linz, and in 2011 he moved to
Basel to continue his baroque oboe studies with
Katharina Arfken at the Schola Cantorum Basiliensis.
He has taken part in masterclasses with Sir Colin
Davis, Sigiswald Kuijken, Alfredo Bernardini, Paolo
Grazzi, Debra Nagy and Andreas Helm. In 2012
Johannes received a full scholarship to attend the
American Bach Soloists Summer Academy in San
Francisco. Since 2010 Johannes has played regularly
with the L'Orfeo Baroque Orchestra (Michi Gaigg,
Linz), L'arpa festante (Christoph Hesse, Munich), and
the Barrocade Ensemble (Israel), as well as with the
Stuttgarter Stiftskantorei (Kay Johannsen). In 2009
Johannes passed the audition for the Live Music Now
programme with his ensemble JASS-antico.
Andrew Burn
UK Bassoon
An avid promoter and performer of
early music, Andrew Burn has
performed on the shores of three
oceans. Born in the UK, but raised in Canada,
Andrew has enjoyed performing with numerous
ensembles including la bande Montreal baroque
(Montréal, PQ), l’Orchestre de la mission SaintCharles (Lamèque, NB),The Tafelmusik Institute
Orchestra (Toronto, ON),The Ottawa Baroque
Consort (Ottawa, ON), the Britten-Pears Baroque
Orchestra (Aldeburgh, UK), as well as his own group
Our Very Own. Now pursuing a master’s degree at
the Schola Cantorum Basiliensis in Basel, Switzerland,
he looks forward to living the European lifestyle.
Andrew’s other passion, rugby refereeing, continues
to take an increasing role in his life. Since his teenage
years, he has been refereeing as a member of the
Eastern Ontario Rugby Referee’s Society and is now
a proud member of the Swiss Federation of Rugby
Referees. Andrew has refereed teams from Canada,
England, Switzerland, Wales, and the USA, and has
participated in the National Capital Youth Rugby
Festival (Ottawa, ON) as well as the Canadian
National Provincial Championships.
Marianna Henriksson
Finland Harpsichord
Born in Helsinki in 1983, Marianna
studied the harpsichord at the
Sibelius Academy, Helsinki (Master of
Music 2010) and Universität der Künste, Berlin
(Konzertexamen 2012), where her teacher was Mitzi
Meyerson. She has attended masterclasses with,
among others, Jacques Ogg,Ton Koopman, Robert
Kohnen, Noëlle Spieth and Ottavio Dantone.
Marianna lives in Berlin and Helsinki and plays with
many ensembles, including the Helsinki Baroque
Orchestra, Finnish Baroque Orchestra, Sibelius
Academy Baroque Orchestra as a soloist, and with
the Berliner Cembalo Ensemble, Musica Sequenza,
Ensemble Cornucopia and Ensemble Ucca Nova; she
has performed as a duo with flautist Christoph
Huntgeburth. Concerts have taken her to numerous
European countries, and to Japan and Russia. In 2012,
with choreographer Anna Mustonen, she created a
dance performance with early Italian baroque music
for Zodiak, the Helsinki Centre for New Dance.
During 2012-2013 Marianna has been harpsichord
soloist for the world tour of “Flying Bach”, playing
Das Wohltemperierte Klavier with break-dancers.
She has also performed and recorded Finnish
folk music and premiered pieces by Finnish
contemporary composers.
Sebastian Philpott
UK Trumpet
Sebastian Philpott studied the
trumpet at the Royal College of
Music in London, graduating with
First Class Honours, the Universität für Musik in
Vienna, and has undertaken a master’s degree from
the Royal Academy of Music, supported by the
Countess of Munster Musical Trust. He has played
with the Orchestra of the Royal Opera House and
the Royal Ballet, BBC Symphony Orchestra, European
Camerata, London Contemporary Orchestra and the
Britten-Pears Orchestra. He is in demand throughout
Europe as a natural trumpet player, and has
performed with the Orchestra of the Age of
Enlightenment,The Sixteen, European Union Baroque
Orchestra, and New Century Baroque, of which he is
a founder member. Alongside his orchestral commitments, he is a member of the Mercury Brass Quintet,
the ten-piece London Chamber Brass, and other
brass ensembles. Sebastian has performed for the
pop band The Hoosiers in several full-production
tours, and music festivals in the UK, Europe and Japan,
as well as live television and radio performances and
studio recordings. He recorded on the Comic Relief
2009 single - (Barry) Islands In The Stream by Gavin
& Stacey, with Tom Jones, and has performed with
Eliza Doolittle on the Graham Norton Show.
Rossella Policardo
Italy Harpsichord
Born in 1990 in Palermo, Rossella
studied piano at the Conservatorio V.
Bellini with Marzia Manno, obtaining
bachelor and master’s degrees with full marks and
honours. She continued her studies as an Erasmus
student at the Music Academy of Krakow in Poland.
As a pianist she has played for many festivals and
participated in several music competitions, always
achieving awards. She then studied harpsichord with
Basilio Timpanaro for four years at the Conservatorio
V. Bellini and as a harpsichordist has performed as a
soloist and in ensembles, in Italy and abroad.
She was awarded the third prize in the soloist
section at the 13th International Harpsichord
Competition “Gianni Gambi” in Pesaro (2011), where
she also won a prize in the basso continuo section. In
2011, she was invited by Claudio Astronio to play
harpsichord concertos by WF Bach and Mozart with
the Harmonices Mundi orchestra at the 60th
Deutsches Mozartfest in Augsburg. Rosella was a
member of EUBO in 2011 and returns this year for
a tour with director Stefano Montanari. She has
recently been appointed harpsichordist of the
ensemble Pietà dei Turchini in Napoli, Italy.
Gerard Serrano Garcia
Spain Trumpet
Gerard Serrano started playing the
trumpet when he was nine years
old, with his father Emilio Serrano as
teacher. He studied at ESMUC (the conservatory in
Barcelona) with Angel Serrano and then he
discovered the baroque trumpet with teacher Serge
Tizac. When he finished his bachelor degree, he went
to study baroque trumpet in Amsterdam with
Friedemann Immer and also natural horn with Teunis
van der Zwart (both as main instrument). He has
played in several youth orchestras with the modern
trumpet like JONC (Catalonia), IRO (Germany) and
also with baroque trumpet, NJO (Netherlands) and
Jeune Orchestre Atlantique (France). He has worked
with conductors including Phillipe Herreweghe, Marc
Minkowski, Richard Egarr, Louis Langrée and
Christophe Rousset. Currently, he performs with
many Netherlands-based orchestras including
Barokensemble Eik en Linde, Florilegium Musicum,
Luthers Bach Ensemble and Accademia Amsterdam.
Darren Moore
UK Trumpet
Alongside appearances as guest
principal trumpet with the Rambert
Dance Company, Darmstadt
Philharmonie, and the Encuentro de Santander,
Darren has toured with chamber groups across the
UK, Spain, and even to Mauritius. Darren is interested
in modern musical improvisation as well as period
instrument performance on natural trumpet and
cornetto. He is delighted to be playing as an
improvising soloist at the St Alban's International
Organ Festival 2013. As a result of his enthusiasm
on the research and performance degree at the
Royal Academy of Music in London, Darren has been
invited by the University of Northampton to give a
lecture on the life and work of composer Malcolm
Arnold in October 2013. Darren is a yeoman of the
Worshipful Company of Musicians, having won First
Prize in their ensemble competition with the brass
quintet Aedelfrith. As a soloist, he was recently
awarded the Ian Fleming Award (administered by the
Musicians' Benevolent Fund).
Pedro Segundo
Portugal Timpani
Pedro Segundo was born in Lisbon
in 1988. He has been an active
musician on the London music
scene, from classical to contemporary and from jazz
to world music, since studying at the Guildhall School
of Music from where he graduated with distinction in
2011. In addition to his busy schedule as the house
drummer of Ronnie Scott’s Jazz Club in Soho,
London, (since 2010) Pedro has also been proactive
in the baroque/classical/contemporary/chamber and
orchestral scene in London and worldwide. He has
worked with Sir John Eliot Gardiner, Richard Egarr,
Edward Gardner, Paul Daniel, Garry Walker, Murray
Perahia and Joshua Bell (with the Academy of Saint
Martin in the Fields), Sir Neville Marriner (also with
ASMF) as well as sharing the stage with Dame Cleo
Laine, Wynton Marsalis, Ron Carter, Michel Legrand,
Jack Bruce,Tim Garland, Pee Wee Ellis, Curtis Stigers,
Kyle Eastwood Band and Tony Bennett. In 2013 he
was trialling with the Scottish Chamber Orchestra,
and is the baroque/classical timpani player for the
Orchestra Age of Enlightenment Academy, which
involves projects with Sir Simon Rattle, Adam Fischer,
Sir Mark Elder and Marin Alsop, and where he will
deepen his knowledge of historically informed
To select the 2014 orchestra there will be two identical Audition Courses which take
place in Echternach, Luxembourg. The first course will be from 5 to 8 April 2014 and
the second course from 8 to 11 April 2014.
Tutors include:
Lars Ulrik Mortensen, Music Director
Margaret Faultless, Director of Studies
Rachel Podger, violin
Alison McGillivray, cello
Alfredo Bernardini, oboe
More information will be available soon
Please visit or contact Noora Heiskanen at [email protected]
for further information about the Audition Courses 2014.
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 2013 would not be possible.
EUBO is grateful for the
support and the co-operation
of the following persons and
organisations in Echternach,
Commissioner Androulla Vassiliou
Ville d’Echternach
Festival International Echternach
Trifolion - Centre Culturel,
Touristique et de Congrès
École de Musique Echternach
Harmonie Municipale, Echternach
Le Gouvernement du
Grand-Duché de Luxembourg
EUBO Development Trust
Jose Phillips
The Classical Recording
Company Ltd
Classical Communications
Selsey Press
Ray Box
Jon Bull
white space
Peter Mays
Désirée Dall’Agnol
Julien Alex
Lisa Banz
Paulette Barone
Beim Wohli
Marco Bernard
Brasserie 1900
Ralf Britten
Georges Calteux
Luc Cannivy
Edith Dellwing
Marc Demuth
Marc Diderich
Rosi Faber
Monique Flaurimont
Marie-Paule Gerson
André Hartmann
Yves Hengel
Hostellerie de la Basilique
Hotel des Ardennes
Marc Juncker
Anne Mahler
Adrien Meisch
Alexander Mullenbach
Tobias Ney
Maike Petersen
Francis Reuter
Svenja Richter
Georges Santer
Roby Schiltz
Ben Scheuer
Mariette Scholtes
Dominique Steiner
Fernand Theisen
Josée Thiltges
Théo Thiry
Andy Wagenknecht
Youth Hostel Echternach
Stephen Allen
David Gadsby
Peter Pontvik
Violeta Amargant
Michael Good
Giulio Prandi
Valentina Argentieri
Patrick Grant
Stefan Reinhardt
Anna Athanasopoulou
Bent Grønholdt
Restaurant Cellarius
Matthias Balzert
Ayca Guralp
Renate Richert
Marco Battistella
Richard Heason
Federico Rinaldi
Daan Bauwens
Simon Heighes
Bolette Roed
Lucy Bending
Martin Heubach
Jacopo Binazzi
Mario Ingrassia
Tomas Bisschop
Lindsay Kemp
Bernhard Blattmann
Peter Booth
Laura Boschi
Björn Kjellström
Sandra Kohlheyer
Barry Lewisman
EUBO gratefully acknowledges the support
given to the Orchestra by its bienfaiteurs whose
continued commitment is highly valued.
White & Case LLP
Kieger (Luxembourg) SA
The Early Music Shop
Graham Ross
Ulrich Rützel
Heather Sager
EUBO would like to thank the following
Adela Sánchez
festivals, concert series and organisations:
Christophe Sieger
Adela Sanchéz Producciones SL
Franziska Seifert
Bibliothèque Solvay
Andrew Smardon
Circuito Lombardo di Musica Antica
Catherine Sustek
Concerto Gandersheim
Oliver Sändig
De Bijloke
Andrea Broggini
Martin Lutz
Dina Busic
Ola Malek
Chris Butler
Dario Mannino
Paola Cavedon
Anthony Martinez Vannerom
Gemma Chance
Barbara Matera MEP
Janet Cromartie
Margie McGregor
Laurence Cummings
Jacqueline Minor
Jelle De Ketelbutter
Delfido Minucci
Xavier Vandamme
GhislieriMusica (Pavia Barocca)
Sofie Deschepper
Tatiana Niskacova
Simon Weir
Göttingen International Handel Festival
Aneta Nowak
Katja Vatter
Josep Maria Dutrèn
Pauline Tart
Delma Tomlin
Miles & Mary Tuely
Den Sorte Diamant
Festival de Música Antiga dels Pirineus
Festival International Echternach
Lilian Unger
Festival Oude Muziek Utrecht
Peeter Vahi
Filharmonia Narodowa
Istanbul Bach Days
Istituzione Universitaria dei Concerti, Roma
Helena de Winter
Jeremy O’Sullivan
Jed Wentz
James Elles MEP
Ute Omonsky
Herbert Vieth
Hakan Erdogan
Doris Pack MEP
Andrew Wooderson
Katia Ferrari
Frank Pauwels
Maja Zarkovic
Maria Frej
Georg Pfister
Cezary Zych
Musica Viva
La Cappella Musicale
Lufthansa Festival of Baroque Music
Musical Evenings in St Donat
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.
European Union Baroque Orchestra
Hordley,Wootton,Woodstock, OX20 1EP, UK
Tel: +44 1993 812111 Fax: +44 1993 812911 Email: [email protected] Website:
Philharmonie Merck
Settimane Barocche di Brescia
Stiftung Kloster Michaelstein
St John’s Smith Square
Stockholm Early Music Festival
York Early Music Christmas Festival
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European Union Baroque Orchestra
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