TEACHERS 2011
Ida Bieler
Recognized as one of the most versatile and inspired violinists performing today, American-born Ida Bieler has been acclaimed by critics and public alike for her uniquely personal, committed and communicative musicianship. Launched into recognition by winning Gold and Silver medals at the “International Concours de Violin Dr. Luis Sigall” Vina del Mar, “Concorso Vittorio Gui” Florence, Concert Artists Guild, New York and the “Concorso Valentino Bucchi” Rome; she has been a regular performer in major music capitals throughout the world. Ida Bieler has recorded for radio and television on five continents and appeared with leading international orchestras including the Münchner Kammerorchester, Orchestre Philharmonique de Liège, Polish National Chamber Orchestra and National Symphony Orchestra of Mexico premiering Krzysztof Penderecki’s “Metamorphosen – Concerto per violino ed orchestra no. 2”under the direction of the composer.
A frequent guest artist in major music festivals, she has performed at the Schleswig-Holstein Musik Festival, Rheingau Musik Festival, Beethovenfest Bonn, Schwetzinger Festspiele, Schubertiade, Marlboro Music Festival, Casals Festival Puerto Rico, Paris Festival Châtelet and Tivoli Festival, collaborating with artists such as Gerhard Oppitz, Leonard Hokanson, Konrad Elser, Mischa Maisky, Boris Pergamenschikow, Gérard Caussé, Radovan Vlatkovic, as well as members of the Guarneri and Amadeus Quartets.
Ida Bieler was a member of Germany’s legendary Melos Quartet from 1993 to 2005 and in 2001 co-founded the much acclaimed Xyrion Piano Trio with pianist Nina Tichman and cellist Maria Kliegel.
Ida Bieler’s artistic focus has included performances and recordings of complete work cycles including Sonatas and Partitas of Bach, Beethoven, Brahms, Dvorák, Bartók, Schumann, Hindemith and Penderecki. Her CD catalogue for Harmonia mundi france, Dabringhaus and Grimm, Naxos and Genuin boasts an exceptionally wide and stylistically varied range of solo and chamber music repertoire. Awards have included the Cannes Classical Award, Echo Klassik Preis, Fono Forum “Stern des Monats”, the Strad’s “Chamber Music Selection of the Month”, Repertoire 10.
Ms Bieler was one of the first women to receive the appointment of concertmaster in a major orchestra in Europe, serving in that position from 1983-1988 in Cologne’s Gürzenich Orchester. She retired from this position receiving a full professorship at the Hochschule für Musik und Darstellende Kunst Frankfurt. In 1993 she was appointed the prestigious chair previously held by Sandor Vegh, leading the master class for violin and chamber music at the Robert Schumann Hochschule Düsseldorf. Ida Bieler was Visiting Professor at the Guildhall School of Music and Drama London from 2005 to 2007 and currently leads a masterclass at the Universität für Musik und Darstellende Kunst Graz, Austria, succeeding Thomas Zehetmair.
She has led international masterclasses at the Schleswig-Holstein Musik Festival, the Hindemith Institute Blonay/Switzerland, the Stiftung Villa Musica Rheinlandpfalz, Landesmusikakademie Schloss Ochsenhausen, Landesmusikakademie North-Rhine-Westphalia, the Oberstdorfer Musiksommer and at major universities in the USA, Canada, Hongkong, Japan, New Zealand and Australia.
Her support of young musicians has included initiating and serving as artistic director of the Rheinische Streicherakademie and the artistic advisorship of the “Yehudi Menuhin Stiftung Live Music Now NRW”. Ms Bieler has been a member of prestigious juries at international competitions including, “Franz Schubert and Modern Music“ Graz, the Tromp International Competition Eindhoven, the Spohr Competition Weimar, the Deutscher Musikwettbewerb, Wettbewerb des Kulturkreises des BDI, Stiftung Villa Musica Rheinland-Pfalz, Grand Prix d’Eurovision and the “Deutsche Stiftung Musikleben” Hamburg.
Ida Bieler received her high school education at the North Carolina School of the Arts studying with Ruggiero Ricci and Marc Gottlieb. She continued her studies, graduating from the Juilliard School New York, as a student of Oscar Shumsky and Felix Galimir. Gaining important artistic impulses from her work with Nathan Milstein in London, she ultimately earned the “Konzertexamen” degree studying with Max Rostal at Cologne’s Hochschule für Musik, Germany.
Ida Bieler plays a violin from Tomaso Balestrieri, Mantova 1753.
October 2009
www.idabieler.com
A frequent guest artist in major music festivals, she has performed at the Schleswig-Holstein Musik Festival, Rheingau Musik Festival, Beethovenfest Bonn, Schwetzinger Festspiele, Schubertiade, Marlboro Music Festival, Casals Festival Puerto Rico, Paris Festival Châtelet and Tivoli Festival, collaborating with artists such as Gerhard Oppitz, Leonard Hokanson, Konrad Elser, Mischa Maisky, Boris Pergamenschikow, Gérard Caussé, Radovan Vlatkovic, as well as members of the Guarneri and Amadeus Quartets.
Ida Bieler was a member of Germany’s legendary Melos Quartet from 1993 to 2005 and in 2001 co-founded the much acclaimed Xyrion Piano Trio with pianist Nina Tichman and cellist Maria Kliegel.
Ida Bieler’s artistic focus has included performances and recordings of complete work cycles including Sonatas and Partitas of Bach, Beethoven, Brahms, Dvorák, Bartók, Schumann, Hindemith and Penderecki. Her CD catalogue for Harmonia mundi france, Dabringhaus and Grimm, Naxos and Genuin boasts an exceptionally wide and stylistically varied range of solo and chamber music repertoire. Awards have included the Cannes Classical Award, Echo Klassik Preis, Fono Forum “Stern des Monats”, the Strad’s “Chamber Music Selection of the Month”, Repertoire 10.
Ms Bieler was one of the first women to receive the appointment of concertmaster in a major orchestra in Europe, serving in that position from 1983-1988 in Cologne’s Gürzenich Orchester. She retired from this position receiving a full professorship at the Hochschule für Musik und Darstellende Kunst Frankfurt. In 1993 she was appointed the prestigious chair previously held by Sandor Vegh, leading the master class for violin and chamber music at the Robert Schumann Hochschule Düsseldorf. Ida Bieler was Visiting Professor at the Guildhall School of Music and Drama London from 2005 to 2007 and currently leads a masterclass at the Universität für Musik und Darstellende Kunst Graz, Austria, succeeding Thomas Zehetmair.
She has led international masterclasses at the Schleswig-Holstein Musik Festival, the Hindemith Institute Blonay/Switzerland, the Stiftung Villa Musica Rheinlandpfalz, Landesmusikakademie Schloss Ochsenhausen, Landesmusikakademie North-Rhine-Westphalia, the Oberstdorfer Musiksommer and at major universities in the USA, Canada, Hongkong, Japan, New Zealand and Australia.
Her support of young musicians has included initiating and serving as artistic director of the Rheinische Streicherakademie and the artistic advisorship of the “Yehudi Menuhin Stiftung Live Music Now NRW”. Ms Bieler has been a member of prestigious juries at international competitions including, “Franz Schubert and Modern Music“ Graz, the Tromp International Competition Eindhoven, the Spohr Competition Weimar, the Deutscher Musikwettbewerb, Wettbewerb des Kulturkreises des BDI, Stiftung Villa Musica Rheinland-Pfalz, Grand Prix d’Eurovision and the “Deutsche Stiftung Musikleben” Hamburg.
Ida Bieler received her high school education at the North Carolina School of the Arts studying with Ruggiero Ricci and Marc Gottlieb. She continued her studies, graduating from the Juilliard School New York, as a student of Oscar Shumsky and Felix Galimir. Gaining important artistic impulses from her work with Nathan Milstein in London, she ultimately earned the “Konzertexamen” degree studying with Max Rostal at Cologne’s Hochschule für Musik, Germany.
Ida Bieler plays a violin from Tomaso Balestrieri, Mantova 1753.
October 2009
www.idabieler.com
Leonardo De Lisi
Leonardo De Lisi (Tenor)
Leonardo De Lisi's artistic activities cover several different vocal repertoires, although he is best known as an Art Song interpreter. Born in Parma (Italy), he is a prize-winner of numerous singing competitions: Conegliano 1986, Hugo Wolf in Stuttgart 1987, Grand Prix Ravel in Saint-Jean-de-Luz 1987, Walther Gruner in London 1989, Grand Prix Fauré in Paris 1989, Fondation France Télécom Prize "Découvérte" 1992, I.V.C. 's-Hertogenbosch 1994, Seghizzi in Gorizia 1998.
He is regularly invited to perform throughout Italy, Europe and in the USA: Concertgebouw Amsterdam, Barbican Centre London, Musée d’Orsay, Auditorium Louvre e Champs Elysées Theatre in Paris, Amici della Musica di Perugia, Amici della Musica di Firenze, Amici della Musica di Padova, Festival RomaEuropa, Budapest Spring Festival, Cantans Breslau, Institute Ghnessin in Moscow, Aix-en-Provence, Merkin Hall New York, Accademia Chigiana Siena and more. Leonardo De Lisi recorded several CD's with works by Vivaldi, Porpora, Haendel, Schubert, Blangini, Puccini, Cilèa, Respighi, Casella, Monteverdi, Piatti, Denza e Castelnuovo-Tedesco.
He has often sung as soloist under the baguette of Gavazzeni, Vasary, Rattle, Maag, Bartoletti, Aprea, Luisi, Panni, Weise, Dawes, Lloyd-Jones, Curtis, Cremonesi, Malgoire, de Marchi, Pfaff, Gorli, Harman, in a wide repertoire covering all styles from baroque to modern and contemporary. He also sings internationally as a Opera performer (Torino, Genève, Montecarlo, Nice, Paris, Lille, Madrid, Pisa, Lucca, Firenze, Bologna, Napoli, Helsinki, Ferrara, Modena, Parma, Berlin, Aldeburgh, Dublin, Verona, Trieste, etc.): his leading roles repertoire includes the tenor parts in operas by Monteverdi (Orfeo, Ulisse, Nerone, il Testo in “Combattimento”), Haendel (Bajazet in “Tamerlano”, Grimoaldo in “Rodelinda”, Berengario in “Lotario”), Vivaldi (Vitaliano in “Giustino”), Mozart (Ottavio, Tamino, Tito, Idomeneo, Alessandro Magno, Lucio Silla, Arbace), Donizetti (Nemorino), Verdi (Alfredo, Macduff), Puccini (Pinkerton, Prunier), Caikovskij (Lenski), Wagner (Junger Seeman, Der Steuermann), R.Strauss (Tenore Italiano, Narraboth), Britten (Male Chorus, Bob Boles, Quint), Wolf-Ferrari (D. Pasqua in “Il Campiello), Stravinskij (Oedipus, Tom Rakewell), Penderecki (Baron von Laubardemont), Maderna (Trimalchio, Venetian Journal). He has premiered several concert and opera works by Luca Francesconi, Claudio Ambrosini, Fabrizio Festa, Paolo Arcà, Alberto Cattaneo.
Leonardo De Lisi completed his musical and vocal studies graduating in Voice and Opera at the Conservatory in Padua with Adriana Rognoni, in Arts Song and Oratorio in Parma and a Master Degree in Vocal Performing Arts at Santa Cecilia in Rome with Rosanna Straffi. He later specialized his interpretation skills at the master classes under Irwin Gage, Dalton Baldwin, Gérard Souzay, Elly Ameling, Olaf Baer, Norman Shetler, Erik Werba, Ernst Haefliger, Ileana Cotrubas, Carlo Bergonzi, Claudio Desderi, Julia Hamari and Ré Koster.
Leonardo De Lisi currently teaches Arts Song and Oratorio at the Florence Music Conservatory “Luigi Cherubini”.
Leonardo De Lisi's artistic activities cover several different vocal repertoires, although he is best known as an Art Song interpreter. Born in Parma (Italy), he is a prize-winner of numerous singing competitions: Conegliano 1986, Hugo Wolf in Stuttgart 1987, Grand Prix Ravel in Saint-Jean-de-Luz 1987, Walther Gruner in London 1989, Grand Prix Fauré in Paris 1989, Fondation France Télécom Prize "Découvérte" 1992, I.V.C. 's-Hertogenbosch 1994, Seghizzi in Gorizia 1998.
He is regularly invited to perform throughout Italy, Europe and in the USA: Concertgebouw Amsterdam, Barbican Centre London, Musée d’Orsay, Auditorium Louvre e Champs Elysées Theatre in Paris, Amici della Musica di Perugia, Amici della Musica di Firenze, Amici della Musica di Padova, Festival RomaEuropa, Budapest Spring Festival, Cantans Breslau, Institute Ghnessin in Moscow, Aix-en-Provence, Merkin Hall New York, Accademia Chigiana Siena and more. Leonardo De Lisi recorded several CD's with works by Vivaldi, Porpora, Haendel, Schubert, Blangini, Puccini, Cilèa, Respighi, Casella, Monteverdi, Piatti, Denza e Castelnuovo-Tedesco.
He has often sung as soloist under the baguette of Gavazzeni, Vasary, Rattle, Maag, Bartoletti, Aprea, Luisi, Panni, Weise, Dawes, Lloyd-Jones, Curtis, Cremonesi, Malgoire, de Marchi, Pfaff, Gorli, Harman, in a wide repertoire covering all styles from baroque to modern and contemporary. He also sings internationally as a Opera performer (Torino, Genève, Montecarlo, Nice, Paris, Lille, Madrid, Pisa, Lucca, Firenze, Bologna, Napoli, Helsinki, Ferrara, Modena, Parma, Berlin, Aldeburgh, Dublin, Verona, Trieste, etc.): his leading roles repertoire includes the tenor parts in operas by Monteverdi (Orfeo, Ulisse, Nerone, il Testo in “Combattimento”), Haendel (Bajazet in “Tamerlano”, Grimoaldo in “Rodelinda”, Berengario in “Lotario”), Vivaldi (Vitaliano in “Giustino”), Mozart (Ottavio, Tamino, Tito, Idomeneo, Alessandro Magno, Lucio Silla, Arbace), Donizetti (Nemorino), Verdi (Alfredo, Macduff), Puccini (Pinkerton, Prunier), Caikovskij (Lenski), Wagner (Junger Seeman, Der Steuermann), R.Strauss (Tenore Italiano, Narraboth), Britten (Male Chorus, Bob Boles, Quint), Wolf-Ferrari (D. Pasqua in “Il Campiello), Stravinskij (Oedipus, Tom Rakewell), Penderecki (Baron von Laubardemont), Maderna (Trimalchio, Venetian Journal). He has premiered several concert and opera works by Luca Francesconi, Claudio Ambrosini, Fabrizio Festa, Paolo Arcà, Alberto Cattaneo.
Leonardo De Lisi completed his musical and vocal studies graduating in Voice and Opera at the Conservatory in Padua with Adriana Rognoni, in Arts Song and Oratorio in Parma and a Master Degree in Vocal Performing Arts at Santa Cecilia in Rome with Rosanna Straffi. He later specialized his interpretation skills at the master classes under Irwin Gage, Dalton Baldwin, Gérard Souzay, Elly Ameling, Olaf Baer, Norman Shetler, Erik Werba, Ernst Haefliger, Ileana Cotrubas, Carlo Bergonzi, Claudio Desderi, Julia Hamari and Ré Koster.
Leonardo De Lisi currently teaches Arts Song and Oratorio at the Florence Music Conservatory “Luigi Cherubini”.
Jutta Josefine Eckes
Literaturwissenschaftlerin und Italianistin
spezialisiert in Librettoitalienisch/ Fragen des ital. Opernlibrettos,
arbeitet als Italienischdozentin, Sprachcoach für Sänger, Autorin,
Übersetzerin, Dolmetscherin.
Italienischunterricht:
-an der Hochschule für Musik Köln
- an der Hochschule für Musik Rheinland – Pfalz
- an der Akademie für Tonkunst Darmstadt
- am Peter-Cornelius-Konservatorium Mainz
Italienisch-Sprachcoachings + Opernübersetzungen
in Zusammenarbeit mit folgenden Regisseuren und Dirigenten:- Peer Boysen, Georges Delnon, Anouk Nicklisch, Joachim Schlömer, Herbert Wernicke
- Alan Curtis, Michael Hofstetter, René Jacobs, Christian Rieger, Catherine Rückwardt Christoph Spering, Andreas Stoehr
Publikationen:
- “Italienisch von Anfang an” (Rowohlt) (1992)
- „Italiano Due“ (Rowohlt) (1993)
- “Einstieg Italienisch” (Hueber) (1999)
- „Flüssiges Italienisch“ (Rowohlt) (2001)
- „L’italiano musicale“ (Bärenreiter) (2001)
- “Italienisch für Büffelmuffel” (Rowohlt) (2004)
- „Italienisch ganz leicht in 20 Tagen“ (Hueber 2006)
Übersetzungen:
- Alberto Moravia: „Römische Erzählungen“ (1990)
- Mario Botta: „Architektur und Gedächtnis“ (2005)
- „Orient erlesen: Jemen“ darin Texte von Pasolini + Moravia (Wieserverlag 2006)
- Ausstellungskataloge, Opernlibretti
Vorträge:
- „Hosen- oder Opferrolle: Frauenfiguren im italienischen Opernlibretto“ (Universität Heidelberg, Studium generale 2005 und Romanisches Seminar 2006)
- „Wenn schon nicht wahr, so doch gut erfunden – vom italienischen Opernlibretto zum Divenkult“ (2-teilige Veranstaltung im Literaturhaus Wiesbaden) (2005)
Dolmetschen:
Simultan und konsekutiv (Ital. – Deutsch – Ital.)
spezialisiert in Librettoitalienisch/ Fragen des ital. Opernlibrettos,
arbeitet als Italienischdozentin, Sprachcoach für Sänger, Autorin,
Übersetzerin, Dolmetscherin.
Italienischunterricht:
-an der Hochschule für Musik Köln
- an der Hochschule für Musik Rheinland – Pfalz
- an der Akademie für Tonkunst Darmstadt
- am Peter-Cornelius-Konservatorium Mainz
Italienisch-Sprachcoachings + Opernübersetzungen
in Zusammenarbeit mit folgenden Regisseuren und Dirigenten:- Peer Boysen, Georges Delnon, Anouk Nicklisch, Joachim Schlömer, Herbert Wernicke
- Alan Curtis, Michael Hofstetter, René Jacobs, Christian Rieger, Catherine Rückwardt Christoph Spering, Andreas Stoehr
Publikationen:
- “Italienisch von Anfang an” (Rowohlt) (1992)
- „Italiano Due“ (Rowohlt) (1993)
- “Einstieg Italienisch” (Hueber) (1999)
- „Flüssiges Italienisch“ (Rowohlt) (2001)
- „L’italiano musicale“ (Bärenreiter) (2001)
- “Italienisch für Büffelmuffel” (Rowohlt) (2004)
- „Italienisch ganz leicht in 20 Tagen“ (Hueber 2006)
Übersetzungen:
- Alberto Moravia: „Römische Erzählungen“ (1990)
- Mario Botta: „Architektur und Gedächtnis“ (2005)
- „Orient erlesen: Jemen“ darin Texte von Pasolini + Moravia (Wieserverlag 2006)
- Ausstellungskataloge, Opernlibretti
Vorträge:
- „Hosen- oder Opferrolle: Frauenfiguren im italienischen Opernlibretto“ (Universität Heidelberg, Studium generale 2005 und Romanisches Seminar 2006)
- „Wenn schon nicht wahr, so doch gut erfunden – vom italienischen Opernlibretto zum Divenkult“ (2-teilige Veranstaltung im Literaturhaus Wiesbaden) (2005)
Dolmetschen:
Simultan und konsekutiv (Ital. – Deutsch – Ital.)
Fauré Quartett
Martha Argerich: "ANYONE WHO HEARD THE FAURÉ QUARTETT PERFORM WILL WANT TO HEAR IT AGAIN"
THE STRAD
"The Faure Quartett began their life together by scooping numerous European chamber music prizes: now they attract superlatives wherever they go."
The musicians founded the Fauré Quartett in 1995 taking on his name out of appreciation for the composer’s two piano quartet pieces. It did not take the quartet long to win top prizes and awards for their interpretations including the “Deutsche Schallplattenpreis”, “Echo”-Prize, “Preis des Deutschen Musikwettbewerbes” and the “Parkhouse Award” in Great Britain. Today it is the leading European ensemble in this permanent formation.
Ten years later, the Fauré Quartett has already climbed to the top as the only such German chamber ensemble. This led to a recording contract with the Deutsche Gramophone in 2006 for the Mozart Anniversary with the two Mozart piano quartets followed by a Brahms CD release, featuring op. 25 and op. 60, only two years later.
The Fauré Quartett has performed on the most important international stages in London (Wigmore Hall), Berlin (Philharmonie), Amsterdam (Concertgebouw), Hamburg, Rio de Janeiro (Sala Cecilia Meireles) Buenos Aires (Teatro Colon) and in Tokyo, Paris and Milan. The quartet is also a regular guest at renowned festivals such as the Martha Argerich Festival Buenos Aires, Schleswig-Holstein- Musikfestival, Rheingau-Musik-Festival, Ludwigsburger Festspiele, Festival de Radio France et Montpellier, the Kuhmo Chamber Music Festival, Festspiele Mecklenburg-Vorpommern and Kissinger Sommer to name a few. The Fauré Quartett has toured extensively in West and East Europe, Asia, Mexico, and is a welcome guest in South America, where the Fauré Quartett has already traveled throughout this continent for the fifth time.
Radio and television stations worldwide have broadcast programs featuring the Quartett. Additional CD recordings were produced by ARS MUSICI, covering the works of G. Faure, A. Dvorak, J. Suk and Th. Kirchner.
The Fauré Quartett has maintained contact with the Karlsruhe Music Lyceum, where they are currently the “Quartet in Residence.” Karlsruhe had not given out this title for 30 years, and they are the first piano quartet to have received this honor. Their influential mentor was the Alban Berg Quartett in Cologne.
The members give regular chamber music courses.
www.faurequartett.de
REVIEWS Fauré Quartett
…superlatively played by the enonymous musicians as well as being deeply moving…at Wigmore Hall, London
CLASSICAL SOURCE.COM
Brilliant chamber music concert…at Festival Martha Argerich Teatro Colon, Buenos Aires
CLARIN.COM
Chamber music making of the highest order!
RADIO BREMEN
Flawless precision and breathtaking musicality which is reflected in every phrase and each note…Brahms CD
DEUTSCHLANDRADIO
…emotionally explosive..plenty of dynamism, musical style aned a lithe animation of texture
DAILY TELEGRAPH, LONDON
The Fauré Quartett came, saw and conquered-their reputation preceded them
WESTPHAELISCHE NACHRICHTEN
A highly charged, virtuosic and passionate performance
SCHWAEBISCHE POST
High on the classic chart with the interpretation of the Brahms’ piano quartets-new competition for Anna Netrebko and Co. on top of the charts
KLASSIK AKZENTE
The Fauré Quartett are supremely proficient
GRAMOPHONE
Mozart CD-A fabulous interpretation-a dynamic and convincing sound with a big color range and transparency…
FONO FORUM
There is no such thing as perfection, but the Fauré Piano Quartet is dangerously close to challenging this notion. The group’s success is each member’s inborn musicianship, the sense of friends making music together sublimely and perceptively, and the musicians’ collective ability to say so much in the most natural way. The Fauré Quartett has been beautifully recorded, too, with a mix of immediacy, space and judicious balance between the foursome who play as equals and who care deeply about what they do and about each other.
THE STRAD
"The Faure Quartett began their life together by scooping numerous European chamber music prizes: now they attract superlatives wherever they go."
The musicians founded the Fauré Quartett in 1995 taking on his name out of appreciation for the composer’s two piano quartet pieces. It did not take the quartet long to win top prizes and awards for their interpretations including the “Deutsche Schallplattenpreis”, “Echo”-Prize, “Preis des Deutschen Musikwettbewerbes” and the “Parkhouse Award” in Great Britain. Today it is the leading European ensemble in this permanent formation.
Ten years later, the Fauré Quartett has already climbed to the top as the only such German chamber ensemble. This led to a recording contract with the Deutsche Gramophone in 2006 for the Mozart Anniversary with the two Mozart piano quartets followed by a Brahms CD release, featuring op. 25 and op. 60, only two years later.
The Fauré Quartett has performed on the most important international stages in London (Wigmore Hall), Berlin (Philharmonie), Amsterdam (Concertgebouw), Hamburg, Rio de Janeiro (Sala Cecilia Meireles) Buenos Aires (Teatro Colon) and in Tokyo, Paris and Milan. The quartet is also a regular guest at renowned festivals such as the Martha Argerich Festival Buenos Aires, Schleswig-Holstein- Musikfestival, Rheingau-Musik-Festival, Ludwigsburger Festspiele, Festival de Radio France et Montpellier, the Kuhmo Chamber Music Festival, Festspiele Mecklenburg-Vorpommern and Kissinger Sommer to name a few. The Fauré Quartett has toured extensively in West and East Europe, Asia, Mexico, and is a welcome guest in South America, where the Fauré Quartett has already traveled throughout this continent for the fifth time.
Radio and television stations worldwide have broadcast programs featuring the Quartett. Additional CD recordings were produced by ARS MUSICI, covering the works of G. Faure, A. Dvorak, J. Suk and Th. Kirchner.
The Fauré Quartett has maintained contact with the Karlsruhe Music Lyceum, where they are currently the “Quartet in Residence.” Karlsruhe had not given out this title for 30 years, and they are the first piano quartet to have received this honor. Their influential mentor was the Alban Berg Quartett in Cologne.
The members give regular chamber music courses.
www.faurequartett.de
REVIEWS Fauré Quartett
…superlatively played by the enonymous musicians as well as being deeply moving…at Wigmore Hall, London
CLASSICAL SOURCE.COM
Brilliant chamber music concert…at Festival Martha Argerich Teatro Colon, Buenos Aires
CLARIN.COM
Chamber music making of the highest order!
RADIO BREMEN
Flawless precision and breathtaking musicality which is reflected in every phrase and each note…Brahms CD
DEUTSCHLANDRADIO
…emotionally explosive..plenty of dynamism, musical style aned a lithe animation of texture
DAILY TELEGRAPH, LONDON
The Fauré Quartett came, saw and conquered-their reputation preceded them
WESTPHAELISCHE NACHRICHTEN
A highly charged, virtuosic and passionate performance
SCHWAEBISCHE POST
High on the classic chart with the interpretation of the Brahms’ piano quartets-new competition for Anna Netrebko and Co. on top of the charts
KLASSIK AKZENTE
The Fauré Quartett are supremely proficient
GRAMOPHONE
Mozart CD-A fabulous interpretation-a dynamic and convincing sound with a big color range and transparency…
FONO FORUM
There is no such thing as perfection, but the Fauré Piano Quartet is dangerously close to challenging this notion. The group’s success is each member’s inborn musicianship, the sense of friends making music together sublimely and perceptively, and the musicians’ collective ability to say so much in the most natural way. The Fauré Quartett has been beautifully recorded, too, with a mix of immediacy, space and judicious balance between the foursome who play as equals and who care deeply about what they do and about each other.
Mechthild Georg
The German mezzo-soprano, Mechthild Georg, began first to study philology and music at the University of Cologne. However, in 1978 she decided to become a professional singer, and studied at the Musikhochschule of Düsseldorf with Ingeborg Reichelt. In 1982 she received her diploma as a concert singer and continued afterwards her training as opera singer. She was pupil of as important singers as Giulietta Simionato and Elisabeth Schwarzkopf and in the years 1982-1983 belonged to the Cologne Opera Studio.
After working primarily as concert soloist, Mechthild Georg committed herself in 1989 to opera, starting an engagement in the Opera House of Essen, but received also at the same time a guest contract at the Opera House of Cologne. On the stage she appeared as Ottavia in Monteverdi’s Incoronazione di Poppea, as Penelope in l Ritorno d'Ulisse in Patria by the same composer, as Cherubino in Le Nozze di Figaro, as the Composer in Ariadne auf Naxos of R. Strauss, as Floßhilde (State Opera of Hamburg, 1992) and also as Henrietta in Graf Mirabeau of S. Matthus. In 1993 she made guest appearance at the Würzburg Mozart Festival Il RH Pastore, in 1996 with the Magdeburg Telemann Festival in Der neumodische Liebhaber Danmon by this composer, at the Royal Opera of Copenhagen as Atalanta in Serse by Georg Frideric Handel.
Mechthild Georg developed a far extensive activity in the areas of the concert and oratorio singing, which brought her to Austria, to Belgium and to Switzerland. In addition, she took on herself parts in the area of the Baroque music and in particular in works of J.S. Bach and G.F. Handel, and presented in the concert hall an extensive repertoire to the public. As concert soloist she made many guest appearances, including the Spring of Prague, at the Festival of Flanders, at Bachfest Leipzig, with the Settembre Music of Torino and with the Vienna Festival Weeks. She sang together with vocal and instrumental groups, which dedicated themselves to the performance of the old music (Akademie für Alte Musik Berlin, Concerto Köln, Musica Antiqua Köln).
After working primarily as concert soloist, Mechthild Georg committed herself in 1989 to opera, starting an engagement in the Opera House of Essen, but received also at the same time a guest contract at the Opera House of Cologne. On the stage she appeared as Ottavia in Monteverdi’s Incoronazione di Poppea, as Penelope in l Ritorno d'Ulisse in Patria by the same composer, as Cherubino in Le Nozze di Figaro, as the Composer in Ariadne auf Naxos of R. Strauss, as Floßhilde (State Opera of Hamburg, 1992) and also as Henrietta in Graf Mirabeau of S. Matthus. In 1993 she made guest appearance at the Würzburg Mozart Festival Il RH Pastore, in 1996 with the Magdeburg Telemann Festival in Der neumodische Liebhaber Danmon by this composer, at the Royal Opera of Copenhagen as Atalanta in Serse by Georg Frideric Handel.
Mechthild Georg developed a far extensive activity in the areas of the concert and oratorio singing, which brought her to Austria, to Belgium and to Switzerland. In addition, she took on herself parts in the area of the Baroque music and in particular in works of J.S. Bach and G.F. Handel, and presented in the concert hall an extensive repertoire to the public. As concert soloist she made many guest appearances, including the Spring of Prague, at the Festival of Flanders, at Bachfest Leipzig, with the Settembre Music of Torino and with the Vienna Festival Weeks. She sang together with vocal and instrumental groups, which dedicated themselves to the performance of the old music (Akademie für Alte Musik Berlin, Concerto Köln, Musica Antiqua Köln).
Camilla Hoitenga
Flutist Camilla Hoitenga travels extensively, performing solo repertoire of music ranging from pre- Bach to post-Stockhausen in venues as diverse as Carnegie Hall in New York, the Kremlin in Moskow or Tongyeong, Korea. She has performed concertos written for her by composers Kaija Saariaho, Pèter Köszeghy, KenIchiro Kobayashi and others with orchestras such as the London Philharmonic, Chicago Symphony, and Royal Philharmonic of Stockholm, as well as with the radio orchestras of Helsinki, Paris and Berlin. A frequent guest in Japan, she has also specialized in the work of Japanese composers, dozens of whom have dedicated works to her. Her recordings, in particular those with Kaija Saariaho, have won awards in France, Great Britain and in North America.
Camilla Hoitenga holds degrees from Calvin College (B.A) and from the University of Illinois (M.Mus., D.M.A.). Her flute teachers were Darlene Dugan, Alexander Murray, Peter Lloyd and Marcel Moyse.
Born in Grand Rapids, Michigan (USA), Camilla Hoitenga now lives in Cologne, Germany.
Camilla Hoitenga holds degrees from Calvin College (B.A) and from the University of Illinois (M.Mus., D.M.A.). Her flute teachers were Darlene Dugan, Alexander Murray, Peter Lloyd and Marcel Moyse.
Born in Grand Rapids, Michigan (USA), Camilla Hoitenga now lives in Cologne, Germany.
Arthur Janzen
Canadian Tenor Arthur Janzen began his musical studies in Winnipeg at the Canadian Mennonite Bible College. Following a year of study in Kansas he went to Germany to prepare for (what was to become) a singing and vocal teaching career. Early on he established himself as an excellent solo recitalist and oratorio singer where he sang with many leading conductors in all of Europe as well as Canada. Janzen began his teaching career in Winnipeg at CMBC in 1970. Three years later he returned to his alma mater in Detmold, Germany to teach singing at the Hochschule für Musik, Detmold. In 1989 he was appointed Professor of Voice at the Hochschule für Musik in Cologne. Professor Janzen has produced singers who are performing with opera companies throughout Germany, Switzerland, France and Spain – among them prise winners of international competitions.
Berent Korfker
Berent Korfker gave his first concert as soloist with orchestra at the age of 13. After winning prizes at the Wieniawski competition (Beethoven Prize) and the Oscar Back violin competition (2nd prize and Contemporary Music Award) he played throughout Europe, in Russia, Japan, the United States and Australia, both as soloist with orchestra and in recitals. He appeared in venues such as the Amsterdam Concertgebouw, the Auditorio Nacional in Madrid, the Beethoven Saal in Bonn, the Palacio de Festivales in Santander and the Minato Mirai Hall in Yokohama and has performed concertos with orchestras like the Kanagawa Philharmonic Orchestra, the Chamber Orchestra of Lithuania, the Noord-Holland Philharmonic Orchestra and the Icelandic Symphony Orchestra. In 2006, recitals in Chicago and Montpellier were broadcast on live radio and television. In January 2008 Korfker made his London debut playing the Tchaikowski Concerto in Cadogan Hall. Highlights of 2009 were Mozart's A major concerto in Guernsey and London and a recital at the Amsterdam Concertgebouw with pianist Benjamin Frith.
Korfker has recorded 2 disks which were well received by the international press, naming the sonata by Fauré on the first CD one of best recordings of this work. On the second CD he recorded the third violin concerto by Camille Saint-Saëns with the Icelandic Symphony Orchestra under Rico Saccani.
Born in Rotterdam, the Netherlands in 1970, Korfker was first a student of the Dutch violin teacher Davina van Wely. After graduating as Performing Artist at the Sweelinck Conservatory in Amsterdam he joined the class of the famous Russian violin teacher Zakhar Bron. Korfker graduated the Konzertexamen at the Hochschule für Musik in Cologne. He took part in master classes with some of the great names of the old school. These include Igor Oistrakh, Herman Krebbers, Berl Senofsky, Ruggiero Ricci and Jaap Schröder. Later Shmuel Ashkenasi was an important influence.
Korfker's teaching career commenced at the Hochschule für Musik Köln where he began assisting Professor Zakhar Bron in 1999. The collaboration proved so successful that in the same year Korfker was officially appointed as Zakhar Bron's teaching assistant. In 2005 Korfker was offered positions at two of the world's leading music institutions, he was appointed professor at he Royal College of Music in London and at the Yehudi Menuhin School in Surrey. It was then that his schedule of teaching in the UK became too busy to carry on his work with Zakhar Bron in Cologne. Korfker ended his association with the Yehudi Menuhin School in the Summer of 2008 after a fruitful and inspiring collaboration. In the Summer of 2009 he started teaching at the Purcell School.
Thanks to these teaching positions, international invitations and private teaching in Europe, Korfker has worked with students from all over the world. He has given master classes at the Wiener Meisterkurse in the Vienna Conservatory (2000-2005), the DePaul University and the Stradivari Society in Chicago, the Sydney, Brisbane and Adelaide Conservatories, the Hochschule für Musik und Theater Hannover, in Montepulciano, Italy and at the International String Summer School in Repton, UK. In the Summers of 2005 and 2006 he organized his own master classes at the Landesmusikakademie Hessen, Germany, to which he invited several specialists who engaged with students in Yoga, Alexander Technique and art lectures. In January 2009 Korfker was the international violin tutor at the Australian String Academy, held at the Sydney Conservatory, teaching 2 weeks of intensive master classes and workshops while participating with colleagues like Nobukko Imai in the chamber music program.
Korfker was invited as a jury member at the Novosibirsk International Competition for Young Violinists and at the Madeira Music International Violin Competition, and has sat on various international audition panels.
Korfker has recorded 2 disks which were well received by the international press, naming the sonata by Fauré on the first CD one of best recordings of this work. On the second CD he recorded the third violin concerto by Camille Saint-Saëns with the Icelandic Symphony Orchestra under Rico Saccani.
Born in Rotterdam, the Netherlands in 1970, Korfker was first a student of the Dutch violin teacher Davina van Wely. After graduating as Performing Artist at the Sweelinck Conservatory in Amsterdam he joined the class of the famous Russian violin teacher Zakhar Bron. Korfker graduated the Konzertexamen at the Hochschule für Musik in Cologne. He took part in master classes with some of the great names of the old school. These include Igor Oistrakh, Herman Krebbers, Berl Senofsky, Ruggiero Ricci and Jaap Schröder. Later Shmuel Ashkenasi was an important influence.
Korfker's teaching career commenced at the Hochschule für Musik Köln where he began assisting Professor Zakhar Bron in 1999. The collaboration proved so successful that in the same year Korfker was officially appointed as Zakhar Bron's teaching assistant. In 2005 Korfker was offered positions at two of the world's leading music institutions, he was appointed professor at he Royal College of Music in London and at the Yehudi Menuhin School in Surrey. It was then that his schedule of teaching in the UK became too busy to carry on his work with Zakhar Bron in Cologne. Korfker ended his association with the Yehudi Menuhin School in the Summer of 2008 after a fruitful and inspiring collaboration. In the Summer of 2009 he started teaching at the Purcell School.
Thanks to these teaching positions, international invitations and private teaching in Europe, Korfker has worked with students from all over the world. He has given master classes at the Wiener Meisterkurse in the Vienna Conservatory (2000-2005), the DePaul University and the Stradivari Society in Chicago, the Sydney, Brisbane and Adelaide Conservatories, the Hochschule für Musik und Theater Hannover, in Montepulciano, Italy and at the International String Summer School in Repton, UK. In the Summers of 2005 and 2006 he organized his own master classes at the Landesmusikakademie Hessen, Germany, to which he invited several specialists who engaged with students in Yoga, Alexander Technique and art lectures. In January 2009 Korfker was the international violin tutor at the Australian String Academy, held at the Sydney Conservatory, teaching 2 weeks of intensive master classes and workshops while participating with colleagues like Nobukko Imai in the chamber music program.
Korfker was invited as a jury member at the Novosibirsk International Competition for Young Violinists and at the Madeira Music International Violin Competition, and has sat on various international audition panels.
Thierry Mechler
Thierry Mechler was born in 1962.
He started piano and organ lessons in his home town of Mulhouse
and then went on to Strasbourg where he studied piano with Helene Boschi and organ with Daniel Roth at the “Conservatoire National deRégion”.
In 1981, he won first prize with highest congratulations at the “Concours International de Paris”.
In 1984, he went to Paris to study with Marie-Claire Alain, where he won, in succession a gold medal and a first prize of excellence with congratulations from the jury.
In 1986, he won a laureate in improvisation and a first prize for virtuosity with congratulations from the jury in the concert class from Marie-Claire Alain in Paris.
He also studied the Art of improvisation with Jacques Taddei, and won the medal of honour at the contest for composition in Mulhouse.
In 1991 he was accepted in the S.A.C.E.M. as composer, also in 1991, he received the “Europäischen Förderpreis” in Dresden, as an award for his international carrier and many recordings.
From 1986 until 1989 he was organ master at the Conservatoire National of Annecy.
He is invited each year to numerous European Organ Festivals.
As a renowned teacher and juror, he is invited every year to Germany, England, Finland, USA, Korea and France to give masterclasses in various academies. He has made many recordings of which the reference can be found in the international catalogue.
Titular organist from the great organ of the Cathedral Primatial Saint-Jean in Lyon from 1991 until 1999, curator and organist of the organ of the Auditorium Maurice Ravel in Lyon, an instrument previously the Cavaillé-Coll of the Trocadéro.
During 1995, Thierry Mechler is performing the entire works of J. S. Bach in a famous series of twelve recitals. In 1998, he played all the Six Vierne Symphonies.
Member of the Jury of international Competitions, in 1998 Thierry Mechler became Professor for Organ and Improvisation at the University (Musikhochschule) in Köln.
Since 2002, Thierry Mechler is an organist and a curator of the Church organs of prestigious Philharmonic society of Cologne (Germany).
Thierry Mechler's career has taken him worldwide - both as organist and pianist. He has built a reputation as an exciting performer and improviser.
Fêted also as a composer, his " 6 Métamorphoses on B.A.C.H " Opus 14 was created at the Philharmonie of Cologne in January 2009.
www.thierry-mechler.fr
He started piano and organ lessons in his home town of Mulhouse
and then went on to Strasbourg where he studied piano with Helene Boschi and organ with Daniel Roth at the “Conservatoire National deRégion”.
In 1981, he won first prize with highest congratulations at the “Concours International de Paris”.
In 1984, he went to Paris to study with Marie-Claire Alain, where he won, in succession a gold medal and a first prize of excellence with congratulations from the jury.
In 1986, he won a laureate in improvisation and a first prize for virtuosity with congratulations from the jury in the concert class from Marie-Claire Alain in Paris.
He also studied the Art of improvisation with Jacques Taddei, and won the medal of honour at the contest for composition in Mulhouse.
In 1991 he was accepted in the S.A.C.E.M. as composer, also in 1991, he received the “Europäischen Förderpreis” in Dresden, as an award for his international carrier and many recordings.
From 1986 until 1989 he was organ master at the Conservatoire National of Annecy.
He is invited each year to numerous European Organ Festivals.
As a renowned teacher and juror, he is invited every year to Germany, England, Finland, USA, Korea and France to give masterclasses in various academies. He has made many recordings of which the reference can be found in the international catalogue.
Titular organist from the great organ of the Cathedral Primatial Saint-Jean in Lyon from 1991 until 1999, curator and organist of the organ of the Auditorium Maurice Ravel in Lyon, an instrument previously the Cavaillé-Coll of the Trocadéro.
During 1995, Thierry Mechler is performing the entire works of J. S. Bach in a famous series of twelve recitals. In 1998, he played all the Six Vierne Symphonies.
Member of the Jury of international Competitions, in 1998 Thierry Mechler became Professor for Organ and Improvisation at the University (Musikhochschule) in Köln.
Since 2002, Thierry Mechler is an organist and a curator of the Church organs of prestigious Philharmonic society of Cologne (Germany).
Thierry Mechler's career has taken him worldwide - both as organist and pianist. He has built a reputation as an exciting performer and improviser.
Fêted also as a composer, his " 6 Métamorphoses on B.A.C.H " Opus 14 was created at the Philharmonie of Cologne in January 2009.
www.thierry-mechler.fr
Peter Mönkediek
Peter Mönkediek, 1964 im westfälischen Ahaus geboren, absolvierte sein Studium zunächst an der Robert - Schumann Hochschule Düsseldorf. Danach setzte er neben einem Schulmusikstudium seine künstlerischen Studien an der Musikhochschule Detmold bei Prof. Max Sommerhalder fort. 1992 schloss er sie mit der „Künstlerischen Reifeprüfung“ ab.
Nach Engagements als Solotrompeter im Westfälischen Sinfonieorchester
Recklinghausen (später Neue Philharmonie Westfalen) von 1991 - 2002
und im Sinfonieorchester Münster (2001 - 2002) ist er seit
2002 Solotrompeter beim WDR – Sinfonieorchester Köln.
Seit 2004 ist er Mitglied des Bayreuther Festspielorchesters.
2007 wurde Peter Mönkediek als Professor für Trompete an die
Robert – Schumann – Hochschule in Düsseldorf berufen.
Neben Gastverpflichtungen bei Ensembles wie „German Brass“ oder „bach, blech & blues“ ist Peter Mönkediek festes Mitglied im Blechbläserensemble „EMBRASSY" und im "Brass Consort Köln" . Seit 1992 engagiert er sich regelmäßig mit EMBRASSY für die Casa de los tres mundos (Haus der drei Welten) in Granada, Nicaragua. Die deutsche UNESCO – Kommission hat diese Fortbildungskurse an der Casa de los tres mundos ausgezeichnet und als offiziellen Beitrag für das Internationale Jahr der Vereinten Nationen 2001 „Dialog zwischen den Kulturen“ ausgewählt.
Als Solist präsentierte Peter Mönkediek sich bisher mit zahlreichen deutschen Orchestern, wie z. B. mit der Philharmonia Hungarica, dem Sinfonieorchester der Stadt Lübeck, dem Gürzenich – Orchester Köln, dem Südwestdeutschen Kammerorchester Pforzheim, der Neuen Philharmonie Westfalen und dem Sinfonieorchester Münster.
Nach Engagements als Solotrompeter im Westfälischen Sinfonieorchester
Recklinghausen (später Neue Philharmonie Westfalen) von 1991 - 2002
und im Sinfonieorchester Münster (2001 - 2002) ist er seit
2002 Solotrompeter beim WDR – Sinfonieorchester Köln.
Seit 2004 ist er Mitglied des Bayreuther Festspielorchesters.
2007 wurde Peter Mönkediek als Professor für Trompete an die
Robert – Schumann – Hochschule in Düsseldorf berufen.
Neben Gastverpflichtungen bei Ensembles wie „German Brass“ oder „bach, blech & blues“ ist Peter Mönkediek festes Mitglied im Blechbläserensemble „EMBRASSY" und im "Brass Consort Köln" . Seit 1992 engagiert er sich regelmäßig mit EMBRASSY für die Casa de los tres mundos (Haus der drei Welten) in Granada, Nicaragua. Die deutsche UNESCO – Kommission hat diese Fortbildungskurse an der Casa de los tres mundos ausgezeichnet und als offiziellen Beitrag für das Internationale Jahr der Vereinten Nationen 2001 „Dialog zwischen den Kulturen“ ausgewählt.
Als Solist präsentierte Peter Mönkediek sich bisher mit zahlreichen deutschen Orchestern, wie z. B. mit der Philharmonia Hungarica, dem Sinfonieorchester der Stadt Lübeck, dem Gürzenich – Orchester Köln, dem Südwestdeutschen Kammerorchester Pforzheim, der Neuen Philharmonie Westfalen und dem Sinfonieorchester Münster.
Edda Moser
Edda Moser, daughter of the musicologist Hans Joachim Moser, was born and studied in Berlin. The start of her spectacular career was her debut with Herbert von Karajan at New York’s Metropolitan Opera in the role of Queen of the Night. From then on she was an undisputed star all over the world. She received public acclaim at numerous festivals among which were Salzburg, Vienna, Munich, Edinburgh, Ravinia, Berlin, Amsterdam, Aix-en-Provence, Athens, Tel Aviv, and Madrid. She has worked with the most famous orchestral directors of our time: Abbado, Bernstein, Böhm, Boulez, Levine, Maazel, Muti and Pritchard. She has performed at evenings of lieder music in all the great concert halls.
Susanne Müller-Hornbach
Susanne Müller-Hornbach, born 1956 in Lübeck, received her education at the Music Universities in Lübeck and Frankfurt. Presently she is professor for violoncello at the University for Music and Dance Cologne/Wuppertal. In addition she teaches cello at the University for Music and the Performing Arts in Frankfurt. As soloist and passionate chamber musician she concertizes in Germany and abroad. Her participation at various festivals (in Italy, Switzerland, Netherlands, Spain, Korea, Japan, Mexico, Thailand) reflects an area of special interest – the music of the 20th century. She is one of the founders and a member of the Mutare Ensemble.
In addition to the classic-romantic repertoire Susanne Müller-Hornbach has been working intensively for years with the problematic of historical interpretation practices and plays the baroque violoncello in various formations.
As an enthusiastic pedagogue she conducts master classes and workshops worldwide to various themes. She has made numerous radio and CD recordings as soloist and chamber musician (for example, Ernst Toch “Violoncello Concert” op. 35, with CPO, György Ligeti “Violoncello Concert”, Hessen Radio).
In addition to the classic-romantic repertoire Susanne Müller-Hornbach has been working intensively for years with the problematic of historical interpretation practices and plays the baroque violoncello in various formations.
As an enthusiastic pedagogue she conducts master classes and workshops worldwide to various themes. She has made numerous radio and CD recordings as soloist and chamber musician (for example, Ernst Toch “Violoncello Concert” op. 35, with CPO, György Ligeti “Violoncello Concert”, Hessen Radio).
Hans Nickel
Hans Nickel, geboren 1958 in Kerkrade/Niederlanden, ist seit 1986 Solotubist im WDR Sinfonieorchester Köln. 1987 wurde er, an der Musikhochschule Köln, zum Dozenten ernannt. 1994-2003 war Hans Nickel an dem Folkwang Hochschule Essen beschäftigt und in 1998 erhielt er einen Ruf an der Hochschule für Musik, Detmold, wo er bis 2008 als Professor für Tuba/Euphonium und Kammer Musik (Blech) seine Tätigkeit weiterentwickelte. Seit 1999 ist er Senior Dozent am Hogeschool Zuyd (Conservatorium) Maastricht und verbindet diese Aufgabe mit der Verantwortung für die Tuba/Euphonium Ausbildung der deutschen Bundeswehr und seinen Studenten als Professor für Tuba/Euphonium an der Robert Schumann Hochschule Düsseldorf. Bei den Erasmus Studenten aus dem Ausland ist Hans Nickel eine besonders begehrte Lehrkraft. Nickels Studenten sind inzwischen in Orchestern in Deutschland, den Niederlanden, Griechenland, Frankreich, Korea, Japan und Taiwan zuhause.
Hans Nickel hält regelmäßig Tuba Workshops im In-und Ausland, u.a. in Japan, Korea, Russland, Spanien und Frankreich. In Deutschland diente er als Gast Dozent im ‚Stars von Morgen’ Projekt beim Bundesjugendorchester und ist ein vielgefragter Prüfer und Jurymitglied u.a. bei der GWK-Förderpreis, Jugend Muzisiert und dem Deutschen Musikwettbewerb, sowie bei einigen Internationalen Tuba Wettbewerben.
Gleichzeitig konzertiert Hans Nickel viel als Solist und Kammermusiker, mit Vorzug im Bereich der zeitgenössischen Musik und immer häufiger bei der Uraufführung neuer Werke für Tuba u.a.: Jan Van der Roost (Obsessions und canTUBAllada, Riva del Garda ITEC), Karlheinz Stockhausen (In Freundschaft 1996-ein Geschenk des Komponisten „in Freundschaft“), Jan Bedrich (Dialogy per Tuba, Piano E Baterie) und Edward Gregson (Alarum Chicago ITEC). Er gastiert bei einer Vielzahl wichtiger zeitgenossischer Musikfestivals, einschließlich des Huddersfield Contemporary Festival und dem Holland Festival. Als Solist ist er vielfältig und wirkte somit in Roncalli´s „Classic Meets Circus“ in Düsseldorf, I Fiamminghi’s „Composer´s Festival“ in Antwerpen mit und führte das Vaughan Williams Tuba Concerto in Begleitung des WDR Sinfonie Orchesters, des Sinfonieorchesters des Slowakischen Rundfunks, Noord Hollands Philharmonisch Orkests, Staatsorchester Braunschweig und des Philharmonischen Orchesters Hagen auf. In der 2011/12 Saison wird er mit dem WDR Sinfonie Orchester als soloist auf der Bühne stehen. Nickel gab zahlreiche Recitals in Japan, Korea, USA, Slowakia, den Niederlanden, Belgien, England, Wales, Frankreich, Italien, Spanien und Russland. Als Kammermusiker spielte er mit HR-Brass, dem Asko Ensemble, dem Blechbläserensemble der Berliner Philharmoniker, Ensemble Modern, und vielen anderen einschließlich seinen Kollegen des WDRs bei der WDR Nachtmusik und den KRSO Kammerkonzerten. Seit 2008 konzertiert er regelmäßig mit dem neuen von ihm mitgegründeten WDR Blechensemble „Brass Consort Köln“ das schon erhebliche Erfolge erzielte in u.a. die Aachener Bachtage, die Lemgoer Orgel Tage, WDR TonArt Spezial und Didacta.
Hans Nickel ist Protagonist vieler CD, Rundfunk- und Fernseh- Aufnahmen. Das Tuba Concerto von R.Vaughan Williams hat er in Begleitung des WDR Sinfonie Orchesters sowie des Sinfonieorchesters des Slowakischen Rundfunks aufgenommen (canTUBAllada). Seine CD’s canTUBAllada, Tuba Obsessions, Orchester Finalisten (Asko Ensemble), Nessum Dorma (Belgian Brass Soloists), und Jazzpana (WDR Big Band) erreichen ein weltweites Publikum.
www.hansnickel-tuba.com
Stand 16.02.2011
Hans Nickel hält regelmäßig Tuba Workshops im In-und Ausland, u.a. in Japan, Korea, Russland, Spanien und Frankreich. In Deutschland diente er als Gast Dozent im ‚Stars von Morgen’ Projekt beim Bundesjugendorchester und ist ein vielgefragter Prüfer und Jurymitglied u.a. bei der GWK-Förderpreis, Jugend Muzisiert und dem Deutschen Musikwettbewerb, sowie bei einigen Internationalen Tuba Wettbewerben.
Gleichzeitig konzertiert Hans Nickel viel als Solist und Kammermusiker, mit Vorzug im Bereich der zeitgenössischen Musik und immer häufiger bei der Uraufführung neuer Werke für Tuba u.a.: Jan Van der Roost (Obsessions und canTUBAllada, Riva del Garda ITEC), Karlheinz Stockhausen (In Freundschaft 1996-ein Geschenk des Komponisten „in Freundschaft“), Jan Bedrich (Dialogy per Tuba, Piano E Baterie) und Edward Gregson (Alarum Chicago ITEC). Er gastiert bei einer Vielzahl wichtiger zeitgenossischer Musikfestivals, einschließlich des Huddersfield Contemporary Festival und dem Holland Festival. Als Solist ist er vielfältig und wirkte somit in Roncalli´s „Classic Meets Circus“ in Düsseldorf, I Fiamminghi’s „Composer´s Festival“ in Antwerpen mit und führte das Vaughan Williams Tuba Concerto in Begleitung des WDR Sinfonie Orchesters, des Sinfonieorchesters des Slowakischen Rundfunks, Noord Hollands Philharmonisch Orkests, Staatsorchester Braunschweig und des Philharmonischen Orchesters Hagen auf. In der 2011/12 Saison wird er mit dem WDR Sinfonie Orchester als soloist auf der Bühne stehen. Nickel gab zahlreiche Recitals in Japan, Korea, USA, Slowakia, den Niederlanden, Belgien, England, Wales, Frankreich, Italien, Spanien und Russland. Als Kammermusiker spielte er mit HR-Brass, dem Asko Ensemble, dem Blechbläserensemble der Berliner Philharmoniker, Ensemble Modern, und vielen anderen einschließlich seinen Kollegen des WDRs bei der WDR Nachtmusik und den KRSO Kammerkonzerten. Seit 2008 konzertiert er regelmäßig mit dem neuen von ihm mitgegründeten WDR Blechensemble „Brass Consort Köln“ das schon erhebliche Erfolge erzielte in u.a. die Aachener Bachtage, die Lemgoer Orgel Tage, WDR TonArt Spezial und Didacta.
Hans Nickel ist Protagonist vieler CD, Rundfunk- und Fernseh- Aufnahmen. Das Tuba Concerto von R.Vaughan Williams hat er in Begleitung des WDR Sinfonie Orchesters sowie des Sinfonieorchesters des Slowakischen Rundfunks aufgenommen (canTUBAllada). Seine CD’s canTUBAllada, Tuba Obsessions, Orchester Finalisten (Asko Ensemble), Nessum Dorma (Belgian Brass Soloists), und Jazzpana (WDR Big Band) erreichen ein weltweites Publikum.
www.hansnickel-tuba.com
Stand 16.02.2011
[Translate to English:] Silvia Ocougne
[Translate to English:] Silvia Ocougne, in São Paulo geboren, studierte an der
Universität von São Paulo Komposition bei Willi Correa
de Oliveira und Gitarre bei Manoel São Marcos, Paulo
Bellinatti, u.a. 1984 erhielt sie ein Stipendium des
brasilianischen Kultusministeriums für das Studium
"Third Stream Guitar" am New England Conservatory,
Boston, USA. Dort studierte sie unter anderem bei Ran
Blake und Mick Goodrick. 1986 schloss sie das Studium
mit dem "Master of Music with Honours and Distinction
in Performance" ab. Silvia Ocougne lebt seit 1987 in
Berlin, wo sie als Perfomerin und Komponistin im Bereich neuer,
experimenteller und brasilianischer Musik arbeitet.
Neben akustischen Gitarren präpariert und spielt sie
alle Arten von Zupfinstrumenten. Experimente mit
Klangfarben, unterschiedlichen Stimmungen und neuen,
ungewöhnlichen Spielweisen bestimmen Silvia Ocougnes
Musik. Sie hat mit zahlreichen Musikern/Komponisten zusammen
gearbeitet wie Carlo Domeniconi, Chico Mello, Daniel Ott, Arnold Dreyblatt,
sowie mit bildenden Künstler wie Jimmie Durham, Adel Abdessemed,
Tessa de Oliveira Pinto, etc. Zahlreiche Kompositionen für Gitarre wurden von ihr uraufgeführt, u.a. von Komponisten wie La Monte Young, John Zorn,
Louis Vierk, Graciela Paraskevaidis, Il Ryun Chung, oder Vitold Szalonek.
Im Kompositorischen Bereich arbeitet Silvia Ocougne oft interdisziplinär:
Klanginstallation: (Auswahl) Metathesis und Metaphrase, Berlin, (gefördet vom Hauptstadtkulturfonds Berlin), 2007; DVD Installation (Auswahl), Odradek, Installation, Video Adel Abdessemed, 2011 (Premiere, DVIR Galerie, Tel Aviv), 2011; Trust Me, in Zusammenarbeit mit Adel Abdessemed, (Premiere, PS1, New York) 2007; God is Design, in Zusammenarbeit mit Adel Abdessemed, (Premiere, Galerie Kamel Menour, Paris) 2005; Film: (Auswahl) Onde Sao Paulo começa, Regie, Joao Claudio de Sena, Brasilien (2011); Roxalena, Regie Galip Iyitanir, Deutschland (ARTE), 2007; Kurzfilm, The Pursuit of Happiness, von Jimmie Durham, Italien, Frankreich, 2003; Hörspiel And any idea how hard she can get, in Zusammenarbeit mit Mia Frimmer, Berlin, 2010; Links und Rechts vorbei, in Zusammenarbeit mit Mia Frimmer, 2011; Tanz Pedra, Choreographie, in Zusammenarbeit mit Elise Ralston (Premiere, Tanz Fabrik, Berlin) 2004. Außerdem zahlreichen Kompositionen für gemischtes Ensemble sowie Ortgebundene Stücke für präparierte Gitarren mit digitaler Bearbeitung (Max MSP).
Als Pädagogin gab Ocougne verschiedene Workshops und Lehrveranstaltungen zu Komposition, Instant Composition und Gitarre an Musikschulen und Musikhochschulen. 2003/04 und 2006/07 im Rahmen des Projekts ”QuerKlang” der Universität der Künste /Maerz Musik: ”Experimentelles Komponieren in der Schule”. Seit 2008 hat Silvia Ocougne einen Lehrauftrag für “Instant Composition” in der UDK Berlin.
Als Kuratorin hat sie Projekte wie die MontagsMusik Brasilien, Festival brasilianischer experimenteller Musik im Podewil, die Lange Nacht der Gitarre im Podewil, Berlin; das Festival Quasi Amazonas; Haus der Kulturen der Welt und Freunde Guter Musik, Berlin, Música Brasileira De(s)composta, innerhalb des Festivals MaerzMusik; Symposium Amerika Latina, Impressiones Sonoras, Berlin mit gestaltet.
Silvia Ocougne tritt regelmäßig in Berlin, in Deutschland und im Ausland auf, unter anderem: Dokumenta Kassel; MaerzMusik Festival, Berlin; SESC Consolação, São Paulo; Bang on a Can, NY; Tournée durch Russland; Centre Culturel André Malraux, Nancy; Audio Art Festival, Krakau ,Warschau; German Composers Series Experimental Intermedia, New York; ZKM Multimediale, Karlsruhe; GMEM Festival du Musique d'Aujourd'hui, Marseille; Neue Musik Rümlingen , Schweiz; Experimenta, Buenos Aires, Argentinien; Musik Instrumenten Museum, Berlin; Guitar Festival Istanbul, Turkey; Hamburger Bahnhof, Berlin; Centro Cultural Itau, São Paulo; Música Viva - Bayerisches Rundfunkorchester, München; Schloß Moyland, Kleve; Espaço Cultural Branco do Brasil, Rio de Janeiro; Kunstmuseum Wolfsburg; Quasi Amazonia, HKW, Freunde Guter Musik, Berlin; Festival of Visions, Hong Kong, China; Festival Paralelo, Madrid, Aielo, Spanien; Orkub , Bukarest, Romenien; Kontraste , Klangraum Krems, Österreich;
Universität von São Paulo Komposition bei Willi Correa
de Oliveira und Gitarre bei Manoel São Marcos, Paulo
Bellinatti, u.a. 1984 erhielt sie ein Stipendium des
brasilianischen Kultusministeriums für das Studium
"Third Stream Guitar" am New England Conservatory,
Boston, USA. Dort studierte sie unter anderem bei Ran
Blake und Mick Goodrick. 1986 schloss sie das Studium
mit dem "Master of Music with Honours and Distinction
in Performance" ab. Silvia Ocougne lebt seit 1987 in
Berlin, wo sie als Perfomerin und Komponistin im Bereich neuer,
experimenteller und brasilianischer Musik arbeitet.
Neben akustischen Gitarren präpariert und spielt sie
alle Arten von Zupfinstrumenten. Experimente mit
Klangfarben, unterschiedlichen Stimmungen und neuen,
ungewöhnlichen Spielweisen bestimmen Silvia Ocougnes
Musik. Sie hat mit zahlreichen Musikern/Komponisten zusammen
gearbeitet wie Carlo Domeniconi, Chico Mello, Daniel Ott, Arnold Dreyblatt,
sowie mit bildenden Künstler wie Jimmie Durham, Adel Abdessemed,
Tessa de Oliveira Pinto, etc. Zahlreiche Kompositionen für Gitarre wurden von ihr uraufgeführt, u.a. von Komponisten wie La Monte Young, John Zorn,
Louis Vierk, Graciela Paraskevaidis, Il Ryun Chung, oder Vitold Szalonek.
Im Kompositorischen Bereich arbeitet Silvia Ocougne oft interdisziplinär:
Klanginstallation: (Auswahl) Metathesis und Metaphrase, Berlin, (gefördet vom Hauptstadtkulturfonds Berlin), 2007; DVD Installation (Auswahl), Odradek, Installation, Video Adel Abdessemed, 2011 (Premiere, DVIR Galerie, Tel Aviv), 2011; Trust Me, in Zusammenarbeit mit Adel Abdessemed, (Premiere, PS1, New York) 2007; God is Design, in Zusammenarbeit mit Adel Abdessemed, (Premiere, Galerie Kamel Menour, Paris) 2005; Film: (Auswahl) Onde Sao Paulo começa, Regie, Joao Claudio de Sena, Brasilien (2011); Roxalena, Regie Galip Iyitanir, Deutschland (ARTE), 2007; Kurzfilm, The Pursuit of Happiness, von Jimmie Durham, Italien, Frankreich, 2003; Hörspiel And any idea how hard she can get, in Zusammenarbeit mit Mia Frimmer, Berlin, 2010; Links und Rechts vorbei, in Zusammenarbeit mit Mia Frimmer, 2011; Tanz Pedra, Choreographie, in Zusammenarbeit mit Elise Ralston (Premiere, Tanz Fabrik, Berlin) 2004. Außerdem zahlreichen Kompositionen für gemischtes Ensemble sowie Ortgebundene Stücke für präparierte Gitarren mit digitaler Bearbeitung (Max MSP).
Als Pädagogin gab Ocougne verschiedene Workshops und Lehrveranstaltungen zu Komposition, Instant Composition und Gitarre an Musikschulen und Musikhochschulen. 2003/04 und 2006/07 im Rahmen des Projekts ”QuerKlang” der Universität der Künste /Maerz Musik: ”Experimentelles Komponieren in der Schule”. Seit 2008 hat Silvia Ocougne einen Lehrauftrag für “Instant Composition” in der UDK Berlin.
Als Kuratorin hat sie Projekte wie die MontagsMusik Brasilien, Festival brasilianischer experimenteller Musik im Podewil, die Lange Nacht der Gitarre im Podewil, Berlin; das Festival Quasi Amazonas; Haus der Kulturen der Welt und Freunde Guter Musik, Berlin, Música Brasileira De(s)composta, innerhalb des Festivals MaerzMusik; Symposium Amerika Latina, Impressiones Sonoras, Berlin mit gestaltet.
Silvia Ocougne tritt regelmäßig in Berlin, in Deutschland und im Ausland auf, unter anderem: Dokumenta Kassel; MaerzMusik Festival, Berlin; SESC Consolação, São Paulo; Bang on a Can, NY; Tournée durch Russland; Centre Culturel André Malraux, Nancy; Audio Art Festival, Krakau ,Warschau; German Composers Series Experimental Intermedia, New York; ZKM Multimediale, Karlsruhe; GMEM Festival du Musique d'Aujourd'hui, Marseille; Neue Musik Rümlingen , Schweiz; Experimenta, Buenos Aires, Argentinien; Musik Instrumenten Museum, Berlin; Guitar Festival Istanbul, Turkey; Hamburger Bahnhof, Berlin; Centro Cultural Itau, São Paulo; Música Viva - Bayerisches Rundfunkorchester, München; Schloß Moyland, Kleve; Espaço Cultural Branco do Brasil, Rio de Janeiro; Kunstmuseum Wolfsburg; Quasi Amazonia, HKW, Freunde Guter Musik, Berlin; Festival of Visions, Hong Kong, China; Festival Paralelo, Madrid, Aielo, Spanien; Orkub , Bukarest, Romenien; Kontraste , Klangraum Krems, Österreich;
Joachim Pöltl
Geboren am 6.9.53, Musikstudium in Karlsruhe und Heidelberg, verschiedene Orchesterengagements in Nürnberg, Hilchenbach, Darmstadt und Köln. Seit 1983 Mitglied im WDR-Sinfonieorchester Köln.
CD Produktionen mit Concortium Classicum.
Lehraufträge für Horn an den Musikhochschulen Detmold, Wuppertal, Düsseldorf.
Seit 1998 Professor für Horn an der Robert Schumann Hochschule Düsseldorf.
Meisterkurse in Mainz, Stapelfeld, Tokyo und Kyoto
CD Produktionen mit Concortium Classicum.
Lehraufträge für Horn an den Musikhochschulen Detmold, Wuppertal, Düsseldorf.
Seit 1998 Professor für Horn an der Robert Schumann Hochschule Düsseldorf.
Meisterkurse in Mainz, Stapelfeld, Tokyo und Kyoto
Petr Prause
Petr was born into a musical family on December 24, 1970, in Ostrava, Czech Republic. At the age of six, Petr started to play cello under the guidance of a dedicated teacher Miroslav Dolezil. Petr continued his musical route at the Academy of Fine Arts in Prague where he was taught by Miroslav Petras and members of the Smetana Quartet, who have aroused his interest in chamber music. In 1996 he graduated as Master in Music.
While studying at the Academy of Fine Arts in Prague, Petr enriched his studies with a one year study stay at the International Menuhin Music Academy in Switzerland under the leadership of Radu Aldulescu and in the school year 1994 – 1995 at the Guildhall School of Music and Drama in London with Raphael Wallfisch where he was awarded the highest recognition - Concert Recital Diploma (Premier Prix).
In 1995, Petr was appointed a principal cellist and a soloist with the Prague Radio Symphony Orchestra. He has combined his orchestral duties with a part time cello and chamber music teaching at the Prague Conservatoire.
As a soloist Petr has perfomed widely throughout the world namely USA, South Korea and much in Europe. He performed with prominent orchestras such as the Czech National Symphonic Orchestra, Janacek Philharmonic Orchestra, Martinu Philharmonic Orchestra, and others.
Since 1997, Petr has been a member of the Talich Quartet, they have visited the most important chamber music venues throughout the world, including Wigmore Hall in London, Carnegie Hall in New York, Konzerthaus in Berlin, Herkulessaal in Munich, Concertgebouw in Amsterdam, Theatres Chatelet and Champs Elysee in Paris, Symphony Hall in Seoul, Oji Hall in Tokyo, Izumi Hall in Osaka and of course Rudolfinum in Prague, where the ensemble was in residence for season 2009/10.
They have been invited to numerous international chamber music festivals and have had the opportunity to give master courses in Europe, the Americas and the Far East.
Aside the quartet Petr has also joined other musicians (Ronan O’Hora, Ian Fountain, Yakov Kasman, Gil Sharon, Michel Raison, Prazak Quartet, Pavel Haas Quartet and others) in all kinds of chamber music formations – piano trio, piano quartet, clarinet trio and quartet, quintets, sextets etc. He also initiated a piano trio and a quartet of four cellos with his musical friends.
www.prause.cz
While studying at the Academy of Fine Arts in Prague, Petr enriched his studies with a one year study stay at the International Menuhin Music Academy in Switzerland under the leadership of Radu Aldulescu and in the school year 1994 – 1995 at the Guildhall School of Music and Drama in London with Raphael Wallfisch where he was awarded the highest recognition - Concert Recital Diploma (Premier Prix).
In 1995, Petr was appointed a principal cellist and a soloist with the Prague Radio Symphony Orchestra. He has combined his orchestral duties with a part time cello and chamber music teaching at the Prague Conservatoire.
As a soloist Petr has perfomed widely throughout the world namely USA, South Korea and much in Europe. He performed with prominent orchestras such as the Czech National Symphonic Orchestra, Janacek Philharmonic Orchestra, Martinu Philharmonic Orchestra, and others.
Since 1997, Petr has been a member of the Talich Quartet, they have visited the most important chamber music venues throughout the world, including Wigmore Hall in London, Carnegie Hall in New York, Konzerthaus in Berlin, Herkulessaal in Munich, Concertgebouw in Amsterdam, Theatres Chatelet and Champs Elysee in Paris, Symphony Hall in Seoul, Oji Hall in Tokyo, Izumi Hall in Osaka and of course Rudolfinum in Prague, where the ensemble was in residence for season 2009/10.
They have been invited to numerous international chamber music festivals and have had the opportunity to give master courses in Europe, the Americas and the Far East.
Aside the quartet Petr has also joined other musicians (Ronan O’Hora, Ian Fountain, Yakov Kasman, Gil Sharon, Michel Raison, Prazak Quartet, Pavel Haas Quartet and others) in all kinds of chamber music formations – piano trio, piano quartet, clarinet trio and quartet, quintets, sextets etc. He also initiated a piano trio and a quartet of four cellos with his musical friends.
www.prause.cz
Godelieve Schrama
In 1996 Godelieve Schrama was awarded the official Dutch state prize for classical music. Since that memorable year she developed into a multitalented and adventurous musician, placing her instrument just as convincingly against a baroque background as she does in a wholly contemporary context. Clear French music figures besides forceful commentary on the romantic piano tradition. The harp is promoted from a minor role in the symphony orchestra to a leading performer of Scarlatti, Haydn, Ginastera or Berio.
As a soloist Schrama performed with, amongst others, the Netherlands Radio Chamber Orchestra, The Hague Philharmonic Orchestra, the Rotterdam Philharmonic Orchestra and the Royal Concertgebouw Orchestra. She worked with conductors such as Frans Brüggen, Ton Koopman, Anthony Halstead, Gerard Korsten, Lev Markiz, Matthias Bamert and Ed Spanjaard. Her position a the internationally renowned Schoenberg Ensemble enables her to be on top of the cutting edge ensemble repertoire from the 20th and 21st century.
Besides performing and recording the existing harp repertoire Godelieve Schrama creates and records performances of new compositions for harp by inviting contemporary composers to write for her. In 200? this resulted in a CD with Harp Concertos from The Netherlands. More recently she commissioned chamber music pieces with (among others) Klaas de Vries (2005), Oene van Geel (2006), Param Vir (2008) and Micha Hamel (2009).
As a chamber music player Godelieve can be found at international chamber music festivals like the Orlando Festival, the West Cork Chamber Music Festival and the Delft Chamber Music Festival on a regular basis. She performs with colleagues like Marieke Schneemann and Emily Beynon (flute), Vesko Eshkenazy (violin), Larissa Groeneveld (violoncello), the Auryn String Quartet, the Van Brugh String Quartet, soprano Charlotte Riedijk and percussionist Peppie Wiersma.
Since 2001 Godelieve Schrama holds a post as Professor of Harp at the Hochschule für Musik Detmold (Germany).
Godelieve Schrama plays a Lyon & Healy style 23 harp.
As a soloist Schrama performed with, amongst others, the Netherlands Radio Chamber Orchestra, The Hague Philharmonic Orchestra, the Rotterdam Philharmonic Orchestra and the Royal Concertgebouw Orchestra. She worked with conductors such as Frans Brüggen, Ton Koopman, Anthony Halstead, Gerard Korsten, Lev Markiz, Matthias Bamert and Ed Spanjaard. Her position a the internationally renowned Schoenberg Ensemble enables her to be on top of the cutting edge ensemble repertoire from the 20th and 21st century.
Besides performing and recording the existing harp repertoire Godelieve Schrama creates and records performances of new compositions for harp by inviting contemporary composers to write for her. In 200? this resulted in a CD with Harp Concertos from The Netherlands. More recently she commissioned chamber music pieces with (among others) Klaas de Vries (2005), Oene van Geel (2006), Param Vir (2008) and Micha Hamel (2009).
As a chamber music player Godelieve can be found at international chamber music festivals like the Orlando Festival, the West Cork Chamber Music Festival and the Delft Chamber Music Festival on a regular basis. She performs with colleagues like Marieke Schneemann and Emily Beynon (flute), Vesko Eshkenazy (violin), Larissa Groeneveld (violoncello), the Auryn String Quartet, the Van Brugh String Quartet, soprano Charlotte Riedijk and percussionist Peppie Wiersma.
Since 2001 Godelieve Schrama holds a post as Professor of Harp at the Hochschule für Musik Detmold (Germany).
Godelieve Schrama plays a Lyon & Healy style 23 harp.
Henri Sigfridsson
Henri Sigfridsson, born in Turku (1974), winner of the Second Prize of the Zurich Geza Anda Piano competition 2000, not only impressed the Jury under the chairmanship of Vladimir Ashkenazy, he won the hearts of many members of the public who attended the final concert in the Zurich Tonhalle, and he walked off with the Geza Anda Audience Prize. In 2005 he won the First Prize at the Beethoven International Piano Competition in Bonn, where he got the Audience Prize and Chamber Music Prize as well.
He began studying with Savy Nordgren at the Turku Conservatory and later at the Sibelius Academy in Helsinki ( Prof. Erik T. Tawaststjerna). He completed his studies at the Musikhochschule Köln with the highest distinction (Prof. Pavel Gililov). 1995-97 he studied at the Franz Liszt Musikhochschule in Weimar (Prof. Lazar Berman) as well.
Besides of the Geza Anda Competition Henri Sigfridsson was awarded the renowned ABOA Culture Prize in Finland, first prizes at the 1994 International Franz Liszt Piano Competition in Weimar and at the 1995 “Nordic Soloist Competition”.
As a soloist Sigfridsson has played with the leading Finnish orchestras and numerous orchestras in Europe, including the MDR Orchestra, the Staatskapelle Weimar, the Orchestre National de Lille, the Zurich Tonhalle Orchestra, the St. Petersburg Philharmonics, the Belgrade Philharmonic Orchestra, the Munich Symphony Orchestra, the Stuttgart Chamber Orchestra, the Camerata Salzburg under the baton of prestigious conductors such as Georg Alexander Albrecht, Vladimir Askenazy, Alexander Lazarev, Beat Furrer, Dennis Russel Davies, Lawrence Foster, Howard Shelley, Volker Schmidt-Gertenbach.
He has made notable debuts at the Bayreuth Music Festival, the Ruhr Piano Festival, Wigmore Hall London, all over Europe and the US. (New York, Chicago and at the Ravinia Festival.) Since 2000 Henri Sigfridsson is regularly invited to Japan. Sigfridsson performs at very prestigious festivals like the Augsburg Mozart Week, the St. Petersburg Musical Olympus Festival, the Krakow Piano Festival, the Heidelberg Festival, the Kissinger Sommer Festival, the Interlaken Festival, the Lucerne Festival, the Davos Festival, the Styriarte Festival, the Lockenhaus Festival and the Salzburg Festival. And since 2006 he is invited as a Jury to Liszt Piano Competition.
Henri Sigfridsson feels a very deep commitment to chamber music. He appeared with Leonidas Kavakos, Gidon Kremer, Ivry Gitlis, Mischa Maisky, Patricia Kopatchinskaja, Sol Gabetta, Johannes Moser to name a few.
Henri Sigfridsson has a number of recordings including the Piano Concertos of F.X.Mozart. And for the memorable year of Sibelius, released Sibelius Piano Transcriptions. In addition the Piano Concertos no. 2 and no. 3 of Rachmaninov have been released. And coming year the new recording of Chopin Ballades and Scherzi are expected. 2008-2009 Sigfridsson had a professorship at the Graz University or Music and Dramatic Arts. Since 2010 he is Professor at the Musikhochschule Hans Eisler in Berlin.
He began studying with Savy Nordgren at the Turku Conservatory and later at the Sibelius Academy in Helsinki ( Prof. Erik T. Tawaststjerna). He completed his studies at the Musikhochschule Köln with the highest distinction (Prof. Pavel Gililov). 1995-97 he studied at the Franz Liszt Musikhochschule in Weimar (Prof. Lazar Berman) as well.
Besides of the Geza Anda Competition Henri Sigfridsson was awarded the renowned ABOA Culture Prize in Finland, first prizes at the 1994 International Franz Liszt Piano Competition in Weimar and at the 1995 “Nordic Soloist Competition”.
As a soloist Sigfridsson has played with the leading Finnish orchestras and numerous orchestras in Europe, including the MDR Orchestra, the Staatskapelle Weimar, the Orchestre National de Lille, the Zurich Tonhalle Orchestra, the St. Petersburg Philharmonics, the Belgrade Philharmonic Orchestra, the Munich Symphony Orchestra, the Stuttgart Chamber Orchestra, the Camerata Salzburg under the baton of prestigious conductors such as Georg Alexander Albrecht, Vladimir Askenazy, Alexander Lazarev, Beat Furrer, Dennis Russel Davies, Lawrence Foster, Howard Shelley, Volker Schmidt-Gertenbach.
He has made notable debuts at the Bayreuth Music Festival, the Ruhr Piano Festival, Wigmore Hall London, all over Europe and the US. (New York, Chicago and at the Ravinia Festival.) Since 2000 Henri Sigfridsson is regularly invited to Japan. Sigfridsson performs at very prestigious festivals like the Augsburg Mozart Week, the St. Petersburg Musical Olympus Festival, the Krakow Piano Festival, the Heidelberg Festival, the Kissinger Sommer Festival, the Interlaken Festival, the Lucerne Festival, the Davos Festival, the Styriarte Festival, the Lockenhaus Festival and the Salzburg Festival. And since 2006 he is invited as a Jury to Liszt Piano Competition.
Henri Sigfridsson feels a very deep commitment to chamber music. He appeared with Leonidas Kavakos, Gidon Kremer, Ivry Gitlis, Mischa Maisky, Patricia Kopatchinskaja, Sol Gabetta, Johannes Moser to name a few.
Henri Sigfridsson has a number of recordings including the Piano Concertos of F.X.Mozart. And for the memorable year of Sibelius, released Sibelius Piano Transcriptions. In addition the Piano Concertos no. 2 and no. 3 of Rachmaninov have been released. And coming year the new recording of Chopin Ballades and Scherzi are expected. 2008-2009 Sigfridsson had a professorship at the Graz University or Music and Dramatic Arts. Since 2010 he is Professor at the Musikhochschule Hans Eisler in Berlin.
Gerhard Stäbler
Gerhard Stäbler was born 1949 in Wilhelmsdorf, near Ravensburg in southern Germany. In 1968 he enrolled in the composition program at the Nordwestdeutsche Musikakademie in Detmold and continued his education at the Folkwang-Hochschule in Essen, where he studied with Nicolaus A. Huber (composition) and Gerd Zacher (organ). The "Cornelius Cardew Memorial Prize" (1982) was the first in a series of awards, prizes, commissions and scholarships he received. From the onset of his career until today, Gerhard Stäbler has not only been active as a composer, but also involved in political and organizational arenas. The New Music festival "Aktive Musik" was initiated by Stäbler, who also served as the artistic director of the 1995 World Music Days of the ISCM in the Ruhr Valley. A third vital point of his activities lies in teaching: during workshops and seminars Stäbler has worked with many young international composers. He was a composer-in-residence and visiting professor throughout North and South America as well as in the Middle and Far East. Stäblers music often transcends the conventional framework (and therefore the audiences expectations), be it through the use of gestures or movement in space, through lighting and olfactory stimulation, or an active integration of the audience- it is very important to him to stimulate the imagination, to sensitize the ears and other perceptory organs towards unexpected perceptoral and thought processes. This is also the origin of his interest in the interaction between composition and improvisation, which feeds off of the unique tension between performers during the pre-formed yet open musical moment - as to be seen in the graphical score Red on black (1986). By the same token his music is always characterized by extremely contemplated development, and contains elaborate constructs that don't impede the direct musical statement. Especially since the 1990's Stäbler has created Work-"groups" that shed a musical light on different aspects of a thematic complex (e.g. the compositions surrounding CassandraComplex). In some cases works that stand autonomously can be performed simultaneously. Stäbler repeatedly causes the listener to critically reflect upon the music, without his music having to be overtly political: the shriek of a crow is musically interpreted in it's possible implications (in old myths or as harbinger of doom) in Karas.Krähen (1994/95). The music doesn't just exploit its own symbolism, but always points towards our individual actions in this world we live in.
2006 included an extensive Composer Portrait by the Saarland Radio within the festival "Mouvement – Music of the 21st Century" in May, in Saarbrucken, and was followed by the world premiere of the first chamber opera, Afternoon Sun in the Past Fall, in the south Korean capital, Seoul. The end of October brought Düsseldorf premieres of Night Pieces I-IV for Piano Quintet and Voices, which refer to Robert Schumann’s eponymous Piano Pieces, op. 23. The world premiere of, TSUKI, SUBARU, a Concert for the Japanese Mouthharp Sho and Orchestra, was presented in Duisburg at the end of January 2007.
For 2007, Stäbler accepted invitations to present his compositional work in various concerts and master classes, in Greece, England, Austria, Australia, and in numerous German provinces. In May 2007 the composition Wasser.Zeichen for orchestra, ensemble, choir and tape was premiered in Duisburg. In the frame of Dresdner Days for Contemporary Music two word premieres were presented in october 2007. In the end of 2007 Stäbler´s music theatre Letzte Dinge, based on texts by the poet Paul Auster, was performed in Frankfurt/Main with great success.
In April 2008 Sappho Trilogie for soprano, choir , splitted orchestra and tape was premiered in the frame of "WDR-Fest" in Duisburger Landschaftspark . Invitations to the summer academy for new music theatre at European Centre for Arts in Hellerau (Dresden) and to the woll known Darmstädter Ferienkurse followed. In Darmstadt two new works by Stäbler were presented for the first time: ...ins Offene... for the Neuen Vocalsolisten Stuttgart and ]upon dry land[ for Duo Konflikt. Further Invitations lead to a Composition Masterclass on Crete, to the Festival Klangspuren Schwaz (Premieres of Fund.Stücke und Luftspiegelungen for Ensemble ascolta), to the Sonic Fusion Festival in Edinburgh and to a tournee in Libanon. In the moment Stäbler is dealing with a new music theatre for children, which will be premiered at Nationaltheaters in March 2009.
2006 included an extensive Composer Portrait by the Saarland Radio within the festival "Mouvement – Music of the 21st Century" in May, in Saarbrucken, and was followed by the world premiere of the first chamber opera, Afternoon Sun in the Past Fall, in the south Korean capital, Seoul. The end of October brought Düsseldorf premieres of Night Pieces I-IV for Piano Quintet and Voices, which refer to Robert Schumann’s eponymous Piano Pieces, op. 23. The world premiere of, TSUKI, SUBARU, a Concert for the Japanese Mouthharp Sho and Orchestra, was presented in Duisburg at the end of January 2007.
For 2007, Stäbler accepted invitations to present his compositional work in various concerts and master classes, in Greece, England, Austria, Australia, and in numerous German provinces. In May 2007 the composition Wasser.Zeichen for orchestra, ensemble, choir and tape was premiered in Duisburg. In the frame of Dresdner Days for Contemporary Music two word premieres were presented in october 2007. In the end of 2007 Stäbler´s music theatre Letzte Dinge, based on texts by the poet Paul Auster, was performed in Frankfurt/Main with great success.
In April 2008 Sappho Trilogie for soprano, choir , splitted orchestra and tape was premiered in the frame of "WDR-Fest" in Duisburger Landschaftspark . Invitations to the summer academy for new music theatre at European Centre for Arts in Hellerau (Dresden) and to the woll known Darmstädter Ferienkurse followed. In Darmstadt two new works by Stäbler were presented for the first time: ...ins Offene... for the Neuen Vocalsolisten Stuttgart and ]upon dry land[ for Duo Konflikt. Further Invitations lead to a Composition Masterclass on Crete, to the Festival Klangspuren Schwaz (Premieres of Fund.Stücke und Luftspiegelungen for Ensemble ascolta), to the Sonic Fusion Festival in Edinburgh and to a tournee in Libanon. In the moment Stäbler is dealing with a new music theatre for children, which will be premiered at Nationaltheaters in March 2009.
Nina Tichman
Nina Tichman´s performance of the complete piano works of Debussy in three evenings in New York was hailed as a milestone in the musical history of the city. Acclaimed in the international press as one of the leading pianists of her generation, she has concertized throughout the world as soloist, chamber musician and teacher, appearing at Marlboro, Tanglewood, Prussia Cove, Frankfurt Feste, Rheingau Musikfestival and the Mozarteum in Salzburg. Her discography includes the complete piano music of Copland and Debussy as well as works by Chopin, Beethoven, Mendelssohn, Penderecki, Faure, Corigliano, Bartok und Reger.
Winner of the Busoni, Mendelssohn and Casagrande competitions, Nina Tichman graduated from The Juilliard School, where she was awarded the Eduard-Steuermann-Prize for outstanding musical achievement. She is Professor of Piano at the Cologne Musikhochschule and has given masterclasses at Amherst, Princeton, the Europäische Akademie für Musik und Darstellende Kunst in Montepulciano and the “Mozarteum” in Salzburg.
In 2009 she completed recording the complete Piano Trios of Beethoven with the Xyrion Trio for Naxos.
Winner of the Busoni, Mendelssohn and Casagrande competitions, Nina Tichman graduated from The Juilliard School, where she was awarded the Eduard-Steuermann-Prize for outstanding musical achievement. She is Professor of Piano at the Cologne Musikhochschule and has given masterclasses at Amherst, Princeton, the Europäische Akademie für Musik und Darstellende Kunst in Montepulciano and the “Mozarteum” in Salzburg.
In 2009 she completed recording the complete Piano Trios of Beethoven with the Xyrion Trio for Naxos.
Gerd Uecker
Gerd Ucker was born in 1946 in Munich and studied piano, music education and conducting at the University of Music and Theatre Munich. After working as repetiteur at the Opera House Cologne and lecturer at the Rheinische Music Conservatory (predecessor of the University of Music Cologne) in 1969/70, he became music director and conductor of the opera department of the Passau City Theatre in 1973. He switched to the Munich State Opera in 1979 where he held various positions and as of 1993 was opera director. He has been the general manager of the Semper Opera House in Dresden since 2003. In 2005, he became the chairman of the German-speaking Opera Conference and Opera Europe.
Since 2007 he is Chairman of the Trustee Board of the University of Music Lübeck
Gerd Ucker has held numerous professorships and teaching positions in Europe and abroad, including a lectureship at the Peking Conservatory of Music, Fondazione in Venice, Mozarteum University of Music in Salzburg, and the Universities of Music in Dresden, Munich and Stuttgart.
Since 2007 he is Chairman of the Trustee Board of the University of Music Lübeck
Gerd Ucker has held numerous professorships and teaching positions in Europe and abroad, including a lectureship at the Peking Conservatory of Music, Fondazione in Venice, Mozarteum University of Music in Salzburg, and the Universities of Music in Dresden, Munich and Stuttgart.
Keiko Urushihara
Keiko Urushihara began to make her mark in the music world in 1981, while still attending the high school of the Tokyo University of Fine Arts and Music, when she took first place at the 8th Wieniawski International Concours—the youngest performer and the first Japanese to win this prize. (She won six other prizes at the same festival.) In 1982 she entered the Tokyo University of Fine Arts and Music and actively began her career as a violinist. In 1986, as a member of the Halley String Quartet, she won both the Hideo Saito Award and First Place in the Chamber Music Division of the 21st Min'on Music Competition.
Urushihara’s activities to date include concert tours inside and outside Japan, TV appearances, and numerous performances at prestigious music festivals, including yearly appearances at Japanese festivals such as the Kiso Music Festival, Miyazaki International Music Festival, and Karuizawa International Music Festival. She has performed under the baton of Vladimir Spivakov, Ervin Lukacs, Jiri Belohlavek, Ferdinand Leitner and H. Schiff among others, and played to high acclaim as a soloist with such orchestras as the Hungarian National Symphony, Slovak Philharmonic, and Vienna Radio Symphony. She also enjoys high critical praise for her appearances with major Japanese orchestras, as well as for her recitals and chamber music concerts. In 2006 and 2007, Urushihara celebrated the 25th anniversary of her musical debut by giving a series of six concerts at Hakuju Hall, Tokyo, performing with a diverse range of guest artists each time.
In 2008 Urushihara formed a duo with pianist Shigeo Neriki, and the following year they received high praise for their performances of the complete Beethoven Violin Sonatas in concerts held on three consecutive days. Currently the duo is recording these sonatas for a series of CDs, the first of which—“Beethoven Violin Sonatas 3-5”—was released in September 2009 on the Nippon Acoustic Records label (NARD-5022). They will go on to record all of the Beethoven Violin Sonatas.
At the forefront of her field since her debut at the age of 17, Urushihara will celebrate the 30th year of her musical career in 2011. Her consistently high level of artistry has gained her a great following, and she enjoys the trust and admiration of not only her fans and students, but also conductors and other performers both at home and abroad.
Urushihara is currently a visiting professor at Kunitachi College of Music.
(April, 2010)
Urushihara’s activities to date include concert tours inside and outside Japan, TV appearances, and numerous performances at prestigious music festivals, including yearly appearances at Japanese festivals such as the Kiso Music Festival, Miyazaki International Music Festival, and Karuizawa International Music Festival. She has performed under the baton of Vladimir Spivakov, Ervin Lukacs, Jiri Belohlavek, Ferdinand Leitner and H. Schiff among others, and played to high acclaim as a soloist with such orchestras as the Hungarian National Symphony, Slovak Philharmonic, and Vienna Radio Symphony. She also enjoys high critical praise for her appearances with major Japanese orchestras, as well as for her recitals and chamber music concerts. In 2006 and 2007, Urushihara celebrated the 25th anniversary of her musical debut by giving a series of six concerts at Hakuju Hall, Tokyo, performing with a diverse range of guest artists each time.
In 2008 Urushihara formed a duo with pianist Shigeo Neriki, and the following year they received high praise for their performances of the complete Beethoven Violin Sonatas in concerts held on three consecutive days. Currently the duo is recording these sonatas for a series of CDs, the first of which—“Beethoven Violin Sonatas 3-5”—was released in September 2009 on the Nippon Acoustic Records label (NARD-5022). They will go on to record all of the Beethoven Violin Sonatas.
At the forefront of her field since her debut at the age of 17, Urushihara will celebrate the 30th year of her musical career in 2011. Her consistently high level of artistry has gained her a great following, and she enjoys the trust and admiration of not only her fans and students, but also conductors and other performers both at home and abroad.
Urushihara is currently a visiting professor at Kunitachi College of Music.
(April, 2010)
Martina Veh
Martina Veh is a free-lance Director resident in Munich, who has a special affinity for the experimental fields of Music Theatre and Performance Art, and who regularly works in Hungary and Germany.
Martina Veh (Director)
The director Martina Veh graduated from the Bayerische Theaterakademie August Everding in 1999, having already previously graduated in Architecture at the Technische Universität Munich in 1995. From 2003 to 2008 she was Professor in Stage Performance for Singers at the Franz Liszt Academy/Hochschule für Musik in Budapest, Hungary.
Since her 1999 directorial debut with Pietro Torri’s magical Baroque opera “Amadis di Grecia” (1724) at the Museum für Abgüsse Klassischer Bildwerke, Munich, her various projects have taken her to Hungary, Switzerland, England, France and Germany. Her interest in all aspects of music theatre, dance and performance art has manifested itself in a variety of projects encapsulating many styles of production in which she not only directs, but on occasion writes the texts, choreographs the dance and movement, and designs the lighting. She has a particular affinity with experimental work visually and musically, and in recent years has enhanced several of her productions with the use of live and recorded film & video projections, as well as collaborating with dancers and choreographers of differing disciplines. This has manifested itself in productions such as “Ficus 5” (utilizing the exhibit spaces of the Staatliche Glyptotek Munich), and “Unschärfe” (for cameraman, dancer, singer-actor and projection screen) for the Lange Nacht der Museen in Munich.
Opera/Music Theater productions have included Verdi’s “La Traviata”, Britten’s “Turn of the Screw”, Marguerite Monnot’s “Irma la Douce”, and Puccini’s “Madama Butterfly” for the Landestheater Niederbayern; Henze’s “Natascha Ungeheuer” at the Akademietheater Munich; “Kurhotel Wunderbar” (a pasticcio of scenes created using music from Suppé’s operettas) at the State Opera Budapest; Hindemith’s “Cardillac”, Mozart’s “Don Giovanni” and Haendel’s “Giulio Cesare” for the Franz Liszt Academy Budapest and “Mozartiada” a 10-hours Mozart-performance for the Budapest Spring Festival. Her collaborations with the Revue-Choir Philhomoniker, “Alpenglühen”, “Julius Caesar, losing your head in Egypt”, and “Werbewahn” have been performed in Budapest, Paris, Munich, Berlin, Stuttgart, Hamburg and London.
Spoken theatre productions have included touring productions of Shakespeare’s “The Tempest” and Molière’s “The Misanthrope” for the Kulturmobil Niederbayern; Böttger’s “Feuervogel” for Südostbayerische Städtetheater; “Ladies Night” (adapted from the film “The Full Monty”) for Südostbayerische Städtetheater and the Pfalztheater Kaiserslautern; “Elektra nach Sophokles” in Schaffhausen and Berlin; Lorca’s “The Prodigious Shoemaker’s Wife” and Fontane’s “Effi Briest” for the Teamtheater Munich.
In 2009 Martina Veh wrote, directed and choreographed the world premiere of “UT-OP.er”, a collaboration with the composer Alexander Strauch, making her debut with the Sächsische Staatsoper (Semperoper) Dresden who had commissioned the work. More recently she directed the Munich premiere of the Leonard Bernstein “Mass”, performed in the Markuskirche Munich as part of the European Ecumenical Kirchentage celebrations.
www.martina-veh.de
Martina Veh (Director)
The director Martina Veh graduated from the Bayerische Theaterakademie August Everding in 1999, having already previously graduated in Architecture at the Technische Universität Munich in 1995. From 2003 to 2008 she was Professor in Stage Performance for Singers at the Franz Liszt Academy/Hochschule für Musik in Budapest, Hungary.
Since her 1999 directorial debut with Pietro Torri’s magical Baroque opera “Amadis di Grecia” (1724) at the Museum für Abgüsse Klassischer Bildwerke, Munich, her various projects have taken her to Hungary, Switzerland, England, France and Germany. Her interest in all aspects of music theatre, dance and performance art has manifested itself in a variety of projects encapsulating many styles of production in which she not only directs, but on occasion writes the texts, choreographs the dance and movement, and designs the lighting. She has a particular affinity with experimental work visually and musically, and in recent years has enhanced several of her productions with the use of live and recorded film & video projections, as well as collaborating with dancers and choreographers of differing disciplines. This has manifested itself in productions such as “Ficus 5” (utilizing the exhibit spaces of the Staatliche Glyptotek Munich), and “Unschärfe” (for cameraman, dancer, singer-actor and projection screen) for the Lange Nacht der Museen in Munich.
Opera/Music Theater productions have included Verdi’s “La Traviata”, Britten’s “Turn of the Screw”, Marguerite Monnot’s “Irma la Douce”, and Puccini’s “Madama Butterfly” for the Landestheater Niederbayern; Henze’s “Natascha Ungeheuer” at the Akademietheater Munich; “Kurhotel Wunderbar” (a pasticcio of scenes created using music from Suppé’s operettas) at the State Opera Budapest; Hindemith’s “Cardillac”, Mozart’s “Don Giovanni” and Haendel’s “Giulio Cesare” for the Franz Liszt Academy Budapest and “Mozartiada” a 10-hours Mozart-performance for the Budapest Spring Festival. Her collaborations with the Revue-Choir Philhomoniker, “Alpenglühen”, “Julius Caesar, losing your head in Egypt”, and “Werbewahn” have been performed in Budapest, Paris, Munich, Berlin, Stuttgart, Hamburg and London.
Spoken theatre productions have included touring productions of Shakespeare’s “The Tempest” and Molière’s “The Misanthrope” for the Kulturmobil Niederbayern; Böttger’s “Feuervogel” for Südostbayerische Städtetheater; “Ladies Night” (adapted from the film “The Full Monty”) for Südostbayerische Städtetheater and the Pfalztheater Kaiserslautern; “Elektra nach Sophokles” in Schaffhausen and Berlin; Lorca’s “The Prodigious Shoemaker’s Wife” and Fontane’s “Effi Briest” for the Teamtheater Munich.
In 2009 Martina Veh wrote, directed and choreographed the world premiere of “UT-OP.er”, a collaboration with the composer Alexander Strauch, making her debut with the Sächsische Staatsoper (Semperoper) Dresden who had commissioned the work. More recently she directed the Munich premiere of the Leonard Bernstein “Mass”, performed in the Markuskirche Munich as part of the European Ecumenical Kirchentage celebrations.
www.martina-veh.de