Programme 2010 - European Union Baroque Orchestra

Transcription

an ambassador for the European Union
Inspired performance. Real experience.
Concertgebouw, Amsterdam
eubo 2010
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European Union Baroque Orchestra
President:
Chairman, Committee of Patrons:
Patrons ex officio:
Patrons:
Directors/Trustees:
Advisory Council:
Music Director:
Director of Studies:
Director Emeritus:
Director General:
Orchestral Manager:
Liaison Manager:
Legal status:
Funding Programme:
Dr Walter Scheel
HRH The Duke of Kent KG
EU Commissioner for Education and Culture
Androulla Vassiliou
Chairman EP Culture Committee: Doris Pack
EU Ministers of Culture
Belgian Presidency of the European Union
Council of Cultural Ministers:
Fadila Laanan, Joke Schauvliege,
Isabelle Weykmans
James Bowman, Christopher Hogwood,
Ton Koopman
Eric Bean, Ian Forrester QC,
Struan McBride (Chairman), Simon Mundy,
Frances Sunderland (Company Secretary)
Members include Paul Agnew,
Jean-Claude Eeckhout, Erwan Fouéré,
Lidia Geringer De Oedenberg, Geoffrey Keating,
Toomas Siitan, Ernst-Dieter Wiesner
Lars Ulrik Mortensen
Margaret Faultless
Dr Roy Goodman
Paul James
Emma Wilkinson
Helena De Winter
EUBO is a registered charity in the United
Kingdom No.800906 and a company limited by
guarantee No.2171965
EUBO 2010 is funded with support from the
European Commission budget line “Support
for Organisations active at European Level in
the field of Culture”
EUBO is orchestra-in-residence in
Echternach, Luxembourg
Bienfaiteurs de l’orchestre
EUBO 2010:
Microsoft Europe, UBI Banca International,
White and Case
EUBO is an official cultural training initiative of the European
Parliament and the European Commission, and in 2010 has
been funded with support from the European Commission.
EU Member States: Ministers of Culture: Patrons ex officio of
the European Union Baroque Orchestra
Austria: Claudia Schmied
Belgium: Fadila Laanan, Joke Schauvliege, Isabelle Weykmans
Bulgaria: Vezhdi Rashidov
Cyprus: Andreas Demetriou
Czech Republic: Václav Riedlbauch
Denmark: Per Stig Møller
Estonia: Laine Jänes
Finland: Stefan Wallin
France: Frédéric Mitterrand
Germany: Bernd Neumann
Greece: Pavlos Yeroulanos
Hungary: István Hiller
Ireland: Mary Hanafin
Italy: Sandro Bondi
Latvia: Ints Dālderis
Lithuania: Remigijus Vilkaitis
Luxembourg: Octavie Modert
Malta: Mario de Marco
The Netherlands: Marja van Bijsterveldt-Vliegenthart
Poland: Bogdan Zdrojewski
Portugal: Gabriela Canavilhas
Romania: Kelemen Hunor
Slovakia: Marek Mad’arič
Slovenia: Majda Širca
Spain: Ángeles Gonzalez-Sinde
Sweden: Lena Adelsohn Liljeroth
United Kingdom: Jeremy Hunt
Commissioner for Education, Training, Culture and Youth: Androulla Vassiliou
Cabinet of Commissioner Vassiliou: Philippe Brunet (head of cabinet),
Catherine Sustek (culture)
Directorate-General Education & Culture:
Jan Truszczyński (Director General)
DG EAC Directorate C: Culture and Communication:
Xavier Troussard (acting Director)
Hordley, Wootton, Woodstock,
Oxfordshire OX20 1EP, UK
T: +44 1993 812 111
F: +44 1993 812 911
E: info@eubo.org.uk
W: www.eubo.eu
DG EAC.C.1 Culture: Xavier Troussard (Head of Unit)
DG EAC D 2: Culture programme and actions: Ann Branch (Head of Unit)
EAC Executive Agency: Gilbert Gascard (Agency Director)
EAC.EA.P5, Culture: Corinne Mimran (Head of Unit)
2|3
EUBO 2010 Tours
EUBO 2010 Programmes
When in Rome…
When in Rome…
22 May Lufthansa Festival of Baroque Music,
St John’s, Smith Square, London, UK
Maladies and Melodies
15 July
16 July
18 July
20 July
21 July
23 July
24 July
26 July
08 December
11 December
Eglise SS-Pierre-et-Paul, Echternach, Luxembourg
Kolarac Concert Hall, Belgrade, Serbia
St Sophia’s Church, Ohrid, Macedonia
Auberge de Castille, Valletta, Malta
Auberge de Castille, Valletta, Malta
St John’s Church, Riga, Latvia
St John’s Church, Cesis, Latvia
Concertgebouw, Amsterdam, The Netherlands
to be confirmed
Sir Jack Lyons Concert Hall, York, UK
Handel, a dramatic Genius
02 September
04 September
05 September
03 December
04 December
06 December
09 December
12 December
Eglise St-Martin, Amilly, France
St Servatii Church, Quedlinburg, Germany
Ehemalige Kirche, Osnabrück, Hagen, Germany
Atrium, Trifolion, Echternach, Luxembourg
Stadtkirche, Darmstadt, Germany
Bibliothèque Solvay, Brussels, Belgium (by invitation only)
to be confirmed
St John’s, Smith Square, London, UK
The Dutch Connection
08 October
09 October
10 October
12 October
13 October
15 October
16 October
17 October
Kloster Michaelstein, Blankenburg, Germany
Stiftskirche, Bad Gandersheim, Germany
to be confirmed
AquaCity, Poprad, Slovakia
Klarisky Church, Bratislava, Slovakia
University Aula, Salzburg, Austria
Eglise St-Guillaume, Strasbourg, France
Eglise SS-Pierre-et-Paul, Echternach, Luxembourg
Gods, Heroes and mere mortals
08 November
09 November
10 November
11 November
13 November
15 November
16 November
Salle Poirel, Nancy, France
Atrium, Trifolion, Echternach, Luxembourg
Casa da Musica, Porto, Portugal
Academia de Musica, Espinho, Portugal
Academiezaal, Sint Truiden, Belgium
Herkulessaal, Munich, Germany
Philharmonic Concert Hall, Łodz, Poland
“ It really was a stunning concert. It restored
my faith in baroque playing.”
James Bowman CBE
Director & violin Enrico Onofri
Co-director Margaret Faultless
A CORELLI
Concerto grosso in D, Op 6 No 4
G MUFFAT
Sonata No 5 in G (from Armonico tributo)
F GEMINIANI
Concerto grosso in d minor, ‘La Follia’ (after Corelli)
A CORELLI
Concerto grosso in F, Op 6 No 12
GF HANDEL
Sonata a cinque in B flat
A CORELLI
Concerto grosso in g minor, Op 6 No 8,
Director & harpsichord Lars Ulrik Mortensen
Concertmaster Huw Daniel
JD ZELENKA
Hipocondrie a7 concertanti in A
PA LOCATELLI
Concerto Grosso in f minor, Op 1 No 8
T ALBINONI
Concerto for 2 oboes in F, Op 9 No 3
soloists Robert de Bree and Iris Désirée Balzereit
HIF BIBER
Battalia
MA CHARPENTIER Suite from Le malade imaginaire, H495
A VIVALDI
Concerto for strings in g minor, RV157
G MUFFAT
Concerto Grosso III in B flat, Convalescentia
Director & harpsichord Lars Ulrik Mortensen
Soprano Maria Keohane
GF HANDEL
Overture from Alcina, HWV34
Concerto Grosso in d minor Op 6 no 10, interspersed with three operatic arias from Faramondo,
Agrippina and Giulio Cesare
Accompanied recitative and aria from Alcina
“Ah! Ruggiero crudel” – “Ombre pallide”
Ballet music from Alcina
Overture from Admeto, HWV22
Cantata Ero e Leandro, HWV150
Director & harpsichord Ton Koopman
Concertmaster Zefira Valova
GF HANDEL
Concerto Grosso in F, Op 6 No 2
P HELLENDAAL
Concerto Grosso in g, Op 3 No 1
PA LOCATELLI
Introduzione teatrale in G, Op 4 No 4
GF HANDEL
Concerto Grosso in G, Op 6 No 1
UW VAN WASSENAER Concerto Armonico in G No 1
GPh TELEMANN
Suite and Conclusion in B flat from Tafelmusik III
Gods, Heroes and mere mortals
Direction and theorbo Christina Pluhar
Concertmaster Tuomo Suni
Soprano Hannah Morrison
Mezzo-Soprano Luciana Mancini
Contraltino and Dancer Vincenzo Capezzuto
Tenor Reinoud van Mechelen
Baritone and Dancer Yannis François
Music taken from operatic works by CALDARA, CAVALLI and LULLY
Kailai Chen
EUBO 2010 Members
EUBO 2010 Faculty
Violins Barbara Altobello
Cecilia Clares Clares
Margalida Gual Frau
Eveleen Olsen
Dominika Pawlicka
Beatrice Scaldini
Rachel Stroud
Giorgio Leonida Tosi
Kinga Ujszaszi
Italy
Spain
Spain
UK
Poland
Italy/UK
UK
Italy
Hungary
Violas Sam Kennedy
Elin Sydhagen
Lucile Chionchini
UK
Sweden
France
Cellos Carina Drury
Anna Carlsen
Ireland
Norway
Viola da Gamba Emily Smith
Double Bass Marco Lo Cicero
Oboes Iris Désirée Balzereit
Robert de Bree
Bassoons Michele Fattori
Anna Flumiani
Harpsichord Patrycja Domagalska
Theorbos Yavor Genov
Simone Vallerotonda
Francesco Tomasi
UK
Italy
Germany
The Netherlands
EUBO Directors
Enrico Onofri
Margaret Faultless
Ton Koopman
Christina Pluhar
Denmark
Italy
UK
The Netherlands
Austria
EUBO Concertmasters
Huw Daniel
Zefira Valova
Tuomo Suni
UK
Bulgaria
Finland
EUBO Tutors
Margaret Faultless
Enrico Onofri (violin)
François Fernandez (viola)
Jaap ter Linden (cello)
Margaret Urquhart (double bass)
Alfredo Bernardini (oboe)
Alberto Grazzi (bassoon)
Christian Rieger (harpsichord)
Siebe Henstra (harpsichord)
Christina Pluhar (theorbo)
Denmark
UK
Italy
France
The Netherlands
UK
Italy
Italy
Germany
The Netherlands
Austria
Italy
Italy
Poland
Bulgaria
Italy
Italy
“ An orchestra is the perfect symbol of the
power of integration, and EUBO is a perfect
example of what this can mean for Europe.
Bringing together talent of different
backgrounds, nationalities and languages,
it serves as a reminder of what we can
achieve by working together.”
José Manuel Barroso,
President of the European Commission
The Audition Courses to recruit members of
EUBO 2011 will take place from 8 to 14 April
2011 in Echternach, Luxembourg.
Tutors to include:
Lars Ulrik Mortensen (director),
Margaret Faultless (chamber music),
Enrico Onofri (violin),
Anton Steck (violin),
Richard Gwilt (viola),
Balázs Maté (cello),
Love Persson (double bass),
Béatrice Martin (harpsichord).
More information on
www.eubo.org.uk/auditions.html
4|5
I was fortunate enough in 1985 to act as Chairman
of the United Kingdom’s celebrations for
European Music Year. There were many exciting
projects but the launch of the European Baroque
Orchestra (as it was then, seven years before the
Union came about) was one that has stood the
test of time and proved of far-reaching value.
In the quarter of a century since, I have been able
to hear many of the orchestras that have been
trained under the EUBO’s auspices. I look at the
continuing excellence of the music-making and
the constantly widening number of countries from
which the participants are drawn as full
justification of everything we instigated in 1985.
Each time I hear the orchestra perform, I am
amazed at the consistent brilliance each year’s
players manage to achieve in such a short time.
It is a great source of pride that so many have
made successful careers all over Europe.
I offer my congratulations and great good
wishes to this year’s orchestra and look
forward to hearing the EUBO concerts for
many years ahead.
HRH The Duke of Kent KG
Chairman, Honorary Committee of Patrons
I am very happy that the EUBO is now resident
in Luxembourg, and that the residency for
rehearsals, auditions and concerts is hosted by
Echternach, the oldest town in the country and
one with a long and distinguished musical
history. Luxembourg has long seen itself as a
natural home for the European ideal and
bringing together young players from all over
Europe to experience what true integration can
offer in practice is a perfect expression of that
ideal. It shows that by joining together with one
purpose and with enthusiasm we can not only
understand each other better, but achieve the
highest standards without ever losing our own
individuality or culture. One only has to see the
energy that the EUBO’s members bring to the
music to realise how refreshing and exciting
such team work can be. It is an example to us
all and an endlessly positive and enjoyable
demonstration to our citizens of the value of our
nations’ commitment to Europe as a whole.
I hope that Luxembourg will have the pleasure
of being involved in shaping many more young
musicians like these in the years to come.
There is a reason we call some of the organisations that receive support under the cultural
programme ‘Ambassadors’. To all parts of Europe and beyond they carry the message that there is
more to the work of the European Union than regulation and technical harmonisation. It is a great
cultural as well as a political project. There is a cultural soul which can bind us together. An
orchestra can be a metaphor for the whole process of social cohesion and the EUBO, with its
ever-changing group of musicians presented at the most influential point of their young
professional lives, is especially apt. The EUBO enables people of common interest to join together
in search of a common goal and to present the results of their close collaboration in a way which
leads to something far more satisfactory than could ever be achieved alone. The difference
between this orchestra and the Union, of course, is that the orchestra members only stay for a
short time, whereas we intend that the member states form a permanent ensemble.
Octavie Modert
Minister of Culture, Luxembourg
Androulla Vassiliou
European Commission
Commissioner for Education, Culture, Multilingualism and Youth
The EUBO was a European Community project and it has worked triumphantly for 25 years. Many
‘generations’ of its players have been captured in recordings and the high quality has never
faltered. Those musicians now form the backbone of the period instrument revival all over Europe.
At least three professional groups have been formed by ‘graduates’ of the EUBO who want to
continue their experience of performing and touring together. Successive Commissioners have
attended EUBO concerts and come away re-invigorated in the worth and importance of the
European Union’s cultural commitments.
Perhaps the greatest tribute that I can pay the EUBO, its players past and present, is to say that it
feels a completely natural and inherent part of what we do. Listen to the wonderful music, watch
differences dissolve. Where the players come from ceases to matter as the power of music takes
over. The European Union is proud to have its name in this superb and constantly refreshed
ensemble – Ambassadors indeed!
EU Ministers of Culture
Claudia Schmied
Austria
Fadila Laanan
Belgium
Joke Schauvliege
Belgium
Isabelle Weykmans
Belgium
Vezhdi Rashidov
Bulgaria
Andreas Demetriou
Cyprus
Václav Riedlbauch
Czech Republic
Per Stig Møller
Denmark
Laine Jänes
Estonia
Stefan Wallin
Finland
Frédéric Mitterrand
France
Bernd Neumann
Germany
Pavlos Yeroulanos
Greece
István Hiller
Hungary
Mary Hanafin
Ireland
Sandro Bondi
Italy
Ints Dālderis
Latvia
Remigijus Vilkaitis
Lithuania
Octavie Modert
Luxembourg
Mario de Marco
Malta
Marja van Bijsterveldt-Vliegenthart
The Netherlands
Bogdan Zdrojewski
Poland
Gabriela Canavilhas
Portugal
Kelemen Hunor
Romania
Marek Mad’arič
Slovakia
Majda Širca
Slovenia
Ángeles Gonzalez-Sinde
Spain
Lena Adelsohn Liljeroth
Sweden
Jeremy Hunt
United Kingdom
6|7
EUROPEAN UNION BAROQUE ORCHESTRA
1985-2010: 25th Anniversary
25 years ago the Council of Europe and the European
Commission designated 1985 as "European Music Year" to
celebrate the 300th anniversary of the births of three of the most
important composers of the baroque era: GF Handel, JS Bach
and D Scarlatti. This presented the perfect opportunity to
encourage new developments and ideas in the baroque musical
field. Conscious of the increasing interest across Europe in
reviving 18th century performance practices, the 'UK European
Music Year' Committee, under the Chairmanship of HRH The Duke
of Kent, approved an initiative to promote a pan-European
orchestral training programme to help young talented musicians
embarking on careers in baroque music. Thus in January 1985,
the European Baroque Orchestra, as it was then called, was
created in Oxford, where young European musicians had the
unique opportunity of working for a year under almost every
major baroque orchestral director.
The idea was just too good to drop.
Excited by its possibilities and potential, one of the project's
initiators, Paul James, decided in 1986 to move the orchestra onto
a permanent basis as an annual educational, training and
performing programme, obtaining funding and recognition from
the European Community and the status of European Cultural
Ambassador. So what began as a one-off project has developed
into a significant force in the musical establishment. Ton Koopman
was appointed Music Director in 1987, followed in 1989 by
Roy Goodman and subsequently by Lars Ulrik Mortensen,
who took over in 2004 as Music Director, with Margaret Faultless
as Director of Studies. The orchestra has been managed from the
outset by Director General, Paul James, joined by Emma Wilkinson
in 1988 as Orchestral Manager.
25 years on and the orchestra has become an essential part of the
world of baroque music.
Every Easter about 100 talented young baroque student musicians
from across Europe are invited to audition. The 25 successful
candidates, typically from 12 or more different countries with an
average age of 25 years, spend six months together from July to
December, training, touring and performing with some of the
world’s leading baroque specialists throughout Europe and
sometimes further afield. Each season usually comprises five
15-day tours of four different musical programmes, performed
under Lars Ulrik Mortensen and guest directors and
concertmasters. The Orchestra gives around 30 concerts and
masterclasses in about 12 different countries each year. At the
end of the season, the musicians of EUBO move on into the
professional world and the whole process, from audition to
graduation, begins again with completely new players. EUBO has
been so successful in its mission that there are now former EUBO
students in every major professional baroque ensemble in Europe.
Since its foundation, more than 700 musicians have been full
members of the Orchestra, which has given over 750 concerts in
53 different countries, including all 27 EU Member States, as an
Ambassador for the European Union. EUBO’s 53rd country, Serbia,
hosts the Orchestra for the first time in July 2010 as part of the
Belgrade Summer Festival. Over the years, the orchestra
has established relationships with some of Europe’s most
prestigious venues, such as the Concertgebouw in
Amsterdam, and festivals like the Edinburgh International
Festival; but EUBO has always sought to include many frequently
neglected regions in its touring programmes, for example the
Middle East, the Balkans and South America. In 2008 EUBO was
invited to become the "orchestra-in-residence" in Echternach, the
oldest city in Luxembourg, since when the Orchestra has based
many of its activities there under the auspices of the City of
Echternach at the Centre Culturel Trifolion, including a concert
series Echter’Barock, organised and promoted in partnership with
the International Festival of Echternach. EUBO also enjoys special
status as 'artist in association' at Stiftung Kloster Michaelstein in
Germany, with Jardins d’Agrément in Amilly in France, and in
Portugal with the Casa da Musica in Porto.
The European Union Baroque Orchestra remains a highly valued
training resource for young musicians. Without EUBO providing a
constantly refreshed pool of experienced new talent, there is no
doubt that professional baroque ensembles would find it difficult to
maintain their standards and that the health and vitality of baroque
performance across the world would suffer. The Orchestra has
inspired the hundreds of young people who have trained with it
since 1985 and the many thousands who have experienced its
dazzling performances each year. Providing ideal conditions to
nurture EUBO’s young talents is an expensive undertaking, and it is
thanks to funding from the European Commission (through the EU
Culture programme), the loyal support of the City of Echternach,
partners, corporate and individual friends, and the EUBO
Development Trust, that this unique project continues for the
benefit of future performers and audiences.
Inspired performance. Real experience.
8|9
ECHTER’BAROCK
Thursday 15 July 2010, 20.00 hours,
Eglise SS Pierre & Paul, Echternach
Director & Harpsichord Lars Ulrik Mortensen
Sunday 17 October 2010, 20.00 hours
Eglise SS Pierre & Paul, Echternach
Director & Harpsichord Ton Koopman
Gods, Heroes and mere Mortals
Tuesday 9 November 2010, 20.00 hours
Atrium, Trifolion, Echternach
Director & Theorbo Christina Pluhar
Soloists Hannah Morrison (Soprano), Luciana Mancini (Mezzo-Soprano),
Vincenzo Capezzuto (Contraltino & Dancer), Reinoud Van Mechelen (Tenor),
Yannis François (Baritone & Dancer)
Friday 3 December 2010, 20.00 hours
Atrium, Trifolion, Echternach
EUBO is Orchestra-in-Residence for the third consecutive
year in Echternach, Luxembourg, and is grateful to its
partners for making this possible: Ville d’Echternach,
Festival International d’Echternach, Centre Culturel,
Touristique et de Congrès Trifolion.
Many of the orchestra’s activities take place in Echternach,
including rehearsals and the annual audition courses.
Ville dʼEchternach
A series of concerts under the banner “Echter’Barock” was
created as part of this residency, and is now an essential
part of the cultural life in Echternach, Luxembourg and
the Grande Région.
This partnership, that brings EUBO to the heart of Europe,
is a great help to the orchestra; and EUBO is immensely
grateful for the support shown by everyone who is
involved in this collaboration.
Why now?
WHY CLOUD COMPUTING?
Innovation in the computing industry continues to
enable new opportunities for society, from a “PC
in every home” to “cloud computing.” This recent,
nebulous image refers to the use of computing
power that you do not own and that is located
elsewhere, in “the cloud” of remote networks.
What’s new? This concept is familiar to anyone who
uses online services to manage and store data, like
Hotmail for email or Flickr for photos. On the other
hand, businesses and governments have preferred
to keep and control data in their own IT systems.
As these organizations look to drive down
costs, there is increasing interest in alternative
approaches. Cloud-based services are now more
powerful and reliable for such users. Large data
centres offer economies of scale, providing cheaper
computing power, with the flexibility to pay only
for what you use. Like electricity, you don’t need
to own the generators; you just plug in and pay as
you go.
New Opportunities for Europe
By lowering costs, and also lowering barriers to
entry for IT developers, cloud computing offers
“the medicine needed for Europe’s credit-squeezed
economy”, as Commissioner Reding has stated.
Simply put, both users and developers can do more
with less, by accessing greater computing power
without having to invest up front large sums for
equipment.
Innovation flows from these new capabilities. In a
program called BizSpark, aimed at helping early
stage start-ups by providing them with software
and support, many of the 8,000 participating
European companies are already providing
cloud-based services. Cloud resources enable
a new company like Lokad in France to deliver
sophisticated sales forecasting tools for large
retailers or manufacturers to optimize inventories.
The upcoming BizSpark European Summit, in Paris,
will bring together many more promising start-ups
who are delivering their solutions in the cloud.
Going forward, all organisations, and especially
entrepreneurial SMEs, will be interested to tap
into computing resources beyond what they could
previously afford in order to increase productivity
and reach wider markets.
New Responsibilities
Before the promise of cloud computing can be
realized we all need more confidence in the
security, privacy, portability and availability of our
data. We need a safe, open and interoperable
cloud – one that is protected from the efforts of
thieves and hackers while also serving as an open
platform for sharing and storing information for
people around the world. We need connectivity
we can depend on.
Legitimate questions reflect the responsibilities that
come with cloud-based services:
Are you confident that your privacy is being
protected, that your data is secure, that you can
reach it when you need? If you live in one country
but your data is stored in another, whose laws
govern, and are the rules consistent?
Industry and governments can build on solid
experience to address such questions. The current
computing trend holds the potential for tremendous
cost savings, flexibility, and growth. Yet as we move
to embrace evolving cloud technologies, we also
must meet fundamental expectations about the
management of your data. Microsoft is working
with customers, partners, and governments on the
bold goal to help Europe realise its cloud potential.
For more information:
www.microsoft.eu
10 | 11
WHEN IN ROME…
Director
Enrico Onofri*, Italy
Co-director
Maggie Faultless*, United Kingdom
Director & violin Enrico Onofri
Co-director Margaret Faultless
with 50 former EUBO members
A CORELLI (1653-1713)
Concerto grosso in D major, Op.6 No.4
Adagio/Allegro – Adagio/Vivace – Allegro
G MUFFAT (1653-1704)
Sonata No.5 in G major (from Armonico tributo)
Allemanda – Adagio – Fuga – Adagio – Passacaglia
Violins
Huw Daniel, United Kingdom
Zefira Valova, Bulgaria
Naomi Burrell, United Kingdom
Cecilia Clares Clares, Spain
Esther Crazzolara, Italy
Nadia Debono, Malta
Kristin Deeken, Germany
Daniela Henzinger, Austria
Ivan Iliev, Bulgaria
Alise Juska, Latvia
Irma Niskanen, Finland
Ania Nowak, Poland
Eveleen Olsen, United Kingdom
Raphaëlle Pacault, France
Stephen Pedder, United Kingdom
Sara-Deborah Struntz Timossi, Germany
F GEMINIANI (1687-1762)
Concerto grosso in D minor, 'La Follia' (after Corelli)
Theme & variations
A CORELLI
Concerto grosso in F major, Op.6 No.12
Preludio: Adagio – Allegro - Adagio - Sarabanda: Vivace - Giga: Allegro
GF HANDEL (1685-1759)
Sonata a cinque in B flat major
Andante – Adagio – Allegro
A CORELLI
Concerto grosso in G minor, Op.6 No.8, 'Christmas Concerto'
Vivace-Grave – Allegro – Adagio-Allegro-Adagio – Vivace – AllegroPastorale
To celebrate its 25th Anniversary, EUBO invited 50 musicians from
recent years to perform at the Lufthansa Festival of Baroque Music
in London, St John’s Smith Square. The unusually large number of
musicians emulated the atmosphere of Corelli’s concerts in Rome
at the beginning of the 18th century. Many of his contemporaries,
including Geminiani, Muffat and Handel visited him there and
were inspired by his music.
22 May
Lufthansa Festival of Baroque Music
St John’s, Smith Square,
London,
UK
Violas
Roos Al, Netherlands
Marina Barredo, Spain
Aliye Cornish, United Kingdom
Daniel Lorenzo Cuesta, Spain
Josef Höhn, Italy
Miriam Macaia, Portugal
Joanne Miller, United Kingdom
Maria Ramirez, Spain
Cellos
Josetxu Obregon*, Spain
Oleguer Aymami, Spain
Louna Hosia, Finland
Ania Katynska, Poland
Diana Vinagre, Portugal
Poppy Walshaw, United Kingdom
Double Basses
Carina Cosgrave, United Kingdom
Pippa Macmillan, United Kingdom
Vega Montero, Spain
Konstantin Uhrmeister, Germany
Oboes
Eva Harmuthova, Czech Republic
Sarah Humphrys, United Kingdom
Thomas Meraner, Italy
Philipp Wagner, Austria
Bassoons
Anna Flumiani, Italy
Marie Hervé, France
Zoë Matthews, United Kingdom
José Rodriguez Gomes, Portugal
Theorbos
Pablo Zapico*, Spain
Yavor Genov, Bulgaria
Simone Vallerotonda, Italy
Keyboards
Matias Häkkinen*, Finland
Federica Bianchi, Italy
Nadja Lesaulnier, France
* concertino
The EUBO Development Trust would like to thank the following for their support in
recognition of the 25th Anniversary of the European Union Baroque Orchestra.
25th Anniversary Supporters and Concert Sponsors
Mr & Mrs Michael Johnson
Ken & Vera Barnes
Handel Circle of Friends
Anon
Nan Brenninkmeyer
The Orchard Trust
Corelli Op 6 No 8
Corelli Op 6 No 4
Handel Sonata a5
Muffat Sonata No 5
Corelli Op 6 No 12
Geminiani Concerto Grosso ‘La Follia’
Nick Berry & Barbara Hott
...the encore
Sue Waldman
Enrico Onofri’s bow (…and scarf)
Anon Foundation
Concertmaster/violin
Prof Edward & Caroline Higginbottom
Helen Dent CBE
Alfonso Leal del Ojo
David & Mirjam James
Alistair & Dolores Gray
Jenny Ward Clarke
Fiona Herron & Gerard Nolten
HE Geoffrey & Jane Keating
Van DuBose
Eva DuBose
Emma Wilkinson
Malaria Riksdottir
Trevor Pinnock CBE
Anna Gustafson
Violin
Viola
Viola
Cello
Cello
Cello
Theorbo
Theorbo
Double bass
Oboe
Bassoon
Harpsichord
Harpsichord
Organ
Handel Circle of Friends
Eric & Joan Bean
Gillian & Robert Berg
Cecelia Bruggemeyer
Martina Caruana
Mr & Mrs van Hattum-Nolten
Ivan Iliev
Yvonne & Michael Musgrave
Donald & Leonore Payne
David & Dorothy Thomson
Zefira Valova
Other Supporters
in EUBO’s 25th
Anniversary year
Classical Communications
Antonio Clares Clares
Prof Alberto Conti
Huw Daniel
Maggie Faultless
Matthew Halls
Patricia James
Nick Berry & Barbara Hott
Paul James & Sandy Gowings
David Gordon & Virginie Guiffray
Silvia Marquez Chulilla
Struan & Jacqueline McBride
Simon Neal
Catherine Mackintosh
John Bickley & Hilary Perrott
Paul James
Helena De Winter
Maggie Faultless’ (essential) hair clip
Maggie Faultless’ spare hair clip
...theorbo strings
...the music scores
"The audience reaction to the final concert of the series,
Roman Concerti Grossi played by the dazzling European
Union Baroque Orchestra (led by soloists Enrico Onofri
and Maggie Faultless) seemed almost to render a
review redundant; it was surely loud enough for EMT
readers, scattered to the four winds, to have heard
for themselves."
Early Music Today
"Blessed with apparently inexhaustible energy and skill—
both of his own and in his young musicians—Onofri has
created a gem of an ensemble. (...) the music that they
make together is fresh and joyously self-assured. Judging
by this performance the future of period performance in
Europe is truly in safe hands."
Musical Criticism
SUPPORT THE ORCHESTRA!
In these financially difficult times, finding sponsors to
support the orchestra is becoming more and more
difficult, and that is why EUBO relies increasingly on
the help from the EUBO Development Trust for
funding for concerts, travel bursaries for students to
attend the EUBO audition courses and help with the
production of CDs and DVDs.
Each individual donation will make a difference!
From small regular donations of 5€ a month to larger
one-off gifts, every contribution will help us sustain
and develop the unique tradition of baroque music,
our shared European heritage.
If you would like to support the EUBO Development
Trust go to the ‘Support Us’ page on our website
www.eubo.org.uk where you can donate online
or contact Jose Phillips
Tony & Michelle Raper
Phone: +44 1993 812 111
Sharlie Rees Davies
Email: devtrust@eubo.org.uk
Alan & Clare Todd
Emma Wilkinson
The EUBO Development Trust is a charity registered in the UK no. 1082932.
Trustees: Ken Barnes (chairman), Nick Berry, Simon Neal, Alan Todd, Sue Waldman
12 | 13
MALADIES AND MELODIES
JD ZELENKA (1679-1745)
Hipocondrie a7 concertanti in A
(Lentement) – Allegro – Lentement
PA LOCATELLI (1695-1764)
Concerto Grosso in F minor, Op 1 No 8
Largo-Grave-Vivace – Grave – Largo andante – Andante – Pastorale
T ALBINONI (1671-1751)
Concerto for 2 oboes in F, Op 9 No 3
(soloists Robert de Bree and Iris Désirée Balzereit)
Allegro – Adagio – Allegro
‘Music’, as Purcell’s song insisted, ‘for a while shall all your
cares beguile’. In the 17th and 18th centuries it was probably
even truer than now because medicine was not much help in
relieving even the most basic ailments. Even then, however,
fear of illness was often greater than the illness itself and
both Zelenka and Charpentier, in their deft and witty allusions,
suggested that the mind infected by hypochondria presented
a slightly ridiculous picture.
Not so with battle wounds inflicted in Heinrich Biber’s
Battalia, one of the most vivid pictures in baroque music,
as impressive for his ability to recreate the atmosphere of
fighting through such a limited group of instruments as for
keeping the mayhem within the boundaries of musical form.
Biber, perhaps the greatest violin virtuoso of his time, wrote
it in 1673 – the same year as Charpentier’s incidental music
to Molière’s Le Malade Imaginaire.
Biber was employed by the Archbishop of Salzburg (as Mozart
was to be 100 years later). He was joined in Salzburg by Georg
Muffat, and after a few years Muffat took leave of absence to
study in Italy. The result was an extraordinary series of suites
and concertos which merge his own Franco-German traditions
with those that Corelli was pioneering south of the Alps.
Presto – Der Mars – Presto – Aria – Die Schlacht – Lamento der
Between them Muffat and Corelli can be said to have set
down the models that the next generation – Vivaldi, Locatelli,
Zelenka, Albinoni and even Bach, Handel and Rameau – made
their own with such spectacular success. Georg Muffat did
indeed provide the musical convalescence that his friend
Heinrich Biber had set the scene for in his ‘battle’.
verwundten Musquetirer
©Simon Mundy
HIF BIBER (1644-1704)
Battalia
Allegro – Allegro: Die liederliche Gesellschaft von allerley Humor –
Kailai Chen
Interval
As Orchestra-in-Residence, EUBO is grateful to be
MA CHARPENTIER (1645-1704)
Suite from Le malade imaginaire, H495
offered rehearsal facilities in Echternach
Ouverture – Airs des Tapissiers – Premier Air des Mores – Second Air des
Mores – Prélude – Air des Zéphirs – Loure – Air des Archers
Ville dʼEchternach
A VIVALDI (1678-1741)
Concerto for strings in g minor, RV157
Ville dʼEchternach
Kailai Chen
Allegro – Largo – Allegro
G MUFFAT (1653-1704)
Concerto Grosso III in B flat, Convalescentia
Sonata: Grave-Presto – Aria: Presto-Allegro-Presto-Grave-Presto
– Grave – Giga I: Presto – Giga II: Allegro
15 July
Echter’Barock
Eglise SS-Pierre-et-Paul,
Echternach,
Luxembourg
16 July
Belgrade Summer Festival
Kolarac Concert Hall,
Belgrade,
Serbia
18 July
Ohrid Summer Festival
St Sophia’s Church,
Ohrid,
Macedonia
20 July
Malta Arts Festival
Auberge de Castille,
Valletta,
Malta
HUW DANIEL
Concertmaster
Huw Daniel was a pupil at Ysgol Gymraeg Castell-nedd and Ysgol
Gyfun Ystalyfera, South Wales, and continued his education as an
organ scholar at Robinson College, Cambridge, where he graduated
with first-class honours in music in 2001. He then studied at the
Royal Academy of Music for two years, learning the baroque violin
with Simon Standage and modern violin with Hu Kun. Whilst at
the Academy, Huw was awarded the John Thomas Memorial
Scholarship and the Dorothy Kennedy Davis Award; he also led the
Academy’s period-instrument baroque orchestra in a concert at the
London Handel Festival.
LARS ULRIK MORTENSEN
Music Director & Harpsichord
Lars Ulrik Mortensen studied in
Copenhagen with Karen Englund and
Jesper Bøje Christensen, and with
Trevor Pinnock in London. From 1988
to 1990 he was harpsichordist with
London Baroque and until 1993 with
Collegium Musicum 90. He now works
extensively as a soloist and chamber musician in Europe, the
United States, Mexico, South America, Japan and Australia,
performing regularly with distinguished colleagues including
Emma Kirkby, John Holloway and Jaap ter Linden.
Between 1996 and 1999 Lars Ulrik Mortensen was professor for
harpsichord and performance practice at the Hochschule für
Musik in Munich, and he now teaches at numerous early music
courses throughout the world. Until recently, Lars Ulrik
Mortensen was also active as a conductor of “modern”
orchestras in Sweden and Denmark, where in particular his
activities at the Royal Theatre in Copenhagen met with great
critical acclaim, but in 2003 he decided to work exclusively with
period instrument ensembles. He was appointed artistic director
of the Danish baroque orchestra Concerto Copenhagen (CoCo)
in 1999, and in 2004 he succeeded Roy Goodman as musical
director of the European Union Baroque Orchestra (EUBO). For
the 2010 season, he will direct eighteen concerts in eleven
European countries with EUBO.
21 July
Malta Arts Festival
Auberge de Castille,
Valletta,
Malta
23 July
Hermann Braun Foundation
St John’s,
Riga,
Latvia
Lars Ulrik Mortensen has recorded extensively for numerous
labels including DGG-Archiv, EMI and Kontrapunkt, and his
recording of Bach’s Goldberg Variations was awarded the French
Diapason d’Or. A series of Buxtehude recordings from the 1990s
for the Danish Dacapo label has met with universal critical
acclaim. The first complete recording of Buxtehude’s chamber
music with John Holloway and Jaap ter Linden received the
Danish Grammy award for best classical recording of the year,
another Grammy was awarded for a CD of Buxtehude cantatas
with Emma Kirkby, and Lars Ulrik Mortensen became Danish
Musician of the Year 2000 for his three CDs of harpsichord
music by Buxtehude. These recordings also received the Cannes
Classical Award 2001. A series of recordings with John Holloway,
Aloysia Assenbaum and Jaap ter Linden of violin sonatas by
Schmelzer, Biber, Veracini and Leclair were released on the
prestigious ECM label. Directing Concerto Copenhagen,
Mortensen has recorded the complete harpsichord concertos
by JS Bach for CPO, which have received lavish praise in the
international press, and Haydn piano concertos (with soloist
Ronald Brautigam) as well as symphonies by the Danish
composers JE Hartmann, Kunzen and Gerson. His first CD with
EUBO, a disc of suites by JS Bach, Fux and Rameau, was released
in 2008, and the second one, a CD with works by Handel,
featuring Soprano Maria Keohane, will be released in 2011.
Lars Ulrik Mortensen has received a number of prizes and
distinctions, among them the Danish Music Critics Award in
1984, and in 2007 he received Denmark’s most prestigious music
award, the Léonie Sonning Music Prize. In 2008 he was made a
member of the Royal Swedish Academy of Music.
24 July
St John’s,
Cesis,
Latvia
In 2002, Huw was the winner of the Mark Jones Memorial Award,
a prize given annually to a young musician in West Glamorgan, and
in 2003 he won the John Fussell Young Artist Award, giving a
recital at the Swansea Festival. He has also won many prizes at the
Urdd National Eisteddfod, and the Royal National Eisteddfod, both
as a soloist and as a member of a group, and in 1997 he was the
winner of the main Urdd Eisteddfod Scholarship. In 2004, he
appeared as soloist in the Welsh Association of Male Choirs concert
at the Royal Albert Hall.
In 2004, Huw was a member of the European Union Baroque
Orchestra, the members of which formed Harmony of Nations and
continue to play together under this name; they released their first
CD in 2007, and a CD of “Bach Triples” has been recorded and will
be released in 2011. He is a member of
the Irish Baroque Orchestra and the
English Concert, and also plays with the
Sixteen, London Handel Orchestra,
Retrospect Ensemble, King’s Consort,
Amsterdam Baroque Orchestra, and the
Orchestra of the Age of Enlightenment.
As leader he works regularly with the
Orquestra Barroca Casa da Música,
Porto, Portugal, Harmony of Nations, and English Touring Opera’s
baroque orchestra, and as guest-leader with St James’s Baroque,
EUBO, Barokkanerne Oslo, Collegium Musicum Telemann, Osaka,
Japan, and Haydn Sinfonietta Wien. Huw plays regularly with many
chamber groups including Florilegium, the Feinstein Ensemble, the
Musical and Amicable Society, and Le Chardon. Huw is an
ex-member of the National Youth Orchestras of Great Britain and
Wales, and an Associate of the Royal College of Organists.
He plays a violin by Alessandro Mezzadri c.1720, on loan from the
Jumpstart Junior Foundation.
26 July
Robeco Summer Concerts
Concertgebouw,
Amsterdam,
The Netherlands
11 December
York Early Music Christmas Festival
Jack Lyons Concert Hall,
York,
UK
14 | 15
HANDEL, A DRAMATIC GENIUS
Director Lars Ulrik Mortensen
GF HANDEL (1685-1759)
Overture from Alcina, HWV34
Ouverture - Musette - Menuet
GF HANDEL
Concerto Grosso in d minor, Op 6 no 10 interspersed with three
operatic arias
Ouverture (Concerto Grosso) - "Combattuta da due venti" (Faramondo
HWV39) – Air: Lentement (CG) - "Bel piacere" (Agrippina HWV6) - Allegro
(CG) - "Piangerò la sorte mia" (Giulio Cesare HWV17) - Allegro (CG) –
Allegro moderato (CG)
GF HANDEL
Accompanied recitative and aria from Alcina, HWV 34
"Ah! Ruggiero crudel" - "Ombre pallide" [Alcina]
GF HANDEL
Ballet music from Alcina, HWV34
Entrée des Songes agréables - Entrée des Songes funestes - Entrée des
Songes agréables effrayés - Le Combat des Songes funestes et agréables
Interval
GF HANDEL
Overture from Admeto, HWV22
GF HANDEL
Cantata Ero e Leandro, HWV150
Handel’s whole career revolved around spectacle. When he was
living in Rome in the first decade of the 18th Century, opera was
banned by the Pope, so Handel wrote over 100 dramatic cantatas
for his aristocratic and church patrons, notably the lavish
Cardinal Ottoboni. From these early cantatas, like Ero e Leandro,
to his final oratorios (which were so dramatic they are staged
now as if they were operas) his music was ostentatiously
theatrical. Even his instrumental works were mostly written for
grand public entertainments. George Frideric was not a man of
the drawing room and domesticity.
Most of the first half of this programme is taken up with music
from Alcina, an opera which as much as any demonstrates the
trials and tribulations of Handel’s determined attempt to root
Italian Opera in London. After losing too much money trying to
present opera at the King’s Theatre in the Haymarket (largely
because the Court was split between factions supporting King
George II against his children), Handel combined forces in 1734
with the manager John Rich. Rich had just opened his superb
and lavish new Theatre Royal Covent Garden (still the site of
the Royal Opera House) and offered Handel the chance to
produce opera, pastoral and ballet, alternating with Rich’s own
productions of spoken drama. As the main dancing attraction,
Rich brought with him from his previous theatre the Parisian
Marie Sallé who, in her late twenties, was exciting and shocking
London audiences in equal measure and as a star singer he
engaged the castrato Giovanni Carestini.
Of the other operas with arias in this programme, the hugely
successful comedy Agrippina was written for the San Giovanni
Crisostomo theatre (now the Teatro Malibran) in Venice in 1710.
All the others were written for the King’s Theatre in London’s
Haymarket (which has now reverted to its original name, Her
Majesty’s Theatre, and shows musicals), Giulio Cesare (1724),
Admeto (1727), and Faramondo (1738). Shortly after Faramondo,
the fashion turned against opera in London, and Handel’s
finances were as precarious as ever. In October 1739 Britain
went to war with Spain in an entirely unnecessary trading
dispute called the War of Jenkin’s Ear, after a sailor accused the
Spanish of cutting off his ear when his ship was boarded. That
month, though, Handel wrote all 12 of his Op.6 Concerti Grossi,
an astonishing feat for anybody else except Handel, who wrote
The Messiah in three weeks a couple of years later.
©Simon Mundy
Alcina, with a libretto drawn from an incident from Ariosto’s
poem Orlando Furioso, opened on 16 April 1735 and it was an
immediate success, laced with the necessary spoonful of scandal.
Carestini, playing the knight Ruggiero, had initially rejected his
best aria Verdi Prati, which was promptly returned to him with
the threat from Handel that if he didn’t sing it, he wouldn’t be
paid. The sorceress Alcina herself (two of whose arias we hear
tonight) was sung by Anna Strada, his most loyal soprano – the
only one who had not defected to Bononcini’s rival company.
However, despite all Alcina’s success, it was reported that Handel
lost £9000 on the season – in today’s money the sort of sum
more associated with big movies. For Marie Sallé the production
was a disaster, though because of her costumes not her dancing.
She appeared as a Greek statue dressed in only her petticoat and
bra with a transparent muslin gown over it and then, as Cupid, in
man’s clothes. This was enough excuse for a faction from the
rival theatre to hiss her at every performance and she was so
upset she returned to Paris and never performed in London again.
Recitativo - Aria- Recitativo - Aria (Poco allegro e staccato) – Recitativo -
Kailai Chen
Aria (Adagio) - Recitativo
2 September
Jardins d’Agrément
Eglise St Martin,
Amilly,
France
4 September
Quedlinburger Musiksommer
Stiftskirche St. Servatii,
Quedlinburg,
Germany
MARIA
KEOHANE
Soprano
Maria Keohane is a
Swedish soprano
whose repertoire
spans a wide
spectrum of music
styles from baroque to contemporary, including
chamber music, opera and oratorio.
She has for example performed in Monteverdi’s
Il Ritorno d’Ulisse in Patria, with Gothenburg
Theatre, Peri’s Euridice, with Drottningholm’s
Royal Theatre in Stockholm, and in Verdi’s Don
Carlos with The Royal Danish Theatre in
Copenhagen. In 2005 she sang the part
of Fillide in Aminta e Fillide at the Halle
Händel Festspiele.
Maria Keohane is frequently engaged as an
oratorio soloist and has performed with several
well-known conductors, such as Jérôme
Correas, Eric Ericson, Martin Gester, Roy
Goodman, Gustav Leonhardt, Jakob Lindberg,
Andrew Manze, Nicholas McGegan, Lars Ulrik
Mortensen, Andrew Parrott, Stephen Stubbs, Jos
van Veldhoven, Arnold Östman, and Christopher
Warren-Green. As well as performing widely in
Scandinavia she has given concerts in the UK,
Italy, France, Germany, Austria, the Netherlands,
Ukraine, Latvia, Lebanon, the USA, Japan and
New Zealand.
The European Early Music
EUBO will record Handel’s
Network REMA – Réseau
Cantata Ero e Leandro in
Européen de Musique
Ancienne – will hold its
annual meeting from 3 to 5
December in Echternach,
September 2010 in Echternach.
The CD, including also Handel’s
Water Music recorded already
Luxembourg, during the
in 2008, will be released in 2011
orchestra’s residency there.
on the label Gift of Music.
Maria has recorded several CDs, for example
with Ricercar Consort, baroque trumpeter
Niklas Eklund for the Naxos label, and with the
ensemble ”Folkmusik I Frack”. She has also
participated in many television and radio
productions, including a film about Bach’s
cantata “Weichet Nur” with the European
Union Baroque Orchestra (EUBO) in July 2009.
She has been honoured several times by The
Royal Swedish Academy of Music and in 2005
she received the Reumert Prize for her part as
Armida in Händel’s Rinaldo.
After two successful tours with EUBO in
2009, she returns to work with this ensemble
directed by Lars Ulrik Mortensen in 2010
with an all-Handel programme.
EUBO is grateful to
be offered rehearsal
facilities in Amilly
5 September
Musica Viva
Ehemalige Kirche
Hagen a.T.W.
Germany
4 December
Musikalischer Herbst
Stadtkirche,
Darmstadt,
Germany
6 December
by invitation only
Bibliothèque Solvay,
Brussels,
Belgium
12 December
Christmas Festival
St John’s, Smith Square,
London,
UK
16 | 17
THE DUTCH CONNECTION
Director & Harpsichord Ton Koopman
GF HANDEL (1685-1759)
Concerto Grosso Op 6 No 2 in F
Andante larghetto – Allegro – Largo – Allegro ma non troppo
P HELLENDAAL (1721-1799)
Concerto Grosso Op 3 No 1 in g minor
Ouverture – Largo – Presto – Menuet
PA LOCATELLI (1695-1764)
Introduzione teatrale Op 4 No 4 in G
Allegro – Andante – Presto
GF HANDEL
Concerto Grosso Op 6 No 1 in G
In the early 18th century if you wanted to hear the latest musical
fashion and establish a reputation as a virtuoso you went to Rome,
Venice and Paris – and then traded on the reputation in the courts
of the German princes. But if you wanted to publish your work for
the burgeoning market of semi-professional town music societies
and small aristocratic households, rich enough to hire good players
occasionally but not to maintain full-time orchestras, then you
went to the commercial publishers of Amsterdam and London.
Kailai Chen
There was an incentive for composers to make the connection
themselves. If they didn’t the publishers were quite likely, in the
days before copyright legislation, to sell pirated editions anyway.
But more than that, Amsterdam was famous for the quality of its
engraving and printing – and, as a relatively liberal protestant city,
allowed composers and writers the freedom to ignore the approval
or otherwise of the Catholic Church.
Although Amsterdam was the business address, the publisher who
issued Locatelli, Handel and Telemann’s works there was actually
French: Michel-Charles la Cène, who had inherited the firm of
Roger and La Cène from his father-in-law. Italian music was all
the rage in northern Europe, as Vivaldi and Corelli discovered. So
it is not surprising that Pietro Locatelli, originally from Bergamo,
should decide to settle in Amsterdam after trying his luck and
building his reputation as a violinist throughout Germany.
He settled down in a house on Prinsengracht and let the
publication of his Concerti Grosso establish his name across
Europe. In The Hague Carlo Ricciotti was doing the same,
A tempo giusto – Allegro – Adagio – Allegro – Allegro
Interval
UW VAN WASSENAER (1692-1766)
Concerto Armonico No 1 in G
Grave – Allegro – Un poco andante – Allegro
GPH TELEMANN (1681-1767)
Suite and Conclusion in B flat from Tafelmusik III
becoming a publisher himself as well as a virtuoso. This was not
helpful, though, to young and talented local players. Pieter
Hellendaal, despite studying the violin with the great Tartini, found
it hard to make a living in Amsterdam while Locatelli and Ricciotti
were around and so moved first to London (where he played in
many of Handel’s last concerts) and then to Cambridge.
Unico Willem van Wassenaer had no such problem. He was a
diplomat from one of the most well-connected families in the
Netherlands and when Ricciotti pushed him to publish six of his
excellent Concerti Grossi in 1740 he refused unless the van
Wassenaer name was nowhere on the page. It was simply not
considered socially acceptable for a man of his standing to be
publicly thought of as a composer. As a result it was not until
1980 that the concertos were shown to be by him rather than
Ricciotti, whose name they appeared under in The Hague and
London editions.
©Simon Mundy
Ouverture – Bergèrie – Allegresse – Postillons – Flaterie – Badinage –
Menuet – Furioso
EUBO is grateful to be
offered rehearsal facilities
at Kloster Michaelstein
in Blankenburg.
Kailai Chen
08 October
Stiftung Kloster Michaelstein
Refektorium,
Blankenburg,
Germany
09 October
Concerto Gandersheim
Stiftskirche,
Bad Gandersheim,
Germany
12 October
Indian Summer in Levoca
AquaCity,
Poprad,
Slovakia
TON KOOPMAN
Director & Harpsichord
2010 sees the return for the European Union
Baroque Orchestra of the eminent Dutch
musician Ton Koopman. Maestro Koopman
was one of the first Music Directors of the
European Baroque Orchestra (as it first was
called) and directed the first tour in 1985
highlighting 18th century musical links with
Holland. His 1985
programme included
many of the works
that are now
performed by the
25th generation of
orchestral musicians
of the orchestra.
Ton Koopman was
born in Zwolle in
1944. After a classical education he studied
organ, harpsichord and musicology in
Amsterdam and was awarded the Prix
d'Excellence for both instruments. From the
beginning of his musical studies he was
fascinated by authentic instruments and a
performance style based on sound scholarship
13 O ctober
Klarisky Church,
Bratislava,
Slovakia
and in 1969, at the age of 25,
he created his first Baroque
orchestra. In 1979 he founded
the Amsterdam Baroque
Orchestra followed by the
Amsterdam Baroque Choir
in 1992.
Koopman's extensive and
impressive activities as a soloist,
accompanist and conductor
have been recorded on a large
number of LPs and CDs for
labels like Erato, Teldec, Sony,
Philips and DG, besides his own
record label “Antoine
Marchand”, distributed by
Challenge Records.
Over the course of a forty-fiveyear career Ton Koopman has
appeared in the most important
concert halls and festivals of the
five continents. As an organist he has
performed on the most prestigious historical
instruments of Europe, and as a harpsichord
player and conductor of the Amsterdam
Baroque Orchestra and Choir he has been a
regular guest at venues which include the
Concertgebouw in Amsterdam, the Théatre des
Champs-Elysées in Paris, the Philharmonie in
Munich, the Alte Oper in Frankfurt, the
Lincoln Center and Carnegie Hall in New York
and leading concert halls in Vienna, London,
Berlin, Brussels, Madrid, Rome, Salzburg,
Tokyo and Osaka.
Between 1994 and 2004 Ton Koopman has
been engaged in a unique project, conducting
and recording all the existing Cantatas by
Johann Sebastian Bach, a massive undertaking
for which he has been awarded the Deutsche
Schallplattenpreis "Echo Klassik", the BBC
Award 2008, the Prix Hector Berlioz, has been
nominated for the Grammy Award (USA) and
the Gramophone Award (UK). In 2000 Ton
Koopman received an Honorary Degree from
the Utrecht University for his academic
work on the Bach Cantatas and Passions
and has been awarded both the prestigious
15 October
Salzburger Bachgesellschaft
University Aula,
Salzburg,
Austria
Silver Phonograph Prize and the VSCD
Classical Music Award. In 2006 he has
received the « Bach-Medaille » from the
City of Leipzig.
Recently Ton Koopman has embarked on
another major project: the recording of the
complete works of Dietrich Buxtehude, one
of the great inspirers of the young Johann
Sebastian Bach. The recording will be
accomplished in 2010 with the release of
30 CDs. Ton Koopman is President of the
“International Dieterich Buxtehude Society”.
Ton Koopman is very active as a guest
conductor and he has collaborated with the
most prominent orchestras of Europe, USA
and Asia. Among them: Royal Concertgebouw
Amsterdam, Orchester des Bayerischen
Rundfunks in Munich, DSO Berlin, Tonhalle
Orchestra Zurich, Boston Symphony, Chicago
Symphony, Orchestre Philharmonique de Radio
France, Cleveland Orchestra, Santa Cecilia in
Rome, Deutsche Kammerphilharmonie and
Wiener Symphoniker.
Ton Koopman publishes regularly and for a
number of years he has been engaged in
editing the complete Handel Organ Concertos
for Breitkopf & Härtel. Recently he has
published Handel’s Messiah and Buxtehude‘s
Das Jüngeste Gericht for Carus.
Ton Koopman leads the class of harpsichord at
the Royal Conservatory in The Hague, is
Professor at the University of Leiden and is a
Honorary Member of the Royal Academy of
Music in London. He is also artistic director of
the French Festival “Itinéraire Baroque”.
ZEFIRA VALOVA
Concertmaster
Zefira Valova was born in Sofia where she
studied violin from an early age. In 2006 she
obtained both bachelor’s and master’s degrees
at the National Music Academy in Sofia,
having studied with Prof. Yosif Radionov and
Stoyka Milanova. She studied baroque violin
with Anton Steck and at the moment she is
16 October
Amis de la Musique sur Instruments Anciens
Eglise St-Guillaume,
Strasbourg,
France
studying at the Conservatory of Amsterdam
with Lucy van Dael.
She has participated in numerous violin
masterclasses with
Yfrah Neeman, Kolja
Lessing, Mincho
Minchev and
summer courses in
Blankenburg and
Obertsdorf in
Germany with
Reimar Orlowsky
and Peter Buck; in Austria with members of
Bartok, Keller, Artis and Prazak Quartets; and
at the International Masterclass Apeldoorn,
The Netherlands. With Concerto Antico –
consort of early music she performed at the
Festival de Musica Antiga Barcelona, Spain
(2007 & 2008), at the “Fabulous Fringe” series
of the Oude Muziek Festival in Utrecht (2008
& 2009), and at the Sofia Baroque Arts
Festival. From 2003 until 2008 she was
concertmaster of Classic FM Radio Orchestra –
Sofia and Sofia Festival Orchestra.
In 2007 she was concertmaster with The
National Youth Orchestra of The Netherlands.
She was a member of the European Union
Baroque Orchestra in 2008 working with Roy
Goodman, Lars Ulrik Mortensen and Enrico
Onofri, and a concertmaster under the
direction of Petra Mullejans in 2009.
She has appeared as soloist with the
Academic Symphony Orchestra Sofia, Classic
FM Radio Orchestra, Chamber Orchestra
Orpheus, Ars Barocca Ensemble – which was
awarded the prize “Ensemble of 2007” by
Bulgarian National Radio. Now she is playing
with the baroque orchestras Holland Baroque
Society, Arte dei Suonatori, Ensemble
Cordevento, Wroclaw Baroque Orchestra,
Lutherse Bach Ensemble.
In 2009 Zefira Valova was a prize winner in
the competition of the Jumpstart Jr.
Foundation, which provides original historical
instruments to talented young musicians.
17 October
Echter’Barock
Eglise SS-Pierre-et-Paul,
Echternach,
Luxembourg
18 | 19
GODS, HEROES...
AND MERE MORTALS
“EUBO is the best way to show that baroque
music is far from old; instead, it’s an evergreen that speaks to the youth, thanks to its
musical language, which is full of colours,
rhythms, emotions, life.”
Alfredo Bernardini
Director & Theorbo Christina Pluhar
Soprano Hannah Morrison
Mezzo-Soprano Luciana Mancini
Contraltino & Dancer Vincenzo Capezzuto
Tenor Reinoud van Mechelen
Baritone & Dancer Yannis François
EUBO 1985, now EUBO Oboe Tutor
LUIGI ROSSI (1598-1653)
Sinfonia
GIOVANNI LEGRENZI (1626-1690)
“Lumi potete piangere”
ANTONIO CALDARA (1670-1737)
“Entro l’armi un’ alma grande”, Aria di Assalone from Assalone
“Anche il giorno aborrirei”, Aria di Pirro from Andromaca
JEAN-BAPTISTE LULLY (1632-1687)
Sinfonie from Ercole amante
FRANCESCO CAVALLI (1602-1676)
Arias “Ma qual pungente arsura”, “Misera, Ohime ch’ascolto ?”,
“Alfine il Ciel amor”, “Come si beffa amor” and “Gradisci o Re”
from Ercole amante
ANTONIO SARTORIO (1620-1681)
Aria di Euridice from Orfeo “Sedesti pieta”
LUIGI POZZI (fl 1638-1656)
"Cantada sopra il Passacaglio”
PIETRO ANTONIO GIRAMO (fl 1619- after 1630)
“La Pazza”
LUIGI ROSSI (1598-1653)
Ballo – Aria “Dormite begl’occhi” from Orfeo
Kailai Chen
Christina Pluhar directs a performance weaving together stories
of Gods, Heroes and ordinary mortals, including the love affairs
of Hercules, through the music of Caldara, Cavalli, Rossi,
Bontempi, Lully and others.
The 18 musicians of EUBO, featuring a colourful array of plucked
instruments and percussion, are joined by singers and dancers in
this semi-staged opera. The performance, lasting 90 minutes
without interval, unfolds with scenes from Lully and Cavalli’s
‘Ercole Amante’ (Hercules in love), written for the marriage of
Louis XIV.
As orchestra in residence, EUBO is grateful to be
offered rehearsal facilities in Echternach
ANTONIO CALDARA (1670-1736)
Aria di Nearco from Achille in Sciro “Cedo alla sorte”
Dialogo fra la Vera Displina e il Genio
GIOVANNI ANDREA BONTEMPI (1624-1705)
Arias “Dolce cosa è la Vendetta”, “Dolcissime pene”, “Il moi fuggir”,
“Per trovar la mia bella” from Il Paride, 1662
CRISTOFARO CARESANA (1640-1709)
“La Tarantella”
The above list is not exhaustive and may be subject to amendments.
Ville dʼEchternach
08 November
Association de Musique Ancienne
Salle Poirel,
Nancy,
France
Kailai Chen
09 November
Echter’Barock
Atrium, Trifolion,
Echternach,
Luxembourg
10 November
Casa da Musica,
Porto,
Portugal
CHRISTINA PLUHAR
Director & Theorbo
HANNAH MORRISON
Soprano
After studying guitar in her home city of Graz, Christina
Pluhar graduated in lute with Toyohiko Sato at the
Conservatoire of The Hague. She was awarded with the
'Diplôme Supérieur de Perfectionnement' at the Schola
Cantorum Basiliensis with Hopkinson Smith, and then
studied with Mara Galassi at the Scuola Civica of Milan.
In 1992 she won the 1st Prize in the International Early
Music Competition of Malmö with the ensemble La Fenice.
Christina now lives in Paris, where she performs as a soloist and continuo player in
prestigious festivals with groups such as La Fenice, Concerto Soave, Accordone, Elyma,
Les Musiciens du Louvre, Ricercar, Akademia, La Grande Ecurie et la Chambre du Roy,
Concerto Köln, and in ensembles directed by René Jacobs, Ivor Bolton, Alessandro di
Marchi, amongst others. Her repertoire includes solo and continuo works from the 16th
to 18th centuries for renaissance lute, baroque guitar, archlute, theorbo and baroque
harp. Since 1993 she has been teaching at the University of Graz, and at the
Conservatoire of The Hague since 1999.
In 2000 she founded the ensemble L’Arpeggiata. For ten years Christina and her
Ensemble have been recording CDs such as La Tarantella, All’Improvviso, Los
Impossibles, Teatro d’amore and performing all over Europe. Christina devotes a lot
of time to L’Arpeggiata, as she is not only conductor and performer, but also devises
and researches the programmes herself. As part of her commitment to young people
in the profession, Christina now directs EUBO for the second time.
TUOMO SUNI
Concertmaster
Tuomo Suni began to play the violin at the age of four. In 1996 he began specialising in the baroque violin, studying with Kreeta-Maria Kentala. Between 1999 and
2005 he furthered his studies with Enrico Gatti at the Royal Conservatoire in The
Hague. Tuomo graduated with a Bachelor's degree in 2003, finished his Master's in
2005 and is now based in London.
Tuomo is a member of Opera Quarta, winner of the Van Wassenaer Concours 2002
and Premio Bonporti 2002. Opera Quarta's CD of Leclair trio sonatas, released by ORF
in 2007, was awarded the prestigious Diapason d'or.
Tuomo plays and records regularly with many ensembles
around the world, including Capriccio Stravagante,
Ricercar Consort, Ensemble Masques, B'Rock, Holland
Baroque Society and The Helsinki Baroque Orchestra.
Recently he has also worked with The
English Concert, Retrospect Ensemble, The Gabrieli
Consort & Players, The Classical Opera Company, The
King's Consort, Bach Collegium Japan, Il Complesso
Barocco, The Irish Baroque Orchestra and The Hanover
Band. Tuomo was a member of EUBO in 1997.
11 November
Academia de Musica,
Espinho,
Portugal
13 November
Villarte
Academiezaal,
Sint Truiden,
Belgium
15 November
Musikerlebnis
Herkulessaal,
Munich,
Germany
Hannah Morrison studied piano and singing at the Maastricht Academy of Music
and completed her master studies for singing with Barbara Schlick at the Academy
of Music in Köln, having previously undertaken a masters in performance with
Rudolf Piernay at the Guildhall School of Music & Drama in London. She gained
further inspiration in masterclasses with Evelyn Tubb and Anthony Rooley, Barthold
Kuijken, Andrew Lawrence-King, Sir Thomas Allen, Dame
Kiri Te Kanawa and Matthias Goerne. Hannah is now in
demand as a soloist in oratorio as well as lieder. She has
worked with many ensembles including Les Arts
Florissants under William Christie and Paul Agnew, L'arte
del mondo directed by Werner Ehrhardt, and Echo du
Danube. She has given lieder recitals in London at the
Chelsea Schubert Festival with Brandon Velarde and
Graham Johnson, and a Mendelssohn recital at Kings
Place with Stephan Loges and Eugene Asti. In 2009 she took part in the Chicago
Ravinia Festival and became a Samling Scholar. For lieder recitals she now has a
permanent partnership with South African pianist Lara Jones. Hannah features on a
recent CD, a collection of songs by Mendelssohn released on the Hyperion label.
LUCIANA MANCINI
Mezzo-Soprano
Luciana graduated from the Royal Conservatoire of
The Hague, in both classical singing and early music
interpretation, studying with Rita Dams, Jill Feldman,
Michael Chance, Peter Kooij and Diane Forlano. She is
now finishing her master studies, specialising in early
Italian repertoire. Together with LÁrpeggiata she has
collaborated in several programmes, including La Rappresentatione di Anima e di
Corpo by Emilio de Cavalieri in the Early Music Festival of Brugge, Festival de Música
Sacra in Cuenca, Festival de Semana Santa in Valladolid and Festival de Sablé; the
Vespro della Beata Vergine by Claudio Monteverdi in Poissy, Metz, Gent
and Barcelona; Los Imposibles, Il pianto d'Orfeo and Alla Napolitana. In 2008 and
2010 she performed the role of Bradamante in the opera Il Palazzo Incantato by
Luigi Rossi and in 2009 she performed as Dafne in Peri’s L’Euridice.
Other roles have included Matilde in Handel’s opera Lotario, Galatea in Handel’s
serenata Aci, Galatea e Polifemo and Cleofe in the oratorio La Resurrezione by
Handel with Contrasto Armonico, and Amastre in Handel’s opera Serse together with
the Lautten Compagney conducted by Wolfgang Katchner touring throughout
Germany. In 2007 and 2008 she appeared in LÓrfeo by Monteverdi with the Choeur
de Chambre de Namur and La Fenice, conducted by Jean Tubéry, participating in the
Vantaa Baroque Festival and Festival Baroque de Pontoise, and also touring to Bilbao
and Warsaw.
For the closing concert of the Festival Classique in The Hague in June 2009, she
was invited to sing Rossini arias with Het Residentie Orchestra, conducted by
Neeme Järvi.
16 November
Philharmonic Concert Hall,
Łodz,
Poland
20 | 21
Kailai Chen
VINCENZO CAPEZZUTO
Contraltino & Dancer
Born in Salerno, Italy, Vincenzo graduated from
the San Carlo Opera House ballet school in
Naples in 1997 and was invited to join the
Company of the same theatre performing, as
principal dancer, in many ballets from the
classical and neo-classical repertoire,
choreographed by George Balanchine,
Roland Petit, Auguste Bournonville, Rudolf
Nureyev, Derek Deane, Frederik Ashton, Mauro
Bigonzetti, Nikita Dimtrievsky, Nanette Glushak
and Fabrizio Monteverde.
Having worked with
English National Ballet
and Teatro La Scala, he
joined the Ballet
Argentino directed by
Julio Bocca as
principal dancer,
touring all over the
world. He was
then invited by choreographer Mauro Bigonzetti
to join the compagny Aterballetto, currently
directed by Cristina Bozzolini. In 2000 Vincenzo
received the Leonide-Massine award for young
ballet talent and in 2005 the Roscigno Award as
best dancer of the year. In 2006 he received a
TOYP Award in the category of
culture and in 2010 the Giglio D'Oro Award for
his versatility.
Vincenzo is artistic director of the International
Dance Gala Ballerini del mondo danzano a
Salerno, which has become one of the most
important dancing events in Italy. It brings
together many international ballet stars and
choreography world premieres.
Besides being a dancer Vincenzo is also a singer.
He worked both as a dancer and a singer with
Guido Morini and the Accordone Ensemble and
with Marco Beasley in the show The Temptation
of the Evil at the Mozarteum Theater in the
Salzburg Music Festival. He also performs with
L'Arpeggiata, directed by Christina Pluhar, and
features on the ensemble’s most recent recording
Via Crucis.
REINOUD VAN MECHELEN
Tenor
YANNIS FRANÇOIS
Baritone & Dancer
Reinoud Van Mechelen was born in 1987 and
started singing at an early age in the children’s
choir Clari Cantuli and the youth choir Clari
Cantus, both conducted by Ria Vanwing. In this
period he also performed the solo for boy
soprano in Artesia by Dirk Brossé conducted by
the composer.
At the age of 19, he
started vocal studies
at the Royal
Conservatory of
Brussels, first with
Lena Lootens and
subsequently with
Dina Grossberger.
To complete his education, Reinoud took
masterclasses with Greta de Reyghere,
Isabelle Desrochers, Frédéric Haas, Claire
Lefilliâtre, Alain Buet, Jean-Paul Fouchécourt,
and François-Nicolas Geslot.
While studying, Reinoud gained his first
experience as soloist and ensemble member. He
sung Plutus in le Carnaval et la Folie by André
Cardinal Destouches with the Académie Baroque
Européenne d'Ambronnay, performed the role of
Adone in la Catena d'Adone by Domenico
Mazzochi in Flanders Operastudio, and the title
role in Platée by Jean-Philippe Rameau. He has
since performed with ensembles such as
L'Arpeggiata, Capilla Flamenca, Ex Tempore,
Ricercar Consort, and Il Gardellino. He works
regularly with Scherzi Musicali, conducted by
Nicolas Achten, and with that ensemble has
recorded Euridice by Giulio Caccini and Dulcis
amor Jesu, a collection of sacred works by
Giovanni Felice Sances.
Born in Guadeloupe, Yannis François began his
career as a dancer. In 2000 he was admitted to
the Rudra Béjart School in Lausanne and later
became a member of the Béjart Ballet. During his
singing lessons, Maurice Béjart was impressed by
Yannis' voice and encouraged him to fully explore
a singing career parallel to ballet. Yannis is now
finshing his master's degree at the Conservatoire
of Lausanne with Gary Magby. On the opera
stage, he has sung Mozart’s Figaro, Giuseppe in
La Traviata, Curio in Giulio Cesare with Andreas
Scholl at the Opera of Lausanne and Peter Quince
in Midsummer Night’s Dream. Other operatic
roles include: Don Alfonso in Cosi fan tutte,
Seneca in L'incoronazione di Poppea, Nettuno
and dancer in Francesa Caccini’s La liberazione di
Ruggiero with Gabriel Garrido, Radamanto and
dancer in Peri's Euridice with L'Arpeggiata and
Christina Pluhar and in September 2010 the title
role in Don Giovanni.
Yannis is also interested in oratorio and chamber
music. Among the works in which he has
performed are La Susanna by Scarlatti, Bach's
Weinachts-Oratorium and Johannes-Passion with
Ton Koopman, Das
Paradies und die Peri
by Schumann, Ravel's
Chansons Madécasses,
To cast a shadow
again by Eric Ewazen
and Le Fou d'Elsa by
Laurent Petitgirard.
In order to maintain
his dual career he continues to accept dancing
engagements: i.e. The Ugly Duckling and
Blummenkabarett, L'incoronazione di Poppea at
the Grand Théâtre of Geneva, Purgatoire by
Shahrokh Moshkhin Ghalam and solo dancer and
singer in Dido and Aeneas in a production of the
Opera of Lausanne by Gabriel Garrido.
Given his passion for baroque music, Yannis is
building a library of baroque and early classical
scores and manuscripts.
EUBO is artist in association at the
Casa da Musica in Porto since 2009
and will perform there each year.
“ Dazzling young European Union Baroque Orchestra. The performance was a small baroque tour de force.”
The Herald ★★★★★ (2009 Edinburgh International Festival)
EUBO Members 2010
Barbara Altobello Italy Violin
Cecilia Clares Clares Spain Violin
Margalida Gual Frau Spain Violin
Giorgio Leonida Tosi Italy Violin
Born in 1981, Barbara started
studying music in her home
city, Brescia, where she
graduated with the highest
degree in modern violin in
2003. She also studied with
Pavel Vernikov and Igor
Volochine at the Accademia Musicale Santa
Cecilia in Venice, from 2000 to 2004. She started
playing baroque violin with Enrico Onofri and
studied with Elizabeth Wallfisch at the Royal
Conservatory in The Hague. In 2008 she
graduated under the guidance of Stefano
Montanari at the Evaristo Fellice Dall'Abaco
Conservatory in Verona. She has performed with
a variety of period instrument ensembles,
including Brixia Musicalis, Zefiro, Accademia
Montis Regalis, La Risonanza, Il Complesso
Barocco, New Dutch Academy, Orchestra of
the Age of Enlightenment, Divino Sospiro, Pietà
dei Turchini, Europa Galante and
FestspielOrchester Göttingen.
Cecilia was born in Murcia,
Spain. She started studying
violin at the conservatory
there and finished her higher
studies at the Conservatory
of Zaragoza with Rolando
Prusak and Cuarteto Casals.
She then studied with Anton Steck and Rüdiger
Lotter at the Staatliche Hochschule für Musik in
Trossingen, Germany. In July 2008 she was
awarded a scholarship from the Alexander von
Humboldt-Foundation in Berlin. Cecilia works
with various ensembles including Orquesta
Barroca Catalana, Orquesta Barroca de
Salamanca, L’incontro Fortunato, Concerto
Donostiarra, Barockorchester Trossingen and
Dual Barock.
Margalida completed her
bachelor’s degree in modern
violin in Palma de Mallorca
with Agustín León Ara and
José Manuel Álvarez Losada
before going on to study in
Barcelona with Tatiana
Aleshinsky. During her studies Barry Sargent
introduced her to baroque music and she decided
to do a master’s degree in early music with Anton
Steck at the Staatliche Hochschule für Musik in
Trossingen, Germany. Margalida has played
with many youth orchestras, and now plays in
professional symphony and chamber orchestras
such as the Orquestra Simfonica de les Illes Balears,
Orquestra de Cambra del Maresme, Orquestra
Simfonica del Vallès, Orquestra Simfonica Ciutat
d’Eivissa and Orquestra Simfonica de Sant Cugat
under conductors including Paul Badura-Skoda, Kai
Gleusteen, Dmitry Sitkovetsky, Liana Issakadze,
Simon Bernardini, Vasko Vassilev, Barry Sargent and
Michael Thomas. She is now concertmaster of the
Jove Orquestra Barroca and since 2005 a
permanent member of the Orquestra de Cambra
Illa de Menorca.
Giorgio Leonida Tosi was born
in Milan in 1983. He studied
the violin with Valentina
Morini and chamber music
with Elisabetta Cannata,
concentrating on romantic
and late-romantic repertoire.
At present he studies baroque violin with Stefano
Montanari, and baroque chamber music with
Antonio Frigè, Lorenzo Ghielmi, Paolo Rizzi and
Roberto Balconi at the International Academy of
Music in Milan. He is the founder of the baroque
ensemble Trattenimenti da Camera which performs
secular chamber music on original instruments. He
is also one of the members of the ensemble
Stilmoderno that concentrates on sacred repertoire
of the 17th and 18th centuries.
Eveleen Olsen UK Violin
Dominika Pawlicka Poland Violin
Beatrice Scaldini Italy/UK Violin
Rachel Stroud UK Violin
Eveleen plays with the Welsh
Baroque Orchestra, Zürcher
Barockorchester, Collegium
Musicum Luzern and Orchester
le Phénix and works as a
researcher in the department
for research and development
at the Musikhochschule Luzern. Eveleen graduated
with a master of music in 2009 from the Royal
Welsh College of Music and Drama, where she
studied historical performance with Rachel Podger.
Previously she completed a master’s of pedagogy at
the Musikhochschule Luzern. Her teachers included
Ina Dimitrova, Brian Dean and Monika Baer.
Eveleen attended numerous courses among others
with Kato Havas, the Freiburger Barockorchester
and Eroica Quartett, Gary Cooper, Igor Ozim and
Ana Chumachenco. Eveleen gained orchestral
experience playing with the Swiss Youth Symphony
Orchestra, Luzerner Sinfonieorchester and La
Scintilla (baroque group of the Opera Orchestra
Zürich), and has also focused on playing chamber
music. Eveleen played with EUBO for the first time
at the Edinburgh International Festival in 2009 and
is very much looking forward to this year’s tours.
Dominika was born in 1984 in
Katowice, Poland and started to
play the violin at the age of
seven. After graduating from
the secondary music school in
Katowice in 2003, she started
her studies at the Szymanowski
Academy of Music in Katowice. While studying theory
she became more and more interested in early music
and started to specialize in this discipline. In 2007 she
went on to study the baroque violin with Zbigniew
Pilch at the Lipinski Academy of Music in Wroclaw
and meanwhile completed her master’s degree in
Katowice. In 2009 she went back to Katowice to study
with her current teacher Martyna Pastuszka.
Dominika is a member of Wroclaw Baroque Orchestra
and is regularly invited to play with different early
music ensembles across Poland. She has taken part in
early music masterclasses with Enrico Gatti, David
Plantier, Mira Glodeanu, Stéphanie Pfister, Peter
Zajicek and Martin Gester, and in projects with
Generation Baroque, Académie Baroque Européenne
d’Ambronay, Britten-Pears Baroque Orchestra to
improve her musical abilities.
Born in Italy, Beatrice has
benefited from an eclectic
range of musical experiences
both in Italy and the UK.
Since graduating with
honours from the Music
School in Florence in 2006 she
has trained at Trinity College of Music and the
Royal Academy of Music (RAM). At the RAM she
was awarded the Newby Trust Entrance
Scholarship and the Nancy Nuttal Early Music
Prize. She currently studies with Walter Reiter on
baroque violin and Mateja Marinkovic on modern
violin, and has worked with artists such as Sir John
Eliot Gardiner, Rachel Podger, Laurence Cummings,
Richard Egarr, Masaaki Suzuki, Anner Bylsma,
Trevor Pinnock, Sir Colin Davis and Yan Pascal
Tortelier. She has also performed with ensembles
including The Hanover Band, St James' Baroque,
Britten-Pears Baroque Orchestra, Britten-Pears
Orchestra and Camerata Kilkenny. She is a
founding member of the ensemble International
Baroque Players. She has also recently performed
Prokofiev's First Violin Concerto with
Gloucestershire Symphony Orchestra.
Rachel began learning the
violin at the age of six, and
currently studies with Krysia
Osostowicz. In 2005 she joined
the National Youth Orchestra
of Great Britain, and played
under the baton of conductors
such as Sir Mark Elder, Richard Hickox and Sir Colin
Davis. In 2007, Rachel went on to read music at
Selwyn College, Cambridge, where she won the
Williamson Prize for musical performance and held
an Instrumental Award. Rachel leads the Eliot
Quartet, with whom she has participated in
masterclasses given by members of the Dante,
Endellion, and London Haydn quartets. Last year
the quartet was invited to play at the Honorary
Degree Ceremony in the 800th anniversary year of
Cambridge University; recipients of degrees
included Sir Peter Maxwell Davies and Bill Gates.
Rachel began learning the baroque violin in 2008,
and is a member of the Cambridge University
Collegium Musicum, directed by Margaret Faultless.
She also plays with Norwich Baroque and the
Cambridge Handel Opera Group.
22 | 23
EUBO Members 2010
Kinga Ujszaszi Hungary Violin
Samuel Kennedy UK Viola
Elin Sydhagen Sweden Viola
Lucile Chionchini France Viola
Hungarian violinist Kinga
Ujszaszi began her musical
training at the age of four.
After graduating from the
Franz Liszt Music Academy in
Budapest she moved to London
to study at the Royal Academy
of Music in London with Igor Petrushevski. Here she
became interested in historical performance and her
baroque violin teachers were Simon Standage and
Matthew Truscott. Kinga has played in masterclasses
with Rachel Podger, Adrian Butterfield, Marco Rizzi,
Thomas Brandis, Zakhar Bron and Aleksandar
Pavlovic. Kinga has toured throughout Europe and
Asia with various orchestras and chamber groups,
including the Gustav Mahler Jugendorchester and
the Hungarian Philharmonic Orchestra. She has
played with the BBC National Orchestra of Wales
and is a member of the Marcato Ensemble. She has
worked with Sir Colin Davis, Sir Charles Mackerras,
Trevor Pinnock, Laurence Cummings, Vladimir
Ashkenazy and Leonidas Kavakos. Kinga has won
the Eötvös scholarship on three consecutive
occasions and she is also participant of the
Monteverdi Apprenticeship Scheme under Sir John
Eliot Gardiner.
Samuel is a graduate of
Cambridge University and has
recently completed the
Postgraduate Diploma in
Performance at the Royal
Northern College of Music in
Manchester (RNCM) where he
has studied viola with Ásdís Valdimarsdóttir and
baroque viola with Annette Isserlis. At the RNCM,
Sam has been principal viola of many of the
college orchestras, performed with the Royal
Liverpool Philharmonic Orchestra and also has been
invited to play with the Britten-Pears Baroque
Orchestra. Whilst studying for a bachelor’s degree
in Music at Cambridge, Sam was an Instrumental
Award holder studying the violin with Howard
Davis and Arisa Fujita. He has performed
Tchaikovsky and Mendelssohn violin concertos with
the Teesside Symphony Orchestra and became a
Masked Guard in Cambridge Handel Opera Group’s
2003 production of Tamerlano, studying baroque
movement and gesture with Richard Gregson. Sam
also learnt the viola d’amore for the 2009 RNCM
production of Janácek’s Katya Kabanova and has
since played the obbligato viola d’amore parts for
Bach’s St John Passion with Manchester Baroque
and the Syred Sinfonia.
Elin started playing the viola
at an early age and has since
then been a devoted explorer
of music. She started her
studies on the modern viola
and then changed to baroque
in 2008. In June 2010 she
graduated from the University of Music and Drama
in Gothenburg, under the guidance of her teacher
Björn Sjögren. She also studied chamber music at
the Evaristo Felice Dall’Abacco Conservatory in
Verona, with Franco Pavan, Stefano Vegetti and
Enrico Parizzi, and has taken lessons with Stefano
Marcocchi. As a keen performer of chamber music
she frequently gives concerts with her own
baroque ensemble, Ensemble Arden, and with the
chamber orchestra Karlsson Baroque. In 2008,
Ensemble Arden became a finalist in the most
important competition for young baroque
ensembles in Sweden, at the Stockholm Early Music
Festival, and in May 2009 it was among the
finalists of another important competition in
Sweden. Besides her strong interest in historical
performance, she is also active as a singer, mainly
jazz and alternative pop.
Lucile was born in Lyon where
she started to play the violin
at the age of six. After her
first diploma in chamber
music and violin at the
conservatory in Villeurbanne
she moved to Paris and
studied viola with Bruno Pasquier and chamber
music with the string quartet Quatuor Ysaÿe. She
discovered the lyric repertoire with the French
opera singer Anne Marie Blanzat and began her
education as a singer. Since 2005 she has lived in
Germany, where she studied opera singing with
Dorothea Wirtz and viola with Sylvie Altenburger
at the Conservatory of Freiburg. After participating
in projects with Gottfried von der Goltz, Robert Hill
and Michael Behringer she discovered her love for
baroque music and started to specialize in this at
the Ensemble Akademie in Freiburg with the viola
player Annette Schmidt. In 2010 she graduated and
now works with Petra Müllejans, the leader of the
Freiburger Barockorchester. She also played with
this orchestra in a recording for Harmonia Mundi.
Lucile works with several ensembles and orchestras
all over Europe as a singer and viola player.
Carina Drury Ireland Cello
Anna Carlsen Norway Cello
Emily Smith UK Viola da Gamba
Marco Lo Cicero Italy Double Bass
Cellist Carina grew up in Dublin.
She was awarded a scholarship
to the Royal Academy of Music
in London in 2003, where she
studied with Philip Sheppard
and baroque cello with
Jonathan Manson. As a
chamber musician she has twice won the Royal
Academy of Music Early Music Prize for ensembles,
and was awarded a residency at the Cheltenham
Music Festival. More recently she has performed
with the Orchestra of the Age of Enlightenment
(OAE) on the Experience scheme, and has worked on
numerous education and outreach projects with the
OAE, Sinfonia Viva, Glyndebourne Opera and
Cheltenham Festival. Carina enjoys a diverse musical
career and was a member of Sunharbour, a fourteen
piece ambient jazz collective, performing at the
Virgin Media Awards. She has worked with Matthew
Robins and his band at the Royal National Theatre,
and also in London and Paris in an improvisational
Opera project with the Elastic Theatre Company.
Anna was born in Norway
and discovered the cello at
the age of eight. After preprofessional studies at Barratt
Dues Musikkinstitutt in Oslo,
she moved abroad and in
2006 she finished her four
year degree with Daniel Grosgurin at the music
conservatory of Geneva, Switzerland. In 2007 she
decided to remain in Geneva to pursue her studies
specializing in early music with Bruno Cocset, and
graduated with a master’s degree in June 2010. In
the discipline of continuo playing Anna has
gathered a lot of experience and inspiration
working with musicians such as Blandine Rannou,
Florence Malgoire, Gérard Lesne, Leonardo Garcia
Alarcon, Ketil Haugsand, Gabriel Garrido, Wieland
Kuijken, Serge Saitta. She is a member of the
ensembles Affetti Cantabili and Douces Folies, and
she plays on a baroque cello made for her by
Robert Louis Baille in 2008.
Emily read music at Clare
College, Cambridge and now
studies baroque cello and viola
da gamba with Jonathan
Manson at the Royal Academy
of Music in London. Since
joining the Academy in 2009
she has played in Handel’s Semele under Charles
Mackerras, Cavalli's Il Giasone conducted by Jane
Glover and all the recent concerts in the
RAM/Kohn Foundation Bach Cantata Series. She
has worked with musicians including Trevor
Pinnock, Margaret Faultless, Lisa Beznosiuk,
Laurence Cummings and Madeleine Easton, and
recently performed with Rachel Podger in London's
Wigmore Hall. Emily has recently participated in
chamber music masterclasses on viola da gamba
and cello with Daniel Bruggen, Elizabeth Kenny,
Margaret Faultless, Rachel Podger and Anner
Bylsma. Outside the Academy she has also played
with Devon Baroque and the Cambridge University
Collegium Musicum, and has given a series of
chamber concerts with Dan Tidhar and Inga Maria
Klaucke in Cambridge.
Marco was born in Palermo
and after having played
rock'n'roll as a bassist for
some years, he started
studying classical and jazz
double bass. He soon focused
on contemporary repertoire
and played in many festivals in Italy and abroad.
Towards the end of his classical study Marco met
some enlightening musicians like Enrico Onofri,
Riccardo Minasi and Lorenzo Coppola and decided
to study early music. Since 2008 he has been
studying baroque bass, viennese bass and violone
with Margaret Urquhart, viola da gamba with
Mieneke van der Velden and modern double bass
with Peter Stotijn at the Conservatory of
Amsterdam where he also works with Alfredo
Bernardini, Richard Egarr and Lucy van Dael. In
The Netherlands he collaborates with several
ensembles, such as De Swaen Baroque Ensemble
and I Piccoli Olandesi and with the Royal
Conservatory of The Hague. In 2010 he was the
bass player of I giovani della Montis Regalis in
Mondovì. Marco studied musicology in Palermo
and Cologne and he hopes to graduate soon!
Iris Desiree Balzereit Germany Oboe
Robert De Bree The Netherlands Oboe
Michele Fattori Italy Bassoon
Anna Flumiani Italy Bassoon
Iris Désirée studied modern
oboe with Jochen MüllerBrinken in Würzburg and
Christian Hommel in Bremen.
During her studies she started
baroque oboe lessons with
Michael Niesemann and Xenia
Löffler. After her modern oboe graduation in 2006
she spent six months at the Royal Conservatory of
The Hague studying baroque oboe with Frank de
Bruine. Back in Germany, she became a student of
Michael Niesemann in Würzburg, also taking
recorder lessons with Bernhard Böhm. She
graduated in 2009 and is currently continuing her
studies in the Fortbildungsklasse. Iris Désirée has
been a member of various youth orchestras
including the Nationaal Jeugd Orkest in The
Netherlands, the academy orchestras of the
Innsbrucker Festwochen der Alten Musik and the
International Handel Academy Karlsruhe. Her
musical activities are diverse: Iris Désirée teaches
adults and children on oboe and recorder, gives
concerts on modern and historic oboes and plays
various renaissance wind instruments, such as
recorders, crumhorns and shawms, as a member of
Ensemble Resonanzen.
Robert studies baroque oboe
with Frank de Bruine and
recorder with Dorothea Winter
and Daniel Bruggen at the
Royal Conservatory of The
Hague. He was successful at
the international recorder
competition in Utrecht in 2004, at the Prinses
Christina Concours in 2005, at the International
Musica Antiqua Concours in Brugge in 2008 and at
the International Telemann Wettbewerb in 2009.
He plays with Nico van der Meel, Ensemble
L’Arpeggiata, the Apollo-ensemble and Ryo
Terakado amongst others. Robert regularly
premieres new works for his instruments and
explores new ways of playing them. Improvisation
is one of his big loves. As a founder of the Scroll
Ensemble he researches ensemble improvisation
from the 15th to 18th century and beyond,
including collaboration with a jazz singer and
contemporary improvisers. He is often asked to
improvise and play in the theatre, for instance at
the Nederlands Historisch Dans Theater with
Mijnheer De Liz, De Utrechtse Spelen with Le
Malade Imaginaire, Alba Theaterhuis with music
theatre performance Backspace.
Michele was born in Trento in
1982, and began studying the
bassoon at the age of ten
under the guidance of Steno
Boesso. He continued his
studies in Salzburg, Vienna,
Freiburg and Berlin where he
was a member of the Orchestra Academy of the
Berlin Philharmonic. During this time he had the
chance to play in numerous orchestras, such as the
European Union Youth Orchestra, the Gustav Mahler
Jugendorchester, Berliner Philharmoniker,
Münchener Kammerorchester, under the baton of Sir
Simon Rattle, Daniel Barenboim, Claudio Abbado,
Bernard Haitink, Mariss Jansons, Pierre Boulez and
many others. In 2009 he started to study the
baroque bassoon with Alberto Grazzi, also taking
part in various masterclasses with Lorenzo Coppola
and Alfredo Bernardini. On period instruments he
played with Orchestra barocca Zefiro under Alfredo
Bernardini and with Orchestra Mozart under Claudio
Abbado. Since its foundation Michele is a member
of Spira mirabilis, an ensemble created to study and
perform symphonic and chamber repertoire from
the 18th to the 20th centuries without conductor.
Anna Flumiani began her
musical studies with the
modern bassoon at the
Conservatorio di Musica
Jacopo Tomadini in Udine,
Italy. In 2001 she graduated in
modern bassoon with
distinction under the guidance of Professor
Gilberto Grassi. For several years she centered her
musical activity on chamber music with various
ensembles and in particular with the Kalamos
woodwind quintet with which she won the first
prize at the Città di Grosseto National Award and
toured Italy and Europe. She has been playing the
modern bassoon in the Orchestra Sinfonica del
Friuli Venezia Giulia since 2004. After having met
the bassoonist Claudio Verh, she decided to start
studying early bassoon with him. She obtained the
highest level degree in early bassoon in October
2007 and after that she participated in a number
of concerts and early music masterclasses. Anna is
currently studying in Basel with Donna Agrell.
Simone Vallerotonda Italy Theorbo
Yavor Genov Bulgaria Theorbo
Francesco Tomasi Italy Theorbo
Patrycja Domagalska Poland Harpsichord
Simone began his musical
studies on the classical guitar
with Maurizio Di Chio and
Giuliano Balestra. Fascinated by
early music, he decided to study
the lute with Andrea Damiani
at the Conservatory Santa
Cecilia in Rome, where he graduated with honours.
He has performed in major music festivals including
the International Festival of Early Music in Urbino,
Flatus Festival of Sion, Rome Baroque Festival,
Concerts of Capri, and at prestigious concert halls
such as the Teatro Regio in Torino, Auditorium de
Espinho, Auditorium Santa Cecilia, the Aula Magna
of the University La Sapienza in Rome. He graduated
in philosophy with honours from the University Tor
Vergata in Rome, specializing in the aesthetics of the
17th and 18th century, with particular attention to
the relationship between synesthesia and music and
philosophy. He currently studies with Rolf Lislevand
at the Staatliche Hochschule für Musik in Trossingen.
He has recorded for Amadeus, E lucevan le stelle
Records, Musical Treasures of Rome. Simone
collaborates as a continuo player with various
ensembles including: Modo Antiquo, Cantar
Lontano, Le Parlement de Musique, Orchestra
Filarmonica di Torino, Mvsica Perdvta.
Yavor was born in Stara
Zagora, Bulgaria. He
graduated from the University
of Sofia in the guitar class of
Panajot Panajotov. During his
studies he took part in
masterclasses of baroque
music interpretation with Ashley Solomon and
Kreeta-Maria Kentala. Yavor is an active lute
performer of renaissance and baroque music. He
studied the lute with Jakob Lindberg, with whom
he currently works. As a solo lute player his most
recent recital was in the Stiftelsen Musikkulturens
Främjande, Stockholm. As a continuo player in the
consort for early music Concerto Antico, Yavor
participated in the Festival de Música Antiga in
Barcelona, the Fabulous Fringe series of the Festival
Oude Muziek in Utrecht as well as the Bulgarian
Festival Luxuria Europae - The Art of Baroque.
Yavor has also made recordings of renaissance and
baroque chamber and solo music for the Bulgarian
National Radio and he holds a PhD from the
Institute of Art Studies of the Bulgarian Academy
of Sciences, which focuses on the Gregorian chant.
In 2009 he won the Young Scholar Award of the
Bulgarian Academy of Sciences.
Francesco started playing the
guitar aged eight. Five years
later he decided to study lute
with Andrea Damiani at the
Conservatory Santa Cecilia in
Rome. He graduated in 2009
with the highest mark. He is
currently doing a master’s degree with Rolf
Lislevand at the Staatliche Hochschule für Musik in
Trossingen, Germany. Francesco has played in many
festivals in Italy and in Europe such as the Early
Music Festival in Toledo, Flatus Festival of Sion,
Festival of Herne, Festival Internazionale di Musica
Antica in Urbino, Festival di Polifonia e Musica
Antica in Palestrina. He has recorded a CD of
madrigals by Monteverdi for the Discoteca di Stato,
and a CD with works by Biagio Marini, Alla Luna,
with the ensemble La Selva for the municipality of
Parma. He participated in radio recordings for
Radio Vaticana and WDR3 and a television
recording for RAI International.
After graduating from the
Music Academy in Lodz,
Patrycja moved to The
Netherlands to specialize in
harpsichord, basso continuo
and chamber music with Fabio
Bonizzoni and Patrick Ayrton
at the Royal Conservatory in The Hague. She has
participated in masterclasses in Norway, Germany,
France and Austria where she worked with Nicholas
Parle, Lars Ulrik Mortensen, Jesper Christensen, Ketil
Haugsand, Wladyslaw Klosiewicz, Lilianna Stawarz,
Huguette Dreyfus and Blandine Rannou. Patrycja
has worked as a continuo player in orchestral
projects led by Pavlo Beznosiuk, Elizabeth Wallfisch,
Ryo Terakado, Christina Pluhar and Fabio Bonizzoni.
She also has a keen interest in baroque dance, has
had lessons with Maria Angad-Gaur and cooperated
with the Nederlands Historisch Dans
Theaterensemble. With this group she appeared in
the production Concerten van Mijnheer de Liz in
2009 and in Vers Hartzeer performing in the Schiller
Theatre in Utrecht. Patrycja is the founder of
Ensemble Barocum which had its debut at the
Fabulous Fringe series of the Festival Oude Muziek
in Utrecht in 2007, and was also selected for the
Festival de Música Antiga in Barcelona in 2008.
24
Thank you
The Board of Trustees of the Orchestra thanks the following individuals and organisations for their support. Without their
assistance the training and performances by the European Union Baroque Orchestra during 2010 would not be possible.
Ville d’Echternach
Festival International
d’Echternach
Centre Culturel, Touristique
et de Congrès Trifolion
Baudouin Abraham
Nadia Debono
Albert Hartinger
Rachel Proud
Nicolas Adamson
The Hon Mario De Marco
Simon Heighes
Stefan Reinhardt
Martin Heubach
Manja Ristic
Gordana Nedelkovska
Adela Sánchez
Luca Kadar
Alexandre Santos
Ulrike Keil
Renate Schwitalla
Lindsay Kemp
Caterina Silva e Costa
Johanna Knowles
Martin Souter
Tricia Lawrence
Paul Storm-Larsen
Sandrine Alladio
Gill Baldwin
Richard Divall
Natasa Ducevska
Marco Battistella
Harmonie Municipale,
Echternach
White & Case LLP
Microsoft Europe
UBI Banca International
UBI Munich
Gérard Dupaty
Elise Becket-Smith
Bienfaiteurs de l’Orchestre
EUBO gratefully acknowledges the support given to the Orchestra by
its bienfaiteurs whose continued commitment is highly valued.
Lech Dzierzanowski
Lucio Benaglia
Ecole de Musique,
Lucy Bending
Echternach
Nick Berry
Göran Eliasson
Ian Forrester
Ann Goodgame
Gottfried Biller
Erwan Fouéré
Anthony Martinez Vannerom
Frances Sunderland
Jose Phillips
Jean Bizot
Mario Frendo
Peter Mays
Arno Tabertshofer
Ray Box
David Gadsby
Margie McGregor
Pauline Tart
Delfido Minucci
Basilio Timpanaro
Simon Neal
Thomas Tindemans
Paul Nicholson
Delma Tomlin
Tatiana Niskacova
Ewa Truszkowska
Ute Omonsky
Miles & Mary Tuely
Stefaan Ottenbourgs
John Vassallo
António Jorge Pacheco
Josephine Vassallo
Tony Davidov
Fanny Grévy
Helmut Pauli
Bernard Verdier
Inna Davidova
Giampietro Gusmini
Christoph Promberger
Herbert Vieth
Bank of Scotland
Andreas Braun
Jelf Group plc
Classical Communications
John Bull
Davinia Galea
Martin Gauci
Restaurant Cellarius
Sebastian Gerlach
Critchleys
Tijana Cerovic
André Gomez
Vladan Cerovic
Selsey Press
Kailai Chen
white space
David Conway
The Hon Lawrence Gonzi
Marie Gouy
EUBO is a member of Culture Action Europe (formerly EFAH), ABO (Association of British Orchestras), REMA (Réseau Européen de Musique Ancienne)
and NEMA (UK National Early Music Association)
This project has been funded with support from the European Commission. This publication reflects the views only of the European Union Baroque
Orchestra, and the Commission cannot be held responsible for any use which may be made of the information contained herein.
European Union Baroque Orchestra Hordley, Wootton, Woodstock OX20 1EP, UK
Tel: +44 1993 812111 Fax: +44 1993 812911 Email: info@eubo.org.uk Web site: www.eubo.eu
EUBO is grateful for the
support and co-operation of
the following persons and
organisations in Echternach,
Luxembourg:
Desirée Dall’Agnol
Julien Alex
Massimo Amato
Marco Bernard
Gaby Bouhlel
Brasserie 1900
Ralf Britten
Georges Calteux
Luc Cannivy
Suzette Espirito
Rosi Faber
Monique Flaurimont
Marie-Paule Gerson
Konstantin Grosse
André Hartmann
Alexander Hilger
Benedikt Herz
Hotel des Ardennes
Hotel de la Basilique
Marc Juncker
Sylvie Martin
Alexander Mullenbach
Svenja Richter
Georges Santer
Mariette Scholtes
Heiko Sterner
Fernand Theisen
Théo Thiry
Andreas Wagenknecht
Yves Wengler
Conny Weyland
Youth Hostel Echternach
Zum Wohli
EUBO would like to thank the following festivals, concert
series and organisations:
Academia de Música de Espinho
Adela Sanchez Producciones
Amis de la Musique sur Instruments
Anciens (AMIA)
Arts and Artists Katalin Kiricsi
Association de Musique Ancienne de Nancy
Belgrade Summer Festival
Casa da Música, Porto
Christmas Festival at St John’s, Smith Square
Concerto Gandersheim
Echter’Barock
Festival International Echternach
Forum Artium
Indian Summer in Levoca
Jardins d’Agrément, Amilly
Konzertbüro Andreas Braun
Malta Arts Festival
Michaelsteiner Klosterkonzerte
Ohrid Summer Festival
Philharmonie Merck
Philharmonie Łodz
Quedlinburger Musiksommer
Salzburger Bachgesellschaft
Stichting Comité voor het Concertgebouw
Tonicale Musik & Event
Villarte
York Early Music Christmas Festival
") ,*" 1,
w w w. e c h t e r n a c h . l u
ECHTERNACH
E U R O P E A N D E S T I N AT I O N O F E X C E L L E N C E
%" ,)!"01 1,4+ &+ 25"*,2/$

Programme 2010 - European Union Baroque Orchestra

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