Programme Book 2011

an ambassador for the European Union

eubo 2011Inspired performance. Real experience.

EUBO programme 2011 cover section art:EUBO Programme 08 Cover Section 25/8/11 10:52 Page 1

Cloud computing: a catalyst for European competitiveness

Cloud computing is gaining momentum as Europe discovers the productivity gains and opportunities for a wide range of European economic stakeholders. It creates a more level playing field where small European companies can play big.

Cloud computing requires large investments in terms of massive data centres and telecommunications infrastructure. These investments come from larger companies, enabling Europe to access the economies of scale that cloud compu-ting offers. The data centres, combined with reliable networks, can provide computing power which is more cost-effective, secure, and sustainable than average compa-nies can obtain by running their own IT systems.

The benefits pervade throughout the economy, and will have large-scale advantages for small business.

Many small and medium sized enterprises (SMEs) used to dream of having cheap access to computing power. Some struggled to finance upfront the IT hardware and software

To provide these innovative services, Threeplicate and Artesian embrace the sheer power of large scale computing in the cloud. This is an advantage small companies never had before.

Microsoft works with thousands of startup companies in Europe, through programs like Bizspark, aimed at helping early stage start-ups by providing them with software and support. Without such activity by SMEs, there would be less interest in cloud computing.

The role of SMEs is not always evident, but by developing, selling, and using cloud-based services, they are a force shaping the future of computing and driving the type of economic activity & competitiveness that is vital for us all in Europe.

For more information: www.microsoft.eu

needed to start, or expand a business. Others wanted to have access to more computing resources only when they needed it, instead of buying excess capacity in preparation for busy periods.

Now, through mainstream access to cloud computing, these small companies can do what they have always wanted, and even more, as both users and innovators of cloud computing.

As innovators, many SMEs are busy developing new applica-tions and services on cloud platforms. A good example is Threeplicate, a startup company in Italy that created a service to simplify the process of translating software in multiple languages, helping developers to save time, reduce workload and minimize error when reaching new markets. Another example is Artesian, a small UK company that offers a service to reduce the cost, time and pain of filtering web and social-media information so that its customers get quick and accurate access to market intelligence.


European Union Baroque OrchestraPresident: DrWalter Scheel

Chairman, Committee of Patrons: HRH The Duke of Kent KG

Patrons ex officio: EU Commissioner for Education and CultureAndroulla VassiliouChairman EP Culture Committee: Doris PackEUMinisters of CulturePolish Presidency of the European UnionCouncil of Cultural Ministers:Bogdan Zdrojewski

Patrons: James Bowman, Christopher Hogwood,Ton Koopman

Directors/Trustees: Eric Bean, Ian Forrester QC,StruanMcBride (Chairman), SimonMundy,Frances Sunderland (Company Secretary)

Advisory Council: Members include Paul Agnew,Jean-Claude Eeckhout, Erwan Fouéré,Lidia Geringer De Oedenberg, Geoffrey Keating,Toomas Siitan, Ernst-Dieter Wiesner

Music Director: Lars Ulrik Mortensen

Director of Studies: Margaret Faultless

Director Emeritus: Roy Goodman

Director General: Paul James

Orchestral Manager: EmmaWilkinson

Liaison Manager: Noora Heiskanen

Legal status: EUBO is a registered charity in the UnitedKingdom No.800906 and a company limited byguarantee No.2171965

Funding Programme: EUBO 2011 is funded with support from theEuropean Commission budget line “Supportfor Organisations active at European Level inthe field of Culture”

EUBO is Orchestra-in-Residence inEchternach, Luxembourg

Bienfaiteurs de l’orchestre Microsoft Europe, UBI Banca International,EUBO 2011: White and Case, The EarlyMusic Shop

European Union Baroque OrchestraHordley, Wootton, Woodstock,Oxfordshire OX20 1EP, UKT: +44 1993 812 111F: +44 1993 812 911E: [email protected]: www.eubo.org.uk

EU Member States: Ministers of Culture: Patrons ex officio ofthe European Union Baroque Orchestra

Austria: Claudia SchmiedBelgium: Fadila Laanan, Joke Schauvliege, IsabelleWeykmansBulgaria: Vezhdi RashidovCyprus: Andreas Demetriou

Czech Republic: Jiři BesserDenmark: Per Stig MøllerEstonia: Rein LangFinland: Paavo ArhinmäkiFrance: Frédéric Mitterrand

Germany: Bernd NeumannGreece: Pavlos YeroulanosHungary: Miklós RéthelyiIreland: Jimmy Deenihan

Italy: Giancarlo GalanLatvia: Sarmīte Ēlerte

Lithuania: Arūnas GelūnasLuxembourg: Octavie Modert

Malta: Mario deMarcoThe Netherlands: Marja van Bijsterveldt-Vliegenthart

Poland: Bogdan ZdrojewskiPortugal: Gabriela CanavilhasRomania: Kelemen HunorSlovakia: Daniel KrajcerSlovenia: Boštjan Žekš

Spain: Ángeles González-Sinde ReigSweden: Lena Adelsohn Liljeroth

United Kingdom: Jeremy Hunt

EUBO is an official cultural training initiative of theEuropean Parliament and the European Commission,and in 2011 has been funded with support from theEuropean Commission. Among the many supporters ofthe Orchestra, EUBO is grateful to the following for theirspecial attention

Commission Commissioner Androulla VassiliouCatherine Sustek

DG EAC Jan TruszczyńskiVladimír ŠuchaXavier TroussardAnn Branch

EAC EA Gilbert GascardBarbara GesslerTatiana NiskacovaDelfido Minucci

EUBO programme 2011 text section art cmyk:Layout 1 27/8/11 10:17 Page 1

2 | 3 EUBO 2011 ToursMozart Requiem

12 January New College, Oxford, United Kingdom12 January BBC Radio 3 ‘Genius of Mozart’ Season16 January BBC Radio 3 ‘Genius of Mozart’ Season

Bach & Sons28 July Echter’Barock, Echternach, Luxembourg30 July Festival Internacional deMúsica, Espinho, Portugal31 July Festival deMúsica de Alcobaça, Alcobaça, Portugal

4 August Musica Antica aMagnano, Magnano, Italy5 August Milano Arte Musica, Milan, Italy7 August Kilkenny Arts Festival, Kilkenny, Ireland

8 September Bach Days, Istanbul, Turkey9 September Bach Days, Istanbul, Turkey

Archi in Battaglia5 October Les Jardins d’Agrément, Amilly, France6 October Echter’Barock, Echternach, Luxembourg8 October Die neuenMeister der altenMusik, Munich, Germany9 October Konzertring, Coesfeld, Germany10 October Brussels, Belgium (by invitation only)13 October MOMCulture Centre, Budapest, Hungary15 October Festival Musicale Estense, Modena, Italy16 October Armonie Barocche, Firenze, Italy18 October I concerti della Normale, Pisa, Italy

Joy and Sorrow unmasked11 November Pavia Barocca, Pavia, Italy12 November Settimane Barocche di Brescia, Brescia, Italy13 November Musica antica a Villa Reale, Monza, Italy15 November Casa daMúsica, Porto, Portugal17 November Poznan Baroque Festival, Poznan, Poland18 November Polish EU Presidency 2011, Warsaw, Poland19 November Echter’Barock, Echternach, Luxembourg

20/21 November Recordings, Echternach, Luxembourg22 November Musikalischer Herbst, Darmstadt, Germany

A Breath of Enlightenment8 December Bachs ErbenWorkshop, Blankenburg, Germany9 December Michaelsteiner Klosterkonzerte, Blankenburg, Germany11 December Mazovia goes Baroque, Warsaw, Poland13 December Workshop, Echternach, Luxembourg14 December Echter’Barock, Echternach, Luxembourg15 December StichtingMusica Antica , The Hague, Netherlands16 December Koninklijk Conservatorium, The Hague, Netherlands17 December SpitalfieldsWinter Festival, London, United Kingdom18 December A Seasonal Celebration, Oxford, United Kingdom

EUBO 2011 ProgrammesMozart RequiemDirector Edward HigginbottomConcertmaster Tuomo SuniNew College Choir OxfordWAMOZART Requiem KV626

Bach & SonsDirector & harpsichord Lars Ulrik MortensenConcertmaster Huw DanielJS BACH Brandenburg Concerto No 3 in G BWV1048JC BACH Harpsichord Concerto in f minor C73WF BACH Sinfonia in F Falck 67JB BACH Ouverture in g minor for violin and stringsCPE BACH Sinfonia in B Flat Wq182/2Some concerts will include:JS BACH Violin Concerto in a minor BWV1041G HANDEL Concerto Grosso in F HWV320

Archi in BattagliaDirector & violin Enrico OnofriConcertmaster Johannes PramsohlerD CASTELLO Canzon Decimasesta da Sonate ConcertateS SCHEIDT Symphonia e BattaliaH VON BIBER BattaliaA VIVALDI Concerto Grosso in d minor RV565A CORELLI Sonata Nona Op I in G a treG TELEMANN Concerto in G for 4 violins TWV40:201F GEMINIANI Concerto Grosso in d minor Op 5 No 12 ‘Follia’

Joy and Sorrow unmaskedDirector Lars Ulrik MortensenSoprano Maria KeohaneConcertmaster Huw DanielTrumpet Sebastian PhilpottG HANDEL Cantata Ah! Che troppo ineguali HWV230G HANDEL Concerto Grosso in F HWV 320G FERRANDINI Cantata Il Pianto di Maria HWV234

(originally attrib. to Handel)G TORELLI Trumpet Sonata in DJS BACH Brandenburg Concerto No 3 BWV1048JS BACH Cantata Jauchzet Gott in allen Landen BWV51

A Breath of EnlightenmentDirector & flute/recorder Alexis KossenkoConcertmaster Zefira ValovaP LOCATELLI Concerto pastorale in f minor Op 1 No 8G SAMMARTINI Recorder Concerto in FC GRAUPNER Ouverture in E GWV436J PISENDEL Sonata in c minorF GEMINIANI Concerto Grosso in d minorJS BACH Suite No 2 in b minor BWV1067Some concerts will include:G TELEMANN Concerto for flute and violin in e minor TWV52:e3


EUBO 2011 Members

Violin Lorea Aranzasti Pardo SpainFederico Brigantino ItalyDavina Clarke United KingdomLucia Giraudo ItalyLiv Heym GermanyGemma Longoni ItalyKlaudia Matlak PolandJustyna Niznik PolandEveleen Olsen United KingdomJoan Plana Nadal Spain

Viola Femke Huizinga The NetherlandsLola Fernandez Mateos SpainIldiko Ludwig Germany

Cello Magdalena Brostek GermanyGulrim Choi FranceFederico Toffano Italy

Double Bass Pippa Macmillan United Kingdom

Bassoon Anna Flumiani Italy

Theorbo Francesco Tomasi Italy

Harpsichord Tom Foster United KingdomOrgan Rossella Policardo Italy

EUBO 2011 Faculty

EUBO DirectorsLars Ulrik Mortensen DenmarkEnrico Onofri ItalyAlexis Kossenko FranceEdward Higginbottom United Kingdom

EUBO ConcertmastersHuw Daniel United KingdomJohannes Pramsohler ItalyTuomo Suni FinlandPeter Spissky SlovakiaZefira Valova Bulgaria

EUBO TutorsLars Ulrik Mortensen DenmarkMargaret Faultless United KingdomEnrico Onofri (violin) ItalyAnton Steck (violin) GermanyRichard Gwilt (viola) United KingdomJaap ter Linden (cello) The NetherlandsBalázs Máté (cello) HungaryLove Persson (double bass) SwedenBéatrice Martin (harpsichord) FranceSimon Neal (tuning & temperament) United Kingdom

EUBO AdministrationDirector General Paul James United KingdomOrchestral Manager EmmaWilkinson United KingdomLiaisonManager Noora Heiskanen Finland

European Union Baroque OrchestraHordley, Wootton, Woodstock,Oxfordshire OX20 1 EP, UKT: +44 1993 812 111F: +44 1993 812 911E: [email protected]: www.eubo.org.uk

“ It was a performance full of energy, smiles,enthusiasm and at times quite dazzling...thoroughly enjoyable... delivered withreal pzazz”The Irish Times


Plato said that “Music is a moral law. It givessoul to the universe, wings to the mind, flight to

the imagination, and charmand gaiety to life and toeverything.” I cannot think ofany better words of welcometo and support of the EuropeanUnion Baroque Orchestra.

Comprising musicians from eleven EuropeanUnionMember States it will be performing thirtyconcerts in different parts of Europe in 2011. Itwill mark the first Polish Presidency of theEuropean Union with three performances inPoland. And it will be also playing three times inmy own country, Portugal, one of them in themagnificient Casa daMúsica of Oporto.

Bringing baroque music to a rich diversity ofpublics, offering opportunities for youngmusicians to gain experience and vocationaltraining in the field, the Orchestra has enhancedEuropean openness, understanding andsolidarity for over a quarter of a century. Perhapsmore than music of other epochs baroque music,which can be listened to in the foreground aswell as provide a musical background, is a subtleand powerful instrument of harmonizationbetween people and nations.

I wish the Orchestra a year of success in the2011 European Tour.

JoséManuel BarrosoPresident of the European Commission

In my capacity as Chairwoman of the Committeeon Culture and Education in the EuropeanParliament, I am pleased to have theopportunity to express my profound respectand my continuous support for the work of theEuropean Union Baroque Orchestra. As I havealready witnessed several times the uniquenessof this orchestra, I know its importance and itsartistic quality.

EUBO combines high artistic standards andadvanced musical skills with interculturalpersonal contacts and transnational exchange.These mutual experiences are at the very core ofwhat the European idea isabout. The motto of theEuropean Union is "United indiversity". Today as neverbefore, it is one of our biggestchallenges to inject some lifeinto this slogan. We need it notonly written and engraved in plain letters; wealso need the European people to live and toliven up this motto. We can invest in our culture,as the EU has done and will furthermore do, butit is people like these young musicians that reallymake the difference.

Created in 1985 as part of EuropeanMusic Year,EUBO has evolved from a short term project toan excellent and long-lasting cultural initiativeeven labelled with the term "Ambassador" by theEuropean Union. Thus, the European UnionBaroque Orchestra is nowadays one of the bestproofs we have that the European maxim isactually being lived by young people everyday.

Without the hard work and engagement ofeveryone involved in EUBO, the project wouldnever have been as established as it is today.Hence, I want to thank everybody involved forturning the European idea into reality and forenriching our European cultural scene.

All best wishes for your future work!

Doris PackChairman of European Parliament CultureCommittee

Echternach, the oldest town in Luxembourg andsituated at the heart of Europe, has always triedto support the education of young people. Themultitude of associations,sports clubs and culturalinstitutions and organizationsin our town is a testament tothis. So it is a pleasure to beinvolved in this field on aEuropean level, and offer young and talentedbaroque musicians a residency in Echternach,where they have the possibility to showwhatthey are capable of and to deepen theirexperience. But the young musicians are not theonly ones to profit from this symbiosis: the seriesof concerts "Echter’Barock“ given by theEuropean Union Baroque Orchestra, in co-operation with the Cultural Centre Trifolion, theFestival International Echternach and the Villed’Echternach, is an important culturalenrichment for the city, and one which bringsprofile and visibility to our cultural life, high levelinternational cultural contacts, and supportslocal enterprises.

It is an honour for me to welcome the EuropeanUnion Baroque Orchestra back to Echternach fortheir 2011 concerts and to wish the Orchestraevery success for this year’s tours, to eachindividual musician a fulfilling musical careerand a good memory of our town, and to all theirlisteners a highly enjoyable concert experience.

Théo ThiryBourgmestre, Ville d’Echternach

Culture can be seen as the lifeblood of the socialand civil development of Europe – it builds humancapital which is a vital factor of economic change.It is thanks to culture and cultural experience thatwe can viewworld in amore open and tolerantway. It brings aswell new, innovative ideas toimprove the quality of life of European citizens. Asthe current President in office of the Council of theEuropean Union andMinister of Culture andNational Heritage, I am particularly glad to offermy sincere congratulations andwords of supportto the European Union Baroque Orchestrawhichperfectly embodies these ideals. One canwonderwhywe need in Europe a baroque orchestra.Wehave to bear in mind that the baroquewas a timeof the flourishing of instrumental musical forms,such as Johann Sebastian Bach’s fugueswhicharemasterpieces of art and reflect the process ofachieving perfect harmonywhile usingpolyphonic sounds. Suchworks can be seen asmetaphors for the unity of Europe, achieving onepurpose through contributionsfrom each national voicemadewith great enthusiasm. “Nosound is without meaning” asthe Bible says. The EuropeanUnion Baroque Orchestra hasalready proved that the idea “unity in diversity” ispossible by integration of polyphonic individualsinto one common goal of collaboration andsolidarity. Comprised of students from all overEurope, the Orchestra is a living example oftransnational cooperation at the highest level.Also it is an incredible opportunity for the youngmusicians to gain unique experience andinternational recognition.We are thereforefortunate enough that this year EUBOwill givethree performances in Poland celebrating the firstPolish Presidency of the Council of the EuropeanUnion.We believe that music can be a tool tostrengthen solidarity as it is a truly universallanguage that transcends all boundaries. Hence, Iam honoured to expressmy profound support forone of the greatest political and cultural projectsin which the language of music creates an idealsymphony between nations.

All best wishes for all future harmonic projects!

Bogdan ZdrojewskiMinister of Culture & National Heritage Poland

4 | 5


Claudia SchmiedAustria

Fadila LaananBelgium

Joke SchauvliegeBelgium

Isabelle WeykmansBelgium

Vezhdi RashidovBulgaria

Andreas DemetriouCyprus

Jiři BesserCzech Republic

Per Stig MøllerDenmark

Rein LangEstonia

Paavo ArhinmäkiFinland

Frédéric MitterrandFrance

Bernd NeumannGermany

Pavlos YeroulanosGreece

Miklós RéthelyiHungary

Jimmy DeenihanIreland

Giancarlo GalanItaly

Sarmīte ĒlerteLatvia

Arūnas GelūnasLithuania

Octavie ModertLuxembourg

Mario de MarcoMalta

Marja van Bijsterveldt-VliegenthartThe Netherlands

Bogdan ZdrojewskiPoland

Gabriela CanavilhasPortugal

Kelemen HunorRomania

Daniel KrajcerSlovakia

Boštjan ŽekšSlovenia

Ángeles González-Sinde ReigSpain

Lena Adelsohn LiljerothSweden

Jeremy HuntUnited Kingdom

EU Ministers of Culture


6 | 7

“ EUBO plays music from 300 years ago, not tocreate a museum, but a here-and-nowexperience. Every time we start a piece, I feel weare playing it for the first time. Baroque musiccommunicates directly, so let’s rid ourselves ofthe commonly-held prejudice that “classical”music is written down and therefore has to beplayed the same way each time. It is closer tojazz in its improvisation and communication, andthe only wrong thing would be to do exactly whatyou did last time.”

These challenging words from EUBO’s Music Director Lars UlrikMortensen are the starting point each year for the newmusicians of the European Union Baroque Orchestra. EUBO isdifferent from other orchestras: every year since 1985 acompletely new orchestra is created from around 25 highlytalented and motivated young musicians, coming typically from12 or more EU countries. EUBO is not a competitive ‘knock-out’but a dynamic ‘harmony of nations’: a collective energy, burstingwith enthusiasm and creativity, where the whole is considerablygreater that the sum of the individual parts.

EUBO provides a bridge between conservatoire study and aprofessional career. Baroque orchestral repertoire is sometimesunder-represented in conservatoires in favour of individualstudy, so students may not get the experience they need. Soloand chamber music is nice work if you can get it, but, for mostmusicians, orchestral playing is more likely to be the mainsource of income. A season with EUBO provides youngmusicians with a springboard into professional musical life.

It’s not just about the music either. EUBO is widely recognisedas a Cultural Ambassador (it’s actually why the orchestra getsits EU funding) and sees this role as being as important as itsmusic-making. The cliché notwithstanding, music really is acommon language and part of our shared heritage. As ECPresident Barroso said: “An orchestra is the perfect symbol ofthe power of integration, and EUBO is a perfect example of what

this can mean for Europe. Bringing together talent of differentbackgrounds, nationalities and languages, it serves as areminder of what we can achieve by working together.”

Since its foundation in 1985, EUBO has given nearly 800concerts in 53 different countries, involving thousands ofmusicians. As well as performing in all 27 EU countries inEurope’s most prestigious venues and festivals, the Orchestrahas also included many less frequented places in its tours, fromBosnia to Brazil, Gaza to Gozo, Macedonia to Morocco, Syriato Soweto…

Concert income alone cannot sustain EUBO’s activities.Financial support comes from the European Commissionthrough the Culture Programme, and from loyal corporatesponsors: Microsoft Europe, UBI Banca International, White &Case, and, from 2011, The Early Music Shop, and from charitablefoundations such as EUBO Development Trust and Fidelio Trust.

Whilst maintaining a broad geographical spread, EUBO also has

relationships with a number of regular partners: foremostamongst these is Echternach in Luxembourg, where EUBO is“Orchestra-in-Residence” in co-operation with the City andFestival of Echternach, with Trifolion and the Ministry of Cultureof Luxembourg. Further residencies take place in Pavia in Italyat Collegio Ghislieri, in Germany at Kloster Michaelstein and inDarmstadt for Musikalischer Herbst, in Amilly in France atJardins d’Agrément, at Casa da Música in Porto in Portugal, andfrom 2012, at De Bijloke in Gent in Belgium.

EUBO remains a highly-valued training resource for youngmusicians, working in a range of musical styles under a varietyof the finest Music Directors. Without EUBO providingexperienced new talent, there is no doubt that professionalbaroque ensembles would find it difficult to recruit and maintaintheir standards. The Orchestra has inspired the hundreds ofyoung people who have trained with it and the many thousandswho have experienced its dazzling performances each year.

Inspired performance. Real experience.

What’s different about EUBO?



ECHTER’BAROCK 2011EUBO is Orchestra-in-Residence in Echternach,Luxembourg presenting a regular series ofconcerts and other activities

Bach & SonsThursday 28 July, 20:00Église SS Pierre-et-PaulDirector & harpsichord Lars Ulrik MortensenConcertmaster Huw Daniel

Archi in BattagliaThursday 6 October, 20:00Église SS Pierre-et-PaulDirector & violin Enrico OnofriConcertmaster Johannes PramsohlerWith the support of UBI Banca Luxembourg

Joy and Sorrow UnmaskedSaturday 19 November, 20:00Atrium, TrifolionDirector & harpsichord Lars Ulrik MortensenSoprano Maria KeohaneConcertmaster Huw DanielTrumpet Sebastian Philpott

A Breath of Enlightenment& children’s morning concertWednesday 14 December, 20:00Atrium, TrifolionDirector & flute/recorder Alexis KossenkoConcertmaster Zefira Valova

Orchestral Courses 2011Course 1 from 8 to 11 April, in TrifolionCourse 2 from 11 to 14 April, in Trifolion

RecordingsSunday 20 NovemberMonday 21 NovemberAtrium, Trifolion

WorkshopTuesday 13 DecemberTrifolion

“ Luxembourg has long seen itself as a naturalhome for the European ideal and bringingtogether young players from all over Europeto experience what true integration can offer inpractice is a perfect expression of that ideal.”Octavie ModertMinister of Culture, Luxembourg

EUBO is Orchestra-in-Residence for the fourth consecutiveyear in Echternach, and is grateful to its partners formaking this possible: Ville d’Echternach, FestivalInternational d’Echternach, Trifolion - Centre Culturel,Touristique et de Congrès Echternach and Ministry ofCulture of Luxembourg. A series of concerts under thebanner ‘Echter’Barock’ was created at the start of theresidency, and is now an essential part of the cultural lifein Echternach and in the Grande Région. Many of theorchestra’s activities take place in Echternach, includingrehearsals and training and the annual orchestral auditioncourses at Easter. In 2011 EUBO will record a selection ofits new concert programmes at Trifolion in November, andin collaboration with the École de Musique and theLuxembourg Conservatoire will begin to play a special rolein Orchestra’s activities during its residency. Thecollaboration between EUBO and its enlightened partnersin Echternach brings the Orchestra to the heart of Europe.EUBO is immensely grateful for the support shown byeveryone involved in this co-operative venture.

8 | 9

Ville d’Echternach



10 | 11 MOZART REQUIEM ViolinTuomo SuniNaomi BurrellCecilia Clares ClaresKristin DeekenEveleen OlsenDominika PawlickaBeatrice ScaldiniCamilla ScarlettRachel StroudSara-Deborah Struntz-TimossiGiorgio Leonida TosiKinga UjszasziViolaAliye CornishJoanneMillerSam KennedyLucile ChionchiniCelloAnia KatynskaCarina DruryEmily SmithAnna Carlsen

Double BassMarco Lo CiceroPippaMacmillanBasset HornLouise StricklandJulianWheelerBassoonAnna FlumianiZoeMatthewsTrumpetSebastian PhilpottNickWrightTromboneIain MaxwellHilary BelseyRoss BrennanTimpaniRosie Toll

WA MOZART (1756-1791)

Requiem KV626

Introitus – Kyrie eleison – Sequentia – Offertorium – Sanctus –

Agnus Dei – Communio

Director Edward HigginbottomConcertmaster Tuomo SuniSoloists Jonty Ward (treble), Hugh Cutting (alto)Guy Cutting (tenor), Jonathan Howard (bass)Choir of New College Oxford

12 JanuaryChapel of New CollegeOxfordUnited Kingdom

12 JanuaryBBC Radio 3 ‘Genius of Mozart’Chapel of New CollegeOxfordUnited Kingdom

16 JanuaryBBC Radio 3 ‘Genius of Mozart’Chapel of New CollegeOxfordUnited Kingdom

EDWARD HIGGINBOTTOMDirectorEdward Higginbottom is ChoralProfessor at Oxford University and hasbeen Director of Music at New CollegeOxford since 1976. He made his earlymark as a keyboard player. He gainedhis Fellowship of the Royal College ofOrganists before leaving school. There

followed a long association with Corpus Christi CollegeCambridge, beginning with an organ scholarship, continuing witha doctoral thesis on French baroque music, and ending with aresearch fellowship (1973-76). From 1970 to 1972 he worked inParis. His contact with French culture has borne fruit in entries onFrench music for The New Grove Dictionary of Music, editions ofFrançois Couperin’s chamber music, and a number of recordingprojects featuring French music. He has also been active inadvising the French Ministry of Culture on its policy of reintro-ducing choir schools in France, for which work he has received thedecoration ‘Officier de l’Ordre des Arts et des Lettres’. EdwardHigginbottom’s academic interests extend to historicalperformance practice issues which he teaches alongside otherspecialities in the Faculty of Music at Oxford. He has presided atvarious international music competitions, and been a guestconductor for leading European ensembles. He brings to the workof New College Choir an extensive knowledge of the choralrepertory and performance styles.

TUOMO SUNIConcertmasterTuomo Suni was born in Finland. Hebegan to play the violin at the age offour and in 1996 began specialising inthe baroque violin, studying withKreeta-Maria Kentala. Between 1999and 2005 he furthered his studies withEnrico Gatti at the Royal Conservatoire

in The Hague. Tuomo graduated with a Bachelor degree in 2003, aMaster degree in 2005 and is now based in London. Tuomo is amember of Opera Quarta, winner of the Van Wassenaer Concours2002 and Premio Bonporti 2002. Opera Quarta's CD of Leclair triosonatas, released by ORF in 2007, was awarded the prestigiousDiapason d'or. Tuomo plays and records regularly withmany ensembles around the world, including CapriccioStravagante, Ricercar Consort, Ensemble Masques, B'Rock, HollandBaroque Society and The Helsinki Baroque Orchestra. Recently hehas also worked with The English Concert, RetrospectEnsemble, The Gabrieli Consort & Players, The Classical OperaCompany, The King's Consort, Bach Collegium Japan, Il ComplessoBarocco, The Irish Baroque Orchestra and The Hanover Band.Tuomo was a member of EUBO in 1997 and has since been invitedback as concertmaster for a number of programmes.

CHOIR OF NEW COLLEGEOXFORDThe Choir of New College Oxford is oneof the few Oxbridge choirs that hassurvived demolition from reformers,bursars and iconoclasts; it is still largelywhat it was in the late 14th centurywhen ‘New’ College was set up. Thetimbre of the Choir is very recognisable,

as is the energy and musicality of its performances. The Choir hasbecome increasingly known for its interpretations of Renaissanceand Baroque music, and this focus has shaped a very extensivediscography (some 80 recordings, including many of musichitherto not recorded, and in editions prepared by EdwardHigginbottom). However, the repertory of the Choir extends to allperiods, and an objective of its director is to produce aninstrument flexible enough to meet a whole range of repertorialdemands. The Choir has performed with the European UnionBaroque Orchestra under the direction of Prof Higginbottom onmany occasions since 1985. The Choir has recently recordedMozart’s Requiem and performs it with EUBO in 2011 as part ofthe BBC Radio 3 celebration of ‘Genius of Mozart’.


A world without Bach?By the end of the 19th century, as a result of changing fashionsand other priorities, the works of J S Bach had virtually disap-peared from the repertoire. Impossible to believe today, when heis universally revered as the greatest and most influential of allcomposers in the Western tradition. But true nonetheless. 150short years after his death, Bach’s music was in real danger ofdisappearing forever.

The revival of interest in his work and in the wider literature ofthe baroque began in earnest in the UK towards the end of the19th century. But the orchestras of that age were light yearsaway from those of the early 18th century. Changing taste andrapid strides in instrument technology had made them megalithsin size and sound. As recently as the late 1960s, ‘modern’ inter-pretations of baroque music were drowning in the voluptuoustonal oceans of the late Romantics.

Resurrecting an (almost) lost traditionThe 1970s witnessed the emergence of an intense interest inresearching and practising historically informed interpretationsof the baroque repertoire. Musicians, instrument makers andacademics were exploring early instrument constructiontechniques, tone qualities, compositional techniques, ensembleformations and creating new performing editions. It is out of thisbackground of artistic and intellectual curiosity and imaginationthat EUBO emerged.

A unique and thrilling sound worldIn the 40 or so years since then, baroque performance practicehas rediscovered the music’s extraordinary energy and texturesof transparency, joy and grace. Experience a EUBO concert andyou will understand what this means. This is music-making ofextreme vitality and energy. A combination of profoundknowledge, technical virtuosity and a spontaneity thatapproaches and even includes improvisation, allowing it topenetrate the remotest corners of reflection and emotion.

Passing the torchSince the Orchestra’s inception in 1985, almost 800 musicianshave passed through its hands. Of those, over 90% have goneon to successful professional careers. Some are now amongthe major stars of the baroque universe. Others have becomeprofessors of music in conservatories across the world. Allhave taught, teach and will continue to teach. Multipliedacross the hundreds who have already trained with EUBO,the final numbers of young musicians who will directly benefitfrom EUBO’s work will be in the hundreds of thousands. Andthe work goes on.

In praise of philanthropyTo support EUBO is to make an active contribution to continuingthe (as yet) unbroken line that, along the way, has given usMozart, Beethoven, Brahms, Stravinsky, Ellington and TheBeatles. In just 100 years out of the last 2,000 (between 1650 and1750) music burst its formal and imaginative shackles to lay thegroundwork for everything that has followed. A revolution, in thefinest sense of the word, made possible almost entirely throughthe enlightenment of a handful of private philanthropists.

There are many more headline-grabbing causes than EUBO,from natural disasters to avoidable diseases to environmentalprojects. They are to be honoured and supported too. But aswell as, not instead of. Most of us, at some point in time, havedreamed of devoting ourselves to an artistic or other passion.But for most of us, the insecurities of such a life make itunliveable. Respect, then, to those who are so driven by theirpassion for music that they can live that life, in spite of every-thing. And respect to those who choose to use a portion of theirwealth to support them. To the incalculable benefit of all of us.

Nick Berry, Heidelberg, July 2011Founder Trustee of EUBO Development Trust

EUBO DEVELOPMENT TRUST

Why support EUBO?It can be tempting to think of arts sponsorship as more worthy than necessary. After all, the world will not stop turningif – in EUBO’s specific case – talented young musicians do not get the chance to develop into skilled professionals,with a lifetime of service to music ahead of them. And does it really matter if we never again hear the masterpiecesof the baroque performed in a historically informed style? Or performed at all? It is not a new argument. But the priceof neglect is potentially far greater than a few hundred unfulfilled lives.

The Big GiveKen & Vera BarnesAlan & Clare Todd

Nick BerryJohanna BükerAlison &Martin ClaytonDr Lucy ComerfordCharles CozensVan & Eva DuBoseAloise Fiala-MurphyRoy GoodmanAlistair & Dolores GrayIain & Gillian GraySteven HarroldFiona HerronAlex JaegleAndrewManzeDonald & Leonore PayneJose PhillipsTrevor Pinnock CBETony &Michelle RaperMalaria RiksdottirSarah Tenant-FlowersDavid & Dorothy ThomsonHelena DeWinter

Friends and Alumni DonorsAnon.Sir Richard & Lady AikensEric & Joan BeanClassical CommunicationsProf Alberto ContiHuw DanielDavid Gordon & VirginieGuiffrayMatthew HallsPatricia JamesPaul James & SandyGowingsStruan & JacquelineMcBrideMargie McGregorSimon NealOliver SändigEmmaWilkinson

Charitable Trusts supportingUK musicians:Angus Allnatt CharitableTrust for support in 2010Doris Field Charitable Trustfor support in 2011Fidelio Charitable Trust forsupport in 2011

EUBO Development Trustoffered for the first time a prizefor the most promising youngEuropean Musician at the 2011Brugge Musica AntiquaInternational Competition. TheEUBO Development Trust prizeand the first prize wasawarded to Anne Freitag,traverso flute.

The EUBO Development Trust is a charity registered in the UK no. 1082932 Trustees: Ken Barnes (chairman), Anna Gustafson, Simon Neal, Alan Todd, SueWaldman

The EUBO Development Trust would like tothank the following for their support


12 | 13 BACH & SONS This programme is an example of not only the musicaldifferences between “father” Johann Sebastian Bach and thegeneration that came after him, but also an example of thestylistic differences that can be found between his sons.

Johann Christian Bach, who became a mainstream world-famouscomposer active in London, wrote in a style which was very “a lamode”, very modern, but not musically very adventurous; hedidn’t feel the need to experiment or to push back boundaries, asdid for instance Wilhelm Friedemann Bach.

Wilhelm Friedemann had a much more volatile, extremetemperament. This was reflected in his life that encompassed aseries of misfortunes; alcoholism, and being fired from variousimportant posts, being examples. This aspect of his character isvery clearly reflected in the capricious Sinfonia in F.

Carl Philipp Emmanuel Bach had a bit of both temperaments. Hestarted his life as a court employee with Frederick the Great andwas a loyal servant to this very conservative sovereign within anarrow musical establishment. The king knew what he wantedand got it. After working for him for a several years, Carl PhilippEmmanuel decided “enough was enough” and to move toHamburg to pursue a career as an independent composer, veryunusual at that time. This is when he wrote music of astonishingpersonal power. His sinfonies are contemporary with Mozart, butvery different, very eccentric.

With this programme the aim is to show, from one of JS Bach’smost famous pieces, Brandenburg Concerto No 3, to some of thebest examples of the works of his sons and his cousin JohannBernard, the development of music from baroque to classical.

Lars Ulrik Mortensen

As Orchestra-in-Residence, EUBO is grateful to beoffered rehearsal facilities in Echternach.Avec le soutien du Ministère de la Culture.

JS BACH (1685-1750)

Brandenburg Concerto No 3 in G BWV1048

[Allegro moderato] – Allegro

JC BACH (1735-1782)

Harpsichord Concerto in f minor C73

Allegro di molto – Andante – Prestissimo

WF BACH (1710-1784)

Sinfonia in F Falck 67

Vivace – Andante – Allegro – Menuetto I & II

Interval

JB BACH (1676-1749)

Ouverture in g minor for violin and strings

Ouverture – Air – Rondeau – Loure – Fantasie – Passepied

CPE BACH (1714-1788)

Sinfonia in B Flat Wq.182/2

Allegro di molto – Poco adagio – Presto

Some concerts will include:

JS BACH

Violin Concerto in a minor BWV1041 (soloist Huw Daniel)

[Allegro moderato] – Andante – Allegro assai

G HANDEL (1685-1759)

Concerto Grosso in F HWV320

Andante larghetto – Allegro – Largo – Allegro ma non troppo

2288 JJuullyyEchter’BarockÉglise SS Pierre-et-PaulEchternachLuxembourg

3300 JJuullyyFestival Internacional de Música de EspinhoAuditório de EspinhoEspinhoPortugal

3311 JJuullyyFestival de Música de AlcobaçaMosteiro de Santa MariaAlcobaçaPortugal

44 AAuugguussttMusica Antica a MagnanoChiesa parrocchialeMagnanoItaly

Director & harpsichord Lars Ulrik MortensenConcertmaster Huw Daniel



55 AAuugguussttMilano Arte MusicaS. M. Annunciata in Chiesa RossaMilanItaly

77 AAuugguussttKilkenny Arts FestivalThe Black AbbeyKilkennyIreland

88 SSeepptteemmbbeerrBach in Istanbul – Bach DaysHagia IreneIstanbulTurkey

99 SSeepptteemmbbeerrBach in Istanbul – Bach DaysHagia IreneIstanbulTurkey

LARS ULRIK MORTENSENEUBO Music DirectorMusic has been central to Lars Ulrik Mortensen's lifesince he climbed onto a piano stool at the age ofthree. He sang in the Danish Radio Boys' Choir,graduated from a Copenhagen high school with aspecialisation in music, and then spent a few yearsplaying in the rock band Culpeper's Orchard. WhenLars Ulrik Mortensen began studying musicology atuniversity, he came across a book about English musicfor the virginal, a smaller version of the harpsichord.He was deeply fascinated, and the music it describedled him to the only keyboard instrument he had notyet played: the harpsichord. It was love at firstdelicate note: Lars Ulrik Mortensen decided to becomea harpsichordist. He first studied at the Royal DanishAcademy of Music in Copenhagen and then withTrevor Pinnock in London. From 1988 to 1990 he washarpsichordist with London Baroque and until 1993with Collegium Musicum 90. After a long associationwith the European Union Baroque Orchestra as harpsichord tutor and guest director, Lars UlrikMortensen became its Music Director in 2004. In 2011,he will give 16 concerts in 7 European countries withEUBO, inspiring and guiding its young musicians togive exciting, thrilling and accomplished performances.A Financial Times reviewer, writing after a EUBOconcert, said “Mortensen is exceptional not just for hisscholarship and virtuosity at the keyboard, but alsobecause he makes music with his entire body andsoul.” In his home country Lars Ulrik is the artistic

director of ConcertoCopenhagen (CoCo), whoseopera productions at theRoyal Theatre inCopenhagen, includingHandel's Giulio Cesare andPartenope, Mozart'sIdomeneo, Marriage ofFigaro and La Clemenza di

Tito, and Monteverdi's Il Ritorno d'Ulysse in Patria,have helped to build a profile for the group nationallyand internationally. In addition to his work with his”own” orchestras, Lars Ulrik also performs extensivelyas guest director, soloist and chamber musician inEurope, the United States, Mexico, South America,Japan and Australia, with distinguished colleagues

including Emma Kirkby, Maria Keohane, JohnHolloway, Jane Gower and Jaap ter Linden. Lars UlrikMortensen’s many CD recordings have reaped majorawards. Directing Concerto Copenhagen, his recentrecordings include the complete harpsichord concertosby JS Bach, which received lavish praise in the inter-national press, Haydn piano concertos (with soloistRonald Brautigam), as well as symphonies by Danishcomposers Hartmann, Kunzen and Gerson. Lars UlrikMortensen has received a number of prizes for hismusic-making, among them the Danish Music CriticsAward, the Danish Radio DMA/P2 award, and in 2007he received Denmark’s most prestigious music award,the Léonie Sonning Music Prize. In 2008 he was madea member of the Royal Swedish Academy of Music.Lars Ulrik Mortensen believes that performing on original instruments (or copies) is of crucial importance: "What fascinates me about baroqueorchestras is their rhythmic and sensual character, as well as the tonal colours of the instruments used,and the freedom - allowing the music to arise spontaneously as you are playing. And besides, Ibelieve it simply sounds better."

HUW DANIELConcertmasterHuw Daniel was a pupil at Ysgol Gymraeg Castell-neddand Ysgol Gyfun Ystalyfera, South Wales, andcontinued his education as an organ scholar atRobinson College, Cambridge, where he graduated withfirst-class honours in music in 2001. He then studied atthe Royal Academy of Music for two years, learning thebaroque violin with Simon Standage and modern violinwith Hu Kun. Whilst at the Academy, Huw was

awarded the John Thomas Memorial Scholarship andthe Dorothy Kennedy Davis Award; he also led theAcademy’s period-instrument baroque orchestra in aconcert at the London Handel Festival. In 2002, Huwwas the winner of the Mark Jones Memorial Award, aprize given annually to a young musician in WestGlamorgan, and in 2003 he won the John FussellYoung Artist Award, giving a recital at the SwanseaFestival. He has also won many prizes at the UrddNational Eisteddfod, and the Royal National Eisteddfod,both as a soloist and as a member of a group, and in1997 he was the winner of the main Urdd EisteddfodScholarship. In 2004, heappeared as soloist in theWelsh Association of MaleChoirs concert at the RoyalAlbert Hall. In 2004, Huwwas a member of theEuropean Union BaroqueOrchestra, the members ofwhich formed Harmony ofNations and continue to play together under thisname; they released their first CD in 2007, and a CD of“Bach Triples” has been recorded and will be released in2011. He is a member of the Irish Baroque Orchestraand the English Concert, and also plays with TheSixteen, London Handel Orchestra, RetrospectEnsemble, King’s Consort, Amsterdam BaroqueOrchestra, and the Orchestra of the Age ofEnlightenment. As leader he works regularly with theOrquestra Barroca Casa da Música, Porto, Portugal,Harmony of Nations, and English Touring Opera’sbaroque orchestra, and as guest-leader with St James’sBaroque, EUBO, Barokkanerne Oslo, Collegium MusicumTelemann, Osaka, Japan, and Haydn Sinfonietta Wien.Huw plays regularly with many chamber groupsincluding Florilegium, the Feinstein Ensemble, theMusical and Amicable Society, and Le Chardon.

“ The Sinfonia by Carl Philipp EmanuelBach, with its flying leaps, rapid fluctuations of mood, and fondnessfor apparent non-sequiturs was delivered with real pzazz.”The Irish Times


14 | 15 ARCHI IN BATTAGLIA

Music can describe two kinds of "battle": the first one is a realbattle, with instruments imitating a real struggle. The second oneis something related to the concept of the "battle of love" (the"battaglia amorosa", a theme very common in early Italian poetryand music), which mixes two opposite trends: attraction andrepulsion, hatred which becomes love.

So, on the one hand I wanted to deride the violence of warthrough the ridiculous effects produced by the instruments whenthey try to imitate guns and swords; on the other hand I wantedto show that music can transform violence and competition intosomething more positive, even completely opposite.

The word "concerto" comes probably from two different words:the main Latin root seems to be "concentus", which comes from"conserere" ("to braid", or also "to interweave") but mostprobably also from "concertare", which means "to fight" or also

"to compete". In fact, the instrumental concerto is a real battlebetween one or more soloists opposed to the orchestra, but atthe same time it's an attempt to join together the voices of allthe instruments through the dialogue created by that contrast.What's more modern than a meaning like that?

Perhaps this wonderful music can help us to transform mankind’sviolent tendencies into something more useful and enlighteningfor all of us...

Enrico Onofri

D CASTELLO (c1590-c1658)

Canzon Decimasesta da Sonate Concertate in Stil Moderno

S SCHEIDT (1587-1654)

Symphonia e Battalia

H VON BIBER (1644-1704)

Battalia

Sonata – Die liederliche Gesellschaft von allerley Humor – Presto –

Der Mars – Presto – Aria – Die Schlacht – Lamento der Verwundten

Musquetirer

A VIVALDI (1678-1741)

Concerto Grosso in d minor RV565

Allegro – Largo e spiccato – Allegro – Largo – Allegro

Interval

A CORELLI (1653-1713)

Sonata Nona Op I in G a tre

Allegro/Allegro – Adagio – Allegro – Adagio – Allegro/Adagio

G TELEMANN (1681-1767)

Concerto in G for 4 violins TWV40:201

Largo e staccato – Allegro – Adagio – Vivace

F GEMINIANI (1687-1762)

Concerto Grosso in d minor ‘Follia’ after Corelli

Theme and Variations


J SCHMELZER (1623-1680)

Balletto for strings in G Die Fechtschule

Aria I – Aria II – Sarabande – Courente – Fechtschule – Aria Bader

55 OOccttoobbeerrLes Jardins d’AgrémentÉglise St. MartinAmillyFrance

66 OOccttoobbeerrEchter’BarockÉglise SS Pierre-et-PaulEchternachLuxembourg

88 OOccttoobbeerrDie neuen Meister der alten MusikHerkulessaalMunichGermany

99 OOccttoobbeerrKonzertringBürgerhalleCoesfeldGermany

Director & violin Enrico OnofriConcertmaster Johannes Pramsohler

EUBO has an annual residency at Les Jardins d’Agrement in Amilly, France.


1100 OOccttoobbeerrCultural Ambassador ShowcaseBibliothèque Solvay (by invitation only)BrusselsBelgium

1133 OOccttoobbeerrMOM Cultural CentreBudapestHungary

15 OctoberFestival Musicale EstenseChiesa di San CarloModenaItaly

16 OctoberArmonie BaroccheTeatro della PergolaFlorenceItaly

18 OctoberI concerti della NormaleTeatro VerdiPisaItaly

ENRICO ONOFRIDirector & violinEnrico Onofri was born in Ravenna, Italy. While still a student he wasinvited by Jordi Savall to be concertmaster of La Capella Reial, and alsoperformed with ensembles such as Concentus Musicus Wien, EnsembleMosaïques and Concerto Italiano. He has been concertmaster and soloviolinist of Il Giardino Armonico since 1987. Since 2002 Enrico Onofri hasalso appeared with great success as a conductor, receiving invitations

from orchestras and festivals throughout Europe and in Japan, and in 2005 became principalconductor of Divino Sospiro, the resident baroque orchestra at Centro Cultural de Belém in Lisbon.Enrico directed the European Union Baroque Orchestra for the first time in 2008 and following ahighly successful collaboration returned in 2010 to oversee a large project to celebrate EUBO’s 25thanniversary. In 2000 he founded the chamber ensemble Imaginarium to explore the extensive butrelatively unknown world of early Italian violin music. Enrico Onofri has performed in some of theworld’s foremost concert halls alongside artists such as Nikolaus Harnoncourt, Gustav Leonhardt,Christophe Coin, Cécilia Bartoli, Katia and Marielle Labèque. Many titles in his ever-increasingdiscography have received prestigious international prizes. Since 2000 he has taught baroque violinand baroque performance practice at the Conservatorio Bellini in Palermo, and has been the violintutor for EUBO at its recent audition courses. He is regularly invited to give masterclasses in Italyand elsewhere in Europe and Japan; recently the Juilliard School invited him to give a masterclassin New York.

JOHANNES PRAMSOHLERConcertmasterHaving completed his modern violin studies at the Conservatory ‘ClaudioMonteverdi’ in Bozen, Italy, Johannes moved to London to study withJack Glickman at the Guildhall School of Music and Drama. In London hestarted taking baroque violin lessons from Rachel Podger, moving to Parisin 2005 to study with Patrick Bismuth. He has since gone on to establishhimself as a successful soloist and chamber musician, performingthroughout Europe and playing with many of the leading periodinstrument orchestras. He was a member of the 2007 European UnionBaroque Orchestra and is now regularly invited to play with ConcertoKöln, Les Arts Florissants, Academy of Ancient Music and the Orchestra of the Age ofEnlightenment. Alongside his work as artistic director of the International Baroque Players, whichwas formed of several members from EUBO 2007, and his own chamber group Ensemble Diderot,Johannes enjoys an increasingly busy career as a recitalist and concertmaster; he has given soloconcerts at major festivals in France, Spain, Germany and Italy, and regularly leads Le Concertd'Astrée (Emmanuelle Haïm), the King's Consort and the Britten-Pears Baroque Orchestra. He will beconcertmaster and violin tutor of the French Youth Baroque Orchestra OFJB for the 2011 and 2012seasons. Johannes has recorded for Sony, Channel Classics, Oehms and Virgin and made his firstsolo CD for the label Raumklang in early 2011. He plays on a violin dating from 1713 made byPietro Giacomo Rogeri, previously owned by Reinhard Goebel, and which was purchased with assistance from the EUBO Development Trust.


JOY AND SORROW UNMASKED

G HANDEL (1685-1759)

Cantata Ah! Che troppo ineguali HWV230

[Recitativo] – [Aria]

G HANDEL

Concerto Grosso in F HWV 320

Andante larghetto – Allegro – Largo – Allegro ma non troppo

G FERRANDINI (1710-1791)

Cantata Il Pianto di Maria HWV234

(originally attrib. to Handel)

Recitativo – Cavatina – Recitativo & Cavatina – [Recitativo] – [Aria] –

Recitativo – [Aria] – Recitativo

Interval

G TORELLI (1658-1709)

Sonata in D for trumpet, strings & continuo

Andante – Allegro – Grave – Allegro

JS BACH (1685-1750)

Brandenburg Concerto No 3 in G BWV1048

[Allegro moderato] – Allegro

JS BACH

Cantata Jauchzet Gott in allen Landen BWV51

Aria – Recitativo – Aria – Chorale – Alleluia

1111 NNoovveemmbbeerrPavia BaroccaAula Magna del Collegio GhislieriPaviaItaly

12 NovemberSettimane Barocche di BresciaTeatro GrandeBresciaItaly

13 NovemberMusica Antica a Villa RealeDuomoMonzaItaly

15 NovemberCasa da MúsicaPortoPortugal

Director Lars Ulrik MortensenSoprano Maria KeohaneConcertmaster Huw DanielTrumpet Sebastian Philpott

16 | 17


17 NovemberPoznan Baroque FestivalAula ArtisPoznanPoland

18 NovemberPolish EU Presidency 2011 Cultural ProgrammeNational Philharmonic Concert HallWarsawPoland

19 NovemberEchter’BarockTrifolionEchternachLuxembourg

20 & 21 NovemberRecordingsTrifolionEchternach

22 NovemberMusikalischer HerbstStadtkircheDarmstadtGermany

MARIA KEOHANESopranoMaria Keohane is aSwedish soprano whoserepertoire spans a widespectrum of music stylesfrom baroque to contem-porary, including chambermusic, opera and oratorio.She started her training asa singer while she wasstill working in theveterinary field and whenshe is not performing somewhere in the world, she lives on afarm in rural Sweden, with her horses and dogs, combining herlove of the country life with the glamour of her performingcareer, which takes her as far afield as the USA, New Zealand orJapan. Maria finished her studies at the Royal Opera Academyin Copenhagen in June 2003 and has since performedworldwide with some of the best early music directors andsoloists. While she has performed in many operas, for instanceat the Drottningholm Royal Theatre in Stockholm or the RoyalDanish Theatre in Copenhagen, she is now increasinglydemanded as an oratorio singer, working with directors such asMartin Gester, Roy Goodman, Gustav Leonhardt, Jakob Lindberg,Andrew Manze, Nicholas McGegan, Andrew Parrott and LarsUlrik Mortensen. Recently Maria performed with PhilharmoniaBaroque Orchestra in San Francisco and with ConcertoCopenhagen at Wiener Konzerthaus. Maria has recorded severalCDs and has also participated in many television and radioproductions, including a film about Bach’s cantata “WeichetNur” with the European Union Baroque Orchestra (EUBO) in2009. She has been awarded the Reumert Prize, one ofDenmark’s most prestigious theatre prizes, for her role asArmida in Handel’s Rinaldo in 2005 and has been honouredseveral times by The Royal Swedish Academy. In 2011, Mariareturns to work with EUBO and Lars Ulrik Mortensen for thethird time. Her performances with EUBO in recent years havereceived great critical acclaim, for instance at the InternationalEdinburgh Festival: “With a voice capable of juxtaposing themost extreme emotions – thrilling at the effusive end of thescale, breathtakingly beautiful when reflection is called for –Maria Keohane unleashed performances of enormous characterand power.”

For the biographies of Lars Ulrik Mortensen and Huw Danielplease see page 13.

SEBASTIAN PHILPOTTTrumpetSebastian Philpott studied the trumpet at the Royal College ofMusic in London, graduating with First Class Honours, theUniversität für Musik und Darstellende Kunst in Vienna, and hasundertaken a Master of Art degree from the Royal Academy ofMusic, supported by the Countess of Munster Musical Trust. Hehas played with the Orchestra of the Royal Opera House and theRoyal Ballet, the English National Opera, the BBC SymphonyOrchestra, European Camerata, London Contemporary Orchestraand the Britten-Pears Orchestra. He is in demand throughoutEurope as a natural trumpet player, and has performed with theOrchestra of the Age of Enlightenment, The Sixteen, EuropeanUnion Baroque Orchestra, and New Century Baroque, of which heis a founder member. He is a Yeoman of the Worshipful Companyof Musicians. Alongside his orchestral commitments, he is amember of the Mercury Brass Quintet,the ten-piece London Chamber Brass,the London Trumpet Choir and playsregularly throughout the UK with thegroup Oompah Brass. He has alsoperformed as lead trumpet in thetouring production of Chitty ChittyBang Bang. Sebastian has performedfor the pop band The Hoosiers inseveral full-production tours, andmajor music festivals in the UK, Europe and Japan, as well as livetelevision and radio performances and studio recordings. Herecorded on the Comic Relief 2009 single - (Barry) Islands In TheStream by Gavin & Stacey, with Tom Jones, and has performedwith Eliza Doolittle on the Graham Norton Show.

EUBO’s residencies include for the first time in 2011 Collegio Ghislieri inPavia, Italy.

The title “Joy and Sorrow unmasked” refers primarily to the vocalpieces in this programme which will be performed by Swedishsoprano Maria Keohane, with whom EUBO has worked with greatsuccess during previous seasons. Joy refers to the cantata by JSBach “Jauchzet Gott in allen Landen”, which is a hymn, a song ofpraise to God. It is a very spectacular piece, one of the mostextrovert by Bach with a wonderful obbligato trumpet as itssecond solo instrument. It expresses through a series of recitativesand arias Bach at his most joyful, positive and optimistic. Inaddition, EUBO will perform Bach’s Brandenburg Concerto No 3, afavourite piece of the Orchestra and one which is as demanding asit is exciting to perform.

The first half of the programme consists of music by Handel. Thecombination of Handel and Bach is always interesting because theaudience is able to hear not only the similarities between the twocomposers but also the differences. The vocal pieces speak moreabout sorrow; both are Marian hymns. The Cantata Ah! Che troppoineguali was composed during Handel’s time in Italy in his earlyyears, at the beginning of the 18th century. Il Pianto di Maria wasoriginally attributed to Handel, but is now known to be byGiovanni Battista Ferrandini. The soul is personalized by the figureof Maria who prays for forgiveness. Unlike Bach, whose work looksforward to man’s release from sorrow, Handel composes sorrowitself very strongly. Here is the catholic world of Handel versus theprotestant world of Bach – the two are very different. These vocalitems will be interspersed with instrumental music: a concertogrosso by Handel from his London set opus 6, and a sonata forstrings with trumpet obbligato by Handel’s contemporary,Giuseppe Torelli. This is, I suggest, a varied programme with lots oflight and shadow, joy and sorrow.

Lars Ulrik Mortensen

SUPPORT THE ORCHESTRA!Every donation makes a difference!From small regular donations of 5€ a month to larger one-offgifts and legacies, every contribution will help sustain anddevelop the unique tradition of baroque music, our sharedEuropean heritage.

Please go to the ‘Support Us’ page on the websitewww.eubo.org.uk where you can donate online or contactJose Phillips on +44 1993 812111 or by email [email protected]

The EUBO Development Trust is a charity registered in the UK no. 1082932.


A BREATH OF ENLIGHTENMENT

P LOCATELLI (1695-1764)

Concerto pastorale in f minor Op 1 No 8 ’Christmas Concerto’

Largo/Grave - Vivace – Grave – Largo andante – Andante –

Pastorale/Largo andante

G SAMMARTINI (1695-1750)

Recorder Concerto in F

Allegro – (Siciliano) – Allegro assai

C GRAUPNER (1683-1760)

Ouverture in E GWV436

Ouverture – Air – Air en loure – La Consolazione – Pastorale –

Sarabande – Gigue

Interval

J PISENDEL (1687-1755)

Sonata in c minor

Largo – Allegro

F GEMINIANI (1687-1762)

Concerto grosso in d minor

Allegro moderato – Adagio – Andante – Andante – Grave – Presto –

Affettuoso – Adagio – Allegro moderato – Andante – Adagio –

Allegro assai – Adagio – Presto

JS BACH (1685-1750)

Suite No 2 in b minor BWV1067

Ouverture – Rondeau – Sarabande – Bourrée I and II – Polonaise –

Menuet – Badinerie


G TELEMANN (1681-1767)

Concerto for flute and violin in e minor TWV52:e3

Allegro – Adagio – Presto – Adagio – Allegro

99 DDeecceemmbbeerrMichaelsteiner KlosterkonzerteKloster MichaelsteinBlankenburgGermany

11 DecemberMazovia goes BaroqueLutoslawski Concert StudioWarsawPoland

13 DecemberWorkshopTrifolionEchternachLuxembourg

Director Alexis KossenkoConcertmaster Zefira Valova

18 | 19

During the residency at Kloster MichaelsteinEUBO will collaborate with the youth orchestraBachs Erben.

From Bach to Locatelli via Pisendel, the programme I’ve selectedtakes us through 18th century Europe, and through an importantperiod of change between the formal baroque style (typified bythe Bach Suite) and the emerging classical style which shakes off the rules of baroque structure. The orchestra is given a moreimportant role to play, and soloists stand out from the rest of the orchestra only occasionally.

In addition to showing the evolution of styles, this programmehighlights how instruments have evolved: the recorder meetshead-on with the flute, which itself was re-popularised, mainly by Bach, at the beginning of the 18th century. The flute adds an extra colour to the range of colours offered by the stringorchestra. This programme shows the different ways solo instruments can be used: pieces with one solo instrument like the Sammartini Concerto are followed by pieces with a number of solo instruments.

The Badinerie from Bach’s Second Orchestral Suite, which hasbecome emblematic of the piece and is now esteemed for itsvirtuosity, ends the programme with a light and cheerfulmovement for the listener.

The rest of the programme emphasizes more emotions andmelody. In the Concerto in F by Sammartini, for instance, thewind instrument has more freedom of expression. In the GraupnerOuverture the flute and violin answer each other in equalmeasure. Pisendel takes his sonata beyond the typical baroqueornaments and expresses feelings and emotions that are verydark, almost desperate. As for the Concerto Pastorale by Locatelli,which is probably inspired by Corelli’s Christmas Concerto, andthe Geminiani Concerto Grosso, their structure is very differentfrom the usual structure of the three-movement concerto.

Alexis Kossenko

Alexis Kossenko and Zefira Valova representedEUBO at the 2010 European Voice “Europeans ofthe Year Awards” in Brussels, Belgium

Cellist Jaap ter Linden coaches EUBO musiciansin chamber music performance in Magnano, Italy


14 DecemberEchter’Barock & morning children’s concertTrifolionEchternachLuxembourg

15 DecemberStichting Musica Antica da CameraLutheran ChurchThe HagueThe Netherlands

16 DecemberEarly Music ProjectsKoninklijk ConservatoriumThe HagueThe Netherlands

17 DecemberSpitalfields Winter FestivalShoreditch Church LondonUnited Kingdom

18 DecemberA Seasonal CelebrationChurch of St John the EvangelistOxfordUnited Kingdom

ALEXIS KOSSENKODirector, flute/recorderBorn in Nice in 1977, Alexis Kossenko, is an all-round musician: flautist, conductor,director, musicologist, he is a rare example of an artist who masters his instrumentin all its historic forms from the ‘modern’ flute to the baroque and renaissanceflutes, as well as the recorder. His orchestral experience is particularly extensive: hehas appeared with major orchestras including La Grande Ecurie et la Chambre duRoy, Concerto Copenhagen, Ensemble Matheus, Capriccio Stravagante, Les Paladins,Le Concert Spirituel, under the direction of Justus Frantz, Mstislav Rostropovitch,Valery Gergiev, John Eliot Gardiner, Philippe Herreweghe, Skip Sempé, Jean-ClaudeMalgoire, Louis Langrée, Lars Ulrik Mortensen, Hervé Niquet and Jaap ter Linden. Heis solo flute in La Chambre Philharmonique (Emmanuel Krivine) and Le Concertd’Astrée (Emmanuelle Haim). Alexis Kossenko is also a sought after chambermusician – his busy career on both the modern and baroque flutes was rapidly

established following his diplomas in Pariswith Alain Marion and in Amsterdam withMarten Root. His concert schedule takeshim to prestigious concert halls as soloistand chamber musician in major festivalsall over Europe. In 1997, his acclaimedinterpretation of Quantz and Vivaldiconcertos with European Union BaroqueOrchestra (direction Ton Koopman and RoyGoodman) in more than 20 concerts acrossEurope marked the beginning of his solocareer. He has since been invited bynumerous leading European ensembles asconcerto soloist on both the modern and

baroque flute as well as the recorder. His conducting career is flourishing: Alexis is the founder and director of the orchestra Les Ambassadeurs, whose aim is torediscover prestigious early pieces as well as new works. He is also often invited as guest director of B’Rock (Belgium), Holland Baroque Society (Netherlands) andArte dei Suonatori (Poland) with whom he has performed in numerous highlyacclaimed tours.

With Arte dei Suonatori, he has recorded the complete CPE Bach flute concertos(Alpha), and, in 2010, Vivaldi flute concertos (Gramophone Editor's Choice - Alpha).Other major CD releases include Rameau Pièces de clavecin en concerts (Alpha),Touchemoulin (Ramée) and Hoffman (Eloquentia) flute concertos.

ZEFIRA VALOVAConcertmasterZefira was born in Sofia where she studied violin from an early age. In 2006 sheobtained both Bachelor’s and Master’s degrees at the National Music Academy inSofia, having studied with Prof Yosif Radionov and Stoyka Milanova. She studiedbaroque violin with Anton Steck and Lucy van Dael. She has participated innumerous violin masterclasses with Yfrah Neeman, Kolja Lessing, Mincho Minchevand summer courses in Blankenburg and Obertsdorf in Germany with Reimar

Orlowsky and Peter Buck; in Austria withmembers of Bartok, Keller, Artis and PrazakQuartets; and at the InternationalMasterclass Apeldoorn, The Netherlands.She received prizes at the internationalcompetitions Young Musical Talents -Sofia 2000, Violin Competition NedyalkaSimeonova – Haskovo, 2002; the chambermusic competitions for string quartet inReichenau, Austria 2005 and for piano trioin Sofia, 2007. With Concerto Anticoconsort of early music she performed atthe Festival de Musica Antiga Barcelona,Spain (2007 & 2008), and at the Fabulous

Fringe series of the Oude Muziek Festival in Utrecht (2008, 2009 & 2010). In 2007she initiated the foundation of the annual Sofia Baroque Arts Festival. From 2003until 2008 she was concertmaster of Classic FM Radio Orchestra – Sofia and SofiaFestival Orchestra. In 2007 she was concertmaster with The National YouthOrchestra of The Netherlands. She was a member of the European Union BaroqueOrchestra in 2008 working with Roy Goodman, Lars Ulrik Mortensen and EnricoOnofri, and a concertmaster under the direction of Petra Mullejans in 2009 and TonKoopman in 2010. She has appeared as soloist with the Academic SymphonyOrchestra Sofia, Classic FM Radio Orchestra, Chamber Orchestra Orpheus, ArsBarocca Ensemble – presented by Bulgarian National Radio with the Ensemble prizeof 2007. She has recorded works by Vivaldi and Telemann with distinguishedEuropean ensembles for Brilliant Classics, Channel Classics and Alpha. Lately she hasbeen playing with the orchestras: Holland Baroque Society, La ChambrePhilharmonique, Ensemble Matheus, Arte dei Suonatori, Ensemble Cordevento,Wroclaw Baroque Orchestra and Lutherse Bach Ensemble. In 2009 Zefira Valova wasa prize winner in the competition of the Jumpstart Junior Foundation, whichprovides original historical instruments to talented young musicians.

THE BIG GIVE Christmas Challenge 2011

The Big Give Christmas Challenge gives us the opportunity to double the

donations made by our supporters. At 10am on 5 December 2011 the

Christmas Challenge will open for online donations and EUBO will have the

chance to double the money raised online. Donations by credit card can be

made from all over Europe; on 5 December go to www.eubo.org.uk and

click on the ‘Donate Now’ button. Email: [email protected]

The EUBO Development Trust is a charity registered in the UK no. 1082932.


Lorea Aranzasti Pardo Spain ViolinBorn in Madrid in 1984, Lorea began violin andpiano lessons at the age of five and went on tostudy with Fernando Rius, Polina Kotliarskaya,Ana Comesaña and Laura Diaz-Kayel. She hastaken part in many festivals and masterclasseswith teachers including Joaquin Torre, Nelli

Schkolnikova, Kennedy Moretti, Graham Jackson, Nathan Cole,Brant Taylor, Jose Feghali and Duncan Gifford. Lorea was a memberof JONDE (National Youth Orchestra of Spain) working with artistssuch as Fabio Biondi, Antoni Ros-Marba, Krysztoff Penderecki andGeorge Pelhivanian. In 2005 she was awarded a scholarship tocontinue her Master studies at Texas Christian University with Curt Thompson, and returning to Europe in 2008, basing herself in Vienna, she started specialising in baroque violin. During hertime in Vienna, Lorea worked with baroque ensembles such asWiener Akademie, Capella Leopoldina and Barucco, and hadmasterclasses with Ulli Engel, Thomas Fheodoroff, David Drabek, Ilia Korol and Gottfried von der Goltz, with whom she now studiesin Freiburg, Germany.

Federico Brigantino Italy ViolinFederico Brigantino was born in Palermo in1981, and studied the violin at theConservatorio Vincenzo Bellini in Palermo withAntonio Mameli, graduating with a diploma inSeptember 2003 with full marks. He thenstudied with Vincenzo Bolognese (concert-

master at Teatro dell’opera di Roma) and Stefano Pagliani. Now hestudies baroque violin in Palermo with Enrico Onofri and has alsohad classes with Riccardo Minasi, Giovanni Antonini and ElenaRusso. Federico passed auditions to play tutti violin at both theTeatro Dell’opera di Roma and Orchestra Sinfonica Siciliana.Between 2004 and 2008 he was engaged by Opera di Roma for theopera seasons, performing several operas and ballets (Traviata,Trovatore, Così fan Tutte, Il turco in Italia, Flying Dutchman). WithOpera di Roma he played also for the 2007 Ravenna Festival. From2006 he has played with the Orchestra Sinfonica Siciliana, workingwith various soloists and conductors including Lothar Koenigs,Mischa Maisky, Sergey Krylov and Boris Belkin.

Davina Clarke United Kingdom ViolinDavina is a scholar at London’s Royal Academyof Music, where she is studying for a Mastersdegree under Rachel Podger and SimonStandage. She was previously a McMynnScholar at The University of Manchester whereshe read music and graduated with First Class

Honours, the Proctor Gregg Performance Prize and the HargreavesAcademic Award. Davina began her musical studies at the JuniorRoyal Academy of Music and during this time, was sub-leader ofthe National Youth Orchestra of Great Britain and leader of theNYO Sinfonietta. She enjoys a diverse career and regularly performswith the Britten-Pears Orchestras, International Baroque Playersand the London Contemporary Orchestra. Davina has played inmasterclasses with Rachel Podger, Jed Wentz and Daniel Brüggen,and worked with musicians such as Laurence Cummings, MargaretFaultless and Madeleine Easton. In addition, she teaches the violinand singing at The Godolphin and Latymer School and enjoysgiving educational workshops. Davina is generously supported by the Countess of Munster Musical Trust and the GoldenCharitable Trust.

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Lucia Giraudo Italy ViolinLucia is currently pursuing a postgraduatecourse in baroque violin performance withManfredo Kraemer at the Escola Superior deMusica de Catalunya in Barcelona, Spain. Shereceived her Bachelor degree in Early Music atIndiana University, where she studied with

Stanley Ritchie, Michael McCraw and Nigel North. In the UnitedStates she played with numerous baroque ensembles such as theIndianapolis Baroque Orchestra, Bach Gamut Ensemble, BaroqueBand, directed by former EUBO violinist Garry Clarke, and the Bach and Beethoven Ensemble. She has attended masterclasseswith David Plantier and Leila Schayegh in Switzerland; RyoTerakado in the Netherlands; Francois Fernandez and OliviaCenturioni in Spain; and Ingrid Matthews, Phoebe Carrai and Marc Destrubé in the US. In addition to her baroque career, Lucia plays modern violin and has been a member of Hector delCurto’s Eternal Tango Orchestra in New York. Lucia is also an avidperformer of new music, having premiered compositions in theUnited States, Norway and Argentina.

Liv Heym Germany ViolinLiv Heym has a versatile career in chambermusic and historically-informed performance,currently living in New York. She holds degreesin music education and performance on modernviolin from the Hochschule für Musik Detmold,where she studied with Ulrike-Anima Mathé, as

well as a Master in Historical Performance from the Juilliard Schoolas a student of Monica Huggett and Cynthia Roberts. Chambermusic studies and masterclasses with Eberhard Feltz, Hans Klaus,Daniel Phillips and Andràs Schiff were important influences. Liv hasplayed with the European Union Youth Orchestra, Young GermanPhilharmonic, Jeune Orchestre Atlantique and the BochumSymphony Orchestra under the baton of Vladimir Ashkenazy,Philippe Herreweghe, Jos van Immerseel, Reinbert de Leeuw andothers. Recent activities include a tour to Moscow with the MarkMorris Dance Group and performances and recordings with TrinityBaroque Orchestra under Robert Mealy and Julian Wachner. Liv is afounding member of the baroque ensembles Waits Trio andUncommon Temperament. The New Yorker described her playing as"elegant and sensual, stylishly wild." (April 2010)

Gemma Longoni Italy ViolinBorn in Milan in 1987, Gemma started learningthe violin aged five. She was a student at theConservatorio Giuseppe Verdi in Milan from theage of 11 until she concluded her violin studiesthere in October 2010. She has taken part inmany courses and masterclasses: in Austria,

Germany, Hungary and Switzerland, where from 2000 to 2004 shewas also a member of the Orchestra Giovanile della SvizzeraItaliana under the direction of Anna Modesti. In Milan, Gemmaplayed in the Conservatorio’s Orchestra Filarmonica, and took partin various early music courses with Cinzia Barbagelata; under herguidance Gemma achieved the final exams of baroque violin andhistorical performance practice with maximum marks. Since 2002Gemma has worked with Orchestra Nuova Cameristica of Milano,performing throughout Italy, and from 2007 has been a member ofARCANTICO, an orchestra using original instruments created at theMilan Conservatory and now a professional ensemble. She has alsoperformed extensively with the ensemble Aglaia. Gemma teachesviolin in a music school in Milan, studies violin in Strasbourg, andplays with the Orchestre Filarmonique de Strasbourg.

EUBO Members 2011


Klaudia Matlak Poland ViolinKlaudia Matlak was born in Tychy, Poland in1988. She started to play the violin at the ageof eight. After graduating from the secondaryschool in Krakow in 2007, she started herbaroque violin studies at the Karol LipinskiAcademy of Music in Wroclaw with Zbigniew

Pilch. In 2010 she graduated with a Bachelor degree. In 2009/2010under the Erasmus scheme she went to Verona, Italy to study withStefano Montanari and Enrico Parizzi. Now back in Poland, shestudies at the Karol Szymanowski Academy of Music in Katowiceand her current teacher is Martyna Pastuszka. Klaudia has takenpart in many masterclasses with teachers including Sirkka-LiisaKaakinen, David Plantier, Enrico Gatti, Alberto Rasi and MartinGester. In 2009 she was a member of Académie Baroque Européened'Ambronay. Klaudia gained orchestral experience playing withCapella Cracoviensis, Wroclaw Baroque Orchestra, Harmonologiaand Concerto Polacco.

Justyna Niznik Poland ViolinJustyna Niznik was born in Krosno, Poland, in1981. She attended specialist musicalelementary and high schools, where shefocused on studying the violin and piano. Whilestill at school, Justyna won several prestigiousprizes and was awarded a scholarship from

Poland’s prime minister and the Ministry of Culture. In 2000, sheenrolled at the Karol Lipinski Academy of Music in Wroclaw tostudy the modern violin with Bartosz Bryla, moving to Germany in2003 to continue her studies at Weimar’s Franz Liszt Hochschulefür Musik. She graduated in 2006 and finished her postgraduatestudies in the class of Friedemann Eichhorn a year later. Under theaegis of Ulrich Beetz in Weimar, Justyna became interested inauthentic historical performance, so from 2007 she studied baroqueviolin with Richard Gwilt at the Hochschule für Musik Köln, gradu-ating with a Master’s degree in 2010. Justyna has attendedmasterclasses taught by Stefan Mai, Midori Seiler and ElizabethWallfisch. She plays in baroque orchestras such as the CölnerBarockorchester and co-founded “Frame Out”, a Köln-basedchamber music ensemble.

Eveleen Olsen United Kingdom ViolinEveleen grew up in Switzerland and started toplay music at the age of four. After graduatingfrom the Musikhochschule Luzern, she movedto Wales to study the baroque violin withRachel Podger at the Royal Welsh College ofMusic and Drama. She was awarded the Board

of Directors MMus Prize for her Master of Music. Back in Zurich,she enjoys playing with various early music groups: ZürcherBarockorchester, Collegium Musicum Luzern, Cantus Firmus, LaChapelle Ancienne, Les Musiciens du Roy, Welsh Consort andBaroque Orchestra, JS Bach Foundation and Orchester le Phénixwhich recently performed Purcell’s King Arthur and recorded suitesof his theatre music. Eveleen has played with ‘La Scintilla’, thebaroque band of the opera house Zürich and was leading theBristol Camerata. She has recently been appointed as concertmaster of the chamber orchestra St. Gallen. Eveleen played atnumerous festivals and was heard alongside Rachel Podger as asoloist in the Brecon Baroque Festival. Eveleen took part in EUBO2010 and benefited so much from the experience that shereapplied in 2011.

Joan Plana Nadal Spain ViolaJoan Plana divides his career between modernand baroque violin. He is the recipient ofseveral prizes and awards having playedconcerts around Europe and North America.Founding member of CONCITATO and finalist ofthe 2009 York International Early Music

Competition, he is the leader of the American Baroque Orchestraand L’Académie Baroque Orchestra in Boston, as well as playingwith other early music groups such as Baroque Band (Chicago) andApollo’s Fire (Cleveland). Born in Lleida (Spain), he holds degreesfrom the Cleveland Institute of Music and the Escola Superior deMusica de Catalunya (Barcelona). His principal teachers include PaulKantor, Kai Gleusteen and the Ysaye Quartet. Joan lives in NewYork, where he obtained a Graduate Diploma from The JuilliardSchool's Historical Performance Program, studying with MonicaHuggett and Cynthia Roberts. He is pursuing a Doctorate inbaroque violin at the Graduate Center of the City University ofNew York.

EUROPE DAYWednesday 9 May 2012

St John’s Smith Square, LondonThe European Union Baroque Orchestra will perform at St John’s SmithSquare to celebrate Europe Day 2012, under the auspices of the DanishPresidency of the European Union.

Director Lars Ulrik Mortensen (DK)

Concertmaster Peter Spissky (SK)

Baritone Simon Duus (DK)

Trumpet Sebastian Philpott (UK)


Femke Huizinga The Netherlands ViolaAfter having completed her Master’s degree inPhilosophy with distinction, her passion for thebaroque violin is now being given free rein.Femke is studying baroque violin and viola withAntoinette Lohmann, in the last year of herBachelor degree at the Utrechts

Conservatorium. For many years she has been participating insummer courses and masterclasses for chamber music and historicalperformance practice. These unique lessons with experiencedmusicians (John Holloway, Anton Steck, Richard Gwilt, ThomasAlbert) are an important source of inspiration for her. Femkefrequently organises chamber music concerts performing withvarious ensembles (she is playing in the Fringe series of the UtrechtEarly Music Festival 2011), and she regularly plays in professionalbaroque orchestras (The Netherlands Bach Society, ConcertoBarocco, Concerto d’Amsterdam, Nieuwe Philharmonie Utrecht). She is concertmaster and founder member of the Arcade Ensemble,an orchestra which aims to touch the lives of present-day listeners,experimenting with new ways to reach audiences and optimizingthe social value of music.

Lola Fernández Mateos Spain ViolaLola Fernández was born in Madrid. She startedher studies in viola with Thuan Do Minh,finishing her Bachelor degree in Zaragoza withJosé Manuel Román, and the Casals andQuiroga Quartets. At the same time, she wasmember of orchestras including the Academy of

the Royal Theatre in Madrid, Spanish National Youth Orchestra, andthe Gustav Mahler Youth Orchestra, taking part in major festivalssuch as the Proms, Salzburg Festival, Ibermúsica Madrid andtouring throughout Europe. At the point of finishing her degree,she became interested in historical performance, and she startedthe Formation Supérieure in Classical and Romantic Orchestra withJeune Orchestre Atlantique, where she has worked with MarcMinkowski, Christophe Rousset, Alessandro Moccia and LouisLangrée. She began her degree in early viola with Emilio Morenoand Andrew Ackerman in Barcelona. She has given many concertsand made a recording with Jordi Savall and Le Concert des Nations,and has been chosen to participate in the Aix-en-Provence Festivalwith the European Academy of Music.

Ildiko Ludwig Germany ViolaIldiko studied modern viola at the Hochschulefür Musik Franz Liszt Weimar with Erich Krügerand Ditte Leser. She also received musical advicefrom Morten Carlsen, Roland Glassl, WilfriedStrehle and Andreas Willwohl, with whom shestudied at the Academy of the Rundfunk-

Sinfonieorchester Berlin. Prior to that, she gained orchestralexperience with the Staatskapelle Weimar and the SächsischeStaatskapelle Dresden. Since early childhood, Ildiko showed anaffinity for chamber music. She has performed at the SchwetzingerFestspiele, Moritzburg Festival and Festival Opera Barga, andreceived a scholarship for the Villa Musica Rheinland-Pfalz. As afreelancer she works with ensembles including the Human RightsOrchestra, Orchester M18 and Ensemble Resonanz, and increasinglyis invited to be Principal Viola with orchestras such as TirolerSinfonieorchester Innsbruck, Mendelssohn Kammerorchester Leipzig and Orchester M18. Having been introduced to baroquemusic by Stephan Mai and Christian Goosses, Ildiko has decided tofocus on it in a Master’s programme, which she wants to start afterthe EUBO tours.

22 | 23 EUBO Members 2011

Magdalena Brostek Germany CelloMagdalena Brostek was born in Tuttlingen,Germany, in 1982 and at the age of sevenbegan to play the cello. She started to takelessons with Martin Ostertag when she was 19years old and graduated in his class at theMusikhochschule Karlsruhe with a Vordiplom.

In 2004 Magdalena moved to Copenhagen, Denmark, to study withMorten Zeuthen at Det Kongelige Danske Musikkonservatorium,where she graduated with a Master’s degree. Since 2005Magdalena has been taking baroque cello lessons with Thomas Pittand studying for a second Master’s degree. Magdalena was amember of the European Union Youth Orchestra, the GustavMahler Jugendorchester and she was an active participant in theZermattfestival and in the Kronberg Festival, where she tooklessons with Anner Bylsma. She has attended masterclasses withAndrew Lawrence King, Jaap ter Linden, Rachel Podger and AlfredoBernardini. Magdalena has worked with most of the Danishsymphony orchestras and performs with Concerto Copenhagen inAugust 2011.

Gulrim Choi France CelloBorn in 1989 in South Korea, Gulrim started tostudying music in France at the age of nine.After graduating in modern cello in 2005 shediscovered jazz and free improvisation and hasworked with numerous artists such as JoëlleLéandre, Peter Brötzmann, George Lewis and Lê

Quan Ninh. She rapidly became interested in historical performanceand in 2009 she started playing baroque cello with David Simpsonat the Conservatoire de Paris. She received musical tuition fromGaetano Nasillo, Jean Tubéry, trio Almaviva, Barthold Kuijken,Eugène Ferré and Amandine Beyer. Gulrim also plays in a stringquartet on period instruments. From Autumn 2011 she will studywith Christophe Coin for a Master’s degree at the Schola Cantorumin Basel. Particularly interested by Italian music from 17th century,she was invited in 2010 to play in the “young talent” concerts atthe early music festival in Lanvellec, and recently performed withthe ensemble La Fenice directed by Jean Tubéry.

Federico Toffano Italy CelloFederico Toffano gained a diploma in celloperformance in 2009 from the Conservatory ofMusic of Vicenza (Italy), where he studied withGianantonio Viero. He then attended furthercourses and masterclasses with Franco MaggioOrmezowsky, Enrico Dindo, Rocco Filippini,

Thomas Demenga, Enrico Bronzi and Laszlo Fenyo. His interest inand love for early music performance also lead him to attendcourses of baroque cello with Gaetano Nasillo, Stefano Veggettiand, later, with Marco Frezzato. In 2010 he was selected to playwith the Gustav Mahler Youth Orchestra and with the Orchestradell'Accademia Mozart by Claudio Abbado. In 2011 he was selectedby audition to work with the Orchestra dell'Arena di Verona.Federico is currently a member of the music academy “Incontri conil Maestro” of Imola (Italy), where he studies with GiovanniGnocchi, as well as of Mario Brunello’s academy “Antiruggine”.


Pippa Macmillan United Kingdom Double BassPippa has just completed her studies at theRoyal Academy of Music in London, where shespecialised in period performance for her finaltwo years with Chi-chi Nwanoku. At theAcademy she worked with musicians includingSir Charles Mackerras, Sir Mark Elder, Sir John

Eliot Gardiner, Laurence Cummings, Trevor Pinnock and RachelPodger, and was also the double bass player for the Academy'spopular Bach Cantata series. As a modern double bass player shewas a member of the National Youth Orchestra of Great Britain andthe European Union Youth Orchestra, and became principal doublebass of both. Pippa has twice been a participant on the LondonSymphony Orchestra’s Strings Academy, and is now principaldouble bass with the Orchestra of St Paul’s, based in CoventGarden, London. As a historical player Pippa plays regularly withthe Orchestra of the Age of Enlightenment, including two seasonsat Glyndebourne Festival Opera, and playing at the BBC Promsunder Sir Simon Rattle.

Anna Flumiani Italy BassoonAnna began her musical studies with themodern bassoon at the Conservatorio di MusicaJacopo Tomadini in Udine, Italy, and in 2001graduated with distinction under the guidanceof Gilberto Grassi. She obtained the highestlevel degree in early bassoon in 2007 having

studied with Claudio Verh, and then participated in a number ofconcerts and early music masterclasses. Anna has played modernbassoon in the Orchestra Sinfonica del Friuli Venezia Giulia since2004. Anna was the bassoonist with the European Union BaroqueOrchestra (EUBO) in 2009, playing for tours directed by Lars UlrikMortensen, Chiara Banchini, Edward Higginbottom and EnricoOnofri. She was invited to work with EUBO again in 2010 and 2011.Anna has been chosen to take part in the Orchestra of the Age ofEnlightment's young players experience scheme 2010/11. She iscurrently studying at Schola Cantorum in Basel with Donna Agrell,and is a member of the New Century Baroque Orchestra and thechamber group La Sommossa.

Francesco Tomasi Italy TheorboFrancesco started playing the guitar aged eight.Five years later he decided to study lute withAndrea Damiani at the Conservatory SantaCecilia in Rome, from where he graduated in2009 with the highest mark. He is currentlydoing 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 throughoutEurope including the Early Music Festival in Toledo, Flatus Festivalof Sion, Festival of Herne, Festival Internazionale di Musica Anticain 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 of works by Biagio Marini, Alla Luna,with the ensemble La Selva for the municipality of Parma. He hasparticipated in radio recordings for Radio Vaticana and WDR3 anda television recording for RAI International.

Tom Foster United Kingdom Harpsichord/organTom was a chorister at Manchester Cathedraland studied piano and harpsichord atChetham's School of Music with BernardRoberts and Sharon Gould respectively. Hecontinued studying music at St Catherine's

College, Oxford where he held a Leask scholarship and graduated in2009 with first-class honours. His studies at Oxford also coincidedwith a specialisation in harpsichord playing under the guidance ofworld-renowned harpsichordist, director and conductor, TrevorPinnock, with whom he now studies at the Royal Academy ofMusic. Tom has given numerous concerts as soloist and chambermusician. He gave his London debut at the Handel House in 2007,and has played as concerto soloist in performances of Bach's FifthBrandenburg Concerto, Harpsichord Concerto in d minor and SixthHarpsichord Concerto in F, the latter with the EuropeanBrandenburg Ensemble. He took part in the first English ConcertDirecting Masterclass, directed by Harry Bicket and LaurenceCummings and he has played in concerts and masterclasses withLisa Beznosiuk, Laurence Dreyfus, Margaret Faultless, KennethGilbert and Rachel Podger.

Rossella Policardo Italy Harpsichord/organBorn in Palermo, Italy, in 1990, Rossella studiedpiano at the Conservatorio Vincenzo Belliniunder the guidance of Marzia Manno,obtaining her diploma in 2010 with full marks and honours. As a pianist she has

played for many music festivals and seasons of important musical associations and participated in several music competitions, alwaysachieving awards. For the last three years she has been studyingharpsichord with Basilio Timpanaro at the Palermo Conservatory. As a harpsichordist she has performed as a soloist and in ensemblesin Italy and abroad (Poland). She was awarded the third prize in thesoloist section (first prize unassigned) at the ThirteenthInternational Harpsichord Competition Gianni Gambi in Pesaro(2011), where she also won second prize in the basso continuosection and two special prizes for the best performance of music by 17th and 18th century Italian composers. Recently she wasinvited by Claudio Astronio to appear as a soloist with theHarmonices Mundi orchestra at the 60th Deutsches Mozartfest inAugsburg (May 2011), where she played harpsichord concertos byW Friedemann Bach and WA Mozart.

AUDITIONS 2012 To select the 2012 orchestra there will be twoidentical AUDITION COURSES which take place inEchternach, Luxembourg. The first course will befrom 10 to 13 April 2012 and the second coursefrom 13 to 16 April 2012. Tutors to include: Lars Ulrik Mortensen (director) Margaret Faultless (chamber music)Anton Steck (violin)Sirkka-Liisa Kaakinen-Pilch (violin)Jane Rogers (viola) Jaap ter Linden (cello)Maggie Urquhart (double bass)Katharina Arfken (oboe)Alberto Grazzi (bassoon)Patrick Ayrton (harpsichord) Simon Neal (tuning & temperament)To receive more information about the auditionsplease visit: www.eubo.org.uk/auditions.html orcontact [email protected]



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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.

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Desirée Dall’AgnolJulien AlexMassimo AmatoLisa BanzPaulette BaroneMarco BattistellaMarco BernardGaby BouhlelBrasserie 1900Ralf BrittenGeorges CalteuxLuc CannivyEdith DellwingMarc DemuthRosi FaberMonique FlaurimontMarie-Paule Gerson André HartmannAlexander HilgerBenedikt HerzHotel des ArdennesHotel de la BasiliqueNatalie JalletMarc JunckerAlexander MullenbachSvenja RichterGeorges SanterMariette ScholtesHeiko SternerFernand TheisenThéo ThiryAndy WagenknechtConny WeylandYouth Hostel EchternachZum Wohli

EUBO is grateful for the support and co-operation ofthe following persons and organisations in Echternach,Luxembourg:

Academia de Música de EspinhoArmonie BaroccheAssociazione Culturale la Cappella Musicale (Milano Arte Musica)Arts and Artists Katalin KiricsiBach in Istanbul – Bach DaysCasa da Música, PortoCollegio Ghislieri (Pavia Barocca)I Concerti della NormaleEchter’BarockFestival CistermúsicaFestival Internacional de Música de EspinhoFestival International EchternachFestival Musicale EstenseHakan Erdogan ProductionsJardins d’Agrément, AmillyKilkenny Arts FestivalKloster Michaelstein Koninklijk Conservatorium Den HaagKonzertring, CoesfeldMazovia goes BaroqueMOM Cultural Centre, BudapestMusica Antica a Magnano Musica Antica a Villa Reale, MonzaPhilharmonie MerckPoznan Baroque FestivalSettimane Barocche di BresciaSpitalfields Winter FestivalSt Stephen’s House, OxfordStichting Musica Antica da CameraTonicale Musik & EventThe Warden and Fellows of New College

EUBO would like to thank the following festivals, concertseries and organisations:

The Board of Trustees of the Orchestra thanks the following individuals and organisations for their support. Without theirassistance the training and performances by the European Union Baroque Orchestra during 2011 would not be possible.

24 Thank you

Bienfaiteurs de l’OrchestreEUBO gratefully acknowledges the support given to the Orchestra byits bienfaiteurs whose continued commitment is highly valued.



ECHTERNACHEUROPEAN DESTINATION OF EXCELLENCE

www.echternach.lu

Echterna

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Programme Book 2011

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