• Franz Ortner, cello    
    FranzOrtnerNov14 web
    Franz Ortner was born in 1980 into a family with a strong musical background and has studied in Vienna and Berlin with Wolfgang Herzer, Wolfgang Boettcher, Martin Löhr and the Artemis Quartet.

    In 2006 he moved to Lisbon, Portugal to play as principal cello in the Metropolitan Chamber Orchestra under the baton of French violin virtuoso and conductor Augustin Dumay.

    From 2008 – 2013 he was member of Danish chamber group ‚Esbjerg Ensemble’, consisting of a string quartet, wind quintet and percussion.

    In 2013, he joined the Viennese piano trio, named TrioVanBeethoven, with which he recently recorded all Beethoven trios for the Austrian Label Gramola and which performs regularly all across Europe.

    Currently he is member of the ‚Musikkollegium Winterthur’, Switzerland and holds a principal cello position in the orchestra ‘Le concert olympique’, Antwerp, Belgium.

    Also, frequently invited to play in orchestras as the Vienna Philharmonic, the Mahler Chamber Orchestra and the Chamber Orchestra of Europe.

    As a soloist and as a chamber musician he has recently appeared with the Estonian Philharmonic Orchestra, the Bruckner Orchestra Linz and pianist Alexander Melnikov.

    Franz plays a cello made by Jean-Baptiste Vuillaume, Paris 1856.
  • Lasse
    Lasse Toft Eriksen er født 1978 i Viborg men flyttede som barn til Fredericia, hvor han trådte sine musikalske barnesko i Christianskirkens drenge- og mandskor. Efter to års studier i komposition på konservatoriet i Århus hos Karl Aage Rasmussen blev han uddannet som organist og kantor ved Vestjysk Musikkonservatorium med Jesper Madsen og Søren Christian Vestergaard som lærere.

    Han har som dirigent stået for opførelser af større værker for solister, kor og orkester, bl.a. Händels Messias og kantater af J. S. Bach.

    Lasse Toft Eriksen har udgivet tre store bind med orgelværker af Peter Møller for Vestjysk Musikkonservatoriums Forlag. Han grundlage i 2009 Forlaget Mixtur sammen med Søren Storm Larsen og har herigennem udgivet en lang række nye danske kor- og orgelværker.

    Han har været ansat ved Taulov Kirke og Sct. Jacobi Kirke, Varde (organistassistent). Er i dag ansat som organist ved Treenighedskirken, Esbjerg, som repetitør ved Den Ny Opera i Esbjerg og som underviser på Syddansk Musikkonservatorium og Skuespillerskole i faget generalbas. Lasse Toft Eriksen er født 1978 i Viborg men flyttede som barn til Fredericia, hvor han trådte sine musikalske barnesko i Christianskirkens drenge- og mandskor. Efter to års studier i komposition på konservatoriet i Århus hos Karl Aage Rasmussen blev han uddannet som organist og kantor ved Vestjysk Musikkonservatorium med Jesper Madsen og Søren Christian Vestergaard som lærere.

    Han har som dirigent stået for opførelser af større værker for solister, kor og orkester, bl.a. Händels Messias og kantater af J. S. Bach.

    Lasse Toft Eriksen har udgivet tre store bind med orgelværker af Peter Møller for Vestjysk Musikkonservatoriums Forlag. Han grundlage i 2009 Forlaget Mixtur sammen med Søren Storm Larsen og har herigennem udgivet en lang række nye danske kor- og orgelværker.

    Han har været ansat ved Taulov Kirke og Sct. Jacobi Kirke, Varde (organistassistent). Er i dag ansat som organist ved Treenighedskirken, Esbjerg, som repetitør ved Den Ny Opera i Esbjerg og som underviser på Syddansk Musikkonservatorium og Skuespillerskole i faget generalbas.
  • Jane Gower
    Jane Gower, baroque bassoon

    As a specialist in historical bassoon, Jane Gower performs extensively throughout Europe, the United States and Australia. She is very active in chamber music and as a soloist, appears with the finest early music orchestras, and has a growing and diverse collection of original instruments on which she also performs.
    Jane Gower was performing with the Sydney Symphony, Australian Chamber Orchestra and the Australia Ensemble while still an undergraduate; she received her Bachelor of Music degree with High Distinction from the Canberra School of Music in 1992. With the support of a Netherlands Government Scholarship and a Queen’s Trust grant she studied historical bassoon at the Royal
    Conservatory in The Hague, completing her performance diploma in Early Music in 1996.
    In 2005 Jane Gower was appointed Principal Bassoon of Sir John Eliot Gardiner’s acclaimed English Baroque Soloists and the Orchestre Révolutionnaire et Romantique. She has been Principal Bassoon with Jos van Immerseel’s orchestra Anima Eterna for many years, performing and recording repertoire ranging from Buxtehude and Bach to Tchaikovsky, Dvorak and Orff, as well as the complete symphonies of Schubert and Beethoven. Additionally she is the Principal Bassoon of Concerto Copenhagen, and appears as Principal with the Orchestra of the Age of Enlightenment, the Academy of Ancient Music, and many other leading
    period instrument ensembles. She returns regularly to her native Australia to perform with the Australian Chamber Orchestra.
    In 1999 Jane founded the quartet "island" with the aim of exploring the extraordinary 19th century repertoire for bassoon and strings, and with them has performed throughout Europe and Australia, also recording 4 premiere CDs on original instruments of Devienne, Danzi, Krommer and Reicha. In addition to “island”, her diverse chamber music activities include most recently concerts with fortepianist Kris Bezuidenhout, violinist John Holloway and harpsichordist Lars Ulrik Mortensen, with whom she has recorded for the prestigious ECM label. In 2005 Jane Gower was Musical Director of the Barossa Music Festival, South Australia, and together with Torbreck Vintners launched the chamber music series Barossa Klassik
    in January 2010.
    Jane Gower has given numerous masterclasses in Baroque and Classical bassoon and has tutored for the Wilanów Academy in Warsaw, the Jeune Orchestre Atlantique in Saintes and the European Union Baroque Orchestra. From 2007-2012 she was a Professor at the Royal College of Music, London.
    Solo engagements and recordings include a national tour with the Australian Chamber Orchestra, tours with Concerto Copenhagen, the Fundacja Concert Spirituel in Warsaw, Les Agrémens in Belgium, Holland Baroque Society in the Netherlands, and Sirius Ensemble in Australia. In 2002 she recorded Mozart's Bassoon Concerto with Anima Eterna for the label Zig-Zag Territoires, and she tours regularly with the piece. Her cadenzas and performance practice notes for Mozart’s concerto
    have been published by Bärenreiter. Her latest solo recording is of three bassoon concertos by Franz Danzi, with the Orchester von Damals und Heute, Germany.
  • Kana Sugimura, violin

    Kana web
    Kana Sugimura was born in New York to Japanese parents, and took up the violin at the age of five. Studying privately with Yfrah Neaman in the U.K., she continued her
    studies with Takashi Shimizu at the Tokyo University of the Arts (Geidai). After graduation on highest marks, she served a year as assisting faculty. On receiving grant from the Meiji-Yasuda Foundation, she went on to study with Krzysztof Wegrzyn at the Hannover University of Music and Drama. 

    She has been awarded prizes at many international competitions such as the Premio Trio di Trieste Chamber Music Competition (duo with pianists Natsumi Ohno and
    quartet with Flex Ensemble), the first International Violin Competition in Qingdao, China, Jeunesses Musicales International Competition in Belgrade, or the Hannover
    International Violin Competition. 

    Kana Sugimura has performed as soloist with such orchestras as the Japan Symphony Orchestra, the New Japan Philharmonic, the Osaka Century Orchestra,
    the Amadeus Chamber Orchestra of Polish Radio, Baltic Symphony Orchestra, and the Tivoli Symphony Orchestra. 

    In 2007, together with the Linos Ensemble, she gave the premiere of the arrangement of the violin concerto of Alban Berg, by Andreas Tarkmann, 

    As guest concert master, she has joined orchestras such as the St.Gallen Symphony Orchestra, the South West German Chamber Orchestra Pforzheim, or the Northern German Broadcasting (NDR) Radio orchestra. 

    Since 2012 she is the co-founder and violinist of the Germany based piano quartet Flex Ensemble, and concert master of chamber orchestra Musica Assoluta. 

    She currently teaches at the Hannover University of Music and Drama.

  • Sébastien Singer, celloCecelia Bernadini

    Dutch–Italian Cecilia Bernardini is widely considered to be one of the most versatile violinists of her generation, performing on both the modern and the baroque violin.

    She obtained prices in major violin competitions amongst which Oskar Back Vioolconcours, Concorso Internazionale Violinistico Andrea Postacchini and Leopold Mozart Competition Augsburg.



    As a soloist, Cecilia has performed in many of Europe's most prestigious concert halls, including the Concertgebouw Amsterdam, Musikverein Vienna and Konzerthaus Berlin, playing much of the main violin concerto repertoire, including the Bach violin concertos and double concertos, several Mozart concertos, Beethoven, Brahms, Bruch and Szymanowski. In 2010, she performed the violin solo part at the world première of Philip Glass's Double Concerto for Violin, Cello and Orchestra with the Residentie Orkest.

    Cecilia frequently leads and directs modern and period instrument ensembles including Ensemble Zefiro, Arcangelo with Jonathan Cohen (recordings with Hyperion), Pygmalion with Raphael Pichon (recordings with Erato), Tafelmusik Baroque Orchestra in Toronto, Holland Baroque Society, The King’s Consort (performing and recording with them widely across Europe in repertoire as diverse as Purcell, Handel, Bach, Haydn, Stanford and Britten), Scottish Chamber Orchestra with Robin Ticciati (including the Edinburgh International Festival), Camerata Salzburg (including the Linz Brucknerhaus and the Salzburg Festival), Bach Collegium Japan, Swedish Radio Symphony Orchestra and The Netherlands Bachvereniging with Jos van Veldhoven.

    With her great passion for chamber music, Cecilia is a member of the Serafino String Trio, joining violist Giles Francis and cellist Timora Rosler. She has a duo with fortepianist Keiko Shichijo (with whom she did an extensive tour at the Utrecht Oude Muziek Festival) and regularly performs with her father, baroque oboist Alfredo Bernardini. Past Chamber music partners include baroque violinist Stanley Ritchie, double-bass player Rick Stotijn, fortepianist Kristian Bezuidenhout, pianist Alexandre Tharaud and cellist Colin Carr.

    In 2012 Cecilia was appointed leader of the Dunedin Consort, based in Scotland, with whom she has recorded Bach's St. John Passion and a best-selling disc of the Brandenburg Concertos, which has been nominated for a Gramophone award at the same time as Mozart’s Requiem by the same group. Future releases with the Dunedin Consort include Bach's Violin Concertos and Bach's Christmas Oratorio and Magnificat.

    Future engagements include several appearances at the Wigmore Hall in London, both as an orchestral leader and as a soloist (Bach violin concertos with Dunedin Consort), performances at the Bruges Early Music Festival (Biber's Rosary sonatas with Richard Egarr), Thüringer Bachwochen (Brandenburg Concertos with Holland Baroque Society), Sablé Early Music Festival and several recordings including Purcell's sonnatas in three parts with the King's Consort.
  • Felicia Gabriela Greciuc is curently a new member of

    Felicia Greciuc webEsbjerg Ensembe. She started clasical music at 11 years old and in the 

    same time she started to learn to play oboe. The reason that Felicia
    “choosed” oboe is because of the special sound of this

    instrument, the sound that makes you fall in love.

    From 2013-2016 she is was Solo Oboe in “George Enescu ”
    Philharmonic Bucharest, and 2016 -2017 Solo Oboe in Iceland
    Symphony Orcestra. She is also often invited to play in
    Danish Radio Symphony Orchestra, Copenhagen Philharmonic,
    Helsingborgs Symfoniorkester,

    Duisburg Philharmoniker and others. Besides Orchestra
    projects she is interested in chamber music and she used
    her time and musicality as often she had the ocassion playing
    with various ensemble in Denmark – Copenhagen and Romania –
    Bucharest.


    Felicia graduated the Batchelor program in 2012 at the
    National University of Music Bucharest and curently she
    is finishing her Master Program at the Royal Danish
    Academy of Music Copenhagen having as teachers
    Max Artved and Ioakim Dam Thomson. During all
    these
    educational time she also had masterclasses
    with international teachers and soloist as – Matthias
    Backer, Emanuel Abbuhl, Christian Smith, Francois
    Leleux, Gareth Hulse and others.


    As a young musician she wants to be involved in
    more contemporary music and she is always looking
    for new challenges in all direction of music.
    Because music is the strongest form of magic.

  • Michel Camille, viola

    Michel Camille has been engaged as the Esbjerg Ensemble’s viola MichelCamille4player since 1995 and from 1997 – 2001 presided as the Ensemble’s Artistic Director. In 1999 Michel founded the annual Esbjerg International Chamber Music Festival and as its Artistic and Administrative Director, has collaborated with Denmark’s most notable composers and invited chamber musicians and soloists from all over the world.
    During his education, Michel Camille won
     numerous awards, the first when he was only 11 years old – afull scholarship to Wells Cathedral School, a specialist music school.
    As a pupil of one of England’s elite music schools he received an intense musical education combined with frequent appearances as a soloist as well as an ensemble musician. For Michel’s part, that meant performing with legends such as Yehudi Menuhin, Yfrah Neamen, Norman delMar and Igor Ozim in concert halls in Europe and further afield.
    After turning 18, Michel also
     won awards for solo and chamber music appearances in London as a viola player, including the “Premier Prix” at the Guildhall School of Music, where he studied with Professor David Takeno, and later the “Concerto prize” at Banff Fine Arts.
    After a short period playing often as principal with orchestras such as the Academy of St. Martin, LPO, the BBC Symphony, London Musici, Scottish Chamber Orchestra and the City of London Sinfonia, Michel decided to entirely devote to chamber music. Since then he has worked for both the classical and the contemporary chamber music scene as a performer on the international stage, as well as an Artistic Director introducing innovative programming, and has brought colourful Art forms as demonstrated by collaborations with dance, puppet theatre & music of our time.
  • Juhani Lagerspetz
    PianoJuhani low res
    Juhani Lagerspetz made his debut with
    orchestra when he was just 13, when he
    played as soloist with the Finnish Radio
    Symphony Orchestra in Shostakovich's
    Second Piano Concerto. He had begun
    his piano studies in his home town of
    Turku, and he then studied at the
    Sibelius Academy and the Leningrad
    Conservatoire.
    He has been highly successful in
    competitions (first prize in the Ilmari
    Hannikainen in 1975 and the Maj
    Lind in 1976).
    In 1982 he won a special prize in
    the Tchaikovsky Competition in Moscow.
    Lagerspetz has collaborated with several
    major conductors,
    such as Arvid Jansons, Rudolf Barshai, Paavo
    Berglund and Esa-Pekka Salonen.
    In chamber music he has worked with the
    likes of Ida Haendel, Arto Noras and
    Truls Mørk.
    He has accompanied lieder singers
    Elisabeth Söderström, Stephen Genz
    and Camilla Nylund.
    In addition to playing dozens of piano
    concertos, Lagerspetz has performed
    in ambitious series of concerts, and has
    made numerous recordings for radio and
    international record companies.
  • Peter Bruun

    Peter Bruun’s ability and will to think about the compositional and underlying issues of what music can in fact do make him an artist one neither can nor wishes to skirt around. In his works one senses an overarching ambition: a faith in the potential to find new paths in the work with melody, harmony and tonality. Peter Bruun is in perpetual mental motion and is always trying out new forms, media and modes of expression. In the attempt to pinpoint his music, one could add the word ‘repetition’. The general expressive quality of the composer’s music can be approached with phrases like rich sonorities, supple

    Peter Bruun’s ability and will to think about the compositional and underlying issues of what music can in fact do make him an artist one neither can nor wishes to skirt around. In his works one senses an overarching ambition: a faith in the potential to find new paths in the work with melody, harmony and tonality. Peter Bruun is in perpetual mental motion and is always trying out new forms, media and modes of expression. In the attempt to pinpoint his music, one could add the word ‘repetition’. The general expressive quality of the composer’s music can be approached with phrases like rich sonorities, supple rhythmic progressions, stylistic flexibility, pronounced curiosity about unusual instrumentation, pluralistic thinking, tonal melodies, repetition as a form-constituting factor, displacements of certain recurring patterns. The last two areas give the music an expansive sense of temporality, an experience of sheets of sound or of music as a state of being. Several works, by virtue of their scale forms and rhythmic profile, recall the music of other cultures – sometimes called oriental or ethnic music. His open mind towards the many forms and expressions means that his works are a melting-pot for a variety of impulses where the magnificence lies in the ability to gather the non-contemporary into new aesthetic totalities. If Peter Bruun speaks with en ever-clearer voice, this is among other reasons because he is not afraid to be too unfashionable. Concepts like avant-garde, retro, modernism and postmodernism are not seriously present for him. He is first and foremost honest and sincere in his treatment of the material and ideas, rather than intent on following a particular pattern. It is this very attitude to music and his willingness to help to realize it in interaction with other people that make Peter Bruun one of his generation’s most interesting composers. Music theatre plays a major role in Peter Bruun’s work. He is a member of the artist collective FIGURA Ensemble, with whom he has made several music theatre productions, including MIKI ALONE (2002) for which he received the Nordic Council’s Music Prize in 2008, and most recently To All the World: Good Night (2014). Along with FIGURA he runs the music education project “Small Composers”.

    progressions, stylistic flexibility, pronounced curiosity about unusual instrumentation, pluralistic thinking, tonal melodies, repetition as a form-constituting factor, displacements of certain recurring patterns. The last two areas give the music an expansive sense of temporality, an experience of sheets of sound or of music as a state of being. Several works, by virtue of their scale forms and rhythmic profile, recall the music of other cultures – sometimes called oriental or ethnic music. His open mind towards the many forms and expressions means that his works are a melting-pot for a variety of impulses where the magnificence lies in the ability to gather the non-contemporary into new aesthetic totalities. If Peter Bruun speaks with en ever-clearer voice, this is among other reasons because he is not afraid to be too unfashionable. Concepts like avant-garde, retro, modernism and postmodernism are not seriously present for him. He is first and foremost honest and sincere in his treatment of the material and ideas, rather than intent on following a particular pattern. It is this very attitude to music and his willingness to help to realize it in interaction with other people that make Peter Bruun one of his generation’s most interesting composers. Music theatre plays a major role in Peter Bruun’s work. He is a member of the artist collective FIGURA Ensemble, with whom he has made several music theatre productions, including MIKI ALONE (2002) for which he received the Nordic Council’s Music Prize in 2008, and most recently To All the World: Good Night (2014). Along with FIGURA he runs the music education project “Small Composers”.

  • Morten Frank Larsen, baritone
    Morten Frank Larsen jpeg


    „Morten Frank Larsen, in his Met-debut, was wonderful as Count in Capriccio.”
    These were the words in The New York Times after Morten Frank Larsen’s brilliant debut at the Metropolitan Opera, New York.
    After completing his studies in Aarhus and the Opera Academy in Copenhagen, Morten made his Danish operatic debut in Britten’s “The Rape of Lucretia” in 1994 and abroad as Don Giovanni in Germany in 1995.
    From 1997-2000 he was an ensemble-member at the Braunschweig Opera and since 2000 he is engaged as soloist at the Vienna Volksoper – simultaneously he often sings at the Vienna State Opera; guest contracts led him to Deutsche Oper Berlin, Royal Opera Copenhagen, Frankfurt Opera, Bayerische Staatsoper, Teatro Communale in Bologna and in the opera houses in Zürich, Sevilla, Toulouse, Salzburg, Palermo and Tokyo.
    Highlights of this season include Mr. Astley in the new production of Prokofiev’s “The Gambler” at the Vienna State Opera, Peter Besenbinder in Humperdinck’s “Hänsel und Gretel” at the Vienna Volksoper, Concert-Tour with Brahms’ “Ein Deutsches Requiem” in Denmark and Germont in “La Traviata” at the Vienna Volksoper. At the end of the season Morten will take up his highly praised interpretations of Gellner in “La Wally” and of the title role in “Sweeney Todd” at the Vienna Volksoper.
    His repertoire comprises more than 100 opera roles, including Don Giovanni, Count Almaviva, Eugen Onegin, Marquis Posa, Germont, Count Luna, Jochanaan, Wolfram, Kurvenal, Count Danilo, Pelleas, Golaud, Mandryka, Count in Capriccio and many more.
    Some of the conductors Morten has worked with include Adam Fischer, Stefan Soltesz, Daniele Gatti, Phillipe Herrewege, Kristjan Järvi, Rafael Frübeck de Burgos, Franz Welser-Möst, Andrew Davis and Michael Schönwandt.
    Future engagements include a concert performance of Bernstein’s “Candide” in Moscow, concerts in Denmark with Michael Schönwandt performing Mahler-Lieder, Beethoven and Löffler-Lieder at Esbjerg Chamber Music Festival among a lot of performances at the Vienna Volksoper and the State Opera.
    Beside Morten’s performances in the opera houses in Europe, North and South America and Asia, he commits himself intensively to lied singing and has therefore received the Axel Schiötz Prize in 2002, the Franco-Prize in 1999 and the Eberhard Wächter-medal at the Vienna State Opera in 2003.
    DVD’s of Arabella and Capriccio where he sings with Renée Fleming are released on the Decca Label. Other recordings include Schumann’s “Genoveva”, Poul Schierbeck’s “Fete Galante” and “Queen Dagmar”.

  • Ron Chen-Zion, Clarinet
    ron
    Member of Esbjerg Ensemble since1993. “When Iwas 11, I happened to get the mail one day and found among them an advertisement that read: “Learn to play an instrument inonly three months”. When I subsequently turned up at the
    music school, they only had one instrument for loan: the clarinet. We were two students who had to share the instrument and because we had clarinet lessons onThursdays, the other student and I each had the clarinet three days a week”.Ron Chen-Zion began his studies with
    Richard Lesser of the Israeli Philharmonic Orchestra.
    In 1986 he moved to the US where he continued his studies and graduated from the New England Conservatory.
    In 1990, Ron Chen–Zion was appointed solo clarinetist atThe State of Mexico Symphony Orchestra. As achamber m
    usician, he has quite frequently been invited to Rudolf Serkins Marlboro Music Festival in the United States and has performed in most of Europe, Israel and the Americas. Ron Chen-Zion has recorded several CDs, including one highly praised rendering of Max Regers’ pieces for clarinet and piano.
  •  


    Lar Ulrik JPG

    Lars Ulrik Mortensen (born 1955) studied at The Royal Academy of Music in
    Copenhagen (harpsichord with Karen Englund, figured bass with Jesper Bøje
    Christensen) and with Trevor Pinnock in London. From 1988 to 1990 he was
    harpsichordist with London Baroque and until 1993 with Collegium Musicum
    90 (leader: Simon Standage). He now works extensively as a soloist and chamber
    musician in Europe, the United States, Mexico, South America, China, Japan and
    Australia.

    Between 1996 and 1999 Lars Ulrik Mortensen was professor for harpsichord and performance
    practice at the Hochschule für Musik in Munich, and he now teaches at numerous Early Music
    courses throughout the world, i.e. at the Mozarteum Salzburg and the Juilliard School of Music
    in New York.

    About 20 years ago, Lars Ulrik Mortensen began conducting “modern” orchestras in Sweden
    and Denmark, and especially his activities at the Royal Theatre in Copenhagen - notably
    Kunzen’s “Holger Danske” in 2000 and Mozart’s “The Marriage of Figaro” in 2003 - met with
    great critical acclaim. However, in 2003 he made the decision to work exclusively with period
    instrument ensembles.

    Since 1999, he has been artistic director of the Danish Baroque orchestra Concerto
    Copenhagen, and in 2004 he succeeded Roy Goodman as musical director of the
    European Union Baroque Orchestra (EUBO). Additionally, Mortensen is increasingly
    working with several distinguished foreign ensembles like Holland Baroque, Irish
    Baroque Orchestra, Nederlandse Bachvereniging and Collegium 1704.







  • Steven Dann's career has covered a wealth of violistic possibilities. As principalSteven Dann web viola of some of the world's leading orchestras, as a  veteran of the stringquartet and chamber music world, as soloist  and recitalist and as a dedicated
    teacher.
    Mr. Dann was born in Vancouver, Canada. His foremost teacher andmentor was the late Lorand Fenyves. Other influences include William Primrose,
    Robert Pikler, Bruno Giuranna and five summers  spent studying the string
    quartet repertoire with Zoltan Szekely and  members of the Hungarian String
    Quartet. Upon graduation from university he was named Principal Viola of the
    National Arts Centre  Orchestra in Ottawa, Canada, a position he has subsequently
    held  with the Tonhalle Orchestra in Zurich, the Royal Concertgebouw Orchestra
    in Amsterdam, the Vancouver Symphony and the  Toronto Symphony Orchestra.
    He has also served as guest  principal of the Luzern Festival Orchestra, the Boston
    Symphony Orchestra under Seiji Ozawa, the City of Birmingham Symphony 
    Orchestra under Sir Simon Rattle and, in both performance and  recordings,
    with the Chamber Orchestra of Europe under Nikolaus  Harnoncourt, Paavo
    Berglund and Pierre Boulez and the Canadian Opera Company in performances
    of Wagner's Ring Cycle.  
    Since 1990 Mr. Dann has been a member of the Smithsonian Chamber Players
    in Washington D.C. and was a founding member of the Axelrod String Quartet.
    He is currently violist of both the Zebra Trio (with violinist Ernst Kovacic and
    cellist Anssi Karttunen) and Toronto's twice Grammy-nominated ARC Ensemble.
    Mr. Dann has recorded for Sony, Naxos, CBC Records and others. The Stereo
    Record Review described his 2006 recording of the viola works of Brahms
    (ATMA CLASSIQUE) as "without doubt, one of the most beautiful viola
    recordings I have ever heard".   As both a performer and teacher, Mr. Dann
    is a regular guest at many international festivals and arts schools. He teaches
    viola and chamber music at the Glenn Gould School in Toronto's Royal
    Conservatory of Music and is the Coordinator of the chamber music program at the Domaine Forget in Quebec. Beginning in September of 2015 he will teach viola at McGill University as the Catherine Thornhill Steele Chair in Viola.
    Mr. Dann plays a viola of Joseph Gagliano, circa 1780.
  • Jacob La CourJacob la Cour began his cello studies at the age of six, and was accepted into Henrik Brendstrups
    class in 2007. After 3 years of studies here he moved to Berlin to study with professor Claudio
    Bohorquez, thereafter with professor Tilmann Wick at Hochschule für Musik, Theater und
    Medien in Hannover. Jacob has been principal cellist in the European Union Youth Orchestra.

    Jacob la Cour plays on a Giovanni Battista Ruggeri from 1700, kindly on loan from the
    Augustinus Foundation. 

  • Verena Stourzh, violin

    Verena Stourzh

    Verena Stourzh, born in Vienna, studied at the Vienna Conservatory of Music with Prof. Alexander Arenkov. In 1989 she obtained the state diploma with authorization to teach with distinction, and in 1993 she received her concert diploma also with distinction. She attended master classes with Dora Schwarzberg, Ernst Kovacic, Shmuel Ashkenasi, Detlef Hahn, Rainer Kussmaul, Erich Höbarth and Ingrid Seifert (baroque violin).

    Verena Stourzh was member of the Gustav Mahler Youth Orchestra under Claudio Abbado (1987/88), leader of first violins of „Tonkünstler Orchester Niederösterreich“ (1990-1993), since then she is member of the Vienna Chamber Orchestra.
    With the „Tonkünstler Orchester Niederösterreich“ she played the solo part on the occasion of the world premiere of the violin concerto by Paul Kont.

    In Stourzh’s artistic career chamber music has always played a major role. She has performed with ensembles like the Wiener Mozart Trio, Soloists of the Austro-Hungarian Haydn-Philharmonic and Soloists of the Vienna Chamber Orchestra. As violinist of the Haydn Trio Eisenstadt (1998 - 2010) and the TrioVanBeethoven (since 2011) Verena Stourzh is performing intensely in Austria and abroad. Concerts have taken her to the Vienna Musikverein, the Vienna Konzerthaus, the Haydn Festival Eisenstadt (annual subscription concerts), Concertgebouw Amsterdam, Stadtcasino Basel, Louvre Auditorium Paris, Kings Place London, the Cheltenham Festival, Beethovenfest Bonn, Musikfestspiele Potsdam Sanssouci, Musikverein Zagreb, Festival EuroArt Prag, International Performing Arts Center Moscow, Kiev Philharmonic, the International Center of Performing Arts Beijing, Metropolitan Museum New York, Library of Congress Washington, as well as to Canada, South America, South Africa, Australia and East Asia.
    In 2009, the Haydn commemorative year, she went on a worldwide tour to play 157 concerts on all continents. With the Brasilia Symphony Orchestra she performed  Beethoven’s Triple Concerto in Brasilia.
    During this year Verena Stourzh played a violin by Antonio Stradivari, Cremona 1714, "ex Smith-Quersin", loaned to her by the Austrian National Bank.

    Verena Stourzh has given  master classes in many countries, e.g. at the University of Glasgow, the Cork School of Music, the Conservatoire Montréal, the University of Syracuse, Gettysburg College, the Kiev Conservatory and the Academy of Music in Tirana.
    During one year she tought at the Music and Arts University of the City of Vienna.

    On the CD market Verena Stourzh has presented around 45 CD – productions, including the complete recordings of the piano trios of Haydn, Mozart, Beethoven and Schubert, as well as the worldwide first complete recording of 429 Scottish and Welsh folksongs arranged by Joseph Haydn (with Lorna Anderson and Jamie MacDougall). These recordings have won international renown. In the field of contemporary music, recordings were presented of the projects “Bachmann vertont” and “DedicatedToHaydn” as well as portraits of the composers Tibor Nemeth, Jaan Rääts and Wolfram Wagner.           

    Verena Stourzh plays a violin of Carlo Ferdinando Landolfi, 1770.

  • It was a bit scary in the beginning to find out that it is not that easy to play the bassoon. Like, I played the first month on a plastic reed I found in the case of the music school instrument and was advancing really quickly. I was naturally in my mind on my way to become the next genius superstar of the bassooning, the one that would just change the way we think about everything in life. Then it hit me that there is a number of tone exercises, study pieces and scales to play and a huge number of wooden mouthpieces to make yourself before I could actually even dream about any kind of professional musician’s life. The instrument case started to feel really heavy and I became very upset for a moment.

    By the following weeks and months I was still in a way curious to find out how one actually could produce tone, a phrase, different sounds on this strange instrument so I kept playing it every now and then, not really much though.

    The lucky part for me really was that at already a very early stage of my bassoon hobby, after some months of struggle, I met new friends, teachers and other musicians among some colleagues-to-be with whom I was immediately able to relate in terms of enthusiasm, joy of playing and the way you think about your art and music. Knowing that someone shared my views and likes to do things that I like as well was a powerful experience that made the technical limit so much more bearable.

    I think I chose art as a way of life rather than I chose the instrument, but I feel very happy that I ended up playing the bassoon as my main thing, it might be the form of art that I in a very personal level enjoy the most.Antti
  • Bogdan low res

    Bogdan Božović enjoys a versatile international career as chamber musician, soloist and chamber orchestra leader. As violinist of the world-renowned Vienna Piano Trio from 2012 to 2015, he has toured Europe, the Americas and Asia, appearing in some of the most prestigious chamber music venues, including the Wigmore Hall in London, Concertgebouw Amsterdam, Konzerthaus Vienna, Cité de la Musique in Paris and The Frick Collection in New York. He has made two critically acclaimed recordings with the ensemble on the label MD&G, featuring works by Beethoven and Saint-Saëns.

    His chamber music festival performances include IMS Prussia Cove Open Chamber Music in Cornwall, England (member of the tour-ensemble in 2011), Chamber Music Connects the World in Kronberg, as well as the Prades, Båstad, Gstaad, Whittington, Nuremberg, Caramoor and Ottawa festivals and series. Among his chamber music partners are Steven Isserlis, Christian Tetzlaff, Elisabeth Leonskaja, Lukas Hagen and Veronika Hagen. His live recordings have had multiple international broadcasts including those by BBC Radio 3, Radio France, WDR 3, NPO Radio 4, WQXR-FM New York and Radio Beograd.

    Bogdan’s recent solo-appearances include the Schumann Violin Concerto with the Symphony Orchestra Basel. He has been guest leader of the Vienna Chamber Orchestra, Ensemble DIAGONAL Basel (in their Lucerne festival-performance), Ensemble Phoenix in Basel and others. He is a founding member of the Leondari Ensemble, resident ensemble at the annual Saronic Chamber Music Festival in Greece.

    Bogdan has given master-classes at the Royal College of Music in London, Leeds College of Music and has been a tutor at the chamber music seminar MusicWorks in West Sussex/England.

    A native of Belgrade, Serbia, he studied with Vesna Stanković at the Faculty of Music in Belgrade, Klara Flieder at the University Mozarteum Salzburg and obtained his masters degree with distinction in the class of Rainer Schmidt at the Basel Academy of Music. Other important musical influences were from lessons with Ferenc Rados, Pamela Frank, Chiara Banchini (baroque violin) and collaborations with contemporary composers such as Heinz Holliger and Georg Friedrich Haas.

    Bogdan plays on the “ex-Arma Senkrah” Stradivarius violin from 1685, on generous loan from the Ruggieri Foundation.

  • ClemensClemens Zeilinger was born in Vienna. He began his studies at the Bruckner Conservatory in Linz and later continued at the University for Music and Performing Arts in Vienna.

    Among his teachers were Roland Keller, Peter Barcaba, Heinz Medjimorec, Georg Ebert (Chamber Music) and Anton Voigt . He furthermore attended master classes with Leonoard Hokanson, Oleg Maisenberg, L. Hoffmann and A. Jasinski.

    His musical education was rounded off by studies of music theory with Gunther Waldek as well as a course on “Integrative Breathing, Voice and Movement Education” with Dr. Bernhard Riebl.

    Clemens Zeilinger holds prizes of several competitions:

    Winner of the Austrian Youth Music Competition “Jugend musiziert”, Winner of the European Youth Music Competition in Antwerp and Laureate of both the Beethoven Competition in Vienna and the European Chamber Music Competition at The Hague.

    He was awarded the “Bösendorfer Scolarship” on several occasions.

    His concert tours have included all of Europe, the US, Japan, Korea, Morocco, Iran and Oman. He has been soloist with many renowned orchestras, such as the Mozarteum Orchestra in Salzburg, the Royal Academy Orchestra in London, the Lower Austrian Symphony, the Bruckner Orchestra in Linz and the South Bohemian Philharmonic Orchestra.

    He devotes a great part of his artistic life to Lied accompaniment and to playing chamber music, as a member of the Delon Piano Quartet.

    Clemens Zeilinger teaches piano at both the University for Music in Vienna and the Anton Bruckner University for Music in Linz.

    He was appointed “Artist of the Year” by the Austrian Radio on the occasion of its 40th anniversary.

    The years 2008 and 2010 brought two highly acclaimed piano recital cycles, one of which comprised all Beethoven piano sonatas, the other being devoted to works by Franz Schubert.

    For the next two years Zeilinger has been awarded the title of “Artist in Residence” at the “Brucknerhaus” concert center in Linz.
  • Sakari Tepponen, violinsakkari

    Member of Esbjerg Ensemble since 1997. “I started playing violin under my older brother’s guidance. He was already employed as a violinist at the National Opera Orchestra in Helsinki when I started. It was a natural choice for me to learn to play the violin because at home, I had heard violin playing throughout my entire childhood. ” Sakari graduated from the Sibelius Academy in Helsinki and at the Hochschule für Musik und Darstellende Kunst in Vienna.Alongside his employment as concertmaster in the internationally recognised Lahti Symphony Orchestra, Sakari has performed as a chamber musician and
    soloist throughout Finland. He has performed as a soloist and chambermusician at concerts nationally in Denmark and abroad. In 2002 he performed a recital with pianist Masahiro Saito at The Musashino Cultural Center in Tokyo. Sakari has recorded solo pieces with orchestras, among others music by Felix Mendelssohn, Karl Amadeus Hartmann and Jean Sibelius. His recording and
    concert performances with Finnish violin music led to the Sibelius Medal in
    1996.Today, Sakari teaches chamber music and soloist masterclasses both
    in Denmark and abroad.
  • Joke Wijma, Horn
    joke
    Member Esbjerg Ensemble since 2005. “Playing Peter Maxwell Davies’ “Sea Eagle” for solo horn outdoors, while a bird of prey show took place,has been the most remarkable experience I have had with the ensemble.”
    After studying with Frank Brouns and Hans Dullarert at the Conservatory in
    Groningen, Joke Wijma continued her studies at the Hochschule for Music
    and Theatre in Hamburg, where the Dutch hornist Ab Koster was professor.
    After graduating in 2004, she continued her studies with Koster as well
    as working with the Duisburger Philharmoniker as an intern.
  • Christian Martinez, percussion
    christian
    Christian Martinez commenced his percussion studies in his
    home town of Cali in Columbia. Later followed studies at theManhattan School of Music in New York and at Rogaland Music Conservatory in Stavanger. In 1996 he graduated
    from the Royal Danish Academy of Music in Copenhagen,
    the same year he became a member of Esbjerg Ensemble.Christian Martínez has participated as a chamber musician
    and soloist at several festivals and concerts in Scandinavia,Europe, USA, Latin America and Taiwan. Most recently at
    the Nordic Music Days Festival in 2010, Athelas New Music
    Festival in 2011, Percussion Plus Festival Aarhus in 2012
    and Kalliokuninkala Festival in 2012 and Percussion Plusin 2014, both in Finland.In January 2014, Esbjerg Ensemble
    collaborated with “the king” of baritones, Omar Ebrahim,
    in the first Scandinavian performance of György Kurtágs,“Pas a pas, nulle-part” for baritone, string trio and percussion.
    In the year 2010, Christian Martinez released his first soloCD “Rhythmical Séance” with Per Nørgård’s I Ching as well
    as pieces by Ivar Frounberg and Ejnar Kanding. The
    collaboration with Nørgård led to 2 new pieces included in
    this CD: a concerto for percussion and ensemble called
    Three Scenes as well as Arabesques I, II, III (2011) for solo percussion. Both pieces are dedicated to Christian
    Martínez and Esbjerg Ensemble.
  • kerstinKerstin Thiele, flute

    Member of Esbjerg Ensemble since1986. “It was
    a bit of a coincidence that I started playing flute. My sister and fatherplayed in the local brass band and they needed a flute player, so that position was just for me.” Kerstin is a member of the board,
    appointed by the other musicians. Kerstin Thiele studied with solo flutist Toke Lund Christiansen at the Royal Danish Academy of Music and with Professor Andre Jaunet in Zurich. Besides being a member of Esbjerg Ensemble, Kerstin Thiele participates actively in the rest of the music scene
    at home and abroad, and she is also a teacher at Syddansk Academy
    of Music.
  • Jesper Lützhøft, konferencier m.m.
    jesper
    The Danish guitarist, music producer, and formeropera and orchestra director, Jesper Lützhøft,
    made his debut as a soloist at the Royal. Danish Academy of Music in 1987 and has since haunted
    the Danish music scene on many different levels.
    From 2001 to 2007 he was engaged at Danish
    Broadcasting Corporation where he organized achamber music competition and introduced music
    to the audience with the concert series
    "Kammermusik med Birkes". In recent years
    he performed concertos at the Hindsgavl
    Festival with the the Odense Symfoniorkester.

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