an ambassador for the European Union

eubo 2010Inspired performance. Real experience.

Concertgebouw, Amsterdam

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 CultureBelgian Presidency of the European UnionCouncil of Cultural Ministers:Fadila Laanan, Joke Schauvliege,IsabelleWeykmans

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: Dr Roy Goodman

Director General: Paul James

Orchestral Manager: EmmaWilkinson

LiaisonManager: Helena DeWinter

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

Funding Programme: EUBO 2010 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 2010: White and Case

European Union Baroque OrchestraHordley, Wootton, Woodstock,Oxfordshire OX20 1EP, UKT: +44 1993 812 111F: +44 1993 812 911E: info@eubo.org.ukW: www.eubo.eu

EUBO is an official cultural training initiative of the EuropeanParliament and the European Commission, and in 2010 hasbeen funded with support from the European Commission.

EUMember 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: Václav RiedlbauchDenmark: Per Stig MøllerEstonia: Laine JänesFinland: StefanWallinFrance: Frédéric Mitterrand

Germany: Bernd NeumannGreece: Pavlos YeroulanosHungary: István HillerIreland: Mary Hanafin

Italy: Sandro BondiLatvia: Ints Dālderis

Lithuania: Remigijus VilkaitisLuxembourg: Octavie Modert

Malta: Mario deMarcoThe Netherlands: Marja van Bijsterveldt-Vliegenthart

Poland: Bogdan ZdrojewskiPortugal: Gabriela CanavilhasRomania: Kelemen HunorSlovakia: Marek Mad’aričSlovenia: Majda Širca

Spain: Ángeles Gonzalez-SindeSweden: Lena Adelsohn Liljeroth

United Kingdom: Jeremy Hunt

Commissioner for Education, Training, Culture and Youth: Androulla Vassiliou

Cabinet of Commissioner Vassiliou: Philippe Brunet (head of cabinet),Catherine Sustek (culture)

Directorate-General Education & Culture:Jan Truszczyński (Director General)DG EAC Directorate C: Culture and Communication:Xavier Troussard (acting Director)

DG EAC.C.1 Culture: Xavier Troussard (Head of Unit)

DG EAC D 2: Culture programme and actions: Ann Branch (Head of Unit)

EAC Executive Agency: Gilbert Gascard (Agency Director)

EAC.EA.P5, Culture: CorinneMimran (Head of Unit)

2 | 3 EUBO 2010 ToursWhen in Rome…

22 May Lufthansa Festival of BaroqueMusic,St John’s, Smith Square, London, UK

Maladies and Melodies15 July Eglise SS-Pierre-et-Paul, Echternach, Luxembourg16 July Kolarac Concert Hall, Belgrade, Serbia18 July St Sophia’s Church, Ohrid, Macedonia20 July Auberge de Castille, Valletta, Malta21 July Auberge de Castille, Valletta, Malta23 July St John’s Church, Riga, Latvia24 July St John’s Church, Cesis, Latvia26 July Concertgebouw, Amsterdam, The Netherlands

08 December tobeconfirmed11 December Sir Jack Lyons Concert Hall, York, UK

Handel, a dramatic Genius02 September Eglise St-Martin, Amilly, France04 September St Servatii Church, Quedlinburg, Germany05 September Ehemalige Kirche, Osnabrück, Hagen, Germany03 December Atrium, Trifolion, Echternach, Luxembourg04 December Stadtkirche, Darmstadt, Germany06 December Bibliothèque Solvay, Brussels, Belgium (by invitation only)09 December tobeconfirmed12 December St John’s, Smith Square, London, UK

The Dutch Connection08 October Kloster Michaelstein, Blankenburg, Germany09 October Stiftskirche, Bad Gandersheim, Germany10 October to be confirmed12 October AquaCity, Poprad, Slovakia13 October Klarisky Church, Bratislava, Slovakia15 October University Aula, Salzburg, Austria16 October Eglise St-Guillaume, Strasbourg, France17 October Eglise SS-Pierre-et-Paul, Echternach, Luxembourg

Gods, Heroes and mere mortals08 November Salle Poirel, Nancy, France09 November Atrium, Trifolion, Echternach, Luxembourg10 November Casa daMusica, Porto, Portugal11 November Academia deMusica, Espinho, Portugal13 November Academiezaal, Sint Truiden, Belgium15 November Herkulessaal, Munich, Germany16 November Philharmonic Concert Hall, Łodz, Poland

“ It really was a stunning concert. It restoredmy faith in baroque playing.”James Bowman CBE

EUBO 2010 ProgrammesWhen in Rome…Director & violin Enrico OnofriCo-director Margaret FaultlessA CORELLI Concerto grosso in D, Op 6 No 4G MUFFAT Sonata No 5 in G (from Armonico tributo)F GEMINIANI Concerto grosso in d minor, ‘La Follia’ (after Corelli)A CORELLI Concerto grosso in F, Op 6 No 12GF HANDEL Sonata a cinque in B flatA CORELLI Concerto grosso in g minor, Op 6 No 8,

Maladies and MelodiesDirector & harpsichord Lars Ulrik MortensenConcertmaster Huw DanielJD ZELENKA Hipocondrie a7 concertanti in APA LOCATELLI Concerto Grosso in f minor, Op 1 No 8T ALBINONI Concerto for 2 oboes in F, Op 9 No 3soloists Robert de Bree and Iris Désirée BalzereitHIF BIBER BattaliaMA CHARPENTIER Suite from Le malade imaginaire, H495A VIVALDI Concerto for strings in g minor, RV157G MUFFAT Concerto Grosso III in B flat, Convalescentia

Handel, a dramatic GeniusDirector & harpsichord Lars Ulrik MortensenSoprano Maria KeohaneConcertmaster Huw DanielGF HANDEL Overture from Alcina, HWV34

Concerto Grosso in d minor Op 6 no 10, inter-spersed with three operatic arias from Faramondo,Agrippina and Giulio CesareAccompanied recitative and aria from Alcina“Ah! Ruggiero crudel” – “Ombre pallide”Ballet music from AlcinaOverture from Admeto, HWV22Cantata Ero e Leandro, HWV150

The Dutch ConnectionDirector & harpsichord Ton KoopmanConcertmaster Zefira ValovaGF HANDEL Concerto Grosso in F, Op 6 No 2P HELLENDAAL Concerto Grosso in g, Op 3 No 1PA LOCATELLI Introduzione teatrale in G, Op 4 No 4GF HANDEL Concerto Grosso in G, Op 6 No 1UWVANWASSENAER Concerto Armonico in G No 1GPh TELEMANN Suite and Conclusion in B flat from Tafelmusik III

Gods, Heroes and mere mortalsDirection and theorbo Christina PluharConcertmaster Tuomo SuniSoprano Hannah MorrisonMezzo-Soprano Luciana ManciniContraltino and Dancer Vincenzo CapezzutoTenor Reinoud van MechelenBaritone and Dancer Yannis FrançoisMusic taken from operatic works by CALDARA, CAVALLI and LULLY

Kailai Chen

EUBO 2010 Members

Violins Barbara Altobello ItalyCecilia Clares Clares SpainMargalida Gual Frau SpainEveleen Olsen UKDominika Pawlicka PolandBeatrice Scaldini Italy/UKRachel Stroud UKGiorgio Leonida Tosi ItalyKinga Ujszaszi Hungary

Violas Sam Kennedy UKElin Sydhagen SwedenLucile Chionchini France

Cellos Carina Drury IrelandAnna Carlsen Norway

Viola da Gamba Emily Smith UK

Double Bass Marco Lo Cicero Italy

Oboes Iris Désirée Balzereit GermanyRobert de Bree The Netherlands

Bassoons Michele Fattori ItalyAnna Flumiani Italy

Harpsichord Patrycja Domagalska Poland

Theorbos Yavor Genov BulgariaSimone Vallerotonda ItalyFrancesco Tomasi Italy

EUBO 2010 Faculty

EUBO DirectorsLars Ulrik Mortensen DenmarkEnrico Onofri ItalyMargaret Faultless UKTon Koopman The NetherlandsChristina Pluhar Austria

EUBO ConcertmastersHuw Daniel UKZefira Valova BulgariaTuomo Suni Finland

EUBO TutorsLars Ulrik Mortensen DenmarkMargaret Faultless UKEnrico Onofri (violin) ItalyFrançois Fernandez (viola) FranceJaap ter Linden (cello) The NetherlandsMargaret Urquhart (double bass) UKAlfredo Bernardini (oboe) ItalyAlberto Grazzi (bassoon) ItalyChristian Rieger (harpsichord) GermanySiebe Henstra (harpsichord) The NetherlandsChristina Pluhar (theorbo) Austria

“ An orchestra is the perfect symbol of thepower of integration, and EUBO is a perfectexample of what this can mean for Europe.Bringing together talent of differentbackgrounds, nationalities and languages,it serves as a reminder of what we canachieve by working together.”José Manuel Barroso,President of the European Commission

The Audition Courses to recruit members ofEUBO 2011 will take place from 8 to 14 April2011 in Echternach, Luxembourg.Tutors to include:Lars Ulrik Mortensen (director),Margaret Faultless (chamber music),Enrico Onofri (violin),Anton Steck (violin),Richard Gwilt (viola),Balázs Maté (cello),Love Persson (double bass),Béatrice Martin (harpsichord).More information onwww.eubo.org.uk/auditions.html

4 | 5

I was fortunate enough in 1985 to act as Chairmanof the United Kingdom’s celebrations forEuropeanMusic Year. Thereweremany excitingprojects but the launch of the European BaroqueOrchestra (as it was then, seven years before theUnion came about) was one that has stood thetest of time and proved of far-reaching value.

In the quarter of a century since, I have been ableto hear many of the orchestras that have beentrained under the EUBO’s auspices. I look at thecontinuing excellence of themusic-making andthe constantly widening number of countries fromwhich the participants are drawn as fulljustification of everythingwe instigated in 1985.Each time I hear the orchestra perform, I amamazed at the consistent brilliance each year’splayers manage to achieve in such a short time.It is a great source of pride that somany havemade successful careers all over Europe.

I offer my congratulations and great goodwishes to this year’s orchestra and lookforward to hearing the EUBO concerts formany years ahead.

HRH The Duke of Kent KGChairman, Honorary Committee of PatronsEuropean Union Baroque Orchestra

I am very happy that the EUBO is now residentin Luxembourg, and that the residency forrehearsals, auditions and concerts is hosted byEchternach, the oldest town in the country andone with a long and distinguished musicalhistory. Luxembourg has long seen itself as anatural home for the European ideal andbringing together young players from all overEurope to experience what true integration canoffer in practice is a perfect expression of thatideal. It shows that by joining together with onepurpose and with enthusiasm we can not onlyunderstand each other better, but achieve thehighest standards without ever losing our ownindividuality or culture. One only has to see theenergy that the EUBO’s members bring to themusic to realise how refreshing and excitingsuch team work can be. It is an example to usall and an endlessly positive and enjoyabledemonstration to our citizens of the value of ournations’ commitment to Europe as a whole.I hope that Luxembourg will have the pleasureof being involved in shaping many more youngmusicians like these in the years to come.

OctavieModertMinister of Culture, Luxembourg

There is a reason we call some of the organisations that receive support under the culturalprogramme ‘Ambassadors’. To all parts of Europe and beyond they carry the message that there ismore to the work of the European Union than regulation and technical harmonisation. It is a greatcultural as well as a political project. There is a cultural soul which can bind us together. Anorchestra can be a metaphor for the whole process of social cohesion and the EUBO, with itsever-changing group of musicians presented at the most influential point of their youngprofessional lives, is especially apt. The EUBO enables people of common interest to join togetherin search of a common goal and to present the results of their close collaboration in a way whichleads to something far more satisfactory than could ever be achieved alone. The differencebetween this orchestra and the Union, of course, is that the orchestra members only stay for ashort time, whereas we intend that the member states form a permanent ensemble.

The EUBO was a European Community project and it has worked triumphantly for 25 years. Many‘generations’ of its players have been captured in recordings and the high quality has neverfaltered. Those musicians now form the backbone of the period instrument revival all over Europe.At least three professional groups have been formed by ‘graduates’ of the EUBO who want tocontinue their experience of performing and touring together. Successive Commissioners haveattended EUBO concerts and come away re-invigorated in the worth and importance of theEuropean Union’s cultural commitments.

Perhaps the greatest tribute that I can pay the EUBO, its players past and present, is to say that itfeels a completely natural and inherent part of what we do. Listen to the wonderful music, watchdifferences dissolve. Where the players come from ceases to matter as the power of music takesover. The European Union is proud to have its name in this superb and constantly refreshedensemble – Ambassadors indeed!

Androulla VassiliouEuropean CommissionCommissioner for Education, Culture,Multilingualism and Youth

Claudia SchmiedAustria

Fadila LaananBelgium

Joke SchauvliegeBelgium

Isabelle WeykmansBelgium

Vezhdi RashidovBulgaria

Andreas DemetriouCyprus

Václav RiedlbauchCzech Republic

Per Stig MøllerDenmark

Laine JänesEstonia

Stefan WallinFinland

Frédéric MitterrandFrance

Bernd NeumannGermany

Pavlos YeroulanosGreece

István HillerHungary

Mary HanafinIreland

Sandro BondiItaly

Ints DālderisLatvia

Remigijus VilkaitisLithuania

Octavie ModertLuxembourg

Mario de MarcoMalta

Marja van Bijsterveldt-VliegenthartThe Netherlands

Bogdan ZdrojewskiPoland

Gabriela CanavilhasPortugal

Kelemen HunorRomania

Marek Mad’aričSlovakia

Majda ŠircaSlovenia

Ángeles Gonzalez-SindeSpain

Lena Adelsohn LiljerothSweden

Jeremy HuntUnited Kingdom

EU Ministers of Culture

6 | 7

25 years ago the Council of Europe and the EuropeanCommission designated 1985 as "EuropeanMusic Year" tocelebrate the 300th anniversary of the births of three of the mostimportant composers of the baroque era: GF Handel, JS Bachand D Scarlatti. This presented the perfect opportunity toencourage new developments and ideas in the baroque musicalfield. Conscious of the increasing interest across Europe inreviving 18th century performance practices, the 'UK EuropeanMusic Year' Committee, under the Chairmanship of HRH The Dukeof Kent, approved an initiative to promote a pan-Europeanorchestral training programme to help young talented musiciansembarking on careers in baroque music. Thus in January 1985,the European Baroque Orchestra, as it was then called, wascreated in Oxford, where young European musicians had theunique opportunity of working for a year under almost everymajor baroque orchestral director.

The idea was just too good to drop.

Excited by its possibilities and potential, one of the project'sinitiators, Paul James, decided in 1986 to move the orchestra ontoa permanent basis as an annual educational, training andperforming programme, obtaining funding and recognition fromthe European Community and the status of European CulturalAmbassador. So what began as a one-off project has developedinto a significant force in the musical establishment. Ton Koopmanwas appointedMusic Director in 1987, followed in 1989 byRoy Goodman and subsequently by Lars Ulrik Mortensen,who took over in 2004 asMusic Director, with Margaret Faultlessas Director of Studies. The orchestra has been managed from theoutset by Director General, Paul James, joined by EmmaWilkinsonin 1988 as Orchestral Manager.

25 years on and the orchestra has become an essential part of theworld of baroque music.

Every Easter about 100 talented young baroque student musiciansfrom across Europe are invited to audition. The 25 successfulcandidates, typically from 12 or more different countries with anaverage age of 25 years, spend six months together from July toDecember, training, touring and performing with some of theworld’s leading baroque specialists throughout Europe andsometimes further afield. Each season usually comprises five15-day tours of four different musical programmes, performedunder Lars Ulrik Mortensen and guest directors andconcertmasters. The Orchestra gives around 30 concerts and

masterclasses in about 12 different countries each year. At theend of the season, the musicians of EUBOmove on into theprofessional world and the whole process, from audition tograduation, begins again with completely new players. EUBO hasbeen so successful in its mission that there are now former EUBOstudents in every major professional baroque ensemble in Europe.

Since its foundation, more than 700 musicians have been fullmembers of the Orchestra, which has given over 750 concerts in53 different countries, including all 27 EUMember States, as anAmbassador for the European Union. EUBO’s 53rd country, Serbia,hosts the Orchestra for the first time in July 2010 as part of theBelgrade Summer Festival. Over the years, the orchestrahas established relationships with some of Europe’s mostprestigious venues, such as the Concertgebouw inAmsterdam, and festivals like the Edinburgh InternationalFestival; but EUBO has always sought to include many frequentlyneglected regions in its touring programmes, for example theMiddle East, the Balkans and South America. In 2008 EUBOwasinvited to become the "orchestra-in-residence" in Echternach, theoldest city in Luxembourg, since when the Orchestra has basedmany of its activities there under the auspices of the City ofEchternach at the Centre Culturel Trifolion, including a concertseries Echter’Barock, organised and promoted in partnership withthe International Festival of Echternach. EUBO also enjoys specialstatus as 'artist in association' at Stiftung Kloster Michaelstein inGermany, with Jardins d’Agrément in Amilly in France, and inPortugal with the Casa daMusica in Porto.

The European Union Baroque Orchestra remains a highly valuedtraining resource for young musicians. Without EUBO providing aconstantly refreshed pool of experienced new talent, there is nodoubt that professional baroque ensembles would find it difficult tomaintain their standards and that the health and vitality of baroqueperformance across the world would suffer. The Orchestra hasinspired the hundreds of young people who have trained with itsince 1985 and the many thousands who have experienced itsdazzling performances each year. Providing ideal conditions tonurture EUBO’s young talents is an expensive undertaking, and it isthanks to funding from the European Commission (through the EUCulture programme), the loyal support of the City of Echternach,partners, corporate and individual friends, and the EUBODevelopment Trust, that this unique project continues for thebenefit of future performers and audiences.

Inspired performance. Real experience.

EUROPEAN UNION BAROQUE ORCHESTRA1985-2010: 25th Anniversary

ECHTER’BAROCK

EUBO is Orchestra-in-Residence for the third consecutiveyear in Echternach, Luxembourg, and is grateful to itspartners for making this possible: Ville d’Echternach,Festival International d’Echternach, Centre Culturel,Touristique et de Congrès Trifolion.

Many of the orchestra’s activities take place in Echternach,including rehearsals and the annual audition courses.

A series of concerts under the banner “Echter’Barock” wascreated as part of this residency, and is now an essentialpart of the cultural life in Echternach, Luxembourg andthe Grande Région.

This partnership, that brings EUBO to the heart of Europe,is a great help to the orchestra; and EUBO is immenselygrateful for the support shown by everyone who isinvolved in this collaboration.

Maladies and Melodies

Thursday 15 July 2010, 20.00 hours,

Eglise SS Pierre & Paul, Echternach

Director & Harpsichord Lars Ulrik Mortensen

Concertmaster Huw Daniel

The Dutch Connection

Sunday 17 October 2010, 20.00 hours

Eglise SS Pierre & Paul, Echternach

Director & Harpsichord Ton Koopman

Concertmaster Zefira Valova

Gods, Heroes and mere Mortals

Tuesday 9 November 2010, 20.00 hours

Atrium, Trifolion, Echternach

Director & Theorbo Christina Pluhar

Concertmaster Tuomo Suni

Soloists Hannah Morrison (Soprano), Luciana Mancini (Mezzo-Soprano),

Vincenzo Capezzuto (Contraltino & Dancer), Reinoud Van Mechelen (Tenor),

Yannis François (Baritone & Dancer)

Handel, a dramatic Genius

Friday 3 December 2010, 20.00 hours

Atrium, Trifolion, Echternach

Director & Harpsichord Lars Ulrik Mortensen

Concertmaster Huw Daniel

Soprano Maria Keohane

8 | 9

Ville dʼEchternach

WHY CLOUD COMPUTING?

Why now?

Innovation in the computing industry continues to enable new opportunities for society, from a “PC in every home” to “cloud computing.” This recent, nebulous image refers to the use of computing power that you do not own and that is located elsewhere, in “the cloud” of remote networks.

What’s new? This concept is familiar to anyone who uses online services to manage and store data, like Hotmail for email or Flickr for photos. On the other hand, businesses and governments have preferred to keep and control data in their own IT systems.

As these organizations look to drive down costs, there is increasing interest in alternative approaches. Cloud-based services are now more powerful and reliable for such users. Large data centres offer economies of scale, providing cheaper computing power, with the flexibility to pay only for what you use. Like electricity, you don’t need to own the generators; you just plug in and pay as you go.

New Opportunities for Europe

By lowering costs, and also lowering barriers to entry for IT developers, cloud computing offers “the medicine needed for Europe’s credit-squeezed economy”, as Commissioner Reding has stated. Simply put, both users and developers can do more with less, by accessing greater computing power without having to invest up front large sums for equipment.

Innovation flows from these new capabilities. In a program called BizSpark, aimed at helping early stage start-ups by providing them with software and support, many of the 8,000 participating European companies are already providing cloud-based services. Cloud resources enable a new company like Lokad in France to deliver sophisticated sales forecasting tools for large retailers or manufacturers to optimize inventories.

The upcoming BizSpark European Summit, in Paris, will bring together many more promising start-ups who are delivering their solutions in the cloud.

Going forward, all organisations, and especially entrepreneurial SMEs, will be interested to tap into computing resources beyond what they could previously afford in order to increase productivity and reach wider markets.

New Responsibilities

Before the promise of cloud computing can be realized we all need more confidence in the security, privacy, portability and availability of our data. We need a safe, open and interoperable cloud – one that is protected from the efforts of thieves and hackers while also serving as an open platform for sharing and storing information for people around the world. We need connectivity we can depend on.

Legitimate questions reflect the responsibilities that come with cloud-based services:

Are you confident that your privacy is being protected, that your data is secure, that you can reach it when you need? If you live in one country but your data is stored in another, whose laws govern, and are the rules consistent?

Industry and governments can build on solid experience to address such questions. The current computing trend holds the potential for tremendous cost savings, flexibility, and growth. Yet as we move to embrace evolving cloud technologies, we also must meet fundamental expectations about the management of your data. Microsoft is working with customers, partners, and governments on the bold goal to help Europe realise its cloud potential.

For more information:

www.microsoft.eu

10 | 11 WHEN IN ROME… DirectorEnrico Onofri*, Italy

Co-directorMaggie Faultless*, United Kingdom

ViolinsHuw Daniel, United KingdomZefira Valova, BulgariaNaomi Burrell, United KingdomCecilia Clares Clares, SpainEsther Crazzolara, ItalyNadia Debono, MaltaKristin Deeken, GermanyDaniela Henzinger, AustriaIvan Iliev, BulgariaAlise Juska, LatviaIrma Niskanen, FinlandAnia Nowak, PolandEveleen Olsen, United KingdomRaphaëlle Pacault, FranceStephen Pedder, United KingdomSara-Deborah Struntz Timossi, Germany

ViolasRoos Al, NetherlandsMarina Barredo, SpainAliye Cornish, United KingdomDaniel Lorenzo Cuesta, SpainJosef Höhn, ItalyMiriamMacaia, PortugalJoanneMiller, United KingdomMaria Ramirez, Spain

CellosJosetxu Obregon*, SpainOleguer Aymami, SpainLouna Hosia, FinlandAnia Katynska, PolandDiana Vinagre, PortugalPoppyWalshaw, United Kingdom

Double BassesCarina Cosgrave, United KingdomPippaMacmillan, United KingdomVegaMontero, SpainKonstantin Uhrmeister, Germany

OboesEva Harmuthova, Czech RepublicSarah Humphrys, United KingdomThomasMeraner, ItalyPhilippWagner, Austria

BassoonsAnna Flumiani, ItalyMarie Hervé, FranceZoëMatthews, United KingdomJosé Rodriguez Gomes, Portugal

TheorbosPablo Zapico*, SpainYavor Genov, BulgariaSimone Vallerotonda, Italy

KeyboardsMatias Häkkinen*, FinlandFederica Bianchi, ItalyNadja Lesaulnier, France

* concertino

A CORELLI (1653-1713)

Concerto grosso in D major, Op.6 No.4

Adagio/Allegro – Adagio/Vivace – Allegro

G MUFFAT (1653-1704)

Sonata No.5 in G major (from Armonico tributo)

Allemanda – Adagio – Fuga – Adagio – Passacaglia

F GEMINIANI (1687-1762)

Concerto grosso in D minor, 'La Follia' (after Corelli)

Theme & variations

A CORELLI

Concerto grosso in F major, Op.6 No.12

Preludio: Adagio – Allegro - Adagio - Sarabanda: Vivace - Giga: Allegro

GF HANDEL (1685-1759)

Sonata a cinque in B flat major

Andante – Adagio – Allegro

A CORELLI

Concerto grosso in G minor, Op.6 No.8, 'Christmas Concerto'

Vivace-Grave – Allegro – Adagio-Allegro-Adagio – Vivace – Allegro-

Pastorale

To celebrate its 25th Anniversary, EUBO invited 50 musicians fromrecent years to perform at the Lufthansa Festival of Baroque Musicin London, St John’s Smith Square. The unusually large number ofmusicians emulated the atmosphere of Corelli’s concerts in Romeat the beginning of the 18th century. Many of his contemporaries,including Geminiani, Muffat and Handel visited him there andwere inspired by his music.

Director & violin Enrico OnofriCo-directorMargaret Faultlesswith 50 former EUBO members

22 MayLufthansa Festival of Baroque MusicSt John’s, Smith Square,London,UK

The EUBO Development Trust would like to thank the following for their support inrecognition of the 25th Anniversary of the European Union Baroque Orchestra.

25th Anniversary Supporters and Concert Sponsors

Mr & Mrs Michael Johnson Corelli Op 6 No 8Ken & Vera Barnes Corelli Op 6 No 4Handel Circle of Friends Handel Sonata a5Anon Muffat Sonata No 5Nan Brenninkmeyer Corelli Op 6 No 12The Orchard Trust Geminiani Concerto Grosso ‘La Follia’

Nick Berry & Barbara Hott ...the encore

Sue Waldman Enrico Onofri’s bow (…and scarf)

Anon Foundation Concertmaster/violin

Prof Edward & Caroline Higginbottom ViolinHelen Dent CBE ViolaAlfonso Leal del Ojo ViolaDavid & Mirjam James CelloAlistair & Dolores Gray CelloJenny Ward Clarke CelloFiona Herron & Gerard Nolten TheorboHE Geoffrey & Jane Keating TheorboVan DuBose Double bassEva DuBose OboeEmma Wilkinson BassoonMalaria Riksdottir HarpsichordTrevor Pinnock CBE HarpsichordAnna Gustafson Organ

Catherine Mackintosh Maggie Faultless’ (essential) hair clipJohn Bickley & Hilary Perrott Maggie Faultless’ spare hair clipPaul James ...theorbo stringsHelena De Winter ...the music scores

Handel Circle of FriendsEric & Joan BeanGillian & Robert BergCecelia BruggemeyerMartina CaruanaMr & Mrs van Hattum-NoltenIvan IlievYvonne & Michael MusgraveDonald & Leonore PayneDavid & Dorothy ThomsonZefira Valova

Other Supportersin EUBO’s 25thAnniversary yearClassical CommunicationsAntonio Clares ClaresProf Alberto ContiHuw DanielMaggie FaultlessMatthew HallsPatricia JamesNick Berry & Barbara HottPaul James & Sandy GowingsDavid Gordon & Virginie GuiffraySilvia Marquez ChulillaStruan & Jacqueline McBrideSimon NealTony & Michelle RaperSharlie Rees DaviesAlan & Clare ToddEmma Wilkinson

"The audience reaction to the final concert of the series,Roman Concerti Grossi played by the dazzling EuropeanUnion Baroque Orchestra (led by soloists Enrico Onofriand Maggie Faultless) seemed almost to render areview redundant; it was surely loud enough for EMTreaders, scattered to the four winds, to have heardfor themselves."Early Music Today

"Blessed with apparently inexhaustible energy and skill—both of his own and in his young musicians—Onofri hascreated a gem of an ensemble. (...) the music that theymake together is fresh and joyously self-assured. Judgingby this performance the future of period performance inEurope is truly in safe hands."Musical Criticism

SUPPORT THE ORCHESTRA!In these financially difficult times, finding sponsors tosupport the orchestra is becoming more and moredifficult, and that is why EUBO relies increasingly onthe help from the EUBO Development Trust forfunding for concerts, travel bursaries for students toattend the EUBO audition courses and help with theproduction of CDs and DVDs.

Each individual donation will make a difference!From small regular donations of 5€ a month to largerone-off gifts, every contribution will help us sustainand develop the unique tradition of baroque music,our shared European heritage.

If you would like to support the EUBO DevelopmentTrust go to the ‘Support Us’ page on our websitewww.eubo.org.uk where you can donate online

or contact Jose Phillips

Phone: +44 1993 812 111

Email: devtrust@eubo.org.ukThe EUBO Development Trust is a charity registered in the UK no. 1082932.Trustees: Ken Barnes (chairman), Nick Berry, Simon Neal, Alan Todd, Sue Waldman

12 | 13 MALADIES ANDMELODIES ‘Music’, as Purcell’s song insisted, ‘for a while shall all yourcares beguile’. In the 17th and 18th centuries it was probablyeven truer than now because medicine was not much help inrelieving even the most basic ailments. Even then, however,fear of illness was often greater than the illness itself andboth Zelenka and Charpentier, in their deft and witty allusions,suggested that the mind infected by hypochondria presenteda slightly ridiculous picture.

Not so with battle wounds inflicted in Heinrich Biber’sBattalia, one of the most vivid pictures in baroque music,as impressive for his ability to recreate the atmosphere offighting through such a limited group of instruments as forkeeping the mayhem within the boundaries of musical form.Biber, perhaps the greatest violin virtuoso of his time, wroteit in 1673 – the same year as Charpentier’s incidental musicto Molière’s Le Malade Imaginaire.

Biber was employed by the Archbishop of Salzburg (as Mozartwas to be 100 years later). He was joined in Salzburg by GeorgMuffat, and after a few years Muffat took leave of absence tostudy in Italy. The result was an extraordinary series of suitesand concertos which merge his own Franco-German traditionswith those that Corelli was pioneering south of the Alps.

Between them Muffat and Corelli can be said to have setdown the models that the next generation – Vivaldi, Locatelli,Zelenka, Albinoni and even Bach, Handel and Rameau – madetheir own with such spectacular success. Georg Muffat didindeed provide the musical convalescence that his friendHeinrich Biber had set the scene for in his ‘battle’.

©Simon Mundy

As Orchestra-in-Residence, EUBO is grateful to be

offered rehearsal facilities in Echternach

JD ZELENKA (1679-1745)

Hipocondrie a7 concertanti in A

(Lentement) – Allegro – Lentement

PA LOCATELLI (1695-1764)

Concerto Grosso in F minor, Op 1 No 8

Largo-Grave-Vivace – Grave – Largo andante – Andante – Pastorale

T ALBINONI (1671-1751)

Concerto for 2 oboes in F, Op 9 No 3

(soloists Robert de Bree and Iris Désirée Balzereit)

Allegro – Adagio – Allegro

HIF BIBER (1644-1704)

Battalia

Allegro – Allegro: Die liederliche Gesellschaft von allerley Humor –

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

verwundten Musquetirer

Interval

MA CHARPENTIER (1645-1704)

Suite from Le malade imaginaire, H495

Ouverture – Airs des Tapissiers – Premier Air des Mores – Second Air des

Mores – Prélude – Air des Zéphirs – Loure – Air des Archers

A VIVALDI (1678-1741)

Concerto for strings in g minor, RV157

Allegro – Largo – Allegro

G MUFFAT (1653-1704)

Concerto Grosso III in B flat, Convalescentia

Sonata: Grave-Presto – Aria: Presto-Allegro-Presto-Grave-Presto

– Grave – Giga I: Presto – Giga II: Allegro

1155 JJuullyyEchter’BarockEglise SS-Pierre-et-Paul,Echternach,Luxembourg

1166 JJuullyyBelgrade Summer FestivalKolarac Concert Hall,Belgrade,Serbia

1188 JJuullyyOhrid Summer FestivalSt Sophia’s Church,Ohrid, Macedonia

2200 JJuullyyMalta Arts FestivalAuberge de Castille,Valletta,Malta

Director & Harpsichord Lars Ulrik MortensenConcertmaster Huw Daniel

Ville dʼEchternach

Ville dʼEchternach

Kailai Chen

Kailai Chen

2211 JJuullyyMalta Arts FestivalAuberge de Castille,Valletta,Malta

2233 JJuullyyHermann Braun FoundationSt John’s,Riga,Latvia

2244 JJuullyyHermann Braun FoundationSt John’s,Cesis,Latvia

2266 JJuullyyRobeco Summer ConcertsConcertgebouw,Amsterdam,The Netherlands

1111 DDeecceemmbbeerrYork Early Music Christmas FestivalJack Lyons Concert Hall,York,UK

LARS ULRIK MORTENSENMusic Director & HarpsichordLars Ulrik Mortensen studied inCopenhagen with Karen Englund andJesper Bøje Christensen, and withTrevor Pinnock in London. From 1988to 1990 he was harpsichordist withLondon Baroque and until 1993 withCollegium Musicum 90. He now works

extensively as a soloist and chamber musician in Europe, theUnited States, Mexico, South America, Japan and Australia,performing regularly with distinguished colleagues includingEmma Kirkby, John Holloway and Jaap ter Linden.

Between 1996 and 1999 Lars Ulrik Mortensen was professor forharpsichord and performance practice at the Hochschule fürMusik in Munich, and he now teaches at numerous early musiccourses throughout the world. Until recently, Lars UlrikMortensen was also active as a conductor of “modern”orchestras in Sweden and Denmark, where in particular hisactivities at the Royal Theatre in Copenhagen met with greatcritical acclaim, but in 2003 he decided to work exclusively withperiod instrument ensembles. He was appointed artistic directorof the Danish baroque orchestra Concerto Copenhagen (CoCo) in 1999, and in 2004 he succeeded Roy Goodman as musicaldirector of the European Union Baroque Orchestra (EUBO). Forthe 2010 season, he will direct eighteen concerts in elevenEuropean countries with EUBO.

Lars Ulrik Mortensen has recorded extensively for numerouslabels including DGG-Archiv, EMI and Kontrapunkt, and hisrecording of Bach’s Goldberg Variations was awarded the FrenchDiapason d’Or. A series of Buxtehude recordings from the 1990sfor the Danish Dacapo label has met with universal criticalacclaim. The first complete recording of Buxtehude’s chambermusic with John Holloway and Jaap ter Linden received theDanish Grammy award for best classical recording of the year,another Grammy was awarded for a CD of Buxtehude cantataswith Emma Kirkby, and Lars Ulrik Mortensen became DanishMusician of the Year 2000 for his three CDs of harpsichordmusic by Buxtehude. These recordings also received the CannesClassical Award 2001. A series of recordings with John Holloway,Aloysia Assenbaum and Jaap ter Linden of violin sonatas bySchmelzer, Biber, Veracini and Leclair were released on theprestigious ECM label. Directing Concerto Copenhagen,Mortensen has recorded the complete harpsichord concertos by JS Bach for CPO, which have received lavish praise in theinternational press, and Haydn piano concertos (with soloistRonald Brautigam) as well as symphonies by the Danishcomposers JE Hartmann, Kunzen and Gerson. His first CD withEUBO, a disc of suites by JS Bach, Fux and Rameau, was releasedin 2008, and the second one, a CD with works by Handel,featuring Soprano Maria Keohane, will be released in 2011.

Lars Ulrik Mortensen has received a number of prizes anddistinctions, among them the Danish Music Critics Award in1984, and in 2007 he received Denmark’s most prestigious musicaward, the Léonie Sonning Music Prize. In 2008 he was made amember of the Royal Swedish Academy of Music.

HUW DANIELConcertmasterHuw Daniel was a pupil at Ysgol Gymraeg Castell-nedd and YsgolGyfun Ystalyfera, South Wales, and continued his education as anorgan scholar at Robinson College, Cambridge, where he graduatedwith first-class honours in music in 2001. He then studied at theRoyal Academy of Music for two years, learning the baroque violinwith Simon Standage and modern violin with Hu Kun. Whilst atthe Academy, Huw was awarded the John Thomas MemorialScholarship and the Dorothy Kennedy Davis Award; he also led theAcademy’s period-instrument baroque orchestra in a concert at theLondon Handel Festival.

In 2002, Huw was the winner of the Mark Jones Memorial Award,a prize given annually to a young musician in West Glamorgan, andin 2003 he won the John Fussell Young Artist Award, giving arecital at the Swansea Festival. He has also won many prizes at theUrdd National Eisteddfod, and the Royal National Eisteddfod, bothas a soloist and as a member of a group, and in 1997 he was thewinner of the main Urdd Eisteddfod Scholarship. In 2004, heappeared as soloist in the Welsh Association of Male Choirs concertat the Royal Albert Hall.

In 2004, Huw was a member of the European Union BaroqueOrchestra, the members of which formed Harmony of Nations andcontinue to play together under this name; they released their firstCD in 2007, and a CD of “Bach Triples” has been recorded and will

be released in 2011. He is a member ofthe Irish Baroque Orchestra and theEnglish Concert, and also plays with theSixteen, London Handel Orchestra,Retrospect Ensemble, King’s Consort,Amsterdam Baroque Orchestra, and theOrchestra of the Age of Enlightenment.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’s Baroque,EUBO, Barokkanerne Oslo, Collegium Musicum Telemann, Osaka,Japan, and Haydn Sinfonietta Wien. Huw plays regularly with manychamber groups including Florilegium, the Feinstein Ensemble, theMusical and Amicable Society, and Le Chardon. Huw is an ex-member of the National Youth Orchestras of Great Britain andWales, and an Associate of the Royal College of Organists.

He plays a violin by Alessandro Mezzadri c.1720, on loan from theJumpstart Junior Foundation.

14 | 15 HANDEL, A DRAMATIC GENIUS Handel’s whole career revolved around spectacle. When he wasliving in Rome in the first decade of the 18th Century, opera wasbanned by the Pope, so Handel wrote over 100 dramatic cantatasfor his aristocratic and church patrons, notably the lavishCardinal Ottoboni. From these early cantatas, like Ero e Leandro,to his final oratorios (which were so dramatic they are stagednow as if they were operas) his music was ostentatiouslytheatrical. Even his instrumental works were mostly written forgrand public entertainments. George Frideric was not a man ofthe drawing room and domesticity.

Most of the first half of this programme is taken up with musicfrom Alcina, an opera which as much as any demonstrates thetrials and tribulations of Handel’s determined attempt to rootItalian Opera in London. After losing too much money trying topresent opera at the King’s Theatre in the Haymarket (largelybecause the Court was split between factions supporting KingGeorge II against his children), Handel combined forces in 1734with the manager John Rich. Rich had just opened his superband lavish new Theatre Royal Covent Garden (still the site of the Royal Opera House) and offered Handel the chance toproduce opera, pastoral and ballet, alternating with Rich’s ownproductions of spoken drama. As the main dancing attraction,Rich brought with him from his previous theatre the ParisianMarie Sallé who, in her late twenties, was exciting and shockingLondon audiences in equal measure and as a star singer heengaged the castrato Giovanni Carestini.

Alcina, with a libretto drawn from an incident from Ariosto’spoem Orlando Furioso, opened on 16 April 1735 and it was animmediate success, laced with the necessary spoonful of scandal.Carestini, playing the knight Ruggiero, had initially rejected hisbest aria Verdi Prati, which was promptly returned to him withthe threat from Handel that if he didn’t sing it, he wouldn’t bepaid. The sorceress Alcina herself (two of whose arias we heartonight) was sung by Anna Strada, his most loyal soprano – theonly one who had not defected to Bononcini’s rival company.However, despite all Alcina’s success, it was reported that Handellost £9000 on the season – in today’s money the sort of summore associated with big movies. For Marie Sallé the productionwas a disaster, though because of her costumes not her dancing.She appeared as a Greek statue dressed in only her petticoat andbra with a transparent muslin gown over it and then, as Cupid, inman’s clothes. This was enough excuse for a faction from therival theatre to hiss her at every performance and she was soupset she returned to Paris and never performed in London again.

Of the other operas with arias in this programme, the hugelysuccessful comedy Agrippina was written for the San GiovanniCrisostomo theatre (now the Teatro Malibran) in Venice in 1710.All the others were written for the King’s Theatre in London’sHaymarket (which has now reverted to its original name, HerMajesty’s Theatre, and shows musicals), Giulio Cesare (1724),Admeto (1727), and Faramondo (1738). Shortly after Faramondo,the fashion turned against opera in London, and Handel’sfinances were as precarious as ever. In October 1739 Britainwent to war with Spain in an entirely unnecessary tradingdispute called the War of Jenkin’s Ear, after a sailor accused theSpanish of cutting off his ear when his ship was boarded. Thatmonth, though, Handel wrote all 12 of his Op.6 Concerti Grossi,an astonishing feat for anybody else except Handel, who wroteThe Messiah in three weeks a couple of years later.

©Simon Mundy

GF HANDEL (1685-1759)

Overture from Alcina, HWV34

Ouverture - Musette - Menuet

GF HANDEL

Concerto Grosso in d minor, Op 6 no 10 interspersed with three

operatic arias

Ouverture (Concerto Grosso) - "Combattuta da due venti" (Faramondo

HWV39) – Air: Lentement (CG) - "Bel piacere" (Agrippina HWV6) - Allegro

(CG) - "Piangerò la sorte mia" (Giulio Cesare HWV17) - Allegro (CG) –

Allegro moderato (CG)

GF HANDEL

Accompanied recitative and aria from Alcina, HWV 34

"Ah! Ruggiero crudel" - "Ombre pallide" [Alcina]

GF HANDEL

Ballet music from Alcina, HWV34

Entrée des Songes agréables - Entrée des Songes funestes - Entrée des

Songes agréables effrayés - Le Combat des Songes funestes et agréables

Interval

GF HANDEL

Overture from Admeto, HWV22

GF HANDEL

Cantata Ero e Leandro, HWV150

Recitativo - Aria- Recitativo - Aria (Poco allegro e staccato) – Recitativo -

Aria (Adagio) - Recitativo

22 SSeepptteemmbbeerrJardins d’AgrémentEglise St Martin,Amilly,France

44 SSeepptteemmbbeerrQuedlinburger MusiksommerStiftskirche St. Servatii,Quedlinburg,Germany

Director Lars Ulrik MortensenSoprano Maria KeohaneConcertmaster Huw Daniel

Kailai Chen

55 SSeepptteemmbbeerrMusica VivaEhemalige KircheHagen a.T.W.Germany

44 DDeecceemmbbeerrMusikalischer HerbstStadtkirche,Darmstadt,Germany

66 DDeecceemmbbeerrby invitation onlyBibliothèque Solvay,Brussels,Belgium

1122 DDeecceemmbbeerrChristmas FestivalSt John’s, Smith Square,London,UK

MARIAKEOHANESopranoMaria Keohane is aSwedish sopranowhose repertoirespans a widespectrum of music

styles from baroque to contemporary, includingchamber music, opera and oratorio.

She has for example performed in Monteverdi’sIl Ritorno d’Ulisse in Patria, with GothenburgTheatre, Peri’s Euridice, with Drottningholm’sRoyal Theatre in Stockholm, and in Verdi’s DonCarlos with The Royal Danish Theatre in

Copenhagen. In 2005 she sang the part of Fillide in Aminta e Fillide at the Halle Händel Festspiele.

Maria Keohane is frequently engaged as anoratorio soloist and has performed with severalwell-known conductors, such as JérômeCorreas, Eric Ericson, Martin Gester, RoyGoodman, Gustav Leonhardt, Jakob Lindberg,Andrew Manze, Nicholas McGegan, Lars UlrikMortensen, Andrew Parrott, Stephen Stubbs, Josvan Veldhoven, Arnold Östman, and ChristopherWarren-Green. As well as performing widely inScandinavia she has given concerts in the UK,Italy, France, Germany, Austria, the Netherlands,Ukraine, Latvia, Lebanon, the USA, Japan andNew Zealand.

Maria has recorded several CDs, for examplewith Ricercar Consort, baroque trumpeterNiklas Eklund for the Naxos label, and with theensemble ”Folkmusik I Frack”. She has alsoparticipated in many television and radioproductions, including a film about Bach’scantata “Weichet Nur” with the EuropeanUnion Baroque Orchestra (EUBO) in July 2009.She has been honoured several times by TheRoyal Swedish Academy of Music and in 2005she received the Reumert Prize for her part asArmida in Händel’s Rinaldo.

After two successful tours with EUBO in 2009, she returns to work with this ensemble directed by Lars Ulrik Mortensen in 2010 with an all-Handel programme.

EUBO will record Handel’s

Cantata Ero e Leandro in

September 2010 in Echternach.

The CD, including also Handel’s

Water Music recorded already

in 2008, will be released in 2011

on the label Gift of Music.

EUBO is grateful to be offered rehearsal facilities in Amilly

The European Early Music

Network REMA – Réseau

Européen de Musique

Ancienne – will hold its

annual meeting from 3 to 5

December in Echternach,

Luxembourg, during the

orchestra’s residency there.

THE DUTCH CONNECTION In the early 18th century if you wanted to hear the latest musicalfashion and establish a reputation as a virtuoso you went to Rome,Venice and Paris – and then traded on the reputation in the courtsof the German princes. But if you wanted to publish your work forthe burgeoning market of semi-professional town music societiesand small aristocratic households, rich enough to hire good playersoccasionally but not to maintain full-time orchestras, then youwent to the commercial publishers of Amsterdam and London.

There was an incentive for composers to make the connectionthemselves. If they didn’t the publishers were quite likely, in thedays before copyright legislation, to sell pirated editions anyway.But more than that, Amsterdam was famous for the quality of itsengraving and printing – and, as a relatively liberal protestant city,allowed composers and writers the freedom to ignore the approvalor otherwise of the Catholic Church.

Although Amsterdam was the business address, the publisher whoissued Locatelli, Handel and Telemann’s works there was actuallyFrench: Michel-Charles la Cène, who had inherited the firm ofRoger and La Cène from his father-in-law. Italian music was allthe rage in northern Europe, as Vivaldi and Corelli discovered. So it is not surprising that Pietro Locatelli, originally from Bergamo,should decide to settle in Amsterdam after trying his luck andbuilding his reputation as a violinist throughout Germany.

He settled down in a house on Prinsengracht and let the publication of his Concerti Grosso establish his name acrossEurope. In The Hague Carlo Ricciotti was doing the same,

becoming a publisher himself as well as a virtuoso. This was nothelpful, though, to young and talented local players. PieterHellendaal, despite studying the violin with the great Tartini, foundit hard to make a living in Amsterdam while Locatelli and Ricciottiwere around and so moved first to London (where he played inmany of Handel’s last concerts) and then to Cambridge.

Unico Willem van Wassenaer had no such problem. He was adiplomat from one of the most well-connected families in theNetherlands and when Ricciotti pushed him to publish six of hisexcellent Concerti Grossi in 1740 he refused unless the vanWassenaer name was nowhere on the page. It was simply notconsidered socially acceptable for a man of his standing to bepublicly thought of as a composer. As a result it was not until1980 that the concertos were shown to be by him rather thanRicciotti, whose name they appeared under in The Hague andLondon editions.

©Simon Mundy

GF HANDEL (1685-1759)

Concerto Grosso Op 6 No 2 in F

Andante larghetto – Allegro – Largo – Allegro ma non troppo

P HELLENDAAL (1721-1799)

Concerto Grosso Op 3 No 1 in g minor

Ouverture – Largo – Presto – Menuet

PA LOCATELLI (1695-1764)

Introduzione teatrale Op 4 No 4 in G

Allegro – Andante – Presto

GF HANDEL

Concerto Grosso Op 6 No 1 in G

A tempo giusto – Allegro – Adagio – Allegro – Allegro

Interval

UW VAN WASSENAER (1692-1766)

Concerto Armonico No 1 in G

Grave – Allegro – Un poco andante – Allegro

GPH TELEMANN (1681-1767)

Suite and Conclusion in B flat from Tafelmusik III

Ouverture – Bergèrie – Allegresse – Postillons – Flaterie – Badinage –

Menuet – Furioso

0088 OOccttoobbeerrStiftung Kloster MichaelsteinRefektorium,Blankenburg,Germany

0099 OOccttoobbeerrConcerto GandersheimStiftskirche, Bad Gandersheim, Germany

1122 OOccttoobbeerrIndian Summer in LevocaAquaCity, Poprad, Slovakia

Director & Harpsichord Ton KoopmanConcertmaster Zefira Valova

16 | 17

EUBO is grateful to beoffered rehearsal facilitiesat Kloster Michaelstein in Blankenburg.

Kailai Chen

Kailai Chen

1133 OOccttoobbeerrKlarisky Church, Bratislava, Slovakia

1155 OOccttoobbeerrSalzburger BachgesellschaftUniversity Aula, Salzburg, Austria

1166 OOccttoobbeerrAmis de la Musique sur Instruments AnciensEglise St-Guillaume,Strasbourg,France

1177 OOccttoobbeerrEchter’BarockEglise SS-Pierre-et-Paul, Echternach, Luxembourg

TON KOOPMANDirector & Harpsichord2010 sees the return for the European UnionBaroque Orchestra of the eminent Dutchmusician Ton Koopman. Maestro Koopmanwas one of the first Music Directors of theEuropean Baroque Orchestra (as it first wascalled) and directed the first tour in 1985highlighting 18th century musical links with

Holland. His 1985programme includedmany of the worksthat are nowperformed by the25th generation oforchestral musiciansof the orchestra.

Ton Koopman wasborn in Zwolle in

1944. After a classical education he studiedorgan, harpsichord and musicology inAmsterdam and was awarded the Prixd'Excellence for both instruments. From thebeginning of his musical studies he was fascinated by authentic instruments and aperformance style based on sound scholarship

and in 1969, at the age of 25,he created his first Baroqueorchestra. In 1979 he foundedthe Amsterdam BaroqueOrchestra followed by theAmsterdam Baroque Choir in 1992.

Koopman's extensive andimpressive activities as a soloist,accompanist and conductorhave been recorded on a largenumber of LPs and CDs forlabels like Erato, Teldec, Sony,Philips and DG, besides his ownrecord label “AntoineMarchand”, distributed byChallenge Records.

Over the course of a forty-five-year career Ton Koopman hasappeared in the most importantconcert halls and festivals of the

five continents. As an organist he hasperformed on the most prestigious historicalinstruments of Europe, and as a harpsichordplayer and conductor of the AmsterdamBaroque Orchestra and Choir he has been aregular guest at venues which include theConcertgebouw in Amsterdam, the Théatre desChamps-Elysées in Paris, the Philharmonie inMunich, the Alte Oper in Frankfurt, theLincoln Center and Carnegie Hall in New Yorkand leading concert halls in Vienna, London,Berlin, Brussels, Madrid, Rome, Salzburg, Tokyo and Osaka.

Between 1994 and 2004 Ton Koopman hasbeen engaged in a unique project, conductingand recording all the existing Cantatas byJohann Sebastian Bach, a massive undertakingfor which he has been awarded the DeutscheSchallplattenpreis "Echo Klassik", the BBCAward 2008, the Prix Hector Berlioz, has beennominated for the Grammy Award (USA) andthe Gramophone Award (UK). In 2000 TonKoopman received an Honorary Degree fromthe Utrecht University for his academic work on the Bach Cantatas and Passions and has been awarded both the prestigious

Silver Phonograph Prize and the VSCDClassical Music Award. In 2006 he hasreceived the « Bach-Medaille » from the City of Leipzig.

Recently Ton Koopman has embarked onanother major project: the recording of thecomplete works of Dietrich Buxtehude, one of the great inspirers of the young JohannSebastian Bach. The recording will be accomplished in 2010 with the release of 30 CDs. Ton Koopman is President of the“International Dieterich Buxtehude Society”.

Ton Koopman is very active as a guestconductor and he has collaborated with themost prominent orchestras of Europe, USAand Asia. Among them: Royal ConcertgebouwAmsterdam, Orchester des BayerischenRundfunks in Munich, DSO Berlin, TonhalleOrchestra Zurich, Boston Symphony, ChicagoSymphony, Orchestre Philharmonique de RadioFrance, Cleveland Orchestra, Santa Cecilia inRome, Deutsche Kammerphilharmonie andWiener Symphoniker.

Ton Koopman publishes regularly and for anumber of years he has been engaged inediting the complete Handel Organ Concertosfor Breitkopf & Härtel. Recently he haspublished Handel’s Messiah and Buxtehude‘sDas Jüngeste Gericht for Carus.

Ton Koopman leads the class of harpsichord atthe Royal Conservatory in The Hague, isProfessor at the University of Leiden and is aHonorary Member of the Royal Academy ofMusic in London. He is also artistic director ofthe French Festival “Itinéraire Baroque”.

ZEFIRA VALOVAConcertmasterZefira Valova was born in Sofia where shestudied violin from an early age. In 2006 sheobtained both bachelor’s and master’s degreesat the National Music Academy in Sofia,having studied with Prof. Yosif Radionov andStoyka Milanova. She studied baroque violinwith Anton Steck and at the moment she is

studying at the Conservatory of Amsterdamwith Lucy van Dael.

She has participated in numerous violinmasterclasses withYfrah Neeman, KoljaLessing, MinchoMinchev andsummer courses inBlankenburg andObertsdorf inGermany withReimar Orlowsky

and Peter Buck; in Austria with members ofBartok, Keller, Artis and Prazak Quartets; andat the International Masterclass Apeldoorn,The Netherlands. With Concerto Antico –consort of early music she performed at theFestival de Musica Antiga Barcelona, Spain(2007 & 2008), at the “Fabulous Fringe” seriesof the Oude Muziek Festival in Utrecht (2008& 2009), and at the Sofia Baroque ArtsFestival. From 2003 until 2008 she wasconcertmaster of Classic FM Radio Orchestra –Sofia and Sofia Festival Orchestra.

In 2007 she was concertmaster with TheNational Youth Orchestra of The Netherlands.She was a member of the European UnionBaroque Orchestra in 2008 working with RoyGoodman, Lars Ulrik Mortensen and EnricoOnofri, and a concertmaster under thedirection of Petra Mullejans in 2009.

She has appeared as soloist with theAcademic Symphony Orchestra Sofia, ClassicFM Radio Orchestra, Chamber OrchestraOrpheus, Ars Barocca Ensemble – which wasawarded the prize “Ensemble of 2007” byBulgarian National Radio. Now she is playingwith the baroque orchestras Holland BaroqueSociety, Arte dei Suonatori, EnsembleCordevento, Wroclaw Baroque Orchestra,Lutherse Bach Ensemble.

In 2009 Zefira Valova was a prize winner inthe competition of the Jumpstart Jr.Foundation, which provides original historicalinstruments to talented young musicians.

GODS, HEROES... AND MERE MORTALS

LUIGI ROSSI (1598-1653)Sinfonia

GIOVANNI LEGRENZI (1626-1690)“Lumi potete piangere”

ANTONIO CALDARA (1670-1737)“Entro l’armi un’ alma grande”, Aria di Assalone from Assalone“Anche il giorno aborrirei”, Aria di Pirro from Andromaca

JEAN-BAPTISTE LULLY (1632-1687)Sinfonie from Ercole amante

FRANCESCO CAVALLI (1602-1676)Arias “Ma qual pungente arsura”, “Misera, Ohime ch’ascolto ?”,“Alfine il Ciel amor”, “Come si beffa amor” and “Gradisci o Re” from Ercole amante

ANTONIO SARTORIO (1620-1681)Aria di Euridice from Orfeo “Sedesti pieta”

LUIGI POZZI (fl 1638-1656)"Cantada sopra il Passacaglio”

PIETRO ANTONIO GIRAMO (fl 1619- after 1630)“La Pazza”

LUIGI ROSSI (1598-1653)Ballo – Aria “Dormite begl’occhi” from Orfeo

ANTONIO CALDARA (1670-1736) Aria di Nearco from Achille in Sciro “Cedo alla sorte”Dialogo fra la Vera Displina e il Genio

GIOVANNI ANDREA BONTEMPI (1624-1705) Arias “Dolce cosa è la Vendetta”, “Dolcissime pene”, “Il moi fuggir”, “Per trovar la mia bella” from Il Paride, 1662

CRISTOFARO CARESANA (1640-1709) “La Tarantella”

The above list is not exhaustive and may be subject to amendments.

0088 NNoovveemmbbeerrAssociation de Musique AncienneSalle Poirel, Nancy, France

0099 NNoovveemmbbeerrEchter’BarockAtrium, Trifolion, Echternach, Luxembourg

1100 NNoovveemmbbeerrCasa da Musica, Porto, Portugal

Director & Theorbo Christina PluharConcertmaster Tuomo SuniSoprano Hannah MorrisonMezzo-Soprano Luciana ManciniContraltino & Dancer Vincenzo CapezzutoTenor Reinoud van MechelenBaritone & Dancer Yannis François

18 | 19

As orchestra in residence, EUBO is grateful to be

offered rehearsal facilities in Echternach

Ville dʼEchternach

Christina Pluhar directs a performance weaving together storiesof Gods, Heroes and ordinary mortals, including the love affairsof Hercules, through the music of Caldara, Cavalli, Rossi,Bontempi, Lully and others.

The 18 musicians of EUBO, featuring a colourful array of pluckedinstruments and percussion, are joined by singers and dancers inthis semi-staged opera. The performance, lasting 90 minuteswithout interval, unfolds with scenes from Lully and Cavalli’s‘Ercole Amante’ (Hercules in love), written for the marriage ofLouis XIV.

Kailai Chen

Kailai Chen

“EUBO is the best way to show that baroquemusic is far from old; instead, it’s an ever-green that speaks to the youth, thanks to itsmusical language, which is full of colours,rhythms, emotions, life.”Alfredo BernardiniEUBO 1985, now EUBO Oboe Tutor

1111 NNoovveemmbbeerrAcademia de Musica, Espinho, Portugal

1133 NNoovveemmbbeerrVillarteAcademiezaal, Sint Truiden,Belgium

1155 NNoovveemmbbeerrMusikerlebnisHerkulessaal, Munich, Germany

1166 NNoovveemmbbeerrPhilharmonic Concert Hall, Łodz, Poland

CHRISTINA PLUHARDirector & TheorboAfter studying guitar in her home city of Graz, ChristinaPluhar graduated in lute with Toyohiko Sato at theConservatoire of The Hague. She was awarded with the'Diplôme Supérieur de Perfectionnement' at the ScholaCantorum Basiliensis with Hopkinson Smith, and thenstudied with Mara Galassi at the Scuola Civica of Milan.In 1992 she won the 1st Prize in the International Early

Music Competition of Malmö with the ensemble La Fenice.

Christina now lives in Paris, where she performs as a soloist and continuo player inprestigious festivals with groups such as La Fenice, Concerto Soave, Accordone, Elyma,Les Musiciens du Louvre, Ricercar, Akademia, La Grande Ecurie et la Chambre du Roy,Concerto Köln, and in ensembles directed by René Jacobs, Ivor Bolton, Alessandro diMarchi, amongst others. Her repertoire includes solo and continuo works from the 16thto 18th centuries for renaissance lute, baroque guitar, archlute, theorbo and baroqueharp. Since 1993 she has been teaching at the University of Graz, and at theConservatoire of The Hague since 1999.

In 2000 she founded the ensemble L’Arpeggiata. For ten years Christina and herEnsemble have been recording CDs such as La Tarantella, All’Improvviso, LosImpossibles, Teatro d’amore and performing all over Europe. Christina devotes a lotof time to L’Arpeggiata, as she is not only conductor and performer, but also devisesand researches the programmes herself. As part of her commitment to young peoplein the profession, Christina now directs EUBO for the second time.

TUOMO SUNIConcertmasterTuomo Suni began to play the violin at the age of four. In 1996 he began special-ising in the baroque violin, studying with Kreeta-Maria Kentala. Between 1999 and2005 he furthered his studies with Enrico Gatti at the Royal Conservatoire in TheHague. Tuomo graduated with a Bachelor's degree in 2003, finished his Master's in2005 and is now based in London.

Tuomo is a member of Opera Quarta, winner of the Van Wassenaer Concours 2002and Premio Bonporti 2002. Opera Quarta's CD of Leclair trio sonatas, released by ORF

in 2007, was awarded the prestigious Diapason d'or.Tuomo plays and records regularly with many ensemblesaround the world, including Capriccio Stravagante,Ricercar Consort, Ensemble Masques, B'Rock, HollandBaroque Society and The Helsinki Baroque Orchestra.Recently he has also worked with TheEnglish Concert, Retrospect Ensemble, The GabrieliConsort & Players, The Classical Opera Company, TheKing's Consort, Bach Collegium Japan, Il ComplessoBarocco, The Irish Baroque Orchestra and The Hanover

Band. Tuomo was a member of EUBO in 1997.

HANNAH MORRISONSopranoHannah Morrison studied piano and singing at the Maastricht Academy of Musicand completed her master studies for singing with Barbara Schlick at the Academyof Music in Köln, having previously undertaken a masters in performance withRudolf Piernay at the Guildhall School of Music & Drama in London. She gainedfurther inspiration in masterclasses with Evelyn Tubb and Anthony Rooley, Barthold

Kuijken, Andrew Lawrence-King, Sir Thomas Allen, DameKiri Te Kanawa and Matthias Goerne. Hannah is now indemand as a soloist in oratorio as well as lieder. She hasworked with many ensembles including Les ArtsFlorissants under William Christie and Paul Agnew, L'artedel mondo directed by Werner Ehrhardt, and Echo duDanube. She has given lieder recitals in London at theChelsea Schubert Festival with Brandon Velarde andGraham Johnson, and a Mendelssohn recital at Kings

Place with Stephan Loges and Eugene Asti. In 2009 she took part in the ChicagoRavinia Festival and became a Samling Scholar. For lieder recitals she now has apermanent partnership with South African pianist Lara Jones. Hannah features on arecent CD, a collection of songs by Mendelssohn released on the Hyperion label.

LUCIANA MANCINIMezzo-SopranoLuciana graduated from the Royal Conservatoire of The Hague, in both classical singing and early music interpretation, studying with Rita Dams, Jill Feldman,Michael Chance, Peter Kooij and Diane Forlano. She isnow finishing her master studies, specialising in earlyItalian repertoire. Together with L´Arpeggiata she hascollaborated in several programmes, including La Rappresentatione di Anima e diCorpo by Emilio de Cavalieri in the Early Music Festival of Brugge, Festival de MúsicaSacra in Cuenca, Festival de Semana Santa in Valladolid and Festival de Sablé; theVespro della Beata Vergine by Claudio Monteverdi in Poissy, Metz, Gentand Barcelona; Los Imposibles, Il pianto d'Orfeo and Alla Napolitana. In 2008 and2010 she performed the role of Bradamante in the opera Il Palazzo Incantato byLuigi Rossi and in 2009 she performed as Dafne in Peri’s L’Euridice.

Other roles have included Matilde in Handel’s opera Lotario, Galatea in Handel’sserenata Aci, Galatea e Polifemo and Cleofe in the oratorio La Resurrezione byHandel with Contrasto Armonico, and Amastre in Handel’s opera Serse together withthe Lautten Compagney conducted by Wolfgang Katchner touring throughoutGermany. In 2007 and 2008 she appeared in L´Orfeo by Monteverdi with the Choeurde Chambre de Namur and La Fenice, conducted by Jean Tubéry, participating in theVantaa Baroque Festival and Festival Baroque de Pontoise, and also touring to Bilbaoand Warsaw.

For the closing concert of the Festival Classique in The Hague in June 2009, she was invited to sing Rossini arias with Het Residentie Orchestra, conducted by Neeme Järvi.

VINCENZO CAPEZZUTOContraltino & DancerBorn in Salerno, Italy, Vincenzo graduated fromthe San Carlo Opera House ballet school inNaples in 1997 and was invited to join theCompany of the same theatre performing, asprincipal dancer, in many ballets from theclassical and neo-classical repertoire, choreographed by George Balanchine, Roland Petit, Auguste Bournonville, RudolfNureyev, Derek Deane, Frederik Ashton, MauroBigonzetti, Nikita Dimtrievsky, Nanette Glushakand Fabrizio Monteverde.

Having worked withEnglish National Balletand Teatro La Scala, hejoined the BalletArgentino directed byJulio Bocca asprincipal dancer,touring all over theworld. He was

then invited by choreographer Mauro Bigonzetti

to join the compagny Aterballetto, currentlydirected by Cristina Bozzolini. In 2000 Vincenzoreceived the Leonide-Massine award for youngballet talent and in 2005 the Roscigno Award asbest dancer of the year. In 2006 he received aTOYP Award in the category of culture and in 2010 the Giglio D'Oro Award forhis versatility.

Vincenzo is artistic director of the InternationalDance Gala Ballerini del mondo danzano aSalerno, which has become one of the mostimportant dancing events in Italy. It bringstogether many international ballet stars andchoreography world premieres.

Besides being a dancer Vincenzo is also a singer.He worked both as a dancer and a singer withGuido Morini and the Accordone Ensemble andwith Marco Beasley in the show The Temptationof the Evil at the Mozarteum Theater in theSalzburg Music Festival. He also performs withL'Arpeggiata, directed by Christina Pluhar, andfeatures on the ensemble’s most recent recordingVia Crucis.

REINOUD VAN MECHELENTenorReinoud Van Mechelen was born in 1987 andstarted singing at an early age in the children’schoir Clari Cantuli and the youth choir ClariCantus, both conducted by Ria Vanwing. In thisperiod he also performed the solo for boysoprano in Artesia by Dirk Brossé conducted by

the composer.

At the age of 19, hestarted vocal studiesat the RoyalConservatory ofBrussels, first withLena Lootens andsubsequently withDina Grossberger.

To complete his education, Reinoud took masterclasses with Greta de Reyghere, Isabelle Desrochers, Frédéric Haas, ClaireLefilliâtre, Alain Buet, Jean-Paul Fouchécourt, and François-Nicolas Geslot.

While studying, Reinoud gained his firstexperience as soloist and ensemble member. Hesung Plutus in le Carnaval et la Folie by AndréCardinal Destouches with the Académie BaroqueEuropéenne d'Ambronnay, performed the role ofAdone in la Catena d'Adone by DomenicoMazzochi in Flanders Operastudio, and the titlerole in Platée by Jean-Philippe Rameau. He hassince performed with ensembles such asL'Arpeggiata, Capilla Flamenca, Ex Tempore,Ricercar Consort, and Il Gardellino. He worksregularly with Scherzi Musicali, conducted byNicolas Achten, and with that ensemble hasrecorded Euridice by Giulio Caccini and Dulcisamor Jesu, a collection of sacred works byGiovanni Felice Sances.

YANNIS FRANÇOISBaritone & DancerBorn in Guadeloupe, Yannis François began hiscareer as a dancer. In 2000 he was admitted tothe Rudra Béjart School in Lausanne and laterbecame a member of the Béjart Ballet. During hissinging lessons, Maurice Béjart was impressed byYannis' voice and encouraged him to fully explorea singing career parallel to ballet. Yannis is nowfinshing his master's degree at the Conservatoireof Lausanne with Gary Magby. On the operastage, he has sung Mozart’s Figaro, Giuseppe inLa Traviata, Curio in Giulio Cesare with AndreasScholl at the Opera of Lausanne and Peter Quincein Midsummer Night’s Dream. Other operaticroles include: Don Alfonso in Cosi fan tutte,Seneca in L'incoronazione di Poppea, Nettunoand dancer in Francesa Caccini’s La liberazione diRuggiero with Gabriel Garrido, Radamanto anddancer in Peri's Euridice with L'Arpeggiata andChristina Pluhar and in September 2010 the titlerole in Don Giovanni.

Yannis is also interested in oratorio and chambermusic. Among the works in which he hasperformed are La Susanna by Scarlatti, Bach'sWeinachts-Oratorium and Johannes-Passion with

Ton Koopman, DasParadies und die Periby Schumann, Ravel'sChansons Madécasses,To cast a shadowagain by Eric Ewazenand Le Fou d'Elsa byLaurent Petitgirard.

In order to maintainhis dual career he continues to accept dancingengagements: i.e. The Ugly Duckling andBlummenkabarett, L'incoronazione di Poppea atthe Grand Théâtre of Geneva, Purgatoire byShahrokh Moshkhin Ghalam and solo dancer andsinger in Dido and Aeneas in a production of theOpera of Lausanne by Gabriel Garrido.

Given his passion for baroque music, Yannis isbuilding a library of baroque and early classicalscores and manuscripts.

20 | 21

EUBO is artist in association at the

Casa da Musica in Porto since 2009

and will perform there each year.

Kailai Chen

“ Dazzling young European Union Baroque Orchestra. The performance was a small baroque tour de force.”The Herald ����� (2009 Edinburgh International Festival)

Barbara Altobello Italy ViolinBorn in 1981, Barbara startedstudying music in her homecity, Brescia, where shegraduated with the highestdegree in modern violin in2003. She also studied withPavel Vernikov and Igor

Volochine at the Accademia Musicale SantaCecilia in Venice, from 2000 to 2004. She startedplaying baroque violin with Enrico Onofri andstudied with Elizabeth Wallfisch at the RoyalConservatory in The Hague. In 2008 shegraduated under the guidance of StefanoMontanari at the Evaristo Fellice Dall'AbacoConservatory in Verona. She has performed witha variety of period instrument ensembles,including Brixia Musicalis, Zefiro, AccademiaMontis Regalis, La Risonanza, Il ComplessoBarocco, New Dutch Academy, Orchestra of the Age of Enlightenment, Divino Sospiro, Pietàdei Turchini, Europa Galante andFestspielOrchester Göttingen.

Cecilia Clares Clares Spain ViolinCecilia was born in Murcia,Spain. She started studyingviolin at the conservatorythere and finished her higherstudies at the Conservatoryof Zaragoza with RolandoPrusak and Cuarteto Casals.

She then studied with Anton Steck and RüdigerLotter at the Staatliche Hochschule für Musik inTrossingen, Germany. In July 2008 she wasawarded a scholarship from the Alexander vonHumboldt-Foundation in Berlin. Cecilia workswith various ensembles including OrquestaBarroca Catalana, Orquesta Barroca deSalamanca, L’incontro Fortunato, ConcertoDonostiarra, Barockorchester Trossingen and Dual Barock.

Margalida Gual Frau Spain ViolinMargalida completed herbachelor’s degree in modernviolin in Palma de Mallorcawith Agustín León Ara andJosé Manuel Álvarez Losadabefore going on to study inBarcelona with Tatiana

Aleshinsky. During her studies Barry Sargent introduced her to baroque music and she decidedto do a master’s degree in early music with AntonSteck at the Staatliche Hochschule für Musik inTrossingen, Germany. Margalida has played with many youth orchestras, and now plays inprofessional symphony and chamber orchestrassuch as the Orquestra Simfonica de les Illes Balears,Orquestra de Cambra del Maresme, OrquestraSimfonica del Vallès, Orquestra Simfonica Ciutatd’Eivissa and Orquestra Simfonica de Sant Cugatunder conductors including Paul Badura-Skoda, KaiGleusteen, Dmitry Sitkovetsky, Liana Issakadze,Simon Bernardini, Vasko Vassilev, Barry Sargent andMichael Thomas. She is now concertmaster of theJove Orquestra Barroca and since 2005 apermanent member of the Orquestra de CambraIlla de Menorca.

Giorgio Leonida Tosi Italy ViolinGiorgio Leonida Tosi was bornin Milan in 1983. He studiedthe violin with ValentinaMorini and chamber musicwith Elisabetta Cannata,concentrating on romanticand late-romantic repertoire.

At present he studies baroque violin with StefanoMontanari, and baroque chamber music withAntonio Frigè, Lorenzo Ghielmi, Paolo Rizzi andRoberto Balconi at the International Academy ofMusic in Milan. He is the founder of the baroqueensemble Trattenimenti da Camera which performssecular chamber music on original instruments. Heis also one of the members of the ensembleStilmoderno that concentrates on sacred repertoireof the 17th and 18th centuries.

Eveleen Olsen UK ViolinEveleen plays with the WelshBaroque Orchestra, ZürcherBarockorchester, CollegiumMusicum Luzern and Orchesterle Phénix and works as aresearcher in the departmentfor research and development

at the Musikhochschule Luzern. Eveleen graduatedwith a master of music in 2009 from the RoyalWelsh College of Music and Drama, where shestudied historical performance with Rachel Podger.Previously she completed a master’s of pedagogy atthe Musikhochschule Luzern. Her teachers includedIna Dimitrova, Brian Dean and Monika Baer.Eveleen attended numerous courses among otherswith Kato Havas, the Freiburger Barockorchesterand Eroica Quartett, Gary Cooper, Igor Ozim andAna Chumachenco. Eveleen gained orchestralexperience playing with the Swiss Youth SymphonyOrchestra, Luzerner Sinfonieorchester and LaScintilla (baroque group of the Opera OrchestraZürich), and has also focused on playing chambermusic. Eveleen played with EUBO for the first timeat the Edinburgh International Festival in 2009 andis very much looking forward to this year’s tours.

Dominika Pawlicka Poland ViolinDominika was born in 1984 inKatowice, Poland and started toplay the violin at the age ofseven. After graduating fromthe secondary music school inKatowice in 2003, she startedher studies at the Szymanowski

Academy of Music in Katowice. While studying theoryshe became more and more interested in early musicand started to specialize in this discipline. In 2007 shewent on to study the baroque violin with ZbigniewPilch at the Lipinski Academy of Music in Wroclawand meanwhile completed her master’s degree inKatowice. In 2009 she went back to Katowice to studywith her current teacher Martyna Pastuszka.Dominika is a member of Wroclaw Baroque Orchestraand is regularly invited to play with different earlymusic ensembles across Poland. She has taken part inearly music masterclasses with Enrico Gatti, DavidPlantier, Mira Glodeanu, Stéphanie Pfister, PeterZajicek and Martin Gester, and in projects withGeneration Baroque, Académie Baroque Européenned’Ambronay, Britten-Pears Baroque Orchestra toimprove her musical abilities.

Beatrice Scaldini Italy/UK ViolinBorn in Italy, Beatrice hasbenefited from an eclecticrange of musical experiencesboth in Italy and the UK.Since graduating withhonours from the MusicSchool in Florence in 2006 she

has trained at Trinity College of Music and theRoyal Academy of Music (RAM). At the RAM shewas awarded the Newby Trust EntranceScholarship and the Nancy Nuttal Early MusicPrize. She currently studies with Walter Reiter onbaroque violin and Mateja Marinkovic on modernviolin, and has worked with artists such as Sir JohnEliot Gardiner, Rachel Podger, Laurence Cummings,Richard Egarr, Masaaki Suzuki, Anner Bylsma,Trevor Pinnock, Sir Colin Davis and Yan PascalTortelier. She has also performed with ensemblesincluding The Hanover Band, St James' Baroque,Britten-Pears Baroque Orchestra, Britten-PearsOrchestra and Camerata Kilkenny. She is afounding member of the ensemble InternationalBaroque Players. She has also recently performedProkofiev's First Violin Concerto withGloucestershire Symphony Orchestra.

Rachel Stroud UK ViolinRachel began learning theviolin at the age of six, andcurrently studies with KrysiaOsostowicz. In 2005 she joinedthe National Youth Orchestraof Great Britain, and playedunder the baton of conductors

such as Sir Mark Elder, Richard Hickox and Sir ColinDavis. In 2007, Rachel went on to read music atSelwyn College, Cambridge, where she won theWilliamson Prize for musical performance and heldan Instrumental Award. Rachel leads the EliotQuartet, with whom she has participated inmasterclasses given by members of the Dante,Endellion, and London Haydn quartets. Last yearthe quartet was invited to play at the HonoraryDegree Ceremony in the 800th anniversary year ofCambridge University; recipients of degreesincluded Sir Peter Maxwell Davies and Bill Gates.Rachel began learning the baroque violin in 2008,and is a member of the Cambridge UniversityCollegium Musicum, directed by Margaret Faultless.She also plays with Norwich Baroque and theCambridge Handel Opera Group.

EUBO Members 2010

22 | 23 EUBO Members 2010

Kinga Ujszaszi Hungary ViolinHungarian violinist KingaUjszaszi began her musicaltraining at the age of four.After graduating from theFranz Liszt Music Academy inBudapest she moved to Londonto study at the Royal Academy

of Music in London with Igor Petrushevski. Here shebecame interested in historical performance and herbaroque violin teachers were Simon Standage andMatthew Truscott. Kinga has played in masterclasseswith Rachel Podger, Adrian Butterfield, Marco Rizzi,Thomas Brandis, Zakhar Bron and AleksandarPavlovic. Kinga has toured throughout Europe andAsia with various orchestras and chamber groups,including the Gustav Mahler Jugendorchester andthe Hungarian Philharmonic Orchestra. She hasplayed with the BBC National Orchestra of Walesand is a member of the Marcato Ensemble. She hasworked with Sir Colin Davis, Sir Charles Mackerras,Trevor Pinnock, Laurence Cummings, VladimirAshkenazy and Leonidas Kavakos. Kinga has wonthe Eötvös scholarship on three consecutiveoccasions and she is also participant of theMonteverdi Apprenticeship Scheme under Sir JohnEliot Gardiner.

Samuel Kennedy UK ViolaSamuel is a graduate ofCambridge University and hasrecently completed thePostgraduate Diploma inPerformance at the RoyalNorthern College of Music inManchester (RNCM) where he

has studied viola with Ásdís Valdimarsdóttir andbaroque viola with Annette Isserlis. At the RNCM,Sam has been principal viola of many of thecollege orchestras, performed with the RoyalLiverpool Philharmonic Orchestra and also has beeninvited to play with the Britten-Pears BaroqueOrchestra. Whilst studying for a bachelor’s degreein Music at Cambridge, Sam was an InstrumentalAward holder studying the violin with HowardDavis and Arisa Fujita. He has performedTchaikovsky and Mendelssohn violin concertos withthe Teesside Symphony Orchestra and became aMasked Guard in Cambridge Handel Opera Group’s2003 production of Tamerlano, studying baroquemovement and gesture with Richard Gregson. Samalso learnt the viola d’amore for the 2009 RNCMproduction of Janácek’s Katya Kabanova and hassince played the obbligato viola d’amore parts forBach’s St John Passion with Manchester Baroqueand the Syred Sinfonia.

Elin Sydhagen Sweden ViolaElin started playing the violaat an early age and has sincethen been a devoted explorerof music. She started herstudies on the modern violaand then changed to baroquein 2008. In June 2010 she

graduated from the University of Music and Dramain Gothenburg, under the guidance of her teacherBjörn Sjögren. She also studied chamber music atthe Evaristo Felice Dall’Abacco Conservatory inVerona, with Franco Pavan, Stefano Vegetti andEnrico Parizzi, and has taken lessons with StefanoMarcocchi. As a keen performer of chamber musicshe frequently gives concerts with her ownbaroque ensemble, Ensemble Arden, and with thechamber orchestra Karlsson Baroque. In 2008,Ensemble Arden became a finalist in the mostimportant competition for young baroqueensembles in Sweden, at the Stockholm Early MusicFestival, and in May 2009 it was among thefinalists of another important competition inSweden. Besides her strong interest in historicalperformance, she is also active as a singer, mainlyjazz and alternative pop.

Lucile Chionchini France ViolaLucile was born in Lyon whereshe started to play the violinat the age of six. After herfirst diploma in chambermusic and violin at theconservatory in Villeurbanneshe moved to Paris and

studied viola with Bruno Pasquier and chambermusic with the string quartet Quatuor Ysaÿe. Shediscovered the lyric repertoire with the Frenchopera singer Anne Marie Blanzat and began hereducation as a singer. Since 2005 she has lived inGermany, where she studied opera singing withDorothea Wirtz and viola with Sylvie Altenburgerat the Conservatory of Freiburg. After participatingin projects with Gottfried von der Goltz, Robert Hilland Michael Behringer she discovered her love forbaroque music and started to specialize in this atthe Ensemble Akademie in Freiburg with the violaplayer Annette Schmidt. In 2010 she graduated andnow works with Petra Müllejans, the leader of theFreiburger Barockorchester. She also played withthis orchestra in a recording for Harmonia Mundi.Lucile works with several ensembles and orchestrasall over Europe as a singer and viola player.

Carina Drury Ireland CelloCellist Carina grew up in Dublin.She was awarded a scholarshipto the Royal Academy of Musicin London in 2003, where shestudied with Philip Sheppardand baroque cello withJonathan Manson. As a

chamber musician she has twice won the RoyalAcademy of Music Early Music Prize for ensembles,and was awarded a residency at the CheltenhamMusic Festival. More recently she has performedwith the Orchestra of the Age of Enlightenment(OAE) on the Experience scheme, and has worked onnumerous education and outreach projects with theOAE, Sinfonia Viva, Glyndebourne Opera andCheltenham Festival. Carina enjoys a diverse musicalcareer and was a member of Sunharbour, a fourteenpiece ambient jazz collective, performing at theVirgin Media Awards. She has worked with MatthewRobins and his band at the Royal National Theatre,and also in London and Paris in an improvisationalOpera project with the Elastic Theatre Company.

Anna Carlsen Norway CelloAnna was born in Norway and discovered the cello at the age of eight. After pre-professional studies at BarrattDues Musikkinstitutt in Oslo,she moved abroad and in2006 she finished her four

year degree with Daniel Grosgurin at the musicconservatory of Geneva, Switzerland. In 2007 shedecided to remain in Geneva to pursue her studiesspecializing in early music with Bruno Cocset, andgraduated with a master’s degree in June 2010. Inthe discipline of continuo playing Anna hasgathered a lot of experience and inspirationworking with musicians such as Blandine Rannou,Florence Malgoire, Gérard Lesne, Leonardo GarciaAlarcon, Ketil Haugsand, Gabriel Garrido, WielandKuijken, Serge Saitta. She is a member of theensembles Affetti Cantabili and Douces Folies, andshe plays on a baroque cello made for her byRobert Louis Baille in 2008.

Emily Smith UK Viola da GambaEmily read music at ClareCollege, Cambridge and nowstudies baroque cello and violada gamba with JonathanManson at the Royal Academyof Music in London. Sincejoining the Academy in 2009

she has played in Handel’s Semele under CharlesMackerras, Cavalli's Il Giasone conducted by JaneGlover and all the recent concerts in theRAM/Kohn Foundation Bach Cantata Series. Shehas worked with musicians including TrevorPinnock, Margaret Faultless, Lisa Beznosiuk,Laurence Cummings and Madeleine Easton, andrecently performed with Rachel Podger in London'sWigmore Hall. Emily has recently participated inchamber music masterclasses on viola da gambaand cello with Daniel Bruggen, Elizabeth Kenny,Margaret Faultless, Rachel Podger and AnnerBylsma. Outside the Academy she has also playedwith Devon Baroque and the Cambridge UniversityCollegium Musicum, and has given a series ofchamber concerts with Dan Tidhar and Inga MariaKlaucke in Cambridge.

Marco Lo Cicero Italy Double BassMarco was born in Palermoand after having playedrock'n'roll as a bassist forsome years, he startedstudying classical and jazzdouble bass. He soon focusedon contemporary repertoire

and played in many festivals in Italy and abroad.Towards the end of his classical study Marco metsome enlightening musicians like Enrico Onofri,Riccardo Minasi and Lorenzo Coppola and decidedto study early music. Since 2008 he has beenstudying baroque bass, viennese bass and violonewith Margaret Urquhart, viola da gamba withMieneke van der Velden and modern double basswith Peter Stotijn at the Conservatory ofAmsterdam where he also works with AlfredoBernardini, Richard Egarr and Lucy van Dael. In The Netherlands he collaborates with severalensembles, such as De Swaen Baroque Ensembleand I Piccoli Olandesi and with the RoyalConservatory of The Hague. In 2010 he was thebass player of I giovani della Montis Regalis inMondovì. Marco studied musicology in Palermoand Cologne and he hopes to graduate soon!

Iris Desiree Balzereit Germany OboeIris Désirée studied modernoboe with Jochen Müller-Brinken in Würzburg andChristian Hommel in Bremen.During her studies she startedbaroque oboe lessons withMichael Niesemann and Xenia

Löffler. After her modern oboe graduation in 2006she spent six months at the Royal Conservatory ofThe Hague studying baroque oboe with Frank deBruine. Back in Germany, she became a student ofMichael Niesemann in Würzburg, also takingrecorder lessons with Bernhard Böhm. Shegraduated in 2009 and is currently continuing herstudies in the Fortbildungsklasse. Iris Désirée hasbeen a member of various youth orchestrasincluding the Nationaal Jeugd Orkest in TheNetherlands, the academy orchestras of theInnsbrucker Festwochen der Alten Musik and theInternational Handel Academy Karlsruhe. Hermusical activities are diverse: Iris Désirée teachesadults and children on oboe and recorder, givesconcerts on modern and historic oboes and playsvarious renaissance wind instruments, such asrecorders, crumhorns and shawms, as a member ofEnsemble Resonanzen.

Robert De Bree The Netherlands OboeRobert studies baroque oboewith Frank de Bruine andrecorder with Dorothea Winterand Daniel Bruggen at theRoyal Conservatory of TheHague. He was successful atthe international recorder

competition in Utrecht in 2004, at the PrinsesChristina Concours in 2005, at the InternationalMusica Antiqua Concours in Brugge in 2008 and atthe International Telemann Wettbewerb in 2009.He plays with Nico van der Meel, EnsembleL’Arpeggiata, the Apollo-ensemble and RyoTerakado amongst others. Robert regularlypremieres new works for his instruments andexplores new ways of playing them. Improvisationis one of his big loves. As a founder of the ScrollEnsemble he researches ensemble improvisationfrom the 15th to 18th century and beyond,including collaboration with a jazz singer andcontemporary improvisers. He is often asked toimprovise and play in the theatre, for instance atthe Nederlands Historisch Dans Theater withMijnheer De Liz, De Utrechtse Spelen with LeMalade Imaginaire, Alba Theaterhuis with musictheatre performance Backspace.

Michele Fattori Italy BassoonMichele was born in Trento in1982, and began studying thebassoon at the age of tenunder the guidance of StenoBoesso. He continued hisstudies in Salzburg, Vienna,Freiburg and Berlin where he

was a member of the Orchestra Academy of theBerlin Philharmonic. During this time he had thechance to play in numerous orchestras, such as theEuropean Union Youth Orchestra, the Gustav MahlerJugendorchester, Berliner Philharmoniker,Münchener Kammerorchester, under the baton of SirSimon Rattle, Daniel Barenboim, Claudio Abbado,Bernard Haitink, Mariss Jansons, Pierre Boulez andmany others. In 2009 he started to study thebaroque bassoon with Alberto Grazzi, also takingpart in various masterclasses with Lorenzo Coppolaand Alfredo Bernardini. On period instruments heplayed with Orchestra barocca Zefiro under AlfredoBernardini and with Orchestra Mozart under ClaudioAbbado. Since its foundation Michele is a memberof Spira mirabilis, an ensemble created to study andperform symphonic and chamber repertoire fromthe 18th to the 20th centuries without conductor.

Anna Flumiani Italy BassoonAnna Flumiani began hermusical studies with themodern bassoon at theConservatorio di MusicaJacopo Tomadini in Udine,Italy. In 2001 she graduated inmodern bassoon with

distinction under the guidance of ProfessorGilberto Grassi. For several years she centered hermusical activity on chamber music with variousensembles and in particular with the Kalamoswoodwind quintet with which she won the firstprize at the Città di Grosseto National Award andtoured Italy and Europe. She has been playing themodern bassoon in the Orchestra Sinfonica delFriuli Venezia Giulia since 2004. After having metthe bassoonist Claudio Verh, she decided to startstudying early bassoon with him. She obtained thehighest level degree in early bassoon in October2007 and after that she participated in a numberof concerts and early music masterclasses. Anna iscurrently studying in Basel with Donna Agrell.

Simone Vallerotonda Italy TheorboSimone began his musicalstudies on the classical guitarwith Maurizio Di Chio andGiuliano Balestra. Fascinated byearly music, he decided to studythe lute with Andrea Damianiat the Conservatory Santa

Cecilia in Rome, where he graduated with honours.He has performed in major music festivals includingthe International Festival of Early Music in Urbino,Flatus Festival of Sion, Rome Baroque Festival,Concerts of Capri, and at prestigious concert hallssuch as the Teatro Regio in Torino, Auditorium deEspinho, Auditorium Santa Cecilia, the Aula Magnaof the University La Sapienza in Rome. He graduatedin philosophy with honours from the University TorVergata in Rome, specializing in the aesthetics of the17th and 18th century, with particular attention tothe relationship between synesthesia and music andphilosophy. He currently studies with Rolf Lislevandat the Staatliche Hochschule für Musik in Trossingen.He has recorded for Amadeus, E lucevan le stelleRecords, Musical Treasures of Rome. Simone collaborates as a continuo player with variousensembles including: Modo Antiquo, CantarLontano, Le Parlement de Musique, OrchestraFilarmonica di Torino, Mvsica Perdvta.

Yavor Genov Bulgaria TheorboYavor was born in StaraZagora, Bulgaria. He graduated from the Universityof Sofia in the guitar class ofPanajot Panajotov. During hisstudies he took part in masterclasses of baroque

music interpretation with Ashley Solomon andKreeta-Maria Kentala. Yavor is an active luteperformer of renaissance and baroque music. Hestudied the lute with Jakob Lindberg, with whomhe currently works. As a solo lute player his mostrecent recital was in the Stiftelsen MusikkulturensFrämjande, Stockholm. As a continuo player in theconsort for early music Concerto Antico, Yavorparticipated in the Festival de Música Antiga inBarcelona, the Fabulous Fringe series of the FestivalOude Muziek in Utrecht as well as the BulgarianFestival Luxuria Europae - The Art of Baroque.Yavor has also made recordings of renaissance andbaroque chamber and solo music for the BulgarianNational Radio and he holds a PhD from theInstitute of Art Studies of the Bulgarian Academyof Sciences, which focuses on the Gregorian chant.In 2009 he won the Young Scholar Award of theBulgarian Academy of Sciences.

Francesco Tomasi Italy TheorboFrancesco started playing theguitar aged eight. Five yearslater he decided to study lutewith Andrea Damiani at theConservatory Santa Cecilia inRome. He graduated in 2009with the highest mark. He is

currently doing a master’s degree with RolfLislevand at the Staatliche Hochschule für Musik inTrossingen, Germany. Francesco has played in manyfestivals in Italy and in Europe such as the EarlyMusic Festival in Toledo, Flatus Festival of Sion,Festival of Herne, Festival Internazionale di MusicaAntica in Urbino, Festival di Polifonia e MusicaAntica in Palestrina. He has recorded a CD ofmadrigals by Monteverdi for the Discoteca di Stato,and a CD with works by Biagio Marini, Alla Luna,with the ensemble La Selva for the municipality ofParma. He participated in radio recordings forRadio Vaticana and WDR3 and a televisionrecording for RAI International.

Patrycja Domagalska Poland HarpsichordAfter graduating from theMusic Academy in Lodz,Patrycja moved to TheNetherlands to specialize inharpsichord, basso continuoand chamber music with FabioBonizzoni and Patrick Ayrton

at the Royal Conservatory in The Hague. She hasparticipated in masterclasses in Norway, Germany,France and Austria where she worked with NicholasParle, Lars Ulrik Mortensen, Jesper Christensen, KetilHaugsand, Wladyslaw Klosiewicz, Lilianna Stawarz,Huguette Dreyfus and Blandine Rannou. Patrycjahas worked as a continuo player in orchestralprojects led by Pavlo Beznosiuk, Elizabeth Wallfisch,Ryo Terakado, Christina Pluhar and Fabio Bonizzoni.She also has a keen interest in baroque dance, hashad lessons with Maria Angad-Gaur and cooperatedwith the Nederlands Historisch DansTheaterensemble. With this group she appeared inthe production Concerten van Mijnheer de Liz in2009 and in Vers Hartzeer performing in the SchillerTheatre in Utrecht. Patrycja is the founder ofEnsemble Barocum which had its debut at theFabulous Fringe series of the Festival Oude Muziekin Utrecht in 2007, and was also selected for theFestival de Música Antiga in Barcelona in 2008.

Ville d’Echternach

Festival Internationald’Echternach

Centre Culturel, Touristiqueet de Congrès Trifolion

Harmonie Municipale,Echternach

Ecole de Musique,

Echternach

Ann Goodgame

Jose Phillips

Bank of Scotland

Jelf Group plc

Classical Communications

Critchleys

Selsey Press

white space

Baudouin Abraham

Nicolas Adamson

Sandrine Alladio

Gill Baldwin

Marco Battistella

Elise Becket-Smith

Lucio Benaglia

Lucy Bending

Nick Berry

Gottfried Biller

Jean Bizot

Ray Box

Andreas Braun

John Bull

Restaurant Cellarius

Tijana Cerovic

Vladan Cerovic

Kailai Chen

David Conway

Tony Davidov

Inna Davidova

Nadia Debono

The Hon Mario De Marco

Richard Divall

Natasa Ducevska

Gérard Dupaty

Lech Dzierzanowski

Göran Eliasson

Ian Forrester

Erwan Fouéré

Mario Frendo

David Gadsby

Davinia Galea

Martin Gauci

Sebastian Gerlach

André Gomez

The Hon Lawrence Gonzi

Marie Gouy

Fanny Grévy

Giampietro Gusmini

Albert Hartinger

Simon Heighes

Martin Heubach

Gordana Nedelkovska

Luca Kadar

Ulrike Keil

Lindsay Kemp

Johanna Knowles

Tricia Lawrence

Anthony Martinez Vannerom

Peter Mays

Margie McGregor

Delfido Minucci

Simon Neal

Paul Nicholson

Tatiana Niskacova

Ute Omonsky

Stefaan Ottenbourgs

António Jorge Pacheco

Helmut Pauli

Christoph Promberger

Rachel Proud

Stefan Reinhardt

Manja Ristic

Adela Sánchez

Alexandre Santos

Renate Schwitalla

Caterina Silva e Costa

Martin Souter

Paul Storm-Larsen

Frances Sunderland

Arno Tabertshofer

Pauline Tart

Basilio Timpanaro

Thomas Tindemans

Delma Tomlin

Ewa Truszkowska

Miles & Mary Tuely

John Vassallo

Josephine Vassallo

Bernard Verdier

Herbert Vieth

White & Case LLP

Microsoft Europe

UBI Banca International

UBI Munich

EUBO is a member of Culture Action Europe (formerly EFAH), ABO (Association of British Orchestras), REMA (Réseau Européen de Musique Ancienne)

and NEMA (UK National Early Music Association)

This project has been funded with support from the European Commission. This publication reflects the views only of the European Union Baroque

Orchestra, and the Commission cannot be held responsible for any use which may be made of the information contained herein.

European Union Baroque Orchestra Hordley, Wootton, Woodstock OX20 1EP, UK

Tel: +44 1993 812111 Fax: +44 1993 812911 Email: info@eubo.org.uk Web site: www.eubo.eu

Desirée Dall’AgnolJulien AlexMassimo AmatoMarco BernardGaby BouhlelBrasserie 1900Ralf BrittenGeorges CalteuxLuc CannivySuzette EspiritoRosi FaberMonique FlaurimontMarie-Paule Gerson Konstantin GrosseAndré HartmannAlexander HilgerBenedikt HerzHotel des ArdennesHotel de la BasiliqueMarc JunckerSylvie MartinAlexander MullenbachSvenja RichterGeorges SanterMariette ScholtesHeiko SternerFernand TheisenThéo ThiryAndreas WagenknechtYves WenglerConny 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 Espinho

Adela Sanchez Producciones

Amis de la Musique sur Instruments Anciens (AMIA)

Arts and Artists Katalin Kiricsi

Association de Musique Ancienne de Nancy

Belgrade Summer Festival

Casa da Música, Porto

Christmas Festival at St John’s, Smith Square

Concerto Gandersheim

Echter’Barock

Festival International Echternach

Forum Artium

Hermann Braun Foundation

Indian Summer in Levoca

Jardins d’Agrément, Amilly

Konzertbüro Andreas Braun

Malta Arts Festival

Michaelsteiner Klosterkonzerte

Ohrid Summer Festival

Philharmonie Merck

Philharmonie Łodz

Quedlinburger Musiksommer

Salzburger Bachgesellschaft

Stichting Comité voor het Concertgebouw

Tonicale Musik & Event

Villarte

York Early Music Christmas Festival

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 their assistance the training and performances by the European Union Baroque Orchestra during 2010 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