• Barthold Kuijken (B)
  • Chiara Banchini (CH)
  • Ewald Demeyere (B)
  • Carin van Heerden (A/ZA)
  • Eva Maria Pollerus (A)
  • Rebeka Rusó (CH/SK)
  • Michael Schneider (DE)

Prof. Dr. Barthold Kuijken (B) | Chairman

tl_files/files/images/wettbewerb/ITW2019/Abbildungen/Port. B.Kuijken_m_Floete_c_Dany Neirynck_web.jpg 

 

 

 

 

 

Barthold Kuijken, a Flemish native of Belgium (b. 1949), is an eminent leader in the field of Early Music. While still being a student on the modern flute, he found  an original mid-18th century one-keyed flute, that became his best teacher ever. As an autodidact, he let himself be taught by 17th-18th century instruments and theoretical and practical sources. A virtuoso traverso (and recorder) soloist, teacher, researcher, and conductor, he has shaped the fields of historical flutes and historically informed performance over the last 40 years. His book, The Notation Is Not the Music, is an artful summary of his research, ideas, and reflections on music.

Besides his legendary performances and recordings with his brothers Sigiswald (violin) and Wieland (cello and gamba) Kuijken, he has collaborated with other early music specialists such as Gustav Leonhardt, Robert Kohnen, Bob van Asperen and Ewald Demeyere (harpsichord), Paul Dombrecht (oboe), Luc Devos and Piet Kuijken (fortepiano).  Barthold Kuijken has played and recorded with the baroque orchestras Collegium Aureum  and La petite Bande, and is now the Artistic Director and conductor of the Indianapolis Baroque Orchestra. In 2014 he retired as Professor of Baroque Flute at the Royal Conservatories of Brussels and The Hague, but he continues performing and recording all over Europe, USA, and Japan. He is also frequently asked to act as a juror in competitions and to give masterclasses and lectures.

Barthold Kuijken is also active in publishing scholarly performance editions of 18th century repertoire including Telemann’s flute Fantasias, a newly annotated Urtext edition of Johann Sebastian Bach’s flute sonatas (Breitkopf & Härtel) and the six flute concertos in The Complete Works of Carl Philipp Emanuel Bach for the Packard Humanities Institute. In 2007 he was the first musician in Belgium to receive a PhD in the arts.

© Dany Neirynck

 

Prof. Chiara Banchini (CH)

tl_files/files/images/wettbewerb/ITW2019/Abbildungen/Chiara Banchni_4c_c_Gregor Kuhen Belasi.jpg

 

 

 

 

 

 

Born in Lugano, Switzerland, Chiara Banchini studied at the Conservatory of Geneva and continued her development with Sándor Végh. She then dedicated herself for some years to the performance of contemporary music as a member of the ensemble Contrechamps. Her encounter with Harnoncourt and Sigiswald Kuijken triggered a passion for the performance of 17th and 18th century music on original instruments and studied with Kuijken beginning in 1975.

Chiara Banchini has taught baroque violin at the Scuola Civica in Milan and at the Center for Early Music in Geneva before being appointed as Professor for Baroque Violin at the Schola Cantorum in Basel from 1991 to 2010. In 1981, Chiara Banchini founded her own chamber orchestra, the Ensemble 415. Apart from ensemble work, she frequently performs as soloist, teaches master worldwide and serves as jury member.

Her play is characterized by virtuosity and spirited vivacity. Many of her recordings were received enthusiastically by critics and were awarded numerous international prizes, such as several German Record Critics' Awards, the French Diapason d’or, and the Prix international du disque.

© Gregor Kuhen-Belasi

Prof. Dr. Ewald Demeyere (B)

tl_files/files/images/wettbewerb/ITW2019/Abbildungen/Demeyere,Ewald_c_Hans Morren_web.jpg

 

 

 

 

 

 

 

Ewald Demeyere believes that the conveying of the emotional contents of a composition is a performing artist’s most important task. Since each period has its own specifics to realize this, however, he intends to combine emotion with historical keyboard technique and performance practice in such a way as to obtain as captivating an interpretation as possible. His research, which, among others, resulted in a PhD and the publication of his book Johann Sebastian Bach's Art of Fugue – Performance Practice Based on German Eighteenth-Century Theory (2013), is never an end in itself but always has to serve the rhetoric of the musical performance.

He has taken part in more than 100 CD recordings, many of which with chamber and solo repertoire. As a player of chamber music Demeyere works with, among others, Barthold Kuijken.

Demeyere leads the section of baroque music at the Institut Supérieur de Musique et de Pédagogie in Namur, where he also teaches harpsichord, partimento and continuo. At the Royal Conservatory of Antwerp he teaches counterpoint and historically informed performance practice.

In 2013 he was invited as a jury member for the international harpsichord competition Paola Bernardi in Bologna.

© Hans Morren

Prof. Carin van Heerden (A/ZA)

tl_files/files/images/wettbewerb/ITW2019/Abbildungen/Port. C.van_Heerden_m_Oboe_2015_c_Christian_Thanner_web.jpg

 

 

 

 

 

 

Carin van Heerden was born in Cape Town (South Africa). She studied the recorder with Günther Höller and Walter van Hauwe and the baroque oboe with Helmut Hucke. She was the winner of international music competitions, among them the renowned international ARD competition in Munich (1988). Carin van Heerden is co-founder of the Austrian L’Orfeo Barockorchesters, directed by Michi Gaigg, and performs with this orchestra (also as soloist) in Europe and South Africa. She also heads the L’Orfeo Bläserensemble.

Carin van Heerden was professor for recorder at the Mozarteum in Salzburg and the Hochschule für Musik und Tanz Cologne. At present she teaches the baroque oboe and recorder and heads the Institute for Early Music and Performance Practice at the Anton Bruckner Privatuniversität in Linz. There, she also serves as the artistic director of the concert series “Alte Musik im Schloss”. She recorded for cpo, Cavalli Records and dmh/Sony.

Carin van Heerden is the German translator of Bruce Haynes’ monumental work „The eloquent Oboe“. She is often invited as member of the jury at international competitions for Early Music and for master classes internationally.

© Christian Thanner

Prof. Eva Maria Pollerus (A)

tl_files/files/images/wettbewerb/ITW2019/Abbildungen/image.jpg

 

 

 

 

 

 

The Austrian harpsichordist Eva Maria Pollerus currently teaches harpsichord and continuo at the Frankfurt University of Music and Performing Arts. Prior to that she was a professor for harpsichord and performance practice and also department head at the University of Music and Performing Arts Graz.

She began her studies of piano and harpsichord at the universities of Graz and Vienna. Pollerus has been shaped both by extensive stage and competition experience since early childhood and by her in-depth studies of harpsichord, continuo and historically informed performance practice at the Schola Cantorum Basiliensis.

Enjoying musical diversity, for example as soloist or continuo player, in her engagement with the clavichord and the fortepiano, or as leader of ensembles and teacher of master classes, and her love for a variety of music, even “non-early music”, are very important to her.

Alongside her performances as a soloist she works with renowned European early music ensembles, especially with her own ensemble Musicke's Pleasure Garden (Graz-Basel). Set apart from the well-known repertoire, Pollerus presented a number of previously unrecorded works to the world. She is the initiator and part of the management team of the Telemann concert series “Die Kleine Kammermusik” in Frankfurt am Main.

© https://www.evamariapollerus.com

.

Prof. Rebeka Rusó (SK/CH)

tl_files/files/images/wettbewerb/ITW2019/Abbildungen/Rebeka Ruso 007_web.jpg

 

 

 

 

 

 

Rebeka Rusó comes from a family of musicians in Bratislava (Slovakia). She studied viola da gamba at the Royal Conservatory of Brussels with Wieland Kuijken and at the Schola Cantorum Basiliensis with Paolo Pandolfo. Furthermore, she studied baroque cello with Christoph Coin in Basel. In 1997, she was a prize winner at the 1st International Viola da gamba Competition Bach – Abel in 1997 in Köthen (Germany).

She works frequently with many prestigious ensembles on stage and in the recording studio, such as La petite Bande, Hesperion XXI, Chapelle Rhénane, La Cetra, and Concerto di Viole. Additionally, she performs with soloists, such as Andreas Scholl, and conductors, for example Philipp Herreweghe or Philippe Jordan, and has been a part of numerous recordings.

Both Rebeka Rusó’s debut solo album Touch me lightly and a second CD with works by Carl Philipp Emanuel Bach and Carl Friedrich Abel received multiple awards from international critics. Today, she lives in Basel and has taught at the Schola Cantorum Basiliensis since 2004. Once before, in 2015, she was a member of the jury at the 8th International Telemann Competition.

 

Prof. Michael Schneider (D)

tl_files/files/images/wettbewerb/ITW2019/Abbildungen/Schneider_Barocknacht_2017-07-09_AM_15488_print bearb_web.jpg

 

 

 

 

 

 

Michael Schneider considers himself a musician in a comprehensive sense: he has performed with his chamber music ensemble Camerata Köln as soloist on both the transverse flute and the recorder. As the conductor of the baroque orchestra La Stagione Frankfurt, which he founded in 1988, and of other, also modern orchestras, he presents operas, oratories and symphonic literature from the baroque, early classical and classical period.

More than 100 recordings are proof of Schneider’s versatility in historically informed performance. Among his most current projects are the recordings of Telemann’s complete concerts with wind players (cpo) and the “Anthology of the Baroque Recorder Concerto” (cpo). He has worked with many orchestras as guest conductor and has managed the production of operas by Telemann, Händel, Hasse, Keiser, and Monteverdi at various theaters.

In 1980, Schneider was appointed professor at the Berlin University of the Arts and has worked at the Frankfurt University of Music and Performing Arts since 1983, where he established the Institute for Historically Informed Performance (HIP).

Michael Schneider was awarded the Telemann prize of the city of Magdeburg in 2000 and was a jury member of the International Telemann Competition multiple times.