Born in 1991, the French violinist has already performed on prestigious stages around the world such as the Philharmonie de Paris, the Pierre-Boulez Saal in Berlin or the Victoria Hall in Geneva.
A versatile musician, she is passionately involved in the chamber music repertoire, alongside the Hieronymus String Quartet, where she was first violin for three years, and then with the Sōra Trio, with whom she recorded the six great Beethoven Trios for a triple album released by the Naïve label in 2020.
She studied in Berlin with Antje Weithaas at the Hochschule für Musik Hanns Eisler and with Mihaela Martin at the Barenboim-Said Academy, as well as with Eberhard Feltz in chamber music. Before that, she obtained a Master degree with highest distinction at the Conservatoire National Supérieur de Musique et de Danse de Paris where she studied with Olivier Charlier.
In 2021 she is appointed first concertmaster of the Paris Chamber Orchestra conducted by Lars Vogt, and she teaches as an assistant in Philippe Graffin's violin class at the Conservatoire Nationale Supérieur de Musique et de Danse de Paris.
Thanks to the generous support of the Boubo-Music Foundation, Clémence plays a violin by Lorenzo Storioni dating from 1777.
Hungarian-American violinist Abigel Kralik is quickly gaining attention as “a shooting star in the truest sense of the word” (Mitteldeutscher Rundfunk Kultur). Abigel began playing the violin in Dublin Ireland, and continued her musical journey in Budapest, Hungary. After briefly studying in Paris she now calls New York her home. As a passionate soloist and chamber musician, Abigel has appeared with the Savaria and MAV Symphony Orchestras as well as the Szentendre and Anima Musicae Chamber Orchestras and frequently performs with Jupiter Symphony Chamber Players at Lincoln Center.
Abigel has won top prizes at the New York International Artists Association, Vienna International Music Competition, Rising Stars (Berlin) Grand Prix, Talents for Europe International Competition, and Koncz Janos competition. She also has appeared as a featured artist at the Verbier, Clasclas, Budapest, Krzyzowa and Moritzburg and Prussia Cove Festivals, as well as the Perlman Music Program and Festival Mozaic. Kralik has collaborated with artists such as Itzhak Perlman, Guy Braunstein, Vilde Frang, Viviane Hagner, Hsin-Yun Huang, Maxim Rysanov, Jan Vogler, and Gary Hoffman.
Abigel studied with Kristóf Baráti in Budapest and earned her Bachelor’s and Master’s degree from The Juilliard School under the tutelage of Itzhak Perlman and Laurie Smukler. She was awarded the Kovner Fellowship for all six years.
For the 20–21 Season Abigel has many exciting projects on the horizon including a release of a series of recordings encompassing all of the Beethoven quartets, sponsored by Project: Music Heals us. She will perform Sibelius concerto with the Mexico Philharmonic under the baton of Scott Yoo and will give a world premier of a piece for solo violin by Horacio Fernández. She is the Artist in Residence at Festival Mozaic in California, which includes curating and performing solo and chamber music recitals this season. Abigel is the founder and musical director of a new year-round concert series in New York in partnership with the Hungarian consulate that brings together musicians and audiences in intimate settings to explore the music of Eastern Europe.
The Belgian violinist studied with Jolente De Maeyer and Natasha Boyarsky (London). She completed her bachelor at the Royal Conservatoire Antwerp (Belgium) and obtained her master Violin Solo with Barnabás Kelemen at the Hochschule für Musik und Tanz Köln (Cologne, Germany) summa cum laude. Currently she is specializing with Ilya Gringolts in Zurich (Zürcher Hochschule der Künste). She is also studying baroque violin with Monika Baer.
She is a very active chamber musician and recently recorded the Korngold sextet led by Anna Gebert. Jiska forms a musical duo with the Italian pianist Marco Sanna and together with the Dutch cellist Iedje van Wees she founded ‘Duo Misia’. In January 2021 Jiska played alongside the Gringolts Quartet at the Mizmorim Festival in Basel.
Jiska was selected for the International Bartók Seminar in Szombathely (Hungary), Aurora Old Ox Music Festival, Hirschmann Masterclass Europe 2021 and the Festival Academy Budapest, where she performed together with José Gallardo, Natalia Lomeiko, Maxim Rysanov, Razvan Popovici and the legendary Shlomo Mintz. In 2021 she played next to István Várdai, Máté Szücs and Júlia Pusker at the Kaposfest Festival and she was also invited to the Braunwald Festival. Since 2014 she is a yearly guest at the Arte Amanti International Chamber Music Festival.
End 2021 she was concertmaster under the baton of the British conductor Howard Griffiths. Since 2019 she is a member of the string orchestra BRYGGEN – Bruges Strings which specializes in music from Northern Europe, Russia and the Baltic States. Jiska was also admitted to the orchestra academy of the Antwerp Symphony Orchestra led by Edo de Waart and to the European ESTA Chamber Orchestra.
In 2022–23 Jiska is ‘artist in residence’ for SWUK Flanders.
Die Virtuosität der als «Naturbegabung mit einer Autorität, um die sie die meisten Violinisten beneiden müssten» (The Irish Times) beschriebenen Geigerin ist kein Zufall: Gwendolyn Masin entstammt einer traditionsreichen Musikerfamilie aus Mittel- und Osteuropa. Im Alter von fünf Jahren gab sie ihr Debüt an der Franz-Liszt-Akademie in Budapest. Seitdem erhielt sie bei ihren zahlreichen Auftritten als Konzertviolinistin mit hochkarätigen Orchestern, bei Konzertvor- trägen und als Solistin viel Beifall – und bei jedem Auftritt ist ihre Liebe zur Bühne förmlich greifbar: „Gwendolyn IS music“, hiess es folgerichtig in The Independent. Kammermusik gehört zu ihren frühesten musikalischen Erfahrungen, und wann immer es ihr möglich ist, kehrt sie zu dieser zurück.
«Sie umgeht die Fallstricke des Wunderkind-Status», schrieb The Sunday Business Post, und sie war bereits in jungen Jahren regelmässig in Fernseh- und Radiosendungen zu Gast. Ihre Auftritte als Solistin mit bekannten Orchestern sowie als Kammermusikerin in Europa, Russland, Südafrika und im Mittleren Osten wurden von den Kritikern gelobt. Gwendolyn Masin schloss ihre Studien an den Royal Schools of Music in London, an der Hochschule der Künste in Bern sowie an der Musikhochschule in Lübeck mit Auszeichnung ab. Zu ihren Lehrern gehörten Herman Krebbers, Igor Ozim, Ana Chumachenco, Zakhar Bron und Shmuel Ashkenasi. Masin wird nicht nur als Solistin und Kammermusikerin geschätzt – sie komponiert und transkribiert auch und berät andere Komponisten. Die Zusammenarbeit mit zeitgenössischen Künstlern nimmt einen grossen Anteil ihrer Arbeit ein. Im Bestreben, Musik leichter zugänglich zu machen, beauftragt Masin Künstler, arbeitet eng mit diesen zusammen und führt deren Musik auf oder integriert deren Kunst in ihre Interpretationen. Die Forschung und Anwendung im Bereich der Musikmethodik sind untrennbarer Bestandteil von Gwendolyn Masins Schaffen. Ihre Promotionsarbeit am Trinity College untersucht die Gemeinsamkeiten und Unterschiede der Violinpädagogik des 20. Jahrhunderts. 2009 wurde das preisgekrönte Werk «Michaela’s Music House, The Magic of the Violin» bei Müller & Schade veröffentlicht. Das von Masin verfasste Buch ist eine Violinschule für Anfänger. Es ist 2018 in deutscher Sprache erschienen und enthält persönliche Übungen und Kompositionen der Autorin.
Gwendolyn Masin erteilt derzeit Violin- und Kammermusik-Meisterkurse an Instituten und bei Festivals in Europa und Nordamerika und gibt dort auch Gesprächskonzerte. Seit September 2013 ist sie Professorin für Violine an der Musikhochschule Genf.
Auf die Veröffentlichung von Eugène Ysaÿes d-Moll-Violinsonate (op. 27 Nr. 3 «Ballade»)im Jahr 2015, das Album «ORIGIN» beim Label Naxos 2016 und «FLAME» bei Orchid Classics 2017 folgte 2018 mit «TROIS» eine EP mit Werken für Violine und Klavier. Somit tourt sie aktuell mit mehreren Programmen gleichzeitig durch Europa – mit ihrem Streicherensemble oder ihrem Klavierpartner Simon Bucher. Sehr häufig ist Gwendolyn aber auch solo unterwegs. Umso mehr freut sie sich darauf, zu GAIA und dessen vielfältiger und unvergleichlicher, immer wieder einmaliger Gemeinschaft zurückzukehren – zum inzwischen zum vierzehnten Mal.
Born in Rotterdam of Czech-Dutch parentage, Ronald Masin started his violin studies at the Rotterdam Music Conservatory at the age of five.
In 1962 he obtained his violin and chamber music diplomas from the Royal Music Conservatory of Brussels with the highest distinction.
At the age of 25 he was offered the Leadership of the Amsterdam Philharmonic Orchestra where he stayed until 1984. He formed a chamber music group, the Amsterdam Kern Ensemble, which during its eleven years of existence performed over 600 concerts in 22 countries, recorded for EMI and commissioned and performed a great number of works by contemporary composers.
From 1984 until 1986 he was Associate Professor and Head of the Strings Department and the University of Cape Town. From September 1987 to 2002 he was Senior Lecturer at the D.I.T. Conservatory of Music and Drama and a regular guest teacher at International Master Classes in Ireland and abroad.
Ronald Masin is currently Artistic Director at the Young European Strings School of Music, and is also a Director of the Music Instrument Fund of Ireland Ltd.
Encouraged by Sir Yehudi Menuhin from an early age, Kirill Troussov is today one of the most internationally sought-after violinists of his generation. The international press writes about his playing: "...impressive elegance, unsurpassable technique, extraordinary sensitivity and timbres of divine beauty ...". Kirill Troussov performs in renowned concert halls and at international music festivals in numerous metropolises worldwide.
He completed his studies with Zakhar Bron and Christoph Poppen. His mentors include Igor Oistrakh, Herman Krebbers and Sir Yehudi Menuhin.
A passion for chamber music and friendship unites Kirill Troussov with the likes of Sol Gabetta, Yuja Wang, Daniel Hope, Joshua Bell, Gautier and Renaud Capucon, Yuri Bashmet, Mischa Maisky, Elisabeth Leonskaja, Julian Rachlin, Christian Zacharias and Natalia Gutman.
His international awards include the European Culture Prize, the Davidoff Prize of the Schleswig-Holstein Festival, the Yamaha International Prize, and the Reuters Prize at the Verbier Festival.
Kirill Troussov's CD recordings - on EMI Classics, Warner Classics, Dabringhaus and Grimm, Naxos and Farao Classics, among others - have received numerous international awards. He also appears with Yuja Wang on her DVD with Kurt Masur.
Kirill Troussov plays the 1702 Antonio Stradivari "The Brodsky," with which Adolph Brodsky premiered Peter Tchaikovsky's Violin Concerto on December 4, 1881.
Anna Brugger grew up in Steisslingen on Lake Constance and studied at the Mozarteum University in Salzburg with Prof. Thomas Riebl before the ERASMUS exchange program took her to the Conservatoire de Paris to study with Prof. Jean Sulem. Following a two-year scholarship with the Orchestra Academy of the Bavarian Radio Symphony Orchestra, she played with the Deutsche Radio Philharmonie Saarbrücken Kaiserslautern and the Stuttgart Philharmonic. From 2013 to 2017 she also completed the Master of Arts in Music Performance with Prof. Lawrence Power, as well as studies of baroque viola with Ulrike Kaufmann at the Zurich University of the Arts. From 2014 to 2018, Anna Brugger was a member of the "Orchestre de Chambre de Paris". Since 2019 she lives in Zurich and is freelancing in orchestras, as a chamber musician and instrumental teacher. In addition, she is completing a Master of Arts in Music Pedagogy at the Zurich University of the Arts in Instrumental Pedagogy. Since 2019 she is a member of the Calantha Quartet.
Born in Bavarian Augsburg and raised within a musical family, he attended a music gymnasium in his hometown. At the age of 16, he spent one year as a high school student in the US. Shortly after returning to Germany, he started studying solo violin with Prof. Lydia Dubrovskaya in Augsburg later with Rudolf Koelman at the Music University of Winterthur/Zurich. During solo studies he started his master for string quartet with the Carmina Quartet. Further studies followed with Walter Levin in Basel und the Alban Berg Quartet in Cologne.
Apart from playing string quartet since his earliest youth and founding the casalQuartet in 1995, playing around 2000 concerts until today, teaming up with reknown soloists and chamber musicians around the world, he was concertmaster and member in numerous orchestras. He is founder of the Bavarian Chamber Philharmonic Orchestra and was the artistic director of the Arosa Music Festival until 2016. Since 2010 he is artistic director of the Arosa Music Academy, giving master classes for chamber music, a passion he also shares with students at the Musikhochschule Stuttgart.
Violist Martin Moriarty is one of Ireland’s foremost musicians and is in high demand as a soloist and as a chamber musician both at home and abroad. Martin has received multiple awards and prizes including the Amsterdam Viola Festival Competition and the Flax Trust Award at the Clandeboye Chamber Music Festival as well as winning prizes in renowned Irish competitions. As a soloist he has performed with orchestras including the Baden-Baden Philharmonic Orchestra and Amsterdam Sinfonietta under conductors Pavel Baleff and Ed Spanjaard.
Festival invitations include Verbier, West Cork, GAIA-Festival, Schiermonnikoog, Pablo Casals, Grachtenfestival, Tsinandali, NCH Chamber Music Gathering, Freden, Allegro Vivo, Interlaken Classics, Sligo International, RIAM Internacional Concert Series, Rotterdam Chamber Music Society Series, Music for Galway.
With a great passion for contemporary music, Martin has worked alongside and premiered works by Sam Perkin, Seán Doherty, Raymond Dean, John Kinsella, Oene Van Geel, Sebastian Fagerlund, Thomas Beijer and Robert Coleman.
Martin attended the Verbier Festival Academy in 2018 and 2019. Here he received masterclass from Nobuko Imai, Tabea Zimmermann, Lawrence Power, Antoine Tamestit, Lars Andres Tomter, Isabel Charisius, Gérard Caussé, Gábor Takács-Nagy, Ferenc Rados, Pamela Frank, Klaus Hellwig, András Keller and Michel Béroff.
Flurin studied with Thomas Grossenbacher in Zurich, graduated with excellence and did his performance master in Salzburg with Clemens Hagen, also with excellence.
During his studies, Flurin won various competition prizes, such as 1st prize at the Enrico Mainardi cello competition in Salzburg and 1st prize at the Kiwanis competition in Zurich. From 2014 to 2015 he held an ad interim position as principal cellist at the Musikkollegium Winterthur.
Chamber music is central for Flurin Cuonz. He has been performing internationally with the Trio Rafale since 2008. Here, too, competition wins such as in Melbourne in 2011 and in Osaka in 2014 line his path.
He plays a cello by Peter Westermann from 2003.
Born in 1968, comes from a family of musicians in Augsburg and has lived in Switzerland since 1996. Trained at the music academies of Saarbrücken (Ulrich Voss), Cologne (Alban Berg Quartet), Basel (Walter Levin) and Zurich (Carmina Quartet), he decided against joining an orchestra, despite having had gratifying experiences in the Gustav Mahler Orchestra under Claudio Abbado, and founded the casalQuartett in 1996.
With this quartet he gave over 2000 concerts worldwide until 2021 and received prizes and awards such as the German Music Prize, a Grammy nomination, three ECHO Klassik (2010/2015/2017) and a Diapason d'Or (2015). With a great desire for special programs involving outstanding musicians, he began to develop concerts himself and has directed the festival "Boswiler Sommer" since 2001, the festival "VivaCello" since 2016 and concert series in Liestal and Lindau.
For his innovative concert ideas and the musician's collective CHAARTS, which he conceived and consists of international chamber musicians, he received the Culture Prize of CH-Medien in 2011, one of the most highly endowed Swiss cultural awards. Andreas Fleck received a special honor in October 2021: The "European Culture Award Music" by the foundation ProEurope in Basel.
Benedict Klöckner began his instrumental studies at the University of Music in Karlsruhe remarkably early, at the age of 14, and soon won international competitions. Most recently he was awarded the Opus Klassik 2021. He performs worldwide as a soloist with renowned orchestras such as the Royal Philharmonic Orchestra London, the Kremerata Baltica, the Munich Chamber Orchestra and works with renowned conductors such as Daniel Barenboim, Christoph Eschenbach, Ingo Metzmacher, Michael Sanderling, Heinrich Schiff and Sir Simon Rattle. His unpretentiously fresh but at the same time engaging way of making music has brought him into contact with the Who Is Who of the classical music scene. He gains strong impulses in his engagement with contemporary music and its creators, such as Wolfgang Rihm and Eun Hwa Cho. Since 2014 Benedict Klöckner has been Artistic Director of the Koblenz International Music Festival, which he founded.
Patrick is a young cellist from Ireland. He studied at the Young European Strings School of Music with Martin Johnson (Principal cello of the RTE Symphony Orchestra) and Ronald Masin he was then awarded a Scholarship from the Guildhall School of Music and Drama in London to study with Louise Hopkins and is now studying for his master's with Rebecca Gilliver (Principal cello of the London Symphony Orchestra).
He has been awarded the Philip Walsh Memorial Prize, Trisha Maguire Scholarship for outstanding solo playing and has also won prizes for all cello competitions in Feis Ceol including both the Bach and Contemporary Music prize. With Fengari Quartet he has recorded the Moeran String Quartets at Abbey Road Studios. February 2020, he recorded chamber music works by the Swedish composer Andres Hillburg for BBC 3 as well as recordings for other radio broadcast such as RTE lyric FM in Ireland and VPRO in the Netherlands. Patrick has performed in venues and Festivals across Europe such as Wigmore Hall, Cadogan Hall, St Martin-in-the-Fields, St John's Smith Square, Victoria Hall in Geneva, Muziekgebouw in Amsterdam, Franz Liszt Academy of Music in Budapest, Palau de la Música Catalana in Barcelona, West Cork Chamber Music Festival, GAIA Music Festival in Thun, IMUSE in Belgum and the Festival de musique classique à Sion.
During his studies, he has had the privilege to participate in masterclasses with renowned musicians such as Frans Helmerson, Adrian Brendel, Marcio Carneiro, Gavriel Lipkind, Alexander Baillie, Raphael Wallfisch, Levon Chilingirian, Nobuko Imai, Mihaela Martin, Danish String Quartet, Takács Quartet, Alban Berg Quartet and Emerson Quartet.
Like many of his colleagues, Lars Schaper came to the double bass more by chance than by his own drive. He was a violinist first and went from very small to very big, so to speak. Nevertheless, he soon realized that this was to become his instrument and his profession. In the course of his career he has played in many large orchestras, is currently in the SWR orchestra under Teodor Currentzis, but has always taken particular pleasure in chamber music. In CHAARTS and smaller formats Lars always provides the real groove! It doesn't get any driller than this …
The flutist comes from the Dutch town of Heiloo. Awarded among others at the "Concours Jean-Pierre Rampal" in Paris, he was appointed principal flutist of the Royal Concertgebouw Orchestra Amsterdam in 1988, to which he belonged for nine years. During this time he also played first position in the Chamber Orchestra of Europe. In 1997, Zoon joined the Boston Symphony Orchestra - where the Boston Globe named him "Musician of the Year" in 1998. Since 2001, Jacques Zoon has been active as a freelance musician and performs worldwide as a soloist. He has also worked closely with Claudio Abbado in the LUCERNE FESTIVAL ORCHESTRA, where he has been principal flute since its founding in 2003. Since 2002 he has taught at the Conservatoire Supérieur de Musique de Genève, and since 2008 he has also been a professor at the Escuela Superior de Música Reina Sofía in Madrid. Jacques Zoon has also been active in the technical development of his instrument, bringing out new wooden flute models with an improved playing system for the C-sharp, which he markets in the Zoon&Maia Flute Company, founded together with his colleague Rui Borges Maia.
Rachel Harnisch, a soprano from the Swiss Valais, studied with Beata Heuer-Christen in Freiburg im Breisgau. She makes guest appearances with the roles of her subject at the leading opera houses of the world. At the beginning of her career she sang Mozart in particular, but today it is predominantly works of classical modernism and contemporary music.
After the highly successful world premiere of Aribert Reimann's opera L'invisible at Deutsche Oper Berlin in 2017, in which she embodied three roles, Deutsche Oper immediately offered her the title role in Jenufa. 'Die Sache Makropulos' she realized in the 1920/21 season at the Grand Theatre de Genève, and she will also debut as Christine in Richard Strauss's 'Intermezzo' in Basel and Antwerp, and as Eva in 'Die Meistersinger von Nürnberg' at Deutsche Oper Berlin.
In the recent past she has achieved numerous great role debuts as Rachel in Halévy's La Juive, as Emilia Marty in Janácek's Vec Makropolus and in the fall of 2017 in a demanding deux role in Aribert Reimann's world premiere 'L' Invisible' at the Deutsche Oper Berlin. A close collaboration connected her with Claudio Abbado.
The soprano sings a broad concert repertoire ranging from the Passions of Johann Sebastian Bach to compositions of our time. Lieder recitals are especially close to her heart, and her constant partner here is the pianist Jan Philip Schulze, with whom she has recorded a much-acclaimed version of Hindemith's "Marienleben". Numerous recordings document Rachel Harnisch's career.
Lead by his curiosity of Baroque music, he has established an excellent reputation, praised for his “ability to leap from the lowest registers of the bass to the higher reaches of the baritone” (The Daily Telegraph, Sydney, 2004.) Besides working with period instrument ensembles such as Musica Fiata and Cantus Cölln of which he is a member.
His wide vocal range allows him to sing Händel´s challenging operatic arias with technical brilliance and musical intensity. From 2008 until 2010 he was heard as Zoroastro in Handel´s Orlando at Göttingen Handel Festival, Drottningholms Slottsteater, Komische Oper Berlin and at Festivals including Ravinia, Mostly Mozart and Tanglewood.
His musical sensitivity and strong acting abilities make him most suitable for Mozart´s operas. He appeared as "Publio" in Mozart´s "La clemenza di Tito" at the Opera Prague in 2006/07, and as Osmin in The Abduction from the Seraglio at the Opera Cologne in 2010.
Wolf Matthias also fills the Romantic and Modern repertoire with vocal fire and expressive spirit. So far he has worked with Kurt Masur, Fabio Luisi, Alessandro De Marchi, Roy Goodman, and Rudolf Lutz. His interpretation of Hans Sachs in Wagner´s Meistersinger conducted by David Timm in Leipzig, Germany was celebrated to be “expressive, flexible, and full of comical wit” (Leipziger Volkszeitung, 2007).
Wolf Matthias´s recordings reflect his musical diversity and stylistic insight. He recorded Schubert´s "Schwanengesang" with Norman Shetler, "Acis and Galatea" by Handel with Nicholas McGegan, and "Treasures from Uppsala" with Les Cornets Noirs among many others.
I was born in the Netherlands. There was always music in our home: my mother played the piano every day and as a six-year-old I remember singing along to Mozart’s Requiem in the car. One day, after hearing my mother practise Asturias by Albéniz, I decided that I wanted to play the piano as well. The next day she taught me how to play the piece by ear.
Music started out as a game. I simply enjoyed the pleasant feeling I got from moving my fingers over the keyboard, seeing how fast they could move while bringing out all sorts of magical sounds. My first piano teacher took me to concerts all the time. I remember that as soon as the music started I couldn’t move anymore. I was frozen, transported to another place, and I knew then that I wanted to live with music for the rest of my life. My first love was Mozart and at the age of eight I learned my first Mozart concerto. He felt like a friend to me.
As I grew up, playing the piano evolved from a children’s game into a more complete experience. We grew together, music and me, becoming more and more intertwined as the years went on. As a teenager, playing the piano kept me out of trouble. It was my escape into a safe world where every complicated emotion had a place. Later, it did get me into different kinds of trouble. I studied in Holland, Austria, France, Switzerland and Italy and was always living a nomadic life, always searching, always traveling.
A life in music means that there is “never a dull moment” and no two days are ever the same. It’s where I feel most at home.
The pianist Jan Philip Schulze pursues a particularly versatile career, which regularly takes him to the great podiums of Europe and Asia as a lied accompanist, chamber musician and specialist for new music, while at the same time bundling pedagogical, organizing and editorial activities. He is a professor of song interpretation at the Hanover University of Music, Drama and Media.
With partners such as Olivia Vermeulen, Juliane Banse, Rachel Harnisch, the ensemble trioLog München, David Geringas, Jonas Kaufmann, Emmanuel Pahud, Ulf Schneider, Roman Trekel and Violeta Urmana, Jan Phlip Schulze has performed, among others. At the Salzburg Festival, the Schubertiade Schwarzenberg, the festivals of Lucerne, Madrid, Munich, Edinburgh and Tokyo, at La Scala in Milan and the opera houses of Valencia, Barcelona, Paris, Brussels, at the Berlin Philharmonie and London's Wigmore Hall.
He has premiered numerous works and worked closely over the years with composers Hans Werner Henze, Wolfgang Rihm, Dieter Schnebel, Jörg Widmann, Manfred Trojahn, Nikolaus Brass and many others.
Full of the joy of discovery, he has recorded a wide-ranging and multiple award-winning discography in recent years: In addition to highly acclaimed recordings of the piano works of Jörg Widmann and Hans Werner Henze, it includes early classical chamber music with the Trio Amédée, Hindemith's "Marienleben" with Rachel Harnisch, piano sextets from France with the Arcis Quintet and two latest productions with Olivia Vermeulen.
In the corse of her international career Alexandra Troussova has worked with conductors such as Lorin Maazel, Sir Neville Marriner, Antoni Witt, Volker Schmidt-Gertenbach, Walter Weller, Gerd Albrecht, Joseph Suk, Kaspar Zendner, Arie van Beek, Wolfgang Gönnenwein and Michel Tilkin.
Her successful performances brought her to renowned concert halls such as the Konzerthaus Berlin, Prinzregententheater München, Kurhaus Wiesbaden, Concertgebouw Amsterdam, Théâtre du Châtelet, Théâtre des Champs Elysées, Auditorium du Louvre in Paris, Opéra de Lyon, Tonhalle Zürich, Gulbenkian Foundation Lissabon, Opéra de Monte Carlo, Conservatoire Royal de Bruxelles and Auditorio Nacional de Musica in Madrid.
She is regularly invited to prestigious international music festivals, among others to the Verbier Festival, Schleswig-Holstein Musik Festival, Festival Carinthischer Sommer, Saint-Denis Festival, Festival La Folle Journée, Festival de musique de Sully, Festival Piano aux Jacobins, Festival Piano à Auxerre, Festival Saint-Riquier, Festival Septembre musical, Florilegio Musical Salmantino, Al Bustan Festival, Festival de Lanaudière, Ludwigsburger Schlossfestspielen and Klavierfestival Ruhr.
As a chamber musician she collaborates with a variety of artists including Frans Helmerson, Sarah Chang, Nils Mönkemeyer, Alexander Knjasev, David Guerrier and Benedict Kloeckner.
Alexandra Troussova is celebrating worldwide success in the Duo with her brother, the violinist Kirill Troussov. Both living in Munich, the siblings are recognized as one of the few Siblings-Duos of world class calibre.
Their common recordings – among others for EMI Classics – have been widely hailed by the international press and given many international awards.
The recent CDs “Emotions” (Dabringhaus und Grimm) and „Memories“ (Dabringhaus und Grimm) of the Siblings-Duo, have been internationally praised, among others by “Süddeutsche Zeitung” in Germany and the french music magazine „Diapason“.
She studied with James Tocco, Dimitri Bashkirov, Vadim Suchanov and Alfredo Perl.
Numerous radio recordings and television broadcasts, among others in Germany, France, Italy, Belgium, Canada and USA show Alexandra Troussova’s pianistic versatility.
Sebastian Wienand lives in Basel and performs worldwide on mostly historical keyboard instruments as soloist, chamber music partner as well as continuo harpsichordist with groups and musicians such as the Freiburger Barockorchester, the Akademie für Alte Musik Berlin, Les musiciens du Louvre, Millenium Orchestra, Maurice Steger, Gottfried von der Goltz, Rebeka Rusó and others.
Years before studying harpsichord, fortepiano and basso continuo at the Schola Cantorum in Basel, he founded the ensemble l'Ornamento, with which he has been traveling and discovering the world of Baroque chamber music since his youth. This particularly intensive work was rewarded by successes such as the First Prize and Audience Award at Musica Antiqua Bruges or the Audience Award at the Mecklenburg-Vorpommern Festival, at which the ensemble has been a guest almost every year since then.
As musical assistant to the Belgian conductor René Jacobs, he has for almost a decade regularly played a significant role in the rehearsal and performance of Jacobs' world-renowned opera productions, whether in concert or staged at the Theater an der Wien or La Monnaie in Brussels.
A number of CDs have been released with him as soloist and chamber music partner, including Bach family harpsichord concertos with the Brandenburg State Orchestra under Howard Griffiths and Bach's Fifth Brandenburg Concerto with the Freiburg Baroque Orchestra.
Das Schweizer Ensemble CHAARTS versteht sich als grösstes Streichquartett der Welt. Nach Vorbild des Lucerne Festival Orchestra lädt CHAARTS Mitglieder international erfolgreicher Streichquartette und Kammerensembles, Solisten, Konzertmeister und Solobläser aus führenden europäischen Orchestern ein.
In Besetzungen von 8 bis 40 Spielern erarbeiten die Musiker aussergewöhnliche Konzertprogramme, nicht selten nach der Devise ‹das Grosse klein und das Kleine gross›, also Adaptionen von Werken für grosses Orchester in kleinen oder etwa Streichquartette in grossen Besetzungen. Dadurch werden diese Meisterwerke nicht selten völlig neu erschlossen und in Räumen oder Konzertreihen spielbar, die ansonsten diese Musik nicht präsentieren könnten.
CHAARTS ist mit grossem Erfolg mit Musikern wie Martha Argerich, Vilde Vrang, Ian Bostridge, Giovanni Sollima, Mischa Maisky, Roby Lakatos, Fazil Say, Regula Mühlemann und den King’s Singers aufgetreten. Für die Spielzeit 2021/22 sind Projekte mit Vesselina Kasarova, Felix Klieser, Maurice Steger, Regula Mühlemann, Emmanuel Tjeknavorian, dem Janoska Ensemble und David Orlowsky geplant.