ECCO featuring the Sturm und Klang Ensemble

Brussels, 24th February 2015

PROGRAMME The European Commission support for the production of this publication does not constitute endorsement of the contents which reflects the views only of the authors, and the Commission cannot be held responsible for any use which may be made of the information contained therein. THE EUROPEAN CONTEMPORARY COMPOSERS (ECCO)

ECCO is an ECSA project which aims to establish itself as a pan-European “body of sound” dedicated to performance, circulation and promotion of contemporary art music as well as gaining new audience. In practice, it is a network of active ensembles, and young professionals, supporting creative dialogue among composers and performers and offering young professionals the opportunity to develop their skills with ensembles experienced in contemporary performing practices on an international level. By its educational dimension ECCO serves as a pro- active development and networking arena for professional composers and performers, especially young and emerging ones. It also aspires to combine music with different forms of artistic expressions and techniques, e.g. electronics, multimedia or crossover art performance. ECSA is very pleased that the Sturm und Klang Ensemble from Brussels was selected to serve as a core of ECCO for this year’s edition of the Creators Conference. The passionate ensemble’s name, Sturm und Klang, is a contemporary response to the Sturm & Drang ideal. The ensemble shares an appetite and a strong commitment to projects that claim dynamism, sensitivity and creativity and highly values energy, fire and enthusiasm. It will be conducted by its artistic director, Thomas van Haeperen.

About European Composer & Songwriter Alliance (ECSA) ECSA is the European Composer and Songwriter Alliance representing over 23,000 professional composers and songwriters in 23 European countries.

With 45 member organizations across Europe, the Alliance speaks for the interests of music writers of art & (contemporary), film & audiovisual music as well as popular music. ECSA’s mission is to promote the rights of music writers at European and international level and to advocate for fair conditions for them.

3 PROGRAMME

1. MIHAILO TRANDAFILOVSKI (page 14) Diptych for solo violin and string orchestra - 16’’ with Peter Sheppard Skærved (page 16) 2. MATE BALOGH Luca Marenzio in Salzburg - 4’30 (page 6) 3. LYNNE PLOWMAN (page 12) The Stargazer - 20’’ with Michael Bennett (page 17)

4. PERTTI JALAVA (page 10) Pinta – Fantasy for String Orchestra n°2 - 9’’

5. JEAN-LUC FAFCHAMPS Ainsi une courbe…- 14’’ with Claire Bourdet (page 8 and 18)

FEATURING THE STURM UND KLANG ENSEMBLE Conducted by Thomas Van Haeperen (page 20)

4 INTRODUCTION AND COMMENTS BY LEON STEFANIJA

As from a tree of differences and yet ...

Musicologists usually try to comprehend a piece in its multiple facets – a listenet simply enyos if piece to apprehends her or him. Sometimes is rather elusive joi de vivre that catches someone's attention with music: usually some telling feature of the piece. And the following pieces have at least one thing in common. Their authors, even though from different cultural milieus, excell in the imaginative reflectivity regarding their experiential apprehension with some ideas that lay behind ther works. Moreover, they excell in a personally indulged and professionally crafted musical texts. Each composition has neat creative impulse : a diction (Máté Balogh), a curve (Jean-Luc Fafchamps), a dance and a song (Mihail Trandafilovski), a surface (Perti Jalava), and the stars (Lynne Plowman). Regardless of the semantic potentials of the individual piece, the music chosen for this concert exictingly indicates the compositional scope of today's creativity – each composer in her/his own terms.

Besides, the superb performers will certainly bring the best out of the chosen compositions.

Leon Stefanija is a Slovenian Musicologist and Professor at the University of Ljubljana, Department of Musicology

5 THE COMPOSERS

MATE BALOGH Luca Marenzio in Salzburg

Máté BALOGH was born in Győr, Hungary, in 1990. Graduated of the Conservatory of Pécs, where he specialized in the theory of music and composition with István Győrffy, he finished his studies in composition at the Liszt Academy of Music in Budapest under Zoltán Jeney. Currently he is working on his doctoral degree and besides he is a professor-assistant in composition at the Liszt Academy. In 2013, he spent a semester in Trieste, Italy, studied composition with Fabio Nieder. He has participated in masterclasses with Péter Eötvös, Christian Wolff, Louis Andriessen, Petr Kotík, Gyula Csapó and Larry Polansky. His pieces have been performed in Hungary, Poland, Slovakia, the Czech Republic, France, Italy, Austria, Switzerland and the United States. He won the 1st Prize of the composer competition of the Liszt Academy in 2011. He also won the 1st Prize of the competition of the Hungarian National Choir with a piece called ’The Four Parts of the Year’. In 2013, he won the 3rd Prize of the UMZF Composer Competition. As a musician, he sings baritone in the Capella Silentium chamber choir. He is also the member of the Hungarian Soundpainting Orchestra.

« This piece was written after an extraordinary musical experience in the Salzburger Dom [2012] where a motet by Luca Marenzio (Super flumina Babylonis) was performed by the great hungarian choir 'Capella Silentium'. The piece contains three, four-parts choirs, which have to be placed separately in the space.

At that inspired moment occured to me the idea of a piece for three string quartets. The form and the musical declamation of the piece is borrowed from Marenzio.» credit: Mate Balogh

6 A comment: Music and words, although commonly inseparable partners, do not fit easily into each other. They are sometimes »uneasy lovers« – the nature of the natural language is rather different from the nature of the musical instruments. And yet the 20th century has brought about a plethora of approaches themayizing the natural language in music: from the concept of intonation (as for instance in Leoš Janáček) to the Sprachkomposition and different the electro-acoustic experiments. The Balogh's piece may be seen as a nice hommage to the idea of merging one language into another in a form of structurally well defined and acribically developed gestures that may be compared to those in Marenzio's music.

JEAN LUC FAFCHAMPS Ainsi une courbe

Jean-Luc FAFCHAMPS (1960) is a pianist and composer. He studied at the Conservatoire de Mons and at Louvain-la-Neuve University. As founding member of the Ictus Ensemble, he took part in many concert performances in large ensembles or chamber groups and in mixed performances, particularly accompanying dance and theatre. He made recordings for Sub Rosa of works by Bowles, Liszt, Feldman, Dallapiccola, Duchamp, Scelsi and Berio and contributed to numerous recordings with the Ictus Ensemble and several singers. His compositions were hailed by the UNESCO International Rostrum of Young Composers (Attrition for string octet) and won him the Octave des Musiques Classiques 2006. The Ictus Ensemble, the Ensemble Intercontemporain, Musiques Nouvelles, the Danel quartet, the National Orchestra of Lille, Liège Philharmonic Orchestra, TM+, Gageego and many more performed his work. It has been on the programme of many international festivals like Ars Musica (Brussels), Présences (Paris), Vilnius, Biennial of Venice, Warsaw, Lima, Budapest, etc.. He is currently developing several long-term projects in which his sense of synthesis

is blossoming into mutually referential pieces. Among those, a vast network of cycles – the Lettres Soufies – has occupied him for fifteen years. He also teaches musical analysis at the Conservatoire de Mons.

7 Comment une courbe... (1996) was premiered on the occasion of the tenth anniversary of the

disappearance of the famous Belgian violinist Arthur Grumiaux. I was very admiring of his at the : same time sober and intense playing, of his perfectly mastered performances and of the crystal clear purity of its tone. I thus have written a crystal clear and sober piece, a kind of cantilena of rhapsodic appearance for violin and chamber Franc : Isabelle orchestra. Behind this aura of big nature, we can find two a little bit technical axes of concern: at Credit first, this composition is completely written around an interval of tierce (and of the complementary sixth), which resounds in network both in the field of the melody and of the harmony, and until the shape itself. Besides, this composition with its obviously expressive aspect opened my experiments as regards the deliberated recourse to the melody: still fairly motivic here, it explores a construction of insatiable, sinuous trend, voluntarily unpredictable, which prefigures the singings in the phraseology more voluntarily freed in Chant magnétique, Ghain or Waw, for example. It is moreover this characteristic which gives it its title...

Comment une courbe... was commissioned by the Foundation Arthur Grumiaux, with the support of the Ministry of French Community, Belgium - department of Classical Music.

A comment. The ideals of a limpid and sober musical narrative that cherishes expressive, expressionistically detailed, rather free phraseology of a magnetic chant is beautifully unfolded as a clear, solo musical statement right at the beginning :

8 (…) It is a refined musical statement that captures with its gestural flow: a set of phrases, expanding rhythmically as well as diastematically, to indicate the intrvalic germ of the whole structure – the interval of the third – in its contour. The melodic gradually turns from minutely detailed structure into a rhapsody accompanied more and more by »magnetic incantations«, bringing a revelatory peak on G somewhere before the half. Actually the climax of the piece is a reflexive, almost Bartókian-flavoured gestural adaggieto that follows and leads toward a reintroduction of a shortened version of the initial theme. This time, the musical narrative dissolves itself through several texturally complementary sections into a variation of the expressive melodic beginning, repeating a »magnetic« intervalic structure – a gesture typical for the whole piece.

PERTTI JALAVA Pinta – Fantasy for String Orchestra N°2

Pertti Jalava was born in , , in 1960. He has composed numerous works for orchestra and various chamber ensembles, including four symphonies, four string quartets and a concerto. He has also written an extensive jazz output for big band and his own jazz ensembles, in which he has played drums and keyboards. He also wrote a handful of choral works. Pertti Jalava has won prizes in several national and international composition competitions with works for string orchestra, wind band, chamber ensemble, jazz ensemble and big band. Works by him have been performed in Finland, Netherlands, Belgium, Sweden, Poland, Serbia and USA (New York, North Carolina, Virginia). Jalava has studied composition – and music in general – almost entirely on his own. In 1993, having already created an extensive repertoire influenced by progressive rock and classical music for his own jazz ensemble, he studied theatre composition with the American Craig Bohmler on a six-month course run by the Finnish Music Theatre Association. As his final assignment he composed a chamber opera called Paradise.

Having completed this course, a turning point in his career, Jalava embarked on an intensive course of private study and attended the composition laboratories held by the Turku Philharmonic Orchestra and the University of Turku in 1994, 1996 and 1998. He has been a full-time composer since 2001.

9 Although Jalava keeps his two areas of interest (jazz / chamber and orchestral music) separate, and does not engage in crossover, he allows influences to flow both ways and there are some common factors between the two: a prominent role for rhythm and melody, polyphony, visual narratives and profusion of events. His primary objectives are, Jalava says, emotional and narrative expression. Such aspirations leave no room for exclusions of any kind. In his music he uses strong contrasts, thereby achieving dramatic effects and aesthetic accents. Sometimes ugliness is needed to emphasise beauty: distorted harmonies, sharp timbres and aggressive rhythms. At other times these negative messages have to be offset by unashamed beauty in order to be experienced to the full. Rhythm occupies a major role in Jalava’s music. It is often motor-like and frequently asymmetric. Yet a meditative quality, or a kind of floating, carefree mood is also characteristic of his music. Despite drawing mainly on twelve-note techniques, most of Jalava’s classical works create a feeling of . In his most recent compositions he often lets their nature determine the music or employs other methods of his own devising, assigning row technique only a secondary role. Nor does he belittle the role of humour, the very salt of life and music.

«Six years ago I composed a humorous hubbub 'Just a Hectic Moment!' for my jazz ensemble. It starts with piano hammering alternately two pilars of fifths: (G, D, A / E flat, B flat, F). Now and then I used to taste this chord, which comes when you play these pilars as arpeggio and let them ringing. Because this chord had insistently occupied me already for six years, I accepted it as the basic material for my work for the competition of Turku conservatory. Although I usually compose absolute music (non program), I have embraced since my early works a describing language. Even this work credit: Maarit Kytöharju / Music Finland doesn’t make any exception. The chord with its variants and expansions creates constantly changing surface, which reflects calmly billowing, creaking solid, lively bubling and slowly yawing landscapes. Apparently I had to compose this work sooner or later, because ever since this restless chord hasn’t haunted on my keyboard. »

10 A comment. A fast endless melodic line unfolds a flux of neoclassicistic intervalic and rhythmic events with a nordic breadth of expression. The aesthetic features conveys several expressionistic meditations – they might understood a paintings of the beautiful nature or they might felt as episodes of innermos experiences or thoughts. Regardles of their semantic pregnancy, they are underpinned by a series of »background – jazzy (or Barock?) – figures functioning as a formal backbone of the whole event (beginning of p. 5 in violins). T ranslaton of the Finnish word pinta is surface. Weather considered metaphorically (as, for instance, a concept of geographic exploration) or in more, as it were, pure musical terms as a surface of texturally clearly structured tonal segments, the piece attracts with its elemental commonness. LYNNE PLOWMAN The Stargazer

Lynne PLOWMAN is a composer and flautist based in Wales. In 2003 she was awarded the British Composer Award for Stage Works, for Gwyneth and the Green Knight. Since then, she has composed three more operas, all with the librettist Martin Riley, two of which were shortlisted for British Composers Awards. In addition to her stage works, Lynne Plowman’s music ranges from intimate songs, solos and to dramatic large-scale vocal and orchestral works. A series of commissions for the London Mozart Players includes The Return of King Raedwald (2001), The Stargazer (2002), a setting of scientific quotes and poetic fragments for tenor voice and strings; Cries Like Silence (2006), commissioned for Remembrance Day in Portsmouth Cathedral and a chamber ensemble score to the classic film, The Cabinet of Dr Caligari (2009). (…)

11 (…) Lynne Plowman is a composition tutor at the Royal Welsh College of Music and Drama, where she was awarded an Honorary Fellowship in 2007. She is also the resident composer for Dyfed Young Composers, supporting young composers in secondary schools across West Wales. Her next premiere is a new orchestral piece, Catching Shadows for the BBC National Orchestra of Wales in Cardiff next April. « The Stargazer was commissioned in 2002 by The London Mozart Players to celebrate their residency in the East Lindsey district of Lincolnshire. They asked for a new work which would have a direct connection with the area. When I visited, I was struck by the vast, unpolluted night time skies. Alfred Tennyson and Isaac Newton both lived in East Lindsey, so this gave me the idea for The Stargazer - a setting of fragments of text for tenor and strings, sometimes poetic and sometimes scientific, all relating credit: Neil Bennett to the stars.»

A comment. This twenty-minute work for tenor and string orchestra is based on texts by Tennyson, John Conduit, Neil Armstrong, Robert Graves and Kevin Crossley- Holland. It is interspersed with names of stars and constellations. Such a poetic evocation of the scinces and the arts is on tonight's concert probably the most appealing – and aspiring – composition reflects something exquisitely archaic in the musical language thay may be characterized as coherent, well thought-out, accomplished, in a word: persuasive combination of several historical resources among which the Brahmsian vocal aesthetic tradition and Britten's imaginative narrativity may brought to mind as references. The almost operatic dramaturgy is achieved less by textural means and musch more by a superb instrumentation and orchestration and imaginative use of the neoclassical compositional resources. Aesthetically ranging from etheral

monophonic structures to etheral polyphonies, the coordination of the vocal part with the overal musical structure results from a refind, deeply felt urge to recount – to recount about old yet over and over new penomena again. A noble pice of »repeating« musical structures that hardly function as repeating – instead, they bring a dramatical arch of susceptible and telling musical suggestions.

12 The texts

Tennyson, In Memoriam A web is wov'n across the sky; Neil Armstrong From our waste places comes a cry, That's one small step for a man; one giant And murmurs from the dying sun." leap for mankind.

Stars in the constellation of Lyra, the harp Robert Graves, Star-Talk Sulafat, Sheliak, Vega "What do you hunt, Orion, this starry Lyra night?" "The Ram, the Bull and the Lion, Tennyson, Far-Far-Away And the Great Bear", says Orion, Far, far, how far? from o'er the gates of birth, "With my starry quiver and beautiful belt, The faint horizons, all the bounds of earth, I am trying to find a good thick pelt, A whisper from his dawn of life? a breath To warm my shoulders tonight, From some fair dawn beyond the doors of To warm my shoulders tonight." death. Far far away? Stars in the constellation of Orion, the hunter Among the brightest stars Betelgeuse, Bellatrix, Rigel, Alnitak, in the Northern Hemisphere Alnilem, Mintaka Sirius, Arcturus Kevin Crossley-Holland, from "Dusk, Tennyson, Chorus from an unpublished drama Burnham Overy Staithe" and “An Each sun which from the centre flings Approach to the Marsh” Grand music and redundant fire, Orion The burning belts, the mighty rings, The blue hour ends, this world the murmurous planets' rolling choir, floats on a great stillness. The globe filled arch, cleaving air, I only guess where marsh finishes and sky The lawless comets as they glare, begins, And thunder through the sapphire deeps each grows out of the other. In wayward strength, are full of strange This is no man's land ... Astonishment and boundless change. Staithe" and "An Approach to the Marsh']

John Conduit on lsaac Newton Tennyson, The Dreamer It came into his thought that the power of Darkened with doubts of a faith that saves, gravity (which brought an apple from the tree to And crimson with battles, and hollow with the ground) was not limited to a certain distance graves, from the earth but that this power must extend To the wail of my winds and the moan of much farther than was usually thought. my waves "Why not as high as the moon?" I whirl and follow the sun.

13 MIHAILO TRANDAFILOVSKI Diptych for solo violin and string orchestra Macedonian-born composer/violinist Mihailo TRANDAFILOVSKI studied at Michigan State University, USA (BMus) and the Royal College of Music, UK (MMus, DMus). His studies and research have been supported by the Open Society Institute, the Macedonian Ministries of Science and Culture, and the British Government (Chevening scholarship), amongst others. Prizes/awards include the United Music Publishers Prize for composition at the RCM and the Panče Pešev Award for best new work at the contemporary music festival Days of Macedonian Music. Recent commissions have come from the Macedonian Composers’ Association, clarinetist Roger Heaton, violinist Peter Sheppard Skærved, and the New London Chamber Choir. Other performers include Quatuor Diotima (France), Pierrot Lunaire and Reconsil ensembles (Vienna), chamber orchestra Arcata Stuttgart, mmm... (Japan), Moscow Contemporary Music Ensemble, and Ensemble ConTempora (Macedonia). A portrait CD with his chamber music performed by Lontano and the Kreutzer Quartet was released in 2011 by LORELT, and his clarinet quintet Magnets, Lava, Crystals, written for Roger Heaton and the Kreutzer Quartet, was released by Clarinet Classics in 2013. A new portrait CD is in preparation. As a violinist, Mihailo has performed across Europe and America, and is a member of the Kreutzer Quartet. A particular interest in his research is the application of new music to pedagogy, for which he was awarded his doctorate. He is also one of the founders and a music director of FuseArts, a not-for-profit organisation formed in 2009, supporting shared projects among the arts and promoting contemporary artistic creativity to a wider audience.

“Diptych (2011-12) was written for violinist Peter Sheppard Skærved, and was commissioned for a specific occasion: a concert at Wilton’s Music Hall in London, celebrating the birthday of our mutual friend, photographer Richard Bram. The building blocks in this piece were deliberately limited: I wanted to explore some specific aspects of a more traditional/idiomatic instrumental type of virtuosity (which, I thought, Peter might enjoy) (…) Credit: Fiona Saunders

14 (…) The pitch material in the first movement, for example, is limited to six notes – the open strings of all the strings, plus Bb; in the second movement, the addition of B natural and Eb allows for a ‘flowering’ of the harmony. I found that within such limitations whole new areas of exploration opened up. For instance, a particular fascination I have with opposing but complementary elements found its expression here in two movements; they could be played as separate pieces, as there are forms of duality contained within each; but played together, they work as two cycles within a larger cycle: the first one a grounded dance, which gradually gives rise to sustained, ‘ascending’, but perhaps somewhat angular lines; the second offering a more lyrical and smoother approach, which nevertheless has a rhythmical side ...”

A comment. Self-confining nature, deliberately moderate with regard to the chosen musical building blocks, in a way minimalistic attitude of the composer in this piece is coupled with a classical symphonic gist – a taste for symphonic concertante aesthetics. Conceptually, the concerto aesthetics opposes the material reductionism of the Dyptich, although many examples may be found within especially European minimalism that would not agree with this claim. And also for the Dyptich by Mihailo Trandafilovski is specific exactly this friction between aesthetically full- blooded sways of the musical flow that often lead toward vehement utterances, and the chosen structural particles that may be set in a line with the best minimalist practices of the time. It seems best to listen to the piece as if a renaissance madrigal without words: the sections follow certain sequential logic entailing in a

series of episodes rounded-off within a frame of ancient coupling opposition between dance (“pure instrumental”) and song.

15 THE SOLOISTS

PETER SHEPPARD SKAERVED Solo Violin in Diptych

Peter Sheppard Skærved is the dedicatee of well over 200 works for solo violin, by composers such as George Rochberg, Judith Weir, Michael Finnissy, and Hans Werner Henze. His discography is extensive, ranging from cycles of sonatas by Beethoven and Telemann, the complete quartets of David Matthews, Michael Tippett, and cycles of concerti from Haydn to Henze. He has won awards from the BBC Music Magazine, been nominated for a Gramophone Award, as well as a GRAMMY for a concerto recording in 2007. Peter is the only British violinist to have been invited to play on Paganini’s violin il Cannone more than once (five times in particular), and is also acclaimed for his collaborative work with museums, working regularly with the British Museum, National Portrait Gallery, Tate Galleries, Victoria and Albert Museum and worldwide. He plays on a 1698 Stradivari owned by Joseph Joachim from the collections of the Royal Academy of Music, where he is the Fellow of Performance Studies.

credit: Peter Sheppard Skærved

16 MICHAEL BENNETT Tenor for The Stargazer

Michael Bennett began his musical studies as a chorister at Westminster Abbey, continuing his studies at Durham University, and later at The RNCM in Manchester. He first came to public attention singing the role of the Madwoman in Yoshi Oida's production of Britten's Curlew River for Aix-en-Provence in 1998. In recent seasons he has sung Don Basilio/Don Curzio in Le Nozze di Figaro for the Winteroper in Potsdam, the Male Chorus in Britten’s The Rape of Lucretia and many more. Well known for his performances of contemporary music, he has premiered works by many composers including Marc Monnet, Param Vir, Ahmed Essyad and Giovanni Verrando. He sang in the premiere stage version of Glass's Hydrogen Jukebox for Opera de Nantes, and most recently sang the roles of Block and Franz in the world premiere production credit: Michael Bennett of Glass's latest opera, The Trial, also for Music Theatre Wales. As a recitalist he has frequently worked with the guitarists Christian Rivet and Craig Ogden, the Viol de Gamba player Jay Bernfeld and the harpist Sandrine Chatron.

17 CLAIRE BOURDET Solo Violin in Ainsi une courbe

Among the highlights of the 2014/15 season we find Claire Bourdet at Ars Musica festival with the project "Pierrot Rewrite", at the Loop festival with the Sturm und Klang Ensemble with the project "Steve Reich”, at Flagey for the Concert Monographique dedicated to Jean-Luc Fafchamps, and at the opening of the Arsonic hall for Mons 2015. Passionate about chamber music, Claire is involved in several formations, especially with the MP4 quartet and the duo Bourdet / Coninx. One of her priorities is to participate in the development of culture in her own domestic area. In 2013 she created a new season of classical concerts in her region, Brussels, entitled TW Classics Forst, with her partner Karel Coninx and Ten Weyngaert. Claire Bourdet obtained her Masters with distinction in the class of Igor Oistrakh at the Royal Conservatory of Brussels, and the first prize in chamber music, musical analysis and history of music. She studied at the Yehudi Menuhin Academy at Blonay in Switzerland. She also won several international credit: Danny Willems competitions (Bromgroove's Festival, England; Jeunes solistes, Belgium; Prix de la SACEM, France) and took part in tours in 2000 and 2001 with

"The European Union Youth Orchestra."

19 STURM UND KLANG ENSEMBLE

Thomas Van Haeperen Thomas Van Haeperen is the musical director and head of programming of ensemble Sturm und Klang. With this ensemble he assured many world’s creations and Belgian premieres of contemporary works (such as Schnittke, Guerrero, Leroux, Widmann, Van Rossum, Rens, Hoop, ...). Besides music of today, he is passionate about the great classical repertoire, romantic and 20th century. He also led the Europa Chor Akademie, the Pauliner Kammerorchester, ensemble ON, credit: Christophe Gaugier@2010 ensemble Dextuor, the Orchestra and He also took masterclasses in Mainz with Choir of the Leipzig University and was Sylvain Cambreling, to whom he says he owes assistant of Leo Hussain, guest conductor the rigor and sensitivity in his interpretation of at La Monnaie. In November 2014 he was contemporary repertoire. invited to conduct the National Orchestra Mr Van Haeperen holds a degree in violin as of Belgium within the Ars Musica festival. well as Masters in philosophy; he is interested Winner of the Belgian Vocation in all that unites music to thinking, memory and Foundation, Thomas Van Haeperen time. He is responsible for an orchestra class at studied conducting in Germany, in the Academy of Arts of the City of Brussels and Leipzig, with Wolfgang Unger the IMEP. (Universitätsmusikdirektor).

The Musicians Violins : Claire Bourdet, Quentin Debroeyer, Laeticia Cellura, Michel Copin, Caroline Denys, Ignacio Lara Romero, David Makhmudov, Mélanie Pelé, Maxime Stasyk

Violas: Dominica Eyckmans, Laure Bellessa, Antoine Combot, Benjamin Lescoat Cellos: Catherine Lebrun, Anne-Gabrielle Lia-Aragnouet, Frederika Mareels. Double basses: Natacha Save, Marta Costa Soares

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ECSA would like to thank the members of the ECCO working group as well as its entire netwok for making this performance possible.