ANNUAL REPORT Jennifer Stumm Fausto Uehara Contents Founder and Artistic Director Set Design

Julio Schwarz Andrade Wallas Pena Operations Manager Video Director 03 A Note from our Artistic Director Clemmie Gaisman Miles Essex Stage Manager David Kaye 04 The Ilumina Model Stela Morato Vicente Carrari Rodrigues Melissa Osborne 07 The 2016 Edition Marketing Photographers Mariana Bolzani Helena Delduque Graphic Designer Marcelo Delduque 08 Financial Summary Catering and Olivia Lacey Site Management 10 Season Review Social Media

14 Soloists

15 Acknowledgements Support: Minerva Kunststiftung

©2016 Ilumina Festival For discussion only with Ilumina Festival staff. Not for redistribution. This report is not intended as a legal or financial statement and, while all the information contained herein is believed to be correct, no guarantees are made as to its accuracy. A note from our Artistic Director

It’s been an amazing year for Ilumina! What began as one been based on a one-to-one exchange of knowledge. A single violist’s idea took flight and began to connect people across great teacher can change the face of an entire city this way. In continents in the spirit of generosity and musical passion. The planting seeds of good musical information, Ilumina is working foundation of Ilumina is that music is social work. It should to develop future farmers, who will pass on what they know. delight, challenge, illuminate. The theme of the 2016 festival We went big with the program this year! Haydn’s was “This is for you!” and indeed, in everything we do, we monumental Seven Last Words of Christ was one group want to serve and connect people. project, with every fellow performing a movement with an My idea for the festival was to be a musical and social international artist to a huge crowd in Piracaia. In São Paulo, laboratory-- that we could both create world-class, innovative we closed the festival with a day of chamber music at MASP, performances and at the same time make new opportunities with pop up concerts even spilling out to the Avenida Paulista. for a rising generation of musicians from a challenging reality, The free tickets to the closing concert were gone in ten whose voices deserve to be heard. I wanted the process of minutes, with hundreds more people hoping to attend. We making music in community to be the very thing that changed performed a “challenging” program, not holding back from lives—for a group of musicians every year to have access to a contemporary music and non-traditional performance ideas. different future than they might otherwise. In every concert, with audience made up largely of people I really believed that my international colleagues, all world hearing chamber music for the first time, we were touched by leaders in their art, would be as inspired by these young the commitment and response of the community. musicians as I was, and that they would receive just as much As the world and the world of classical music change, as they would give. The strong bonds we have seen develop investing in young people from rising nations like Brazil are exactly what I had hoped for. Classical music has always becomes paramount. Classical music needs the stories and energy of a new generation of talent just as much as they need it. In 2015, we watched a group of extraordinary talents begin to make their mark, accepted into some of the best The theme of the 2016 conservatories in the world and winning new jobs. This is all very impressive, but what matters most are the changes festival was “This is not easily measured, the understanding, respect, spread of generosity and goodwill that come from pursuing a musical life. Music makes it happen. for you!” and indeed, There has been such an outpouring of generosity in all kinds of ways from around the world and I am so deeply in everything we do, grateful. Our new relationship with our partners, the Minerva Arts Foundation and Cultura Artística, is very exciting and it’s we want to serve and very special to me that much of this year’s festival was funded by individuals who care about social progress through music. connect people. It’s humbling to be a part of it all and I can’t wait for what comes next. Vamos!

Jennifer Stumm

03 Ilumina 2016 Annual Report

The Ilumina Model

The Ilumina Festival was founded to the best instruction and the best the pursuit of musical excellence, in January, 2015 by North American information to take that final step. At in a fully open and meritocratic violist Jennifer Stumm, who had for the same time, I felt the world had to environment, creates the opportunity for several years built a relationship with a know about these amazing talents. I concentrated, high-impact education and group of young musicians in São Paulo, knew having a group of world-class meaningful social progress. For 10 days, where she often came to perform and to colleagues work with them as equals a select group of 20 of Brazil’s brightest teach as guest professor at EMESP Tom to create top-level chamber music young classical musicians, ages 18-26, Jobim. She was deeply impressed and performances would inspire both work and live together with 7 leading touched by their talent and grit, most of groups. The young musicians gained international soloists, on a secluded farm them coming from urban environments the opportunity to learn first-hand in the Brazilian countryside, preparing for with significant social challenges, and what makes these soloists and their a series of concerts. felt that an intensive exchange between playing so special, and to show that The musical objectives of this them and her international colleagues they could step up to that level. The exchange are uncompromising: would positively impact both groups. soloists embraced the enthusiasm and We create top-level classical music “I felt there was a gap in energy these young musicians brought by global standards. No concessions opportunity for those young musicians to the art and immediately recognized are made and no expectations are at the top of their groups, those who that they could deliver. It’s this shared lowered for our participants or our wanted to and had the potential to belief that inspires us all”. audiences. And maintaining the take their music-making to the highest From the start, Ilumina has been a highest of standards is crucial for our level. They lacked efficient access music festival with a difference, where educational and social objectives.

04 Nathan Amaral violin fellow

NATHAN GREW UP IN THE MANGUEIRA FAVELA IN RIO. HE GAINED ADMITTANCE TO THE FEDERAL UNIVERSITY OF RIO DE JANEIRO AT 16, AND LATER MOVED TO WORK IN THE ACADEMY OF THE ORCHESTRA OF THE STATE OF SÃO PAULO. HE IS CURRENTLY PREPARING FOR AUDITIONS IN EUROPE, WHERE A NUMBER OF ACCLAIMED PROFESSORS HAVE INVITED HIM TO APPLY.

“You know, I didn’t expect that I would be a violinist or start to learn music because I live in a favela in Rio de Janeiro, a community of poor people, and there aren’t many opportunities to study. One day, a complete stranger knocked on our door and asked me - ‘Do you want to play the violin?’ – just like that. And I thought, wow, God gave me an opportunity to study violin. I’d never even heard of the violin before. He was from a social project that was starting with children in the community from the favela, and he was searching for children in the streets. At first I was like, no, I don’t want to do that, I think it’s for girls! But then my mother said, you should try it because it’s free, so you should just go and see if you like it, and if you don’t like it, then okay. So at first I just tried it for one week and then I kept going… and now I’m here. I was twelve when I The musical started so I have always tried my best, and practiced twice as hard to make up for lost time. I heard about objectives of this this festival from my friends who came here last year. The feeling of the festival, the people, there are many exchange are great fellows – I think it’s the best in Brazil. It’s very special. Not just because of the fellows, who are good uncompromising: and we play together, but also because the international artists don’t think that they are more important than us, it’s everybody learning together. It’s amazing, I mean, We create top-level we can talk to Giovanni, Jennifer, Sacha as friends, not only ‘Oh, you’re important, I cannot talk to you outside classical music by of work, of rehearsal’. But we lunch together, we have global standards. dinner together, we do everything together.”

05 Ilumina 2016 Annual Report

Ilumina is efficient: Working with a small group of musicians allows us to hone in on those lives and careers we can significantly impact. Participating in Ilumina has already opened doors for a professional career or studying abroad, at some of the world’s leading conservatories and institutions, for over half of our fellows. The festival’s focus on chamber music perfectly intertwines with its educational and social objectives. In a small ensemble, every individual matters. Participants are quickly introduced to the standards and responsibilities placed on elite performers, Davi Ciriaco many of them for the first time. And double bass fellow they respond. Unlike many traditional educational environments, where a young DAVI IS FROM THE SÃO MATEUS COMMUNITY artist might have one or two hours of IN SÃO PAULO. HE PLANS TO MOVE TO instruction a week, at Ilumina they work TO STUDY WITH JOSEPH all day in ensembles with experienced CONYERS, WHO HE MET AT ILUMINA. soloists, with the same expectations. In a single week at Ilumina, a young artist might work 60 hours with the advice and “Ilumina for me has been a big revelation encouragement of masters. The rate of about who I want to be, what I want to bring to progress is impressive. society and what I want to do as a professional The ripples generated by Ilumina musician as well. When I started learning music expand a long way beyond its participants. at a social project I realized I really needed to It creates an aspirational environment dedicate myself to the instrument; It can’t just be for young Brazilian musicians to aim for, for fun. And the teachers there showed me that most of whom come from considerably I had opportunities. But once I got here and saw disadvantaged communities. Participation what music can do to people and what you can be in Ilumina is entirely free of charge for all as a musician. That gave me the certainty that this those who earn a place, and the environment is what I want to do. We had a talk yesterday and itself is quintessentially meritocratic. it was really important – that a musician needs to Those young artists then return to their know about everything, not just how to play their communities and act as role models for instrument. You need to know about everything younger generations. They are encouraged around you, because otherwise you won’t be the and motivated to educate musicians at best musician you can be. And now I’m looking for earlier stages of their development. All that, every day. It makes my music richer. From concerts are also open to the public, free the musicians here, I can see clearly the detail that of charge, and most of them are performed is so important to our lives, and how we can give a in communities where chamber music has great contribution to our society. Joseph [Conyers] never been presented before. always makes me think because he’s so deep with Expanding the frontiers of classical his ideas and his music, and if he didn’t say things music is also crucial for the health of the the way he says them I would never be able to art itself. To move beyond the bounds imagine them. It is a great world to discover, and of traditional audiences and performers it makes me see how I want to be in the future as a can only increase opportunity for all. We professor: to show my students more than what is strongly believe that more voices tell a just written on the page.” more interesting story, and that every story deserves to be heard.

06 The second edition of the Ilumina During the transition, some of the The 2016 Festival took place in the State of groundwork that had been laid out for São Paulo, Brazil, as scheduled, from the first edition had to be revisited. January 02 to January 10, 2016. All told, Namely, the website and all social media Edition 7 international soloists and 20 fellows presence had to be rebuilt. A new venue attended, 3 concerts were held, fully (i.e. a new farm) had to be scouted and attended, and hundreds of concert rented. Logistical arrangements had goers had free access, many for the to be redrawn from scratch. While first time, to world-class chamber this drew a considerable amount of music. The festival was delivered on organizational time, the results are time and within budget. majorly replicable for future editions. On all fronts – artistic, educational, On the macro front, all of this work social and operational – this was a year was carried out while Brazil faced its of many firsts. Crucially, this was the deepest recession in over a century. GDP first season where the festival was shrank an estimated 3.8% percent in 2015, entirely responsible for fund-raising and is en route to shrinking a further 3.5% and financing its own operations. This in 2016. Annual inflation accelerated to shift, from a single-donor model to a 10.67%. While this macro scenario makes self-sustaining, multiple-donor model, it much harder to fundraise in Brazil itself, has ultimately left the festival in a a freefall in the currency means that funds much stronger position to pursue its raised abroad yielded higher purchasing strategic goals. power during this year’s edition.

07 Ilumina 2016 Annual Report

Financial Summary

USD $1 FUNDRAISING FUNDS RAISED The shift from a single-donor model (kickstarter, benefits, donations) 57,174.73 to a sustainable model of financing Artist Fees 20,645.80 highlighted the need to diversify our Air Travel 10,219.90 fundraising activities. Farm Rental 9,244.15 Throughout the year, two events were Audio/Video 6,083.81 held in São Paulo, the latter a benefit concert with the presence of festival pianist Cristian Marketing Program design/artwork 1006.66 Budu. A further fundraiser was held in Printing/leaflets 884.81 , where many of the city’s foremost Promo t-shirts 430.25 musicians generously donated their time: Operational Expenses , Cristina Ortiz, Jennifer Pike, Intra-Brazil transport 2,448.38 Tamara Wilson, Matthew Rose, Jennifer Food costs 1,677.54 Stumm, Ksenija Sidorova, Arisa Fujita, Adrian Piano costs (transport/tunning) 1,143.66 Brendel, Alasdair Beasdon and Martin Concert venue rent 821.62 Other incidental 430.25 Fitzpatrick, as well as first edition fellow Hotel 253.26 Guilherme Moraes. These events proved Total Expenses 55,290.09 crucial not only for the financial health of the festival, but also for networking and Net Result (To be reinvested) 1,884.64 establishing its presence among like-minded 1Converted to US Dollars at the average cultural decision-makers. spot rate for this year’s exercise. Also vital was our crowdfunding campaign, which successfully ran on Kickstarter. The platform operates on an “all- or-nothing” basis – donations are only taken and channelled to projects for which the whole of a preset target is pledged. Ilumina reached its mark 24 hours before the end. Finally, a grant received from the Minerva Arts Foundation guaranteed that the festival would be able to operate within budget. We are immensely thankful to our hosts and benefactors, to all who contributed to our campaigns, and to those who facilitated the grant from Minerva.

EXPENSES Total expenses for the 2016 edition were $55,290.09 – a mere 60.97% of the 2015 figure – yet we were able to considerably expand our activities and exceed all our artistic and operational goals. The shift of control of the budget to the festival

08 from the previous single donor allowed us to massively optimize spending and rationalize the expenditure process. Our largest line item was artist fees at 37.34% of total spend, a slice 22.61% bigger than that for 2015, despite a 54.53% absolute-number increase. This is another remarkable development, as it indicates we are on track towards reducing inefficiencies and administrative overheads. Overall, 84.80% of spending went directly to front- line operations and artists. At an average gross cost of only $2,764.50 per fellow, Ilumina is a very efficient investment. Participation is free for all invited fellows, including living expenses for the duration of the festival. All concerts had Expenses entirely free admission to the public, in line with the objective of expanding the reach of chamber music to new audiences. 4.20% Marketing Air travel took the second largest slice at 18.48% and posted a 24.38% absolute- 11% number decrease compared to 2015, again Audio/Video demonstrating much more efficient and rationalized spending. Air travel is likely to 37.34% Artist Fees remain one of the top sources of expenditure. We are actively seeking a partnership or 12.25% sponsorship deal, and are in the early stages Operational of discussions with commercial airlines. Expenses Operational Expenses took up 12.25% and A/V represented 11% of spending, a 36.62% absolute decrease. The resulting content is still under production at the time of writing. A final highlight was the farm rental line, which represented a lower-than-expected 16.72% of expenditure, despite the need to source a venue first-hand and at short notice. The year’s net result of $1,884.64 will be 16.72% Farm Rental reinvested directly. This will allow us to start setting up US and UK legal entities, which will 18.48% provide enhanced channels for donations and Air Travel investment and enable further partnerships with like-minded institutions.

09 Ilumina 2016 Annual Report

Season Review

RECRUITMENT The application period for the 2016 festival ran from October 15 to November 15, 2015. Expanding on the first edition, where fellows were directly invited to audition, all recruitment for the 2016 edition was done online. This significantly broadened the reach of the educational opportunities provided by the festival. It also led, as expected, to even higher musical standards among participants. Due to increased penetration of Internet access and smartphones over Applications were restricted to A final consideration on gender – the last decade, Brazil now boasts the 4th musicians aged 18-26, though in cases only about 20% of applications received highest Internet population in the world of outstanding talent exceptions were were from female applicants. Out of 20 with 120 million users. This is widespread made. This allows us to focus on fellows selected to participate, 4 were across income brackets, and the reach is candidates for whom the impact of female. Though this figure shows no particularly high among under our target Ilumina can be maximized. Applicants bias in the selection process, we are group, with an average of 88% under- had to submit a video of a recent actively seeking to find out what leads 25s using the Internet daily, 79% among performance, of their own choice, to a disproportionate ratio of female low-income households. YouTube, our and to submit answers to a series of applicants in the first place. Partners chosen recruitment platform, captures questions, expounding on their previous at some of Brazil’s leading musical 95% of Brazil’s online video traffic, and experience, why they play music, and education institutions report that this Brazil in turn has become their 2nd most what they felt they could contribute ratio is consistent with what they see active global market. to the festival’s community. Successful among the same age range throughout Just over 60% of applicants applicants were selected by a panel who the country’s advanced music programs, were brand new to Ilumina – They listened to the audition videos blind. even though the male-female ratio is had not participated or applied for These trends indicate we can much closer to 50-50 the younger the the first edition. Having the festival expect further growth in the volume age range considered. In other words, recommended by former fellows, mainly and caliber of applications, in line with girls tend to drop out of their musical through social media, was cited as the broader goals of musical excellence activities more frequently than boys as primary motivator for new applicants, and expanding opportunity. Further they grow up. Ilumina actively seeks to be followed by recommendations from enhancements are being considered, part of the solution by creating an equal teachers or educators at partner such as narrowing the age range of opportunity environment that all young institutions who had become familiar applicants to 18-24, and setting a list of musicians can aspire to participate in, with the results of Ilumina 2015. required audition pieces. based exclusively on merit.

10 Guilherme Moraes cello fellow

GUILHERME GREW UP IN SÃO PAULO AND ATTENDED THE INAUGURAL ILUMINA FESTIVAL, WHERE HE MET GIOVANNI GNOCCHI, PROFESSOR AT THE UNIVERSITY MOZARTEUM IN SALZBURG, AUSTRIA. WITH THE SUPPORT OF GIOVANNI, GUILHERME AUDITIONED IN SUMMER 2015, AND WAS ONE OF THE HIGHEST RANKED APPLICANTS OF HIS YEAR. HE IS NOW A FIRST YEAR BACHELOR’S DEGREE STUDENT AT THE MOZARTEUM AND IS DOING HIS BEST TO ADAPT TO THE COLD WEATHER.

“Finding your path as the work we do there is: Hard, a classical musician in arduous, but invaluable work. Brazil is – we all know It was there that I met my – no easy task. Doing so current teacher at the Unver- as a chamber musician is sität Mozarteum, Giovanni even more complicated. Gnocchi, an exceptional mu- Yet, there is no way we can sician and a tremendous in- PARTNERSHIPS change this scenario without spiration. I am sure that all of A proud achievement encouragement, and that’s us fellows find in the soloists in preparation for the where Ilumina comes in, a lead to be followed, an ideal being one of the few festivals of sound, of life, of technique – 2016 season was the (if not the only one) in the something we know we can’t establishment of Ilumina’s country dedicated to this find that often in Brazil. first partnerships. A genre. Through Ilumina, I Ilumina is important found even more inspiration for me not only because it grant from the Minerva to follow my path, and I opens doors, but because it Arts Foundation proved believe I am not the only one. taught me the way to them, essential to the festival’s Now, more than a year and had me understand what financial stability. In Brazil, after my first fellowship, I can to do after I reach them. realize even more clearly how It is important because it a new partnership has being part of this community brings musicians from not been formed with Cultura was a watershed for me. The very favorable backgrounds Artística, the country’s work of the soloists, their to a place they wouldn’t be foremost classical music sensitivity and dedication able to reach on their own. to the fellows changed my It is important because it presenter and non- conception not only of music, creates better musicians, governmental society, which but – why not? – of the world, better human beings, better provided invaluable PR and and it was during the festival talents, better futures, better media support, and the loan that I gradually began to opportunities – and that is understand how important what the world needs.” of a Steinway D piano.

11 Ilumina 2016 Annual Report

Giovanni Gnocchi cello soloist

GIOVANNI HAS BEEN CONNECTED TO ILUMINA FROM THE VERY BEGINNING. HE HAS CONTINUED TO WORK WITH THE YOUNG TALENTS HE MET THERE CONSTANTLY SINCE HIS PARTICIPATION IN THE FIRST EDITION. AS A PROFESSOR AT THE UNIVERSITÄT IMPACT MOZARTEUM OF SALZBURG, GIOVANNI HAS Throughout the year we ALREADY TAKEN ON TWO FELLOWS TO were inspired by the effects STUDY DIRECTLY UNDER HIM TOWARDS of the first edition on its A DEGREE, AND PLANS TO INVITE MORE. participants’ lives, as evidence of what Ilumina can do. “I would be very happy if the young musicians of Ilumina go home after this experience and they remember 50% of Ilumina in every moment of their lives that if Fellows got new jobs they think, if they use their brains and try out things, if they are free in their and were accepted into minds, they can go anywhere. I’ve seen international schools or very talented musicians here. I would say, programs of merit. hoping that nobody is offended, that I think that the natural talent and attitude here is even better than in Europe — it’s more 4 Fellows were accepted genuine, more spontaneous. At the same for full-time study at major time, I see young people without enough courage and belief in themselves. It’s like European conservatories the famous quote, “To achieve dreams you (Salzburg and ). have first to wake up.” I know all of these musicians have dreams but you also have to believe that it’s possible to realize them. 4 of our 6 Soloists This is why we work the way we work here. returned to Brazil We don’t give commands, we ask questions. and interacted again We function as a community.” with Ilumina Fellows.

12 CONCERTS Ilumina shares world-class classical music with as many people as UPCOMING PROJECTS possible, from all walks of life. Our 2016 concerts, all free of charge, took place São Paulo Residency: We want in three diverse locations, differing in ambience and scale and each attracting a the Ilumina model of performance- community-focused audience: based education to have a year-round presence in São Paulo. The groundwork Fazenda Serrinha: Home of the São Paulo: Ilumina created an all-day for a unique residency program is festival in 2016, Fazenda Serrinha hosted chamber music residency at Brazil’s currently being created. our opening concert. foremost art museum, consisting of VENUE: Rustic atelier, extending to the festival’s closing concert as well International Touring: Relationships open-air seating. as pop-up concerts throughout the with international presenters have been COMMUNICATION: Word of mouth, museum and public areas, including established with the aim of creating social media. the Avenida Paulista, São Paulo’s main channels for sharing the work created CORE AUDIENCE: Local community thoroughfare. each year at the festival with audiences members and farm workers. VENUE: MASP - São Paulo on multiple continents. This would ATTENDANCE: circa 200. Capacity Museum of Art. create new revenue streams, as well as attendance, with extra seating added. COMMUNICATION: Social media, giving visibility to Ilumina fellows. major newspapers (Folha de São Piracaia: The neighboring town to Paulo, Estado de São Paulo), national Education Media: While the festival Fazenda Serrinha, lacking any regular radio, TV (Rede Globo), partners may be limited to an intimate number of classical music opportunities. (Cultura Artística). participants, we want the reach of the VENUE: Igreja Matriz, the main church AUDIENCE: Bystanders, museum information they receive to be scalable of Piracaia. visitors, music lovers. on a global level. The potential reach COMMUNICATION: Local marketing, ATTENDANCE: circa 1500. All tickets of social media is unique, especially community leaders, local radio. for the final concert were claimed in the developing world. Ilumina aims AUDIENCE: Church and community within an hour of being made to enable all of our workshops and members. available. The audience, on the street concerts to be filmed and shared, over ATTENDANCE: circa 700. Attendance and around the museum, was large, time developing a rich library of musical beyond capacity. Audience stood diverse, and predominantly new information and a trusted destination in aisles and sat on floor. to chamber music. for young musicians everywhere.

13 Soloists

JENNIFER Jennifer is widely recognized as one of the most dynamic violists of her generation. She has STUMM performed on such venues as the Carnegie Hall, the Philharmonie and London’s Wigmore Viola, Founder Hall. Her solo career was launched after victories in three major international competitions: William and Artistic Primrose, and Concert Artists Guild. An enthusiastic speaker and writer, Jennifer’s TED talk Director about the viola, “The Imperfect Instrument,” was named an editor’s pick. She has released two albums: the first in 2011, for Naxos, followed by “Harold in Italy” for Orchid Classics, both widely acclaimed. Originally from , Jennifer started playing the viola at the age of eight and now holds the International Chair of Viola Studies at the Royal College of Music, London.

ALEXANDRA Alexandra is equally at home in concerto and chamber repertoire. Orchestras with which she SOUMM has collaborated in recent years include the Los Angeles Philharmonic, Royal Philharmonic, and Violin Zurich Chamber Orchestra. As a chamber musician, she has given recitals at venues such as the Auditorium du Louvre, Palais des Beaux Arts and Wigmore Hall. Alexandra has also performed at the City of London, Montpelier, Gstaad and Varna festivals. In 2013 she made her US debut in concert with Leonard Slatkin. Born in Moscow, Alexandra started playing the violin at the age of five, and gave her first performance two years later. Based in Paris, she founded the non-profit organization Esperanz’Arts in 2012, and was named Godmother of El Sistema France in 2013.

TAI Described as “superb” by The New York Times, Tai is establishing herself as the musical voice of a MURRAY generation. Her sophisticated sound remind us of her background and influences, principally, Yuval Violin Yaron and Franco Gulli. Winner of an Avery Fisher Career Grant in 2004, Tai was named a BBC New Generation Artist (2008 through 2010). She has performed as a soloist at such halls as the Barbican, ’s Orchestra Hall and Copenhagen’s Tivoli Gardens. As a recitalist, Tai has joined tours with the Musicians from Marlboro ensemble and was a member of the Lincoln Center’s Chamber Music Society. She recorded her debut album for Harmonia Mundi, followed by a 2013 release on eaSonus, both to wide critical acclaim.

JULIA In the family quartet, the viola was actually their mother’s instrument. Julia and her sister played violin; GARTEMANN Their father, cello. And yet, at some point young Julia took up the viola and knew at once that it was Viola her instrument. She has never played the violin since. Julia has been a member of the legendary Berlin Philharmonic since 2000. She performs as a soloist and chamber musician both in Germany and abroad, and has participated in major festivals such as the IMS in Prussia Cove, the Menuhin Festival and the Salzburg Festival. Julia is a faculty member at the Hochschule für Musik Hans Eisler in Berlin, and a tutor of the Spanish National Youth Orchestra. She studied with , Michael Tree and , and completed her training with Wilfried Strehle at the Berlin Philharmonic’s Academy.

GIOVANNI A laureate of the F. J. Haydn Competition, Giovanni made his debut as soloist in concert with Yo- GNOCCHI Yo Ma. He has performed, among others, with the Camerata Salzburg and as principal cellist with Cello the Royal Philharmonic. Giovanni has already deeply invested in Brazil’s young talents as Professor of Cello at Salzburg’s Unversität Mozarteum, after attending the first edition of Ilumina. Born in Cremona in 1977, he studied with Rocco Filippini, Mario Brunello and Enrico Bronz, and completed his training with Clemens Hagen. Before joining the faculty at the Mozarteum, Giovanni taught at the Scuola di Musica di Fiesole, Accademia di Portogruaro, and founded the cello class at the Accademia “Incontri col Maestro” of Imola.

JOSEPH Joseph is one of the world’s leading bassists, a rising conductor and a passionate advocate for CONYERS community engagement in music. He was appointed assistant principal bassist of the Philadelphia Double Bass Orchestra in 2010, after tenures in the Atlanta and Grand Rapids Symphonies. Joseph attended the Curtis Institute of Music, studying with Hal Robinson and Edgar Meyer. He has been named one of “30 Leaders 30 and Under” by Ebony Magazine, was the inaugural recipient of the Sanford Allen Award, and was the first Sphinx Competition laureate to serve on the jury panel for the competition. In 2006, he founded Project 440, now a leading non-profit which educates musicians on how to become active, relevant, and integral pillars within their communities.

CRISTIAN Cristian is the first Brazilian to have won the Prix Clara Haskil, one of world’s leading piano competitions. BUDU He has appeared as a soloist with the Stuttgart Radio Symphony, Orquestre de la Suisse Romande Piano and Lucerne Symphony. While growing up in São Paulo, Cristian became a protégé of popular artist Antonio Nobrega, under whom he incorporated diverse styles of Brazilian dances and rhythms into his artistic personality. In 2010, Cristian moved to Boston to study with Wha Kyung Byun at the NEC, where he received his Masters Degree. While in Boston, he started hosting meetings which would spur the creation of the Groupmuse community. In Brazil, he leads Pianosofia, a similar minded group that promotes house concerts to expand the reach of classical music.

14 2016 Fellows Ilumina would not be possible without the generosity of our friends from across the world. VIOLIN Gideoni Verissimo Our most heartfelt thanks go out to them. Guilherme Calebe Tomoko Akasaka, Walter Appel, Davi Arrigucci, Anna Maria Arruk, George, Allison & Meredith Arwady, Carmen Avian, Jamile Costa Destro Rebecca Bedingfield Ando, Nicholas David Ball, Karen Bernhardt, Mariana Bolzani, Andy Bookas, Laura Bordini, Rodrigo Michael Alves Bresser-Pereira, Malu Bresser Pereira, Tony Brewer, Jordan Brown, Debra Bucek, Barbara Buntrock, Eda Canepa, Jessé Xavier Reis Vicente Carrari, Lidia & Vicente Carvalho, Beatriz Collet, Jose Antonio Coló, Vilu & Paulo Contini, Paul Craddock, Nilton Marcela Macedo de Oliveira Divino D’Addio, Veronica Davies, Fabio Carlos de Toledo Andrade, Fábio Delduque, JoAnn Dickson, Jonathan Doderer, Maressa Portilho Shirley, Robert & Melissa Drobnak, Sir Vernon & Lady Hazel Ellis, Miles Essex, Liza Ferschtman, Mario Fiore, Natasha Nathan do Amaral Oliveira Freestone, Camila Fresca, Clemmie Gaisman, Heather Gange, Vera Giraudon, Silvia Girolami, Vania Gomes de Oliveira, Tamiris Paes Souza Wally Gragnoli, Laura & Barbara Gregory, Michael Haas, Patricia Hammond, Hideo & Goro Hama, Mila, Maren & Vitor Vinicius Gomes de Oliveira Sousa Hama Motomura, Kate Hamilton, Laurel Hooker, Laura Hosiasson, Andreas Hudelmayer, M. Lucia Jens, Ana Key Kapaz, Louise, David & Ella Kaye, Olivia Lacey, Marina Laffer, Dana Lawson, Jessica Lee, Jenny & Oscar Lewisohn, Frederico VIOLA Lohmann, Dr. Pablo Lopez-Alcaraz, Lucia M. B. Roxo, Maria Luiza M.Porto, Patricia Magaldi, Guilherme Magalhães, Eder Souza Assunção Elizabeth Mann, Sandra Marzola, Ginney & Foster McDonald, Almir Mihessen, Michael Gerrard Mitchell, Gabriel Daniel Damasceno Amaral Morato, Stela & Claudio Morato, Leiko Motomura, Angela Murray, Steliana Nedeva, Mitch, Amy & Miles Nedic, Eve & Al Gabriel Iscuissati Nooft, Polona & Allard Offerhaus, Elisa Oi, Melissa Osborne, Mark Oshida, Sylvia P. Gouvea, Marco Pellegatti, Erin Pitts, Murilo Callou Peixoto, Ana Maria & Nelson Plotek, Lu Podboy, Sophie Pownall, Lilian & Eder Quintão, Alicia Randisi-Hooker, Jonathan Reekie, Nicole Reiss, Martha Rezende Barbosa, Claudete & Glauco Ribas, Matthew Rose, Rossella Rubini, Abigail & Mario CELLO Sampaio, Adriana & Pedro Sapracone, John D. Saunders, Erica, Thea & Irene Schwarz, Milena, Breno & Olivia Schwarz Anderson Clemente Santana Andrade, Sebastian Scotney, Ana & Nilson Secches, Marilyn Seelman, Humphrey Serjeantson, Magnolia & Alfredo Davi Castro Sette, Hope Sibson, Ksenija Sidorova Arizaga, Vivian & Claudio Silberberg, M. Clara Silva, Martin & Lady Elise Smith, Guilherme Moraes Vicente Stefano, Deborah Stumm, Mr & Mrs Richard Stumm, Jessica Thompson, Hugo Ticciati, Claudia Toni, Flavia Toni, Wesley Santos Sampaio Silvia & Roberto Torres, Dirce Trevisi, Helgio Trindade, Marina & Orlando Tsukumo, Sophie & Heloise Tunstall-Behrens, Stephen Upshaw, Peter v F, Daria & Ilonka van den Bercken, Marc van der Heijde, Stephanie Voss, The Warner Family, DOUBLE BASS Jim & Linda Warren, Thomas Wei, Richard Weinert, Dawn Wohn, Marta Wolak Grosbaum, Eric Wong, Hao Wu, Clayton Davi Ciriaco Moreira Wong-Wu, Marie Anne Worms, Shirley Yassuda, Paulo Zuben iluminafestival.org