New professors 2018-2019
viola | Máté Szücs
Like many players of the viola, Máté Szűcs first learned the violin. He completed his violin studies with Ferenc Szecsödi at the conservatory in Szeged, changing to the viola in 1996 and becoming a pupil of Ervin Schiffer, who taught him at the Royal Conservatory in Brussels and at the Chapelle Musicale Reine Elisabeth in Waterloo. This was followed by studies from 2000 to 2005 with Leo de Neve at the Royal Conservatory in Antwerp, completed by Máté Szűcs with distinction.
In 2003 he began his career as an orchestral musician and principal violist. It has taken him from the Royal Flemish Philharmonic Orchestra in Antwerp by way of the Bamberger Symphoniker, Dresden Staatskapelle and Frankfurt Radio (hr) Symphony Orchestra to the Deutsche Kammerphilharmonie Bremen (Principal Viola from 2008 to 2012) and the Berliner Philharmoniker. Máté Szűcs, who appears in concert throughout Europe as a soloist and chamber-music player, also teaches at the Thy Chamber Music Festival in Denmark.
For more information:
Biography of Máté Szűcs at the Berliner Philharmoniker
violin | Aline Champion
Aline Champion chose the violin at the age of 5. At the age of 11, she was accepted into the "Classe supérieure" at the Conservatoire de musique de Genève, now an integrated class at the Haute école de musique de Genève, and the same year she made her solo debut at Victoria Hall. She then continued her training with Tibor Varga and Yehudi Menuhin, graduated as soloist in Utrecht and joined the Radio Cologne Orchestra (solo violin) before becoming concertmaster of the Berlin Philharmonic in 2000.
Aline Champion regularly gives masterclasses for young artists. She is a member of the "Schweizer Philharmoniker", the Swiss members of her Berlin orchestra. She has appeared in Lucerne, Salzburg, Baden-Baden, Paris and London, not to mention the Philharmonic's annual tours of Asia and North America.
cello | David Pia
Born into a musically and culturally active family in Switzerland in 1982, Pia grew up in Basel, starting to play the cello at the age of five. When he was 11, he met Antonio Meneses, first becoming his private pupil, then studying officially with him at the Musikakademie Meneses had a great influence on David Pia not only in the search for instrumental perfection, but especially in musical expression. Pia then went on to study with Clemens Hagen at the Mozarteum Salzburg, an experience that broadened his perspective even further.
Apart from the solo performances that make up the core of his musical activities, David Pia has a particular love of chamber music. Encounters with Claudio Abbado, Bobby McFerrin and Kit Armstrong have had a profound impact on him, as has that with his former chamber-music mentor, Gérard Wyss. In addition, David Pia was principal cellist in the Munich Radio Orchestra from 2006-2008. In 2007, he was a prizewinner at the Tchaikovsky Competition in Moscow, in 2010 he gave his début recital at the Lucerne Festival, and in 2015 he received the Swiss Ambassador’s Award and recorded his first CD.
For more information:
Personal website of David Pia
HARP | Sandrine Chatron
Sandrine Chatron is a harpist whose musical curiosity and innovation is aptly suited to the many facets of her artistry, which she expresses in her work as a soloist, chamber musician,orchestral principal and teacher. Based in Amsterdam, where she has been solo harpist with the Netherlands Philharmonic Orchestra since 2009 (principal conductor, Marc Albrecht) she has also been a member of the teaching staff at the Amsterdam Conservatoire since 2012, gives master classes and take part of international jurys.
Sandrine Chatron was awarded first prize for harp and chamber music at the Paris Conservatoire in 1995. She studied with M.C Jamet, F. Cambreling and G. Lorenzini. She also won first prize at the Cité des Arts Competition, at the Chamber Music Competition in Arles and is also a Foundation Banque Populaire award winner.
She has appeared both as a concert artist and as a chamber musician across Europe, Asia and North America includingappearances at the Théâtre des Champs-Elysées, the Amsterdam Concergebouw, Aix-en-Provence Festival, the Pablo Casals Festival, the Festival Presence, the Festival Messian, and the Fondation Royaumont.
She is a member of the French Chamber Music Group Calliopée as well as the trio Polycordes, and plays regurlary with musicians such as Ophélie Gaillard, Nicolas Dautricourt, Lise Berthaud, Gordan Nikolić, Michael Bennett, Daniel Isoir, Juliette Hurel, François Salque, the Elias string quartett...
She performs regularly with the Ensemble Intercontemporain, with whom she has recorded Pierre Boulez's Sur Incisesfor Deutsche Grammophon. She has worked with the principal French orchestras, such as Orchestre de Paris, Opéra de Paris, Orchestre National de France, as well as the Klangforum Wien, The Monteverdi Choir and Orchestra, the Mahler Chamber Orchestra, the Berliner Philharmoniker, and the Lucerne Festival Orchestra, working with such conductors as C Abbado, R. Muti, P. Boulez, G. Prêtre, Myung Wung Chung, D. Harding, etc.
Solo recordings include a recital disc of French Music (Caplet, Debussy) for Naïve-Ambroisie, a disc played on an 1798 Erard Harp «Le salon de musique de Marie Antoinette» for Naïve, and the premiere recording of concerti by the composers Kristof Marátka and Ricaordo Nillni. She appears in numerous other chamber music cd's for the labels Alpha, Salamandre, Hortus.
She is a passionate advocate of the repertoire written for the harp, ranging from unpublished scores from lesser known composers to premiering works by P. Boulez, S. Yoshida, R. Nillni, K.Mařatka , F. Martin, F. Ibarrondo, A.Markeas, Robin de Raaff.
For more information:
Personal website of Sandrine Chatron
historicals harpS | Maria christina Cleary
Specialising in historical harps, Maria is part of a rare breed of harpist who performs on medieval harps, the Italian arpa doppia, the Spanish arpa de dos ordenes and the 18th century harpe organisée. She promotes a pedal technique that was exclusively used on harps with a single-action pedal mechanism. She has developed several innovative tunings for performing medieval and renaissance music, which can heard on recordings with Ensemble Tetraktys.
She has performed as soloist with lots of orchestras. In 2014, Maria Christina Cleary was invited to perform a concerto by Krumpholtz with the Orchestra of the Antipodes at the The World Harp Congress in Sydney. This was the first time the harpe organisée was featured at the Congress. She performs regularly with Davide Monti under the name Arparla, a violin and harp duo specialising in repertoire from the 17th to the 19th centuries.
Maria Christina Cleary has been prizewinner at the following competitions as soloist: Utrecht Early Music Competition (First Prize ex-aequo, 1997), Nippon International Harp Competition (sixth prize, 1996), Dutch National Harp Competition (second prize, 1997). As an orchestral player she has worked as Principal Harpist in the Koninklijk Concertgebouworkest Amsterdam and further held the position of harpist of the RTE Concert Orchestra Dublin. She has worked for years in the area of contemporary music, with MusikFabrik Köln and Remix Ensemble Porto.
Maria Christina Cleary teaches historical styles, improvisation and chamber music to both modern and historical harpists. She has taught at the Guildhall School of Music London, Conservatories of Singapore, Brisbane, Venice, Padova (2005-2008), Krakow Academy of Music, Sibelius Academy Helsinki and the Haute école de musique de Genève. She holds the position of historical harp professor in Verona Conservatory, Italy. In 2016 she will join the renowned team of teachers at Urbino Summer Music course and will give a masterclass at the Juilliard School of Music New York.
For more information:
Biography of Maria Christina Cleary on the website of the duo Arparla
chamber music with piano | Diana Ketler
Encouraged by her father, a well-known operatic baritone, and her mother, a choral conductor and singing teacher, Diana studied at the Emils Darzins Specialist Music School; at the Jazeps Vitols Latvian Music Academy; at the Mozarteum University for Music in Salzburg and at the Royal Academy of Music. She started performing as a soloist at an early age, giving her debut with the Latvian National Symphony Orchestra under the baton of Vassily Sinaisky.
Diana's concert life as a soloist and chamber musicians has taken her to many great musical centres of Europe, Asia and the USA. She is a regular guest at the prominent international festivals, and her performances have been broadcast on TV and Radio. Diana has recorded five award-winning CDs with the Solo Musica in Munich. Diana has a keen interest in contemporary repertoire and has worked with composers such as Peteris Vasks, Arvo Part, Franco Donatoni, Gyorgy Ligeti. She loves chamber music and has collaborated with many wonderful artists, including Wolfram Christ, Konstantin Lifschitz, Frans Helmerson, Gilles Apap, Sasha Zemtsov, Vladimir Mendelssohn, Mihaela Martin, Boris Brovtsyn, Alina Pogostkina, Philippe Graffin, Wilde Frang, Juliane Banse, Marc Padmore and many others.
Diana is a founding member of the Ensemble Raro, one of the most exceptional and highly acclaimed chamber groups in Europe. Together with a violist Razvan Popovici she founded the Chiemgauer Musikfruehling Festival in Bavaria, the 15th edition of which will be held in 2018; and the SoNoRo Festival in Bucharest, which in the last 13 years developed into one of the most exciting an important chamber music festivals of today. Diana is the Artistic Director of both Festivals.
Diana is a co-founder of an International Educational Chamber Music Programme Interferences, which takes place in Romania, Italy and Germany and awards scholarships to young talented musicians to study and perform together with their more experienced colleagues. She is a Piano Professor at the Royal Academy of Music in London. She is a recipient of the Latvian Great Music Award, Latvia's highest distinction in the field of classical music. In 2016, Diana was elected Fellow of the Royal Academy of Music in London.
For more information:
Biography of Diana Ketler on the Ensemble Raro website
counterpoint | Niels Berentsen
The ensemble Diskantores is directed by Niels Berentsen, singer, researcher, and music educator. Niels regularly appears as a tenor-soloist in cantatas and oratorios, and performs with vocal ensembles such as The Ascoli Ensemble (The Hague) and Capella Sancta Maria (Amsterdam). His opera debut, as Grimoaldo in a production of Georg Friedrich Händel’s Rodelinda, took place in 2015.
Niels has taught the theory and performance of medieval and Renaissance music at the Royal Conservatoire (The Hague) since 2011. Recently, he led the Renaissance Ensemble of the conservatoire in a performance of Antoine de Févin’s Requiem. As a researcher, Niels has investigated techniques of polyphonic improvisation in the 1300-1500 period. For this he received his doctorate from the University of Leiden in 2017. Guest-lessons and workshops on polyphonic improvisation have been given at the Russian Gnessin’s Academy of Music (Moscow), the Israel Conservatory of Music (Tel-Aviv), the Conservatory of Amsterdam, the Kodály Institute (Kecskemét), and the House of Polyphony (Leuven).
For more information:
Biography of Niels Berentsen on the Diskantores Ensemble website
baroque bassoon | Carles Cristobal
Carles Cristobal began his musical studies with the recorder and the modern bassoon at the Badalona Conservatory. He received in 2000 a scholarship from the Catalan government to study historical bassoon at the Schola Cantorum Basiliensis (CH) with Claude Wassmer and Donna Agrell.
After his graduation in 2003, Carles Cristobal began collaborating with several music ensembles such as Balthasar-Neumann-Ensemble (Thomas Hengelbrock), Hesperion XXI and Le Concert des Nations (Jordi Savall), Les Talents Lyriques (Christophe Rousset), Kammerorchester Basel, Freiburger Barockorchester, Venice Baroque Orchestra (Andrea Marcon), Collegium Vocale Gent and Orchestre des Champs-Élysées (Philippe Herreweghe), La Petite Bande (Sigiswald Kuijken), Al Ayre Español (Eduardo Lopez Banzo), Vox Luminis, Cafe Zimmermann, Il Complesso Barocco (Alan Curtis), Il Pomo d'oro, La Cetra Barockorchester, Insula Orchestra (Laurence Equilbey), Le Concert Français (Pierre Hantaï), Gli Angeli (Stephan Mcloud), Dunedin Consort (John Butt), Ensemble Pygmalion (Raphael Pichon), Orqueta Barroca a de Sevilla.
Its repertoire ranges from the polyphony of the 16th century to symphonies and operas of the late 19th century, and from the Dulciane to the romantic bassoon.
Carles Cristobal alternates interpreting and recording with research. He also gives a PhD program at the Université Libre de Bruxelles and the Koninklijk Conservatorium Brussel around the baroque cantatas for Dulciane and voice of Juan Manuel de la Puente (Jaén,1692-1753).
Professor of historical bassoon since 2007 at the aula de Musica Antiga de Girona (Spain) and Professor of Dulciane at the Schola Cantorum Basiliensis since 2017, he participated as an expert in the final examinations of the Haute école de musique de Genève.
eurhythmics | Florence Jaccottet
Born in Lausanne in 1989, Florence Jaccottet was introduced to Jacques Dalcroze rhythm at the Conservatoire in her native city. At the same time, she studied piano in the class of Helena Maffli at the same Conservatory, whose course ended in 2008 with an Award of Excellence.
Interested in corporal and musical expression, she studied Music and Movement of the Haute éocle de musique de Genève where she obtains in 2011 a Bachelor of Arts, rewarded by the Price of pedagogy Marguerite Croptier Lange. Two years later, she completed her training with a Master of Arts in Jaques Dalcroze Pedagogy, whose work was awarded by the Jaques Dalcroze Institute Prize. Florence Jaccottet has a scholarship for the Diplôme Supérieur. She receives the Prize for the excellence of her teaching of Solfège and the Prize of the Alethéia Foundation for her creation "Entrée en matières”, presented in 2017 with the percussionist Michael Chapon.
In 2015, Florence Jaccottet receives from the Jaques-Dalcroze Institute the title of Professor of Jaques-Dalcroze rhythmics. Since 2011, she has been teaching adults and children in a variety of settings. She has continued to develop the method by participating in numerous Masterclasses abroad. Since 2015, she has been teaching to the HEM the technique and composition of the movement as well as the creation. In 2018, she was appointed in charge of rhythmic courses within the institution.
Between teaching and artistic expression, Florence Jaccottet's activity also revolves around her passion for dance. In this field, she has focused since 2013 on contemporary dance and improvisation alongside Professor Emilio Artessero Quesada. Placed at the heart of her artistic research, the expression of the rhythm and musicality of movement makes her dance a singular contemporary language. She has been invited to present both her artistic performances and the techniques she has developed for future rhythmists in Switzerland and, more recently, abroad, notably in Japan and South Korea.