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BYP2012 Tour program • PORTRAITS • Interviews • KristJan Järvi • BYP Projects

Baltic Youth Philharmonic


Welcome to the Baltic Youth Philharmonic 2012



CONTENT Welcome to BYP2012


Concerts & Program








BYP Portraits




EXCELLENCE & Education






e are delighted to present to you the fifth season of BYP. This orchestra, initiated in 2008 by Nord Stream AG and the Usedom Music Festival, continues to fulfill its challenging goals, uniting music students from all of the Baltic Sea States and giving them the opportunity to live, learn and perform together. How quickly they overcome these challenges, growing together to create a New Voice in the North, will become obvious in each of the concerts that goes to make up the orchestra’s 2012 season. Over 500 young musicians auditioned in Berlin, Copenhagen, Vilnius, Tallinn and St. Petersburg this year, and about 100 were selected for participation. The concerts in the entire Baltic region will be conducted by the orchestra’s founding conductor and musical director, Kristjan Järvi, as well as by Kurt Masur. Conducting master classes will also be held.

The educational aspects of BYP will be supplemented by a composers’ workshop led by Daniel Schnyder, offering young composers the chance to work closely with the orchestra, its conductor and coaches. Once more, BYP will tour through the Baltic Sea region, finally coming home to the island of Usedom to perform again in Peenemünde. We are proud that the orchestra has grown so much since 2008 and is fulfilling the great promise it made at the starting point. We are also delighted to welcome Saipem as a sponsor of the 2012 tour, which support has allowed the orchestra to perform in Italy. Our vision is to turn this orchestra into an educational hub for the entire region and to make it to the foundation for the creation of a Baltic Music Education System. We wish all our music friends some delightful time discovering the Baltic Youth Philharmonic!

Thomas Hummel Executive Director Baltic Youth Philharmonic

Matthias Warnig Managing Director Nord Stream AG





orchestras in the world which possess the kind of positive energy that BYP displays. I therefore cannot but recommend others to visit the concerts this year of the Baltic Youth Philharmonic. BYP is the perfect symbol of regional cooperation. It brings together young talent from all around the Baltic Sea, and gets its message across in one truly common language, music. Together, the musicians chosen to participate in the orchestra develop their individual skills to the benefit of the musical culture of Northern Europe. Culture and Education being two of the long-term priorities of the Council of the Baltic Sea States, it is of course a pleasure for me to greet – to salute! – an organisation which, like the CBSS, tries to transcend borders in order to improve life in the entire region. The future of the Baltic Sea Region lies in regional cooperation, and the Baltic Youth Philharmonic certainly shows the way.

y first encounter with the Baltic Youth Philharmonic at Peenemünde on 21 September 2009 shall remain in my memory. First, the locale itself; the historic Peenemünde Power Station, built to fuel V1 and V2 rockets in WWII, and now a monument to the folly of war in an otherwise lovely Baltic Sea setting on the German island of Usedom. Here, the young musicians of BYP made us all believe in the bright future of regional cooperation with a programme consisting of Mendelssohn, Beethoven (through the eyes of Lithuanian composer Senderovas) and Brahms. For me as a Swede, the encore in the form of a folk music-inspired »Gånglåt« by my compatriot Hugo Alfvén certainly hit the jackpot. Since then, I have been a fan of BYP, and my most recent experience, at the Baltic Sea Festival in Stockholm in August last year added to my conviction that there must be few

Jan Lundin Director General Secretariat of the Council of the Baltic Sea States


BYP IS ... The most talented young musicians from around the Baltic Sea. The Baltic Youth Philharmonic. 100 musicians, 10 countries, 1 new voice from the North: A special spirit, energy, passion, dedication.




May 26, Dresden, 3 pm Messe Dresden, Dresdner Musikfestspiele

Manuel De Falla Ritual Fire Dance from El Amor brujo (Arr. Daniel Schnyder) Steve Gray Open the Box Arthur Johnson/Sam Coslow My Old Flame (Arr. Marty Paich) Francy Boland Sax no End Mark-Anthony Turnage »Scorched« Edward Kennedy »Duke« Ellington Harlem Suite (1950)

„All you can hear“ Baltic Youth Philharmonic & MDR Symphony Orchestra Conductor: Kristjan Järvi Violin: Vadim Gluzman Johann Sebastian Bach Suite from orchestral works (Arr. Gustav Mahler) Erich W. Korngold Violin Concerto, D Major Op. 35 Ludwig van Beethoven Symphony No. 8, F Major, Op. 93 Johannes Brahms Hungarian Dances No. 6 & 10 Johannes Brahms Piano Quartet, G Minor, Op. 25 (Arr. Arnold Schönberg)

May 28, Düsseldorf, 8 pm Tonhalle Düsseldorf, Schumannfest Baltic Youth Philharmonic Conductor: Kristjan Järvi Violin: Vadim Gluzman Robert Schumann Genoveva, Op. 81, Ouverture Erich W. Korngold Violin Concerto, D Major Op. 35 Johannes Brahms Piano Quartet, G Minor, Op. 25 (Arr. Arnold Schönberg)

May 27, Düsseldorf, 8 pm Tonhalle Düsseldorf, Schumannfest Baltic Youth Philharmonic & Bundesjazzorchester Conductor: Kristjan Järvi Conductor/Trombone: Jiggs Whigham

May 30, Stralsund, 7 pm Theater Stralsund, 9th Baltic Sea States Summit

Georg Friedrich Händel Water Music HWV 348–350 (Arr. Daniel Schnyder) Johann Sebastian Bach Suite from orchestral works (Arr. Gustav Mahler) Antonio Vivaldi Griselda, Agitata da due venti (Arr. Daniel Schnyder)

Conductor: Kristjan Järvi Johannes Brahms Piano Quartet, G Minor, Op. 25 (Arr. Arnold Schönberg)




CONCERTS & PROGRAM August 15, Copenhagen, 7. 30 pm

>>May 30, Stralsund Antonio Vivaldi, Griselda, Agitata da due venti (Arr. Daniel Schnyder)

Koncerthuset Baltic Youth Philharmonic & Danish National Symphony Orchestra Conductor: Kristjan Järvi Soloists: Principal players from the Danish National Symphony Orchestra

August 11, Berlin, 8 pm Konzerthaus, Young Euro Classic

August 17, Gothenburg, 6 pm Open Air, Gothenburg Culture Festival

September 15, Peenemünde, 8 pm

Conductor: Kristjan Järvi

Conductor: Kurt Masur and the participants of the international conducting masterclass

Kraftwerk, Usedom Music Festival

„Baltic Voyage“ See August 11 – without Paul Hindemith & Imants Kalnins

August 18, Gothenburg,

Modest P. Mussorgsky Pictures at an Exhibition (Arr. Sergei P. Gorchakov) Dmitri Shostakovich Symphony No. 1, F Minor, Op. 10

10 am - 6 pm Konserthuset, Gothenburg Symphony Orchestra

November 30, Milano, 8 pm

Conductor: Kristjan Järvi Paul Hindemith Symphonic Metamorphosis Wolfgang Amadeus Mozart Sinfonia Concertante for oboe, clarinet, bassoon & horn KV 297b Sergei V. Rachmaninov Symphony No. 3, A Minor, op. 44

„Baltic Voyage“ Carl Nielsen Maskarade, Overture Edvard Grieg Norwegian Dances,  No. 4, Op. 35 Paul Hindemith »Andantino« from Symphonic Metamorphosis Mikhail Glinka Kamarinskaya Paul Hindemith »Allegro« from Symphonic Metamorphosis Richard Strauss Till Eulenspiegel’s Merry Pranks, Op. 28 Wojciech Kilar Orawa Gediminas Gelgotas Never Ignore the Cosmic Ocean -WORLD PREMIEREPaul Hindemith »Scherzo« from Symphonic Metamorphosis Eduard Tubin »Setu Tants«, No. 3 from Three Estonian Dances, ETW 15 Wilhelm Stenhammer »Mellanspel« from Sången, Op. 23 Jean Sibelius Lemminkäinen Returns, No. 4 from Lemminkäinen Suite, Op. 22 Imants Kalnins Rock Symphony, 1st Movement

August 16, Copenhagen, 7. 30 pm

Teatro dal Verme A BYP Education Project hosted by the Gothenburg Symphony Orchestra for & with young musicians from the region

Conductor: Kristjan Järvi

Master classes by principal players of BYP Side-by-side rehearsals & a joint concert conducted by Kristjan Järvi

Sergei V. Rachmaninov Symphony No. 3, A Minor, op. 44 Richard Strauss Till Eulenspiegel’s Merry Pranks, Op. 28 Paul Hindemith Symphonic Metamorphosis

Koncerthuset Conductor: Kristjan Järvi Clarinet: Martin Fröst Richard Strauss Till Eulenspiegel’s Merry Pranks, Op. 28 Carl Nielsen Clarinet Concerto, Op. 57 Sergei V. Rachmaninov Symphony No. 3, A Minor, Op. 44 After the concert: Yellow Lounge with DJ Katrine Ring


Keep informed

August 31, Stockholm, 7. 30 pm

December 2, Kassel, 3.30 & 7 pm

Berwaldhallen, Baltic Sea Festival

Martinskirche Conductor: Kristjan Järvi Clarinet: Martin Fröst

Conductor: Kristjan Järvi

Richard Strauss Till Eulenspiegel’s Merry Pranks, Op. 28 Carl Nielsen Clarinet Concerto, Op. 57 Sergei V. Rachmaninov Symphony No. 3, A Minor, op. 44

„Baltic Voyage“ (excerpts)


BYPNotes on the Program

Through the epochs with youthful brilliance and artistic sincerity


in the woodwinds as an allusion to the then newly invented metronome. Johannes Brahms made his successful debut in Vienna at the age of 28 with his Piano Quartet G Minor op. 25. Some sixty years later, Arnold Schoenberg recognized that this work represented an important step for the Hamburg-born composer in forging a personal style. In 1937, Schoenberg made an orchestral transcription, for which he determined „not to go any further than Brahms himself would have gone“. It has since borne the tongue-incheek nickname ‚Brahms’s Fifth‘.

ducation and Entertainment“ – this motto was one already adopted by Gustav Mahler. So the „Bach Suite“, first performed in 1909 by the ” New York Philharmonic, in which Mahler combined movements from Johann Sebastian Bach’s Orchestral Suites No. 2 and No. 3, can be seen predominantly as a pedagogically motivated excursion into the era of basso continuo: He used the types of sounds to which his audience was accustomed – from the sometimes rather monumental late Romantic style. Erich Wolfgang Korngold was considered the wunderkind of the music scene. In 1945, he was one of the most sought-after film composers, and had written scores for 18 large-scale cinema productions. From this abundant store, he borrowed the musical material for his Violin Concerto in D Major op. 35, which, with its voluptuous sound and infectious élan, possesses all the qualities of an audience favorite. Many contemporaries will have felt Beethoven’s Symphony No. 8 in F Major op. 93 to be too lightweight; with its humorous passages, it does not sit at all well with the artistic gravity associated with him. In particular, the second movement of the „little F Major“(Beethoven’s words) is a prime example of humor in music. And many listeners rightly interpreted the almost mechanical sixteenth-note figures

„My music is the product of my temperament, so it is Russian music.“ Sergei Rachmaninov

„These are original children of the Pannonian steppe and the Gypsies - in other words, they are not written by me, but just brought up by me for bread and butter.“ It was with these words that Johannes Brahms offered the publisher Simrock his „Hungarian Dances“ for piano four hands in 1868. The collection turned out to be a real money-spinner. Robert Schumann’s operatic oeuvre was inspired by the Hebbel drama „Genoveva“. In April 1847 he wrote an overture


KONCERTHUSET, Copenhagen Rehearsal during the residency at the Danish Radio, 2011

in just five days in an access of fiery enthusiasm. And he was deeply convinced of the quality of his first and only opera Genoveva op. 81 right up to the day of its première. But the rapidly dwindling audiences and the critical musical press soon disabused him of his illusion. With his Sinfonia concertante KV 279b of 1778, Wolfgang Amadeus Mozart made his contribution to this new „type of concerto, where all instruments take it in turns to shine, tease, quarrel and make it up again“ (Journal de Musique). Even if Mozart’s authorship has not been completely proven, the exuberant mood and the informal juxtaposition of the cantabile movements reveal his unique trademark. After the October Revolution in 1917, Sergei Rachmaninov had turned his back on Russia and emigrated to America. There he overcame his creative crisis: at the end of 1936 he finally completed his Symphony No. 3 in A Minor op. 44 - almost three decades after the second. In it, Rachmaninov deliberately resisted pandering to the American zeitgeist: „My music is the product of my temperament, so it is Russian music.“ Carl Nielsen was celebrated by his compatriots as the ‚Danish Beethoven‘, but has received (too) little attention outside of Scandinavia. In the last years of his life, he wrote two solo concertos, including the


BYPNotes on the Program

BYPNotes on the Program

Playing jazz and classical at the same time … why ever not?


Concerto for Clarinet and Orchestra op. 57 in 1928. In it, Nielsen again shows his stylistic integrity, while giving modernity a say as well: sometimes provocative shrillness and harsh dynamic confrontations are characteristic. Modest Mussorgsky’s „Pictures at an Exhibition“ were written in 1874 as a piano suite in memory of the architect Victor Hartmann. With its pioneering use of magical coloristic sounds and harmonic subtleties, this work was predestined to be arranged for orchestra. Maurice Ravel’s orchestration is doubtless the most popular. In 1955, the Russian Sergei Gorchakov

„I have discovered a great composer.“ Nikolai Malko on Dimitri Shostakovich

countered with a version that does without many of the ostentatious effects employed by his French predecessor. „I have discovered a great composer“. When the Ukrainian conductor Nikolai Malko gave the première of Dmitri Shostakovich’s Symphony No. 1 in F Minor op. 10 in Leningrad in 1926, he could not have foreseen just how right he was. The young Russian had achieved an early stroke of genius that contains a wealth of exuberant melodic and orchestrational innovation hidden beneath its conservative, four-movement garb. ◀

ST. PETERSBURG, Russia BYP was performing at the great Mariinsky Concert Hall in 2009!


classic „My Old Flame“ in the arrangement by Marty Paich, the program also includes „Sax No End“ by Francy Boland. At the end of the fifties, this Belgian jazz pianist did arranging for Count Basie and Benny Goodman before establishing himself at the forefront of the jazz scene with his own

t would be nice if music conservatoriums would teach people how to play jazz, and jazz schools taught people ” how to play classical music. I’m always hearing: ‘You can’t play jazz and classical at the same time.’ Why ever not?“ The Swiss composer Daniel Schnyder is, so to speak, someone who commits crossover crimes with a sense of inner conviction – and his copious list of works containing countless arrangements of the classical repertoire bears impressive witness to this fact. What can baroque sound like in the 21st century? For example, there is Händel’s „Water Music“, spiced with jazzy woodwind outbursts amid all that orderly counterpoint, and ending in a cheerful calypso. Or a romantic swing version of the Vivaldi aria „Agitata da due venti“ from his opera „Griselda“. And Schnyder even manages to bring out completely new and fascinating aspects amid the impressionistic sounds of Manuel de Falla in the „Ritual Fire Dance“. Alongside all this, a wide variety of jazz epochs and styles come alive. With „Open the Box“ by Steve Gray we hear the work of a popular keyboarder of the 1970s, who tickled the ivories for the likes of Quincy Jones and Sammy Davis Jr. before working together as an arranger and composer with Kenny Wheeler and Till Brönner, among others. Alongside the Johnson-Coslow

big band. From the uncrowned king of the Cotton Club Duke Ellington we hear the „Harlem Suite“, a musical homage to the urban north of the USA. Mark-Anthony Turnage’s composition „Scorched“ left behind anything but „scorched earth“ at its première in 2002: “There has never been as much grooving intensity in an orchestra concert,” the Frankfurter Rundschau remarked. This work for jazz trio and orchestra contains alternating orchestra numbers and soloistic sections that quote elements from each other. ◀


BYPNotes on the Program

BYPNotes on the Program



of Themes by Carl Maria von Weber” in 1943 in the USA, where he had emigrated because his music was barely tolerated in Nazi Germany. The work uses several pieces by Carl Maria von Weber, who was born in 1786 in Eutin, near the Baltic Sea. Hindemith greatly respected the American orchestras, and with the Weber Metamorphosis he wrote something that called for all their virtuosity.

are nostrum” – „our sea“ – was the name given to the Mediterranean by the Romans back in the pre-Chris” tian era. „Mare nostrum, mare balticum“ – this expression emerged in seventeenthcentury Sweden. The program „Baltic Voyage“ will travel once around the Baltic Sea, a sea that is rich in music. For the smaller countries in particular, music has been an important way of forging a cultural identity.

The „Baltic Voyage“ will travel once around the Baltic Sea, a sea that is rich in music.

The poet Ludvig Holberg was born in Bergen in Norway, but did most of his work in Copenhagen. In the 18th century, he was dubbed the „Molière of the North“ because of his witty, didactic comedies. In 1906, the Danish composer Carl Nielsen wrote an opera based on Holberg’s comedy „Maskarade“ (Eng. „Masquerade“), creating a homage to the poet in a quirky neo-Rococo style. Edvard Grieg put Norway on the map musically speaking. Even though he always saw himself as a cosmopolite, he dedicated himself intensively to Norwegian folk music. The „Norwegian Dances“ op. 35 were written in 1887, originally for four-handed piano, and were later arranged for orchestra. The fourth dance is a quick “Halling”, a solo dance of an acrobatic nature performed by men at village weddings. The German composer Paul Hindemith wrote his „Symphonic Metamorphosis

Mikhail Glinka, who was revered as the “father of Russian music” in his native land, was a contemporary of Weber. In 1848, while in Warsaw, then part of Russia, he wrote an orchestral fantasy that combines two Russian folk melodies: the wedding song “From the Mountains, the High Mountains” and the playful dance „Kamarinskaya“. Glinka uses vivid changes in instrumental coloring to bring out constantly fresh aspects of the two melodies. In 1894, Richard Strauss dedicated his symphonic poem „Till Eulenspiegel’s Merry Pranks“ to the famous rogue from the German Middle Ages. It depicts how Till annoys the city burghers, flirts with the girls,


country was particularly strong. As recently as last year, several BYP musicians performed the piece “To the Skies” by the 26-year-old Lithuanian composer Gediminas Gelgotas. “Never Ignore the Cosmic Ocean” is based on a poem by the composer that is spoken by the musicians almost like in a rap between minimalistic rhythms. The theme is creativity, identity, energy and dissociation. The piece „Orawa“ for string orchestra by the Polish composer Wojciech Kilar, written in 1988, is also minimalistic in character. Kilar was made famous by his film music for Francis Ford Coppola’s ‚Bram Stoker’s Dracula‘ and Roman Polanski’s ‚The Pianist‘. “Orawa” draws on the folklore of the Gorals, the mountain dwellers of the High Tatras, using short melodic fragments until, here too, the players call out rhythmically at the end. The Latvian composer Imants Kalniņš used to be a politician and the leader of several rock bands. His „Rock Symphony“ was written in the early 1970s, and represents an aspiration that was always important to him: connecting up the symphonic and oratorio tradition with youth culture and Latvias’ national independence movement. ◀

rides through the market stalls and makes fun of a parish priest. At the end, he has his head chopped off, but he lives on as a mischievous haunting spirit. The Swedish composer Wilhelm Stenhammar was fascinated by Strauss, and indeed was very attracted to German music. Even though his late cantata „Sången“ of 1921 does try harder to strike a ‚Nordic tone‘, it still has distinct echoes of Händel and Wagner. The „Mellanspel“ (Interlude) is a calm piece that well characterizes this sensitive and modest composer. The ancient Finnish Kalevala epic inspired the Finnish composer Jean Sibelius in his first attempts of composing orchestral music. The „Lemminkäinen Suite“ op. 22 centers on the young hero Lemminkäinen, who runs after girls and strays into the realm of the dead. There, he is torn to pieces and is patched together again by his mother. Having been restored to life, he cheerfully resigned to his fate. Eduard Tubin is often called the ‚Estonian Sibelius‘, as he wrote some important works as symphonist. He grew up in a village on the Baltic coast where he taught himself to play flute, balalaika, violin and piano. He wrote five of his ten symphonies after 1944 in Swedish exile. His „Dance Suite“ is a product of his early years, when his affinity with the folklore of his native

TOUR DATES OF THE „BALTIC VOYAGE “ August 11 in Berlin, August 17 in Gothenburg & December 2 in Kassel



olds, but also younger people – and also to create a professional orchestra that the BYP alumni can join later. Then they can go back into their music education systems and act as mentors and teachers, passing on the „Baltic Youth Philharmonic spirit“ to their own colleagues and students. What kind of music do you see at the core of the Baltic Youth Philharmonic’s creative and educational efforts? K. J. I am fascinated by the folk culture, the music of each nation that identifies that nation as itself. Much in the way of Stravinsky, who included so much Russian folk music in his early ballets. I like to encourage this in music, especially new music, since we are very much on the swing-back to tonality and having pride in presenting music of one’s national identity. How would you describe the ideas behind the slogan „music without borders“? K. J. The mission and the spirit of this orchestra is an all-inclusive, music-withoutborders mindset. The all-inclusive nature of the orchestra combined with the distinct cultures of these ten countries give us an opportunity for communication using the orchestra as a vehicle, a political bridge, to show how things can work in the ideal world not dictated by trade, money, and power. It doesn’t matter if you are coming from a rich or poor country; you need to find a way for people to get involved with their own societies. I think this means cultural education, and since I am a musician, to me this means music. ◀

Watching you during BYP rehearsals one gets the feeling that rhythm is an essential concern. KRISTJAN JÄRVI: That is absolutely right. Music must breathe, music must be pulsating. The young musicians have to feel the „groove“. I try to lead them to an open and lively attitude towards music. They mustn’t forget why they started to play their instrument. Surely not only to hit the right tone at the right time but to tell something to the audience.

Energetic, Passionate, Versatile

KRISTJAN JÄRVI Hailed by the New York Times as „a kinetic force on the podium, like Leonard Bernstein reborn”, Järvi has combined his classical roots and affinity for traditional repertoire with an infectious enthusiasm for creating original programs; propelling classical concert halls around the globe into the 21st century. An interview with the Founding Conductor & Music Director of BYP

KRISTIAN JÄRVI Estonian-born and American-raised, conductor Kristjan Järvi is a unique musical personality pushing classical borders with charisma and fresh ideas. He is music director of the Leipzig Radio Symphony Orchestra (MDR), beginning in the fall of 2012, artistic director of the Basel Chamber Orchestra and music director of Absolute Ensemble.

Much lauded for his recordings – he has won a Swedish Grammy for Best Opera Performance, the German Record Critics Prize for Best Album and a Grammy nomination for Best Small Ensemble Performance.

„The mission and the spirit of this orchestra is a music-without-borders mindset.“ Kristjan Järvi

What is tempting in working with the Baltic Youth Philharmonic? K. J. Moving forward we’ll add educational elements, workshops and school projects, so the orchestra becomes a major educational and performance hub. We want the young people to get excited about the possibilities of music. They should compose, improvise, and become limitless musicians, like the composers back in the classical era who were all both performers and creators. My long-term vision is to create a mentoring program through BYP and the music institutions in the various countries that would involve not only the 18-30 year



You are the founder of NI&Co. Tell us about the ensemble. G.G. NI&Co (New Ideas and Company) is a mobile, modern and stylish ensemble with string players of the highest professionalism, who are brave enough to change at every moment, who love speed and challenges. The ensemble performs my music and modern minimal music written by other composers as well. When was your first encounter with BYP? G.G. Last year I arranged to meet Kristjan Järvi in Kaunas during his BYP rehearsals. But I came along with all the NI&Co. We had our instruments and concert clothes and prepared as if it was going to be a big show for us that night. After his long rehearsals we did a thirty-minute concert of my music - for just one listener: Kristjan Järvi! That was a really great moment. I believe it was the best way for us to talk. Two months later, a few great BYP players performed my small piece „To The Skies“ at the Usedom Music Festival. What is special about BYP? G.G. The energy and professionalism of all the players. Everyone is aiming to draw a new and younger audience to classical music. What are your ideas? G.G. We must stop being arrogant and foisting our intellect on the listeners, and start being understandable, more open and honest on stage. To play for the audience, and not just for the written notes that we are mostly fixated on … ◀

What can we expect from your piece „Never Ignore the Cosmic Ocean“? Gediminas Gelgotas: My wish is to express deeply personal feelings through music, while at the same time getting as close to the listener as possible. This inspired me to look for a suitable musical language. A few very quiet episodes here speak about extremely fragile inner places, along with a kind of restless musi-



To give contemporary musical languages the chance to be heard, BYP regularly features premières of new works in its programs. 2012 the orchestra performs the world première of Never Ignore the Cosmic Ocean by the 26-year-old Lithuanian composer Gediminas Gelgotas. Some of the BYP members also play in his ensemble NI&Co.

Gediminas Gelgotas He is a composer, conductor and self-performing artist, who furthered his skills at the Hamburg University of Music and Theatre, studying under the composer Peter Michael Hamel, and at the Lithuanian Music and Theatre Academy in the

„We must stop being arrogant, foisting our intellect to the listeners.“ Gediminas Gelgotas, Composer & Conductor

cal hooliganism that expresses a positive appeal to be strong enough to remember, uphold and defend our true identity. What gives you inspiration? G.G. The biggest inspiration is the feel of NOW. I love to search for the sound, the taste, the feeling of the world TODAY, for what is important at the moment for everybody. I love to see so many different people running about the streets of New York while knowing that all of us are somehow related. What is it you want to tell your audience via music? G.G. In this intellectually orientated world, I am more focused on the power of our hearts and feelings, and most of all I want to touch these with my music. It is incredible how well music can do this!

classes of composer Vytautas Barkauskas and conductor Gintaras Rinkevičius.



▾ Unusual concert formats, i.e.:


• 200 musicians on 1 stage during a 4,5 hour-long marathon concert together with the MDR Symphony Orchestra • Performing modern arrangements of classical pieces as well as jazz com positions • Yellow Lounge concerts: classic meets the club scene


▾ residencies

With the MDR Symphony Orchestra in Leipzig and the Danish National Symphony Orchestra in Copenhagen: joint rehearsals, coachings and concerts with experienced musicians

▾ The BYP Lab – an educational laboratory with: • • •

Conductor’s and composer’s workshops A conducting masterclass with Maestro Kurt Masur Professional CD recordings with an eminent authority on the international music production scene, Philip Traugott

▾ Mentoring young musicians • BYP workshops for and with young people to share the fun in music ▾ Chamber music projects


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VA D I M GLU Z MAN V I O L I N - B Y P ’ s S OLO I S T 2 0 1 2

VADIM GLUZMAN He belongs to the great Russian violin school.



adim Gluzman’s extraordinary artistry both sustains the great violinistic tradition of the 19th and 20th centuries and enlivens it with the dynamism of today. The Israeli violinist appears regularly around the world: with major orchestras such as the Chicago Symphony, London Philharmonic, Israel Philharmonic, London Symphony, Leipzig Gewandhaus, Munich Philharmonic; and with leading conductors including Neeme Järvi, Andrew Litton, Marek Janowski, Itzhak Perlman, Paavo Järvi. Among his festival appearances are Verbier, Lockenhaus, Pablo Casals, Colmar, Jerusalem and the North Shore Chamber Music Festival in Northbrook, Illinois, founded by Gluzman with his wife and long-standing recital partner, pianist Angela Yoffe. His wide repertoire embraces contemporary music, and Gluzman has given live and recorded premieres of works by composers such as Lera Auerbach and Sofia Gubaidulina. 2010/11 brought the first UK performance of Michael Daugherty‘s Fire and Blood with the London Symphony Orchestra under Kristjan Järvi. Gluzman’s latest CD is Gubaidulina’s in tempus praesens with the Luzerner Sinfonieorchester under Jonathan Nott. Accolades for his extensive discography under the exclusive contract with BIS Records include the Diapason d’Or, Choc de Classica, and Disc of the Month (ClassicFM, Strad and BBC Music

Magazine). In December 2011 he received the Diapason d’Or de l’année 2011 and the Choc de Classica de l’année 2011 for his all-Bruch recording with the Bergen Philharmonic Orchestra under Andrew Litton (Violin Concerto op 26, Romance in F Major op 85, String Quintet in A Minor Op. posth., 1918) Gluzman’s 2011/12 season begins with his return to the London Philharmonic, followed by appearances with, among others, Dresden Philharmonic, BBC Symphony Orchestra, Bergen Philharmonic, Royal Scottish National Orchestra, and Finnish Radio Symphony Orchestra. Born in the Ukraine in 1973, Vadim Gluzman began violin studies aged seven. Before moving in 1990 to Israel, where he was a student of Yair Kless, he studied with Roman Sne in Latvia and Zakhar Bron in Russia. In the US his teachers were at the Juilliard School, the late Dorothy DeLay. Early in his career, Mr. Gluzman enjoyed the encouragement and support of Isaac Stern, and in 1994 he received the prestigious Henryk Szeryng Foundation Career Award. ◀

Vadim Gluzman plays the extraordinary 1690 ,ex-Leopold Auer’-Stradivari, an extended loan to him through the generosity of the Stradivari Society of Chicago.




ndoubtedly one of the most outstanding wind instrumentalists of today, Martin Fröst works at a high level throughout the world – with repertoire which encompasses not only all of the mainstream clarinet works, but also includes a number of contemporary commissions which Martin has personally championed including Anders Hillborg’s Peacock Tales (incorporating elements of mine and dance) and Kalevi Aho’s Concerto (which was commissioned for him by the Borletti-Buitoni Trust). Last season, he premiered a concerto by Rolf Martinsson (co-commissioned by City of Birmingham and Malmö symphony orchestras) and in 2012/13 he performs a new concerto by Bent Sørensen which will be performed by the Netherlands Radio Philharmonic Orchestra in Amsterdam and Cologne. Future orchestral highlights include performances with the Wiener Symphoniker, the Los Angeles Philharmonic, National Symphony, Minnesota and Yomiuri Symphony orchestras (all under Osmo Vänskä), Göteborgs Symfoniker (with Gustavo Dudamel), Oslo Philharmonic, Royal Stockholm Philharmonic, Iceland Symphony, City of Birmingham Symphony (under Edward Gardner), and BBC Scottish Symphony orchestras (under Donald Runnicles) as well as the Luzerner Sinfonieorchester (under James Gaffigan) and Die Deutsche Kammerphilharmonie Bremen (under Krzysztof Urbański).

A keen recitalist and chamber musician, Martin Fröst gave five concerts as part of a major residency at the Kölner Philharmonie in 2010/11 including a dance programme Double Points with violinist Janine Jansen (choreographed by Emio Greco and Pieter C. Scholten) as well as a „Folk Evening“ with the Swedish folk group Frifot. In the 2011/12 season Fröst will perform in venues such as the Wigmore Hall in London, the Concertgebouw in Amsterdam, the Laeiszhalle in Hamburg and the Konzerthaus in Vienna and will participate in the Ojai and Verbier Music Festivals as well as the Mostly Mozart Festival at Lincoln Center in New York. He regularly collaborates with musicians such as Janine Jansen, Leif Ove Andsnes, Maxim Rysanov, and Roland Pöntinen. Martin Fröst has an extensive discography for BIS, with whom he has an exclusive contract; his CD of short encores „Fröst and Friends“ in particular received substantial critical acclaim. His last recording, „Dances to a Black Pipe“, includes dance music by Copland, Brahms, Lutos-lawski and Piazzolla and was released in November 2011 to coincide with a European tour with Australian Chamber Orchestra, with whom he made the recording. ◀ Martin FRöst is the Artistic Director of the Vinterfest in Mora, Sweden and Artistic Director of the International Chamber Music Festival in Stavanger, Norway.


MAR T I N FRÖST C L A R I N E T - B Y P ’ s S OLO I S T 2 0 1 2

MARTIN FRÖST „The audience was immediately on their feet for a standing ovation.“ Los Angeles Times

BYP – Passionately Different

„To play in BYP is the ultimate experience if you want to be a musician by tomorrow standards.“ Ingemar Roos, co-principal trombonist of the Gothenburg Symphony Orchestra









Wojciech Gumminski

Double Bass, aged 25, from Poland


ki, Vilnius, Copenhagen and Stockholm, but also appearing at three festival openings: the Estonian Glasperlenspiel Music Festival in Tartu, the Bremen Music Festival and the Usedom Music Festival in Peenemünde. Since then BYP played concerts in Gdańsk in Poland, Pärnu in Estonia, Riga in Latvia, Copenhagen, Stockholm and St. Petersburg, made a guest appearance at the Young Euro Classic festival in Berlin, and again at the opening of the Usedom Music Festival – the birthplace of BYP. In 2011, the Baltic Youth Philharmonic also performed in Italy for the first time. ◀

ithin only four years, the Baltic Youth Philharmonic, has developed into an astonishing education project that has been celebrated throughout the Baltic Sea Region. The press praised the „very high technical level of playing“, combined with „breathtaking passion“ of the ensemble and its Music Director Kristjan Järvi. The orchestra can already look back upon a number of impressive concert series. In 2009, for example, the symphony orchestra gave seven concerts in six countries, not only performing in Helsin-



hat music do you associate with your country? All songs where I hear Slavic melodies. From a historic point of view, Poland was a New York of Europe, where all cultures met. To this day there is a lot of controversy about the nationality of Kopernik, Mickiewicz or Chopin!

one song must be a drummer, accompanist, soloist ... The same as in BYP under the hands of Järvi. If your instrument could talk, what would it say about you? „He’s a crazy guy, with too many ideas ... It hurts!“

Where you come from, how do people view musicians? I come from Radom, a city where music is not as important as TV or shopping! But hopefully because of people like me it will be changing imminently!

How do you fight stage fright? In an orchestra concert I‘m trying to give my positive energy to the whole double bass group. When it‘s a solo performance I‘m looking for some princess in the audience and playing for her.

What do you like especially about your instrument? Today double bass player during

In ten years, I want to be ... a member of the BALTIC ADULT ORCHESTRA. ◀







-you www.baltic



hat music do you associate with your country? The first thing that comes to mind is the Estonian Song Festival. The repertoire includes folksongs from the 19th century to today’s pop/rock/jazz songs, which are all written by Estonian composers.

here you come from, how do people view musicians? I often get the question: „How are you going to make a living out of it?“ But apart from that, people are very positive. Which musician, past or present, inspires you most? Oh ... Most of all: going to concerts is a wonderful inspiration! But in terms of persons, right now you guys have really inspired me a lot.

Which musician, past or present, inspires you most? Recently the most inspiring person for me has been my teacher Jan (BYP’s violin coach). He has encouraged me to do things I thought I would never be able to do.

What do you like especially about your instrument? The sound ...

BYP is ... Brilliant Young People :-) Kristjan Järvi is … a fantastic conductor. He is full of energy and so passionate. You can feel the energy that he emits, and it makes it really easy to respond to him. He really knows how to courage the orchestra.

Liis-Helena Väljamäe

Violin, aged 23, from Estonia

Is it different to play in an orchestra with so many different nationalities? Through music we understand each other perfectly, and that is what makes our communication so special. What have you learned from BYP? To take risks and give 100% of yourself. ◀


If your instrument could talk, what would it say about you? „Please don‘t hit me!“ What was the worst experience you’ve had with an audience? We once had a couple picnicking in a flute recital and then they commented between the pieces „I think the Hindemith was better than Prokofiev“ and so on. It was awkward ... ◀

hie n Ann Sop Ronne-Hanse Flute, aged 22, from Denmark

MORE BYP-portraits: www.





Zhanna Amandyk, (Russia) Joanna Małgorzata Antoniak, (Poland) Assel Bainazarova, (Russia) Karina Burkhanova, (Russia) Aikaterini-Eirini Chatzinikolaou, (Germany) Zoljargal Dorjderem, (Germany) Inese Fedorovska, (Latvia) Ilze Gagaine, (Latvia) Katarzyna Gluza, (Poland) Maria Hamela, (Germany) Songhee Han, (Germany) Maria Kesvatera, (Estonia) Aleksandra Kolasińska, (Poland) Alisa Kopac, (Poland) Marike Kruup, (Estonia) Pauliina Leeamari Lehtinen, (Finland) Brigid Leman, (Germany) Marzena Malinowska, (Poland) Elin Kleppa Michalsen, (Norway) Lev Mikhailovskii, (Russia) Katazyna Narkevic, (Lithuania) Natalia Niklas, (Poland) Nadežda Ochrimenko, (Lithuania) Mihoko Okajima, (Poland) Daana Ots, (Estonia)

Kristiãna Ozoliņa, (Latvia) Helena Pechter, (Estonia) Mariya Potapova, (Russia) Jekaterina Sata, (Latvia) Dalia Simaškaitė, (Lithuania) Liene Skujiņa, (Latvia) Madli Sokk, (Estonian) Mateusz Strzelecki, (Poland) Annie Svedlund, (Sweden) Agnieszka Swigut, (Poland) Katarzyna Szymczyk, (Poland) Mari Targo, (Estonia) Torstein Teigum Giertsen, (Norway) Renata Ulumbekova, (Russia) Daria Upolovnikova, (Russia) Liis-Helena Väljamäe, (Estonia) Giedre Zarenaite, (Lithuania) Diana Zaviryukha, (Russia) Albert Zorrilla Agut, (Estonia) ▶ Viola

Malgorzata Ewa Blaszczyk, (Poland) Sophie Bretschneider, (Germany) Ekaterina Gaidareva, (Russia) Zane Kalniņa, (Latvia) Mintautas Kriščiũnas, (Lithuania)

Joanna Laczmanska, (Poland) Katarzyna Lucja Litwiniuk, (Poland) Julija Makarina, (Latvia) Mairit Mitt, (Estonia) Anastasiia Nilova, (Russia) Ugnė Petrauskaitė, (Lithuania) Trine Philip Rønn, (Denmark) Karolis Rudokas, (Lithuania) Lucas Schwengebecher, (Germany) Maria Stanienda, (Poland) Oili Matilda Tuhkanen, (Finland) Santa Vizine, (Latvia) Feifei Yuan, (Germany)

Giedrius Zukauskas, (Lithuania) Oksana Zyablikova, (Russia) ▶ Double


Anton Afanasenka, (Russia) Anne Auerbach, (Germany) Flora Bartanyi, (Germany) Jordi Anton Carrasco Hjelm, (Sweden) Kirill Dubovik, (Russia) Berkcan Ertan, (Germany) Wojciech Guminski, (Poland) Konrad Hartig, (Germany) Andreas Hjorth Jessen, (Denmark) Emma Josefsson, (Sweden) Rafal Kierpiec, (Poland) Maria del Carmen Torrano, (Finland) Regina Udod, (Estonia)

▶ Cello

Joanna Cieslak, (Poland) Stefano Francesco Cucuzzella, (Germany) Anu Keski-Saari, (Finland) Helga Luksevica, (Latvia) Ruslan Nabiyev, (Russia) Madara Norbũte, (Latvia) Igne Pikalaviciute, (Lithuania) Paula Schieferecke, (Germany) Justyna Straszyńska, (Poland) Darta Svetina, (Latvia) Anna Veselova, (Latvia)

▶ Flute

Jonathan Henderson, (Germany) Lauma Ilsuma, (Latvia) Francisco Lopez Martin, (Sweden) Heili Rosin, (Estonia) Ann Sophie Rønne-Hansen, (Denmark)





▶ Saxophone

▶ Trombone

▶ Piano

Lisa Bergmann, (Germany) Bettina Fritz, (Germany) Jung-Jun Ham, (Germany) Theophile Hartz, (Germany) Ximena Poveda Viera, (Germany) Ekaterina Skidanova, (Russia) Midori Kagaya, (Germany)

Marina Moyà Flaquer, (Germany)

Martin Chorell, (Sweden) Hans-Peter Oberlander, (Germany) Marton Regöczi, (Germany) Ingrid Bergaas Utne, (Norway) Sarah Zemp, (Germany)

Ji Woo Lee, (Germany) Eun-Jung Son, (Germany)

▶ Clarinet

Yvonne Böhm, (Germany) Jason Denner, (Germany) Dominik Gredzinski, (Poland) Mor Levin, (Poland) Alexey Mikhaylenko, (Russia) ▶ Bassoon

Leann Currie, (Norway) Mikhail Krotov, (Russia) Andreas Lyeteg, (Sweden) Pedro Pérez Conejero, (Sweden) Arseniy Shkaptsov, (Russia) Alise Timermane, (Sweden) Marcin Wosiński, (Poland)

▶ French


Radu Andrei, (Germany) Mats Johansson, (Sweden) Johan Petter Lindahl, (Sweden) Andreas Lundmark, (Sweden) Kreete Perandi, (Estonia) Pedro Silva, (Germany) Dennis Vasiliev, (Sweden) ▶ Trumpet

Eivind Bjørnevik, (Norway) Joris De Rijbel, (Sweden) Bogdan Dekhtiaruk, (Russia) Hans Jacob, (Germany) Jonas Larsson, (Sweden) Aleksey Nikiforov, (Russia) Manuel Peitzker, (Germany) Chiara Alexandra Re, (Sweden) Peter Vallebo, (Denmark)

▶ Assistant


Giancarlo Rizzi, (Finland) Jon Eric Kim Svinghammar, (Sweden) Jan Wierzba, (Poland)

▶ Tuba

Vinjar Christoffer Hambro, (Norway)

▶ Administration/Staff

▶ Percussion

Thomas Hummel, (Executive Director) Daniela Rose, (General Manager) Ellen Wölk, (Operations Manager) Kerstin A. Dorscht, (Marketing Manager) Bettina Schimmer, (Press Officer) Marili Werle, (Tour Coordinator) Christopher Nimz, (Assistant to Executive Director) Ernst-Ulrich Kammradt, (Stage Manager) Patrick Maibom, (Stage Manager) Sabine Knodt & Erik Wilke, (Assistants to Operations Manager)

Maria Finkelmeier, (Sweden) Péter Fodor, (Finland) Anton Linus Mikael Hugosson, (Sweden) Wictor Lind, (Sweden) Angelina Mangs, (Sweden) Victor Pradillos Belloso, (Denmark) Aleksander Wnuk, (Poland) Øyvind Øksnes, (Norway) ▶ Harp

Alida Fabris, (Sweden) Zuzanna Olbrys, (Poland)





leading cellists with major orchestras throughout Europe, USA, Korea and China under conductors such Neeme Järvi, Alexander Lazarev, Nicolaj Znajder and Christian Zacharias. Claes combines his solo career with the post as Principal Cello of the Gothenburg Symphony Orchestra.

n August, the Danish Radio in Copenhagen will host the „BYP Lab“ – Kristjan Järvi’s „educational laboratory“. It brings together all educational activities: orchestra rehearsals, sectional coachings, chamber music projects, a composers’ workshop and the training sessions for assistant conductors. A faculty of internationally renowned instrumentalists offers a unique teaching situation.

Sébastien Dubé (double bass) is principal bass of the Swedish Chamber Orchestra as well as an active jazz and folk musician. Educated in Canada and the USA, he enjoyed a freelance career there before moving to Scandinavia, where he also recently began to teach.

OUR COACHES Jan Bjøranger (violin) is currently professor and head of the string department at the University of Stavanger, Norway, next to a very active career as a soloist, ensemble leader and conductor. He teaches throughout Europe and is currently artistic director of the ensemble EnB1 in Stavanger.

Alison Mitchell (flute/woodwinds) is principal flutist with the Scottish Chamber Orchestra as well as guest principal flutist of the Australian Chamber Orchestra. She teaches at the Royal Scottish Academy of Music and Drama.

Paul Cortese (viola) is currently professor of viola and chamber music at the Conservatory of the Liceo and the Juan Pedro Carrero School of Music in Barcelona, Spain. He is a former principal viola of the Gothenburg Symphony, guest principal viola in over twenty orchestras and a sought-after chamber musician. KURT MASUR Kurt Masur is well known as both a distinguished conductor and humanist. He was chief conductor of the Gewandhaus Orchestra and the New York and London Philharmonic Orchestras. Education has been his lifelong passion, and he is deeply committed to strengthening musical traditions at every level of society.

As a member of the Artistic Council of BYP, he offers a unique possibility for young conductors: a masterclass and a concert during the working period of Baltic Youth Philharmonic in Peenemünde from September 11-15 at the Usedom Music Festival.

Martin Kuuskmann (woodwinds) is principal bassoon of the Absolute Ensemble and has appeared all over the world as a soloist. Career highlights include solo performances with the New York Philharmonic and the Estonian National Symphony Orchestra, as well as the premieres of numerous works written for him. He teaches at the Manhattan School of Music in New York City.

Claes Gunnarsson (cello) has performed as one of Scandinavia’s



is principal the trumpet with the Absolute Ensemble.

BYP – Passionately Different

Damien Bassman (percussion) is principal percussionist of the Absolute Ensemble and frequently appears on and off Broadway. Educated at the Cleveland Institute of Music, the Juilliard School and Carnegie Mellon University, he has embraced the full range of percussion styles and genres. He teaches at Marymount Manhattan College in New York.

„The approach to music making is different with BYP. The end result is classical music with new life breathed into it! “

Gert Sørensen (percussion), Danish percussionist of the Danish National Symphony Orchestra, works closely with composers such as Per Nørgard and Palle Mikkelborg. Central to his musical universe is the exploration of percussion in interplay with the new sound technology of computers and sampling. He has premiered a series of solo works and percussion concerts.

Charles Porter, multi-genre trumpeter and composer

Philip Traugott (Orchestra Coach & Recording Producer), originally a professional violinist and conductor, turned his musical career towards the recording industry in 1989, when he became Senior Producer at BMG Classics. Among the many internationally renowned artists he has produced are Neeme Järvi, Zubin Mehta, Ikuyo Nakamichi, and Reneé Fleming. He has also worked with such leading ensembles as the London Symphony, London Philharmonic, Houston Symphony, and the Tokyo String Quartet.

Lasse Luckow Mauritzen (French horn) is principal horn in the Danish National Symphony Orchestra, member of the Royal Danish Winds and guest principal horn in the BBC Symphony Orchestra and the Philharmonia Orchestra in London. Charlie Porter (brass) is an award-winning, multi-genre trumpeter and composer who has performed widely with classical orchestras, on Broadway, and leads his own jazz ensembles. He



Daniel Schnyder (composer) is a composer, arranger, and saxophone performer in a wide variety of genres. The Baltic Youth Philharmonic commissioned the work „parkour musical“ from him for its 2010 season, which he describes as a „compilation of 20th century music“ and an „urban obstacle race for orchestra: eve-

rybody has to perform unusual and very virtuosic material“. Born in Switzerland and living in New York City today, Schnyder is in demand as a composer (commissions from the Berlin Philharmonic, Musikfest Bremen, Menuhin Festival Gstaad, etc.) and performer. ◀

Music Academies Represented in the Baltic Youth Philharmonic Denmark The Royal Danish Academy of Music, Copenhagen • Royal Academy of Music, Aarhus Estonia Estonian Academy of Music and Theater, Tallinn Finland Sibelius Academy, Helsinki • Helsinki Metropolia University of Applied Sciences, Helsinki • Tampere University of Applied Sciences, Tampere Germany Hochschule für Musik "Franz Liszt", Weimar • Hochschule für Musik und Theater „Felix Mendelssohn Bartholdy“, Leipzig • Hochschule für Musik und Theater, München • Hochschule für Musik, Trossingen • Hochschule für Musik, Karlsruhe Hochschule für Musik Saar, Saarbrücken • Hochschule für Musik und darstellende Kunst, Stuttgart • Hochschule für Musik und Theater, Hamburg • Hochschule für Musik, Detmold Hochschule für Musik „Carl Maria von Weber“, Dresden • Hochschule für Musik, Theater und Medien, Hannover • Robert Schumann Hochschule, Düsseldorf • Hochschule für Musik, Freiburg • Hochschule für Musik und Tanz, Köln • Universität der Künste, Berlin • Hochschule für Musik und Darstellende Kunst, Frankfurt am Main • Hochschule für Musik, Würzburg Folkwang Universität der Künste, Essen • Hochschule für Musik, Nürnberg Latvia Jāzeps VItols Latvian Academy of Music, Riga Lithuania Lithuanian Academy of Music and Theater, Vilnius Norway Norwegian Academy of Music, Oslo • University of Stavanger, Stavanger Grieg Academy, Bergen Poland Fryderyk Chopin University of Music, Warsaw • Karol Lipiński Academy of Music, Wrocław • Karol Szymanowski Academy of Music, Katowice • Ignacy Jan Paderewski Academy of Music, Poznań • Stanislaw Moniuszko Academy of Music, Gdańsk Academy of Music, Kraków Russia P.I. Tchaikovsky Conservatory, Moscow • N. A. Rimsky-Korsakov State Conservatory, St. Petersburg Sweden Royal College of Music, Stockholm • School of Music Piteå, Luleå University of Technology • Malmö Academy of Music • Academy of Music and Drama, University of Gothenburg • Swedish National Orchestra Academy, Gothenburg ◀





and Denmark. Conductors and soloists such as Mstislav Rostropovich, Esa-Pekka Salonen, Alan Gilbert, Neeme Järvi, Gidon Kremer, Olli Mustonen, Nina Stemme, Bo Skovhus as well as Jan Garbarek and the Esbjörn Svensson Trio enthralled their audiences. The „Peenemünde Concerts“, frequently featuring the NDR Symphony Orchestra, are among the highlights of the more than 40 events presented by the Festival each year. The series began in 2002 when Mstislav Rostropovich conducted Benjamin Britten’s „War Requiem“ at this former Nazi rocket testing compound, a signal for peace and reconciliation. The „Peenemünde Concerts“ have been attended by such prominent guests as HRH Queen Silvia of Sweden, HRH Prince Henrik of Denmark, Mikhail Gorbachev, the Prime Minister of Latvia Valdis Dombrovskis and the Presidents of Germany Johannes Rau and Horst Köhler. ◀

he orchestra is a joint initiative by the Usedom Music Festival and its Artistic Director Thomas Hummel and Nord Stream AG. Located on the Baltic island of Usedom on the German-Polish border, the festival has been presenting the music of the states surrounding the Baltic Sea since 1994. It celebrates the cultural diversity, but also the common heritage of the Baltic Sea States. It seeks to promote musical exchange and international understanding. The sound of the Baltic Sea has been heard since 1994 on the island of Usedom, located on the border between Germany and Poland. Every year in the autumn, the Usedom Music Festival devotes itself to the cultural region around the Baltic Sea and has become „an important point in the German music calendar,“ according to the Financial Times. Thus, it has presented the musical life of Russia, Poland, the Baltic States, Finland, Sweden, Norway

For further information: BYP on the Beach


The Island Usedom – Birthplace of the Baltic Youth Philharmonic





companies BASF SE/ Wintershall Holding GmbH and E.ON Ruhrgas AG hold 15.5 percent each, and the Dutch gas infrastructure company N.V. Nederlandse Gasunie and the French energy company GDF Suez S.A. each hold a 9 percent stake. The combined experience of these companies ensures the best technology, safety and corporate governance for the Nord Stream project, which aims to provide a secure energy supply for Europe. Nord Stream is committed, through national and international agreements, to carrying out all work safely and in an environmentally responsible manner. Nord Stream not only works with respect for the environment, it also supports a number of cultural and charitable organisations, making social responsibility an integral part of how it operates. In 2008, Nord Stream AG and the Usedom Music Festival initiated the Baltic Youth Philharmonic to promote the advancement of promising young musicians, while supporting the cultural diversity of the Baltic Sea region. Nord Stream proudly contributes to the vision of a united Baltic Sea region as a co-founder and sponsor of the Baltic Youth Philharmonic. ◀

he Nord Stream twin pipeline system through the Baltic Sea runs from Vyborg, Russia to Lubmin near Greifswald, Germany. The pipelines are built and operated by Nord Stream AG. The two 1,224-kilometre offshore pipelines are the most direct connection between the vast gas reserves in Russia and energy markets in the European Union. When fully operational in the last quarter of 2012, the twin pipelines will have the capacity to transport a combined total of 55 billion cubic metres (bcm) of gas a year to businesses and households in the EU for at least 50 years. Transportation of gas through Line 1 began in mid November 2011. Construction of Line 2, which runs parallel to Line 1, began in May 2011 and it was completed in April 2012. From the last quarter of 2012, gas transport through the second pipeline will start. Each line has a transport capacity of roughly 27.5 bcm of natural gas a year. Nord Stream AG, based in Zug, Switzerland, is an international consortium of five major companies established in 2005. Russian OAO Gazprom holds a 51 percent stake in the joint venture. The German For further information



The Baltic Youth Philharmonic would like to thank the Danish Radio in Copenhagen for the wonderful cooperation which includes using instruments, the recording facilities and the Koncerthuset for rehearsals. Furthermore the coaching of the Danish National Symphony Orchestra is a valuable support for our musicians. BYP also thanks the MDR Symphony Orchestra for being a generous host during the rehearsals in Leipzig allowing to use its hall and instruments. We are grateful to the music libraries of the Danish Radio Symphony Orchestra and the MDR Symphony Orchestra. Special thanks to all the music academies involved in this project for their support and help, especially the ones in Tallinn, Vilnius, St. Petersburg and Copenhagen for their help in organizing and hosting the 2012 auditions. ◀

Published by Baltic Youth Philharmonic Thomas Hummel, Executive Director P.O. Box 1129 17419 Seebad Heringsdorf/Germany Organizer Usedom Music Festival • Förderverein Usedomer Musikfreunde e.V. • Rolf Seelige-Steinhoff, President • Rainer Schweitzer, Vice President • Detlef Wagner, Treasurer • Petra Bensemann, Secretary Editors Jan Brachmann • Kerstin A. Dorscht • Alexander Reischert • Annett Reischert-Bruckmann Translations Tim Jones Concept & Graphic Design phoibos Strategie, Berlin Photos All photographs by Peter Adamik, except p. 16 Rigaud, p. 18 A. Tiriute, p. 22 Marco Borggreve, p. 25 Mats Bäcker, p. 36 Christophe Abramowitz Printed by Panzig, Greifswald/Germany




CONTACT Telephone: +49 (38378) 346 47

Founding Conductor & Music Director: Kristjan Järvi Artistic council: Valery Gergiev • Marek Janowski • Mariss Jansons • Kurt Masur Esa-Pekka Salonen

Co-Initiator & Main Sponsor

Sponsor of the Tour



Project Sponsor

BYP Tour program 2012  

Baltic Youth Philharmonic (BYP) - Tour program 2012