Marcela Arroyo of Zurich was born and bred in Buenos Aires, Argentina. After studying singing, she attended the Musical School of Julio Bocca. She had lessons in music and interpretation with various artists, including the singer Leda Valladares, the guitarist Anibal Arias and the opera singer Juan Manuel Miró. She has been living in Switzerland since 2000. She has sung the leading role in Astor Piazzolla’s “operita” María de Buenos Airesseveral times, in Zurich, Wiesbaden and Darmstadt.
Marcelo J. Nisinman was born in Buenos Aires in 1970; for the last three years he has been living in Basel, where he composes and performs as a soloist. In Buenos Aires he studied harmony and counterpoint with Guillermo Graetzer (a pupil of Paul Hindemith) and the bandoneónwith Julio Pane. Marcelo was among Astor Piazzolla’s protégés. He went on to study orchestration with José Luis Campana in Paris and composition with Detlev Müller-Siemens in Basel.
He has undertaken international concert tours with Gidon Kremer and his Kremerata Baltica and with the Philadelphia Orchestra conducted by Charles Dutoit. As a soloist he has performed with the casalQuartett at the Flims Festival, at Justus Frantz’s FincaFestival and with the Lancaster Symphony Orchestra in the USA.
Angel Garcia Arnés of Hamburg studied the classical guitar in Valladolid (Spain) and in Hamburg, going on to study with José Tomás in Spain and Álvaro Pierri in Uruguay. He is mainly interested in Spanish and Argentinian music. His project with the Spanish tango singer Ramón Regueira was an attempt at fusing the tango and elements of Iberian music. In his arrangements he likes to explore the tonal potential of unusual instrumental groupings like Sureste Tango, Cuatro por tangoand Duo LieberTango. He was a Pro Argovia artist in 2001/2002 (Sureste Tango).
Javier Bezzato was born in Montevideo, Uruguay. He began preparing for his musical career with Maria Massini at the age of eleven. He later studied with Carmen Mutarelli and Celia Roca at the University of Montevideo, going on to France Clidat and Denis Pascal in Paris and then to Prof. Homero Francesch at the Zurich College of the Arts. He has won the Jeunesses Musicales, first prize at the Ciudadde Montevideo piano competition and the Werner and Berti Alter Foundation scholarship. In addition to his concert activities, he teaches at the Upper Argovian Music School in Langenthal.
Hannes Giger studied the double bass in Basel, Geneva, Cincinnati and San Diego in the 1980s. He spent the 1990s in Los Angeles and on tour with classical music, opera, contemporary music, musicals, jazz and folk music.
Maja Lisac Barroso of Basel was born in Slovenia. She studied at the Vienna College of Music and Performing Arts and with Prof. Marcus Weiss at the Basel College of Music, where she received her diploma in 2007. She teaches at international master classes in Slovenia and performs in numerous groupings (classical and contemporary music, tango). She has won various prizes and scholarships. The Basel Academy of Music enabled her postgraduate studies in Paris, where she was above all involved with improvisation. Maja Lisac teaches at the Gelterkinden Music School and assists Prof. Marcus Weiss at the Basel College of Music.
Witek Kornacki of Dietikon was born in Poland, where he studied at the Conservatory of Gdansk (Danzig). He has lived in Switzerland for many years. After completing his studies he made a name for himself by virtue of his long-standing and intensive involvement with Eastern music, especially the Yiddish. He came in contact with the tango through encounters with other musicians (e.g. Sureste Tango). He was a Pro Argovia artist in 2001/2002 (Sureste Tango).
Rolf Bürli of Aarau, Switzerland, studied the saxophone, clarinet, harmony and composition in Zurich and Hanover. He played the clarinet and saxophone in symphony orchestras up to his retirement, and today he works freelance on projects in the fields of chamber music and jazz. He is the initiator of SAXISMTANGO.

SAXISMTANGO

Marcela Arroyo              vocals
Marcelo Nisinman        bandoneón, composition, arrangements
Angel Garcia Arnés      guitar, arrangements
Javier Bezzato               piano
Hannes Giger               double bass
Maja Lisac Barroso     soprano and alto saxophone
Witek Kornacki              soprano saxophone and clarinet
Rolf Bürli                        tenor saxophone, bass clarinet, arrangements

Er war in allem früh dran: mit seiner musikalischen Ausbildung, mit seinem Engagement fürs große Orchester, mit seiner Professur. Sein Tod aber kam viel zu früh. Mit 54 Jahren ist der weltbekannte Schlagzeuger am 29.07.2016 gestorben.
Der August war für Peter Sadlo ein besonderer Monat. Es war die einzige Zeit im Jahr, in der der Perkussionist von Weltrang sein Schlagwerk einmal ruhen ließ. „Da schaue ich nicht mal eine Trommel an“, hat er dem FT einmal verraten. Jetzt schreiben wir wieder August, und der Wahl-Giggenhausener hat seine Instrumente für immer zur Seite gestellt: Im Alter von 54 Jahren ist er in einer Münchner Klinik gestorben – an den Folgen einer Nieren-Operation, wie der Donaukurier schreibt.
Sadlo, 1962 in Nürnberg geboren, wuchs in Zirndorf auf und begann 1967 mit der klassischen Schlagzeugausbildung. Gerne erzählte er, dass er bereits im Alter von drei oder vier Jahren Kochtöpfe seiner Mutter nach Tonhöhe zu einem Drumset arrangierte. Auch später in seiner Karriere war er immer einer der Jüngsten: Schon mit zwölf Jahren erhielt er als Gastschüler Unterricht am damaligen Meistersinger-Konservatorium in Nürnberg. 1982 wurde er – mit gerade einmal 20 Jahren – Solopauker bei den Münchner Philharmonikern. 1983 übernahm er eine Professur für Pauke und Schlagzeug an der Hochschule für Musik und Theater München, 1990 wurde er als Professor an das Mozarteum in Salzburg berufen. Da war er immer noch keine 30 Jahre alt.
Nach seiner Trennung von den Münchner Philharmonikern 1997 trat er vornehmlich als Solo-Schlagzeuger auf, häufig in kammermusikalischer Besetzung, etwa mit Gidon Kremer oder der Pianistin Anna Gourari. In der Nachfolge von Kremer betreute er von 2007 bis 2010 als Künstlerischer Leiter das kammermusikalisch hochkarätige Basler Festival „Les muséiques“. Zudem war er seit 2007 künstlerischer Berater der Internationalen Musikbegegnungsstätte Haus Marteau des Bezirks Oberfranken in Lichtenberg.
Wer viel reist, benötigt auch einen Ort der Ruhe, an dem er Erholung findet und neue Kraft tanken kann. Sadlo fand ihn in Giggenhausen. „Obwohl eigentlich Zigeunerblut durch meine Adern fließt, fühle ich mich Giggenhausen sehr verbunden“, hat er dem FT einst berichtet. „Früher hatte ich immer Probleme mit den Nachbarn, in Giggenhausen ist das ganz anders. Die Nachbarn sind ein Traum.“
60 Konzerte absolvierte der mit etlichen Preisen (unter anderem dem Europäischen Kulturpreis) dekorierte Meister pro Jahr – der Job gab ihm alles, verlangte ihm aber auch alles ab. „Es gibt eine Grenze für die körperlichen Anstrengungen“, räumte er ein. Deshalb schwebte ihm vor, es mit 50 Jahren langsamer angehen zu lassen. So richtig wurde daraus nichts. Sein letztes Konzert gab der 54-Jährige am 22. Juli bei den Audi-Sommerkonzerten in Ingolstadt – eine Woche vor seinem Tod. Der Frühberufene wurde abberufen – viel zu früh.
„Petrus ist Percussion-Fan“, hat FT-Reporter Andreas Beschorner im Jahr 2003 festgestellt, als Peter Sadlo bei den Freisinger Kulturtagen auftrat. Während andere Konzerte von strömendem Regen begleitet wurde, herrschte bei seinem Auftritt auf dem Marienplatz wolkenloser Himmel. Jetzt müsste Petrus eigentlich erst recht keinen Regen mehr auf den Landkreis trommeln lassen. Schließlich hat er nun den vielleicht besten Perkussionisten der Welt bei sich. Trotzdem regnete und regnete es auch nach Sadlos Tod. An traurigen Tagen weint der Himmel einfach von sich aus.

The earliest musical influence in Munich born Margit-Anna Süss life was Bavarian folk music and dance, performed by her immediate family, using the traditional instruments: hackbrett, zither, guitar, double bass and harp. Beginning at the Toni Goth School of Bavarian Music she studied folk and concert harp with Ragnhild Kopp, before going on to Munich’s Richard Strauss Conservatory for further classical training. She graduated from the Munich Musikhochschule where, on a scholarship from the Studienstiftung des Deutschen Volkes, she studied with Prof. Ursula Lentrodt. Two further important years were spent in Paris studying the french repertoire with the ninety year old Pierre Jamet, whom Claude Debussy and Maurice Ravel had personally introduced to their music.

At the age of 20 Margit-Anna Süss became both Solo-Harpist of the North German Radio Symphony Orchestra in Hamburg and was simultaneously selected to be a National Soloist by the Deutsche Musikrat, this last leading to many numerous solo engagements. She also went on to play for five years with the Bamberg Symphony under Horst Stein and with the Berlin Philharmonic, where she worked with every major conductor, including Herbert von Karajan.

Since then her international activities as chamber musician and soloist have taken her throughout Europe and Japan. She has appeared as solist with the Berlin Philharmonic, l’Orchestre National de Lyon, the Jerusalem Symphony Orchestra, the Franz LIszt Chamber Orchestra, and the Kammerorchester Heilbronn, and with conductors such as Claudio Abbado, Emmanuel Krivine and David Shallon. She has also collaborated with chamber music partners Wolfgang Schulz, Hansjörg Schellenberger, Emmanuel Pahud, James Galway, Wolfram Christ and Klaus Stoll.

She has made numerous recordings for the DEUTSCHE GRAMMOPHON, SONY CLASSICAL and CAMPANELLA MUSICA labels, winning the “Grand Prix du Disque” for French Chamber music with ensemble Wien-Berlin and the actress Catherine Deneuve on DGG and the ,,Vierteljahresliste des Deutschen Schallplattenpreises 1999″ for the Double Concertos by W. Lutoslawski and Frank Martin on CAMPANELLA MUSICA. Margit-Anna Süss plays a Fischerharp Nr. 1000. She lives in Berlin with her husband Hansjörg Schellenberger and their three children.

   

    

Although Rui Lopes only began studying the bassoon at eighteen, his musical temperament and virtuosity were quickly recognized and received many awards, including first prize in the prestigious Estoril International Competition. One of the

most promising bassoonists of his generation, he shares his great passion for music with concert audiences all over the world.
Solo and Chamber Music
Rui has appeared as a soloist with Zurich Symphony Orchestra, Basel Symphony Orchestra, Czech Chamber Orchestra, Chamber Orchestra Kremlin, Finnish National Opera, Algarve Chamber Orchestra, Chamber Artists Orchestra, Beiras
Philharmonia, Collegium Musicum Basel, Camerata Antiqua de Curitiba, Portuguese Symphony and other orchestras.
He performs regularly with outstanding musicians including Konstantin Lifschitz, Patricia Kopatchinskaja, Alina Pogostkina, Razvan Popovici, Maximilian Hornung, Nabil Shehata, Marcelo Nisinman, Dimitri Ashkenazy, Sebastian Manz, Ramon
Ortega, Nicholas Daniel and Loïc Schneider. Rui has played at the Schleswig-Holstein Music Festival, Festival Bohuslav Martinu, SoNoRo Festival, Crusell Festival, Oficina de Música de Curitiba, Lucerne and other festivals and worked with personalities such as Christoph Eschenbach, Jiri Belohlavek, Sakari Oramo, Esa-Pekka Salonen and Wynton Marsalis.
Orchestra
As principal bassoon, he has performed with Lucerne Symphony Orchestra, Orchestre
de Paris, Zurich Chamber Orchestra, Ensemble Modern Orchestra, Basel Chamber Orchestra, Festival Strings Lucerne and Camerata Bern.

From Baroque to Contemporary
A fascination for Baroque and enthusiasm for Contemporary music have led from the study of early music on period instruments with Marc Vallon in Paris to the contemporary with Pascal Gallois and Pierre Boulez at the Lucerne Festival
Academy, giving Rui an unusually broad repertoire. He works with the Ancient Music Capriccio Basel as well as contemporary music ensembles such as Music Factory and Ensemble Laboratorium, where he is founding member.
His love for Argentinean Tango and Portuguese Fado styles often informs Rui’s own distinctive arrangements.
Born in Santa Maria da Feira, Portugal, Rui lives in Basel with Swiss wife Barbara and their two sons. He studied with Hugues Kesteman in Artave and Porto Music Academy, Sergio Azzolini at the Music Academy in Basel (soloist diploma with distinction) and with Marco Postinghel at the Richard Strauss Conservatory in Munich. Rui taught the bassoon and chamber music at the Aveiro University (2006-2010) and Metropolitana Academy (2010-2012) and teaches masterclasses. He plays a Peter de Koningh Baroque bassoon ‘after J.H. Eichentopf’ and a Heckel 13227 modern bassoon.

ENGLISH CHAMBER ORCHESTRA

The English Chamber Orchestra is the most recorded chamber orchestra in the world, its discography containing 860 recordings of over 1,500 works by more than 400 composers. The ECO has also performed in more countries than any other orchestra, and played with many of the world’s greatest musicians. The American radio network CPRN has selected ECO as one of the world’s greatest ‘living’ orchestras. The illustrious history of the orchestra features many major musical figures. Benjamin Britten was the orchestra’s first Patron and a significant musical influence. The ECO’s long relationship with Daniel Barenboim led to an acclaimed complete cycle of Mozart piano concertos as live performances and recordings, followed later by two further recordings of the complete cycle, with Murray Perahia and Mitsuko Uchida. Tours in 2013 and 2014 included Siberia, Mexico, Norway, Switzerland and the USA as well as concerts across the UK and at London’s Royal Festival Hall and Cadogan Hall. A busy 2015 will include Asia, Europe and return invitations to Festivals in Bermuda, Finland and Switzerland. The Orchestra has been chosen to record many successful film soundtracks including Dario Marianelli’s prizewinning scores for Atonement and Pride and Prejudice, and several James Bond soundtracks, and has taken part in a variety of other film and television projects, most recently Tony Palmer’s new portrait of Benjamin Britten for Sky TV. The ECO is proud of its outreach programme, Close Encounters, which is run by the musicians in the orchestra and takes music into many settings within communities and schools around the UK and abroad.