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.

American flutist Mark Rodrieg began his studies with renowned flutist Albert Tipton, with whom he trained throughout his music studies. Mark studied at the Shepherd School of Music – Rice University where he earned a B.A. Mark was then named a Presidential Fellow at Princeton University where he studied composition with Milton Babbitt and where he earned an M.A. Subsequently, Mark received a J.D. from Columbia University and continued advanced music studies at the Paris Schola Cantorum. Former Co-Principal Flutist of the Aspen Festival Orchestra Mark has performed with leading conductors and artists, including Sergiu Comissiona, James DePriest, Leonard Slatkin, Matt Haimovitz, Joseph Kalichstein, Anne-Sophie Mutter.

Serbian cellist Maja Bogdanovic first studied cello in Belgrade with Nada Jovanovic and then at the Paris Conservatory with Michel Strauss where she graduated with a 1st Prize in cello.  Maja’s international prizes include the Special Prize at the 2005 Rostopovic Competition and 1st Prize at the 2007 Aldo Parisot Competition. Maja has appeared as a soloist with many orchestras and performed with many leading artists, including the Tokyo Philharmonic, Serbian Radio Orchestra, Munich Chamber Orchestra, Maria Belooussova, Sanja and Lidija Bizjak, Vladimir Mendelssohn, Gil Sharon, Nemanja Radulovic, Grigory Zhislin.

Belgian pianist Julien Gernay began his studies at the Nice National Conservatory and then continued at the Paris Conservatory (CNSMDP) where he graduated with first prizes in piano and chamber music. Julien’s international prizes include the Queen Elisabeth in 2007 and the Vendome Prize. Julien performs regularly on television and radio programs and has performed with leading artists and ensembles, including Hortence Cartier-Bresson, Rolland Pidoux, Nemnja Radulovic, Antoine Tamestit, the Voce, Modigliani and Ebène quartets.Julien has recorded with the Lyrinx and Explora Concept labels.

“Estelle Revaz is a committed, experienced musician with a profound desire for greater musical knowledge.”
Gautier Capuçon

Born in 1989, Swiss cellist Estelle Revaz embarked on an international career at an early age. After her debut in her homeland, she studied with Jérôme Pernoo at the Conservatoire National Supérieur de Musique et de Danse de Paris then honed her concert skills at the Cologne Musikhochschule under the generous guidance of Maria Kliegel. She has received several prestigious awards. With the support of various cultural foundations, the young cellist embarked on an international career, performing in Europe, Asia and South America.

Her concerto performances with orchestra have been hailed by critics and audience alike. Her vast repertoire ranges from Baroque concertos to contemporary creations. As of 2017, Estelle Revaz will be soloist in residence for three years with the Orchestre de Chambre de Genève under the direction of Arie van Beek.

An enthusiastic chamber musician, Estelle Revaz particularly favours cello/piano recitals and trio performances. She has performed in prestigious venues in Switzerland and abroad, including the Victoria Hall (Geneva), the Centre Paul Klee (Bern), the Martinskirche (Basel), the Salle de Musique (La Chaux-de-Fonds), the Louvre (Paris), the NCPA (Beijing) and the Oriental Art Center (Shanghai). Her music partners include Gautier Capuçon, Lena Neudauer, Pavel Vernikov, Sergey Ostrovsky, Sine Nomine Quartet, Finghin Collins, Gérard Wyss and Christian Chamorel.

In 2015, her first album CANTIQUE (NEOS), coproduced with Radio Télévision Suisse, received rave reviews from the international press. The programme featured Ernest Bloch’s Hebraic Rhapsody, Schelomo, and the world premiere recording of Pitture, a concerto composed for, and dedicated to her by Andreas Pflüger, performed with the Orchestre Musique des Lumières under the direction of Facundo Agudin.

In 2015, Estelle Revaz was listed among the “100 Most Influential Personalities in Tomorrow’s Switzerland” (“Forum des 100”).

Thomas Ragossnig is one of the most distinguished Austrian harpsichordists of his generation. He was born in Vienna and grew up in Basel. He encountered early music in the family home at an early age and began harpsichord tuition when he was eight. He later studied with Jörg Ewald Dähler at the Conservatory of Berne and with Jean Goverts and Rolf Junghanns (harpsichord) at the Schola Cantorum Basiliensis, thus acquiring knowledge of true-to-style early music interpretation and performance practice. He attained the early music diploma at the Schola Cantorum Basiliensis in 1984. He went on to study with Jesper Christensen, Kenneth Gilbert, Gustav Leonhardt and Johann Sonnleitner.

Both as soloist and chamber musician, he has performed and made radio recordings in many European countries, in the USA and Mexico and at major international music festivals like the Ambras Palace Concerts, the International Lake Constance Festival, the Carinthian Summer, the Engadin Festival, the Halle Bach Festival and the Ludwigsburg Palace Festival. He holds annual harpsichord summer courses within the framework of the Arosa Masterclasses.

His rich experience in chamber music has resulted from his collaboration with renowned musicians, ensembles like the Linde Consort, the London Baroque, Les Nations and orchestras like the Chamber Orchestra of Europe under Claudio Abbado and Yehudi Menuhin.

He has made several recordings as chamber musician and soloist. His CD “Virtuosic Variations” (Bayer Records) was enthusiastically received by the press. Thomas Ragossnig is the initiator and for more than 25 years artistic director of the concert series “CIS – Cembalomusik in der Stadt Basel”, where the world’s leading harpsichordists can be heard alongside young hopefuls.

Razvan Popovici, in einer Musikerfamilie in Bukarest geboren, erhielt den ersten Bratschenunterricht bei seinem Vater Mugur Popovici. Er studierte in Salzburg, Paris und Freiburg bei Peter Langgartner, Jean Sulem und Wolfram Christ. Wichtige künstlerische Impulse bekamm er durch die Zusammenarbeit mit Tabea Zimmermann, Paul Coletti, Wilfried Strehle, Christoph Wyneken, Thomas Riebl, dem Hagen Quartett und Peteris Vasks. Razvan spielte als Solist in mehreren europäischen Ländern, u.a. in der Kölner Philharmonie, im Festspielhaus Baden-Baden und im Théatre-des-Champs-Elysées in Paris. Razvan ist regelmäßig Gast bei europäischen Festivals, u.a. bei den Schwetzinger Festspielen, Open Chamber Music Prussia Cove in Cornwall, Harrogate Festival, St.Gallen Musikfestival, Oxford Chamber Music Festival, Music at Plush, Ferrarra Musica, George Enescu Festival in Heidelberg und Kobe International Arts Festival. Er trat als Kammermusikpartner von Konstantin Lifschitz, Rainer Kussmaul, Alexander Lonquich, Thomas Brandis, Daishin Kashimoto, Adrian Brendel, Baiba Skride, Carolin Widmann, dem Voces Quartett und Mitgliedern des Amadeus Quartetts u.a. in der Wigmore Hall und im South Bank Centre in London und im Prinzregententheater in München.

Als Mitglied im ensemble raro trat er in in mehreren europäischen Ländern und Japan u.a. in der Tate Gallery in London, im Atheneum in Bukarest und in der Münchener Residenz auf. Das Ensemble spielte die englische und deutsche Erstaufführung des Klavierquartetts von Peteris Vasks und ist Ensemble en résidence beim International Arts Festival in Kobe, Japan, bei der Mozartiade in Augsburg, bei den Pèlerinages in München und beim Chiemgauer Musikfrühling in Traunstein. Rundfunk- und Fernsehaufnahmen für deutsche (BR, SWR), englische (MTV) und rumänische Sendeanstalten (TVR, RRM) liegen vor.

Eine prägende musikalische Erfahrung war die Aushilfstätigkeit beim Berliner Philharmonischen Orchester unter Claudio Abbado, Nikolaus Harnoncourt, Lorin Maazel, Daniel Harding und Günter Wand. Als Gast war Razvan Solo-Bratschist u.a. des Kölner Kammerorchesters, des Münchener Kammerorchesters, der Salzburger Kammerphilharmonie und der Essener Philharmonikern. Razvan gab im vergangenen Sommer Meisterkurse in der Tschechischen Republik. 2007 wird er Meisterkurse in Rumänien und Japan leiten. Razvan ist Initiator und Leiter des Chiemgauer Musikfrühlings in Traunstein (www.chiemgauer-musikfruehling.de). Gleichzeitig ist er künstlerischer Leiter der Kammermusikreihe “Pèlerinages” in München und Intendant des Kammermusikfestivals “SoNoRo” in Bukarest (www.sonoro.ro).