"Juliet Fraser was educated at the Purcell School as a first-study oboist and then at Cambridge University where she read Music and History of Art. It was whilst a student there that she started singing, in the chapel choir of Clare College; subsequently she sang with professional choirs such as Polyphony, Tenebrae, the Monteverdi Choir, The King's Consort, The Tallis Scholars and BBC Singers. In early music, she has worked with European consorts Ensemble Polyharmonique and Gli Angeli Genève. She was a regular member of the soloists of Collegium Vocale Gent, directed by Philippe Herreweghe, for six years, performing and recording Renaissance polyphony by Lassus, Vitoria, Gesualdo and Byrd.

In new music, Juliet has performed as a soloist with Klangforum Wien, ICTUS, Plus-Minus, We Spoke: New Music Company, London Sinfonietta and BBC Scottish Symphony Orchestra in festivals such as hcmf//, Tectonics Glasgow, Transit 20/21, Donaueschinger Musiktage, MaerzMusik and Wien Modern. Recently, she has created duo projects with pianist Mark Knoop and percussionist Maxime Echardour. She has premièred well over 100 works, many of which have been written for her, working particularly closely with composers Michael Finnissy, Bernhard Lang, Rebecca Saunders, Stefano Gervasoni, Frank Denyer, Christopher Fox, Matthew Shlomowitz, Cassandra Miller and Andrew Hamilton.

Juliet is principal soprano of EXAUDI, the acclaimed contemporary music vocal ensemble, which she founded in 2002 with composer/conductor James Weeks and with whom she makes regular appearances at major European festivals such as Aldeburgh, Spitalfields, hcmf//, ManiFeste, Festival d'Automne, Ars Musica, Wittener Tage and Darmstadt Ferienkurse. Opera roles include Neige in Catherine Kontz's NEIGE at Grand Théatre de Luxembourg (2013), Tina in Limbus Limbo by Stefano Gervasoni at Musica Strasbourg, Automne en Normandie, Opera de Reims and Opera Comique, Paris (2012), and Grace Hartigan in Larry Goves's I do this I do that (2011). Juliet has been nominated twice for an RPS Award in the Singer category and is currently supported by Aldeburgh Music's Open Space scheme. Her first dedicated solo disc, a recording of Morton Feldman's Three Voices, was released on the HatHut label in November 2016."

Janneke van Prooijen: concert violinist at Prisma String Trio, Atlantic Piano Trio, Lunapark.

"My Name is Carlos Añez. I obtained my master degree in 2017 at the Conservatorium van Amsterdam, specializing in flute and contemporary music. I also play piccolo and would love to have a position at an orchestra as a piccolo player.

I believe music still has the power to change people and that one of the reasons that keeps my strength to go on with my career as a musician. I have experience playing with an entire orchestra, chamber music groups and as a soloist. I have been teaching children between 5 until 18, being a great experience to get in touch with people and learn about myself.

I speak Spanish as a mother tongue. Also English and Dutch as secondary languages.Education

Conservatorium van AmsterdamSeptember 2014/June 20179.0 over 10.00

Master in music (Flute)Specialization in contemporary music ( Western music through non western techniques)Conservatorium van AmsterdamSeptember 2012/June 20148.0 over 10.00

Bachelor in music (Flute)Universidad Javeriana (Bogotá, Colombia)August 2005/ May 20105.0 over 5.0

Bachelor in music (Flute)

Experience

YOA (Youth orchestra of the Americas)July 2015/August 2015Principal flutist

Co-Principal flutist from YOA touring in Canadá.Orchestre de la FrancophonieJune 2015/ July 2015Principal flutist

Co-Principal flutist touring CanadáColombian National Symphony Orchestra2007/2010Second flute / piccolo player (substitute)"

"Jos Zwaanenburg (b. 1958, Bovenkarspel).

Dutch composer of mostly chamber and vocal works that have been performed in Europe and North America; he is also active as a flutist.

Mr. Zwaanenburg studied composition with Wim de Ruiter and flute with Joost Tromp at the Conservatorium van Amsterdam, where he graduated with distinction in 1985.

As a flutist, he has performed contemporary music throughout the Americas and Europe. He has undertaken research into extended techniques for the flute, which led to the development of the open-hole alto flute in collaboration with Eva Kingma and Dirk Kuiper in 1986-87. He later founded the experimental-rock band KXTAHPAPH in 1995 and collaborated regularly with the ensemble for contemporary music the Barton Workshop in Amsterdam.

He has lectured at the Conservatorium van Amsterdam and as a guest at Oxford Brookes University, where he is also a research associate. He has given lectures, masterclasses and workshops throughout the world."

"Juliet Fraser was educated at the Purcell School as a first-study oboist and then at Cambridge University where she read Music and History of Art. It was whilst a student there that she started singing, in the chapel choir of Clare College; subsequently she sang with professional choirs such as Polyphony, Tenebrae, the Monteverdi Choir, The King's Consort, The Tallis Scholars and BBC Singers. In early music, she has worked with European consorts Ensemble Polyharmonique and Gli Angeli Genève. She was a regular member of the soloists of Collegium Vocale Gent, directed by Philippe Herreweghe, for six years, performing and recording Renaissance polyphony by Lassus, Vitoria, Gesualdo and Byrd.

In new music, Juliet has performed as a soloist with Klangforum Wien, ICTUS, Plus-Minus, We Spoke: New Music Company, London Sinfonietta and BBC Scottish Symphony Orchestra in festivals such as hcmf//, Tectonics Glasgow, Transit 20/21, Donaueschinger Musiktage, MaerzMusik and Wien Modern. Recently, she has created duo projects with pianist Mark Knoop and percussionist Maxime Echardour. She has premièred well over 100 works, many of which have been written for her, working particularly closely with composers Michael Finnissy, Bernhard Lang, Rebecca Saunders, Stefano Gervasoni, Frank Denyer, Christopher Fox, Matthew Shlomowitz, Cassandra Miller and Andrew Hamilton.

Juliet is principal soprano of EXAUDI, the acclaimed contemporary music vocal ensemble, which she founded in 2002 with composer/conductor James Weeks and with whom she makes regular appearances at major European festivals such as Aldeburgh, Spitalfields, hcmf//, ManiFeste, Festival d'Automne, Ars Musica, Wittener Tage and Darmstadt Ferienkurse. Opera roles include Neige in Catherine Kontz's NEIGE at Grand Théatre de Luxembourg (2013), Tina in Limbus Limbo by Stefano Gervasoni at Musica Strasbourg, Automne en Normandie, Opera de Reims and Opera Comique, Paris (2012), and Grace Hartigan in Larry Goves's I do this I do that (2011). Juliet has been nominated twice for an RPS Award in the Singer category and is currently supported by Aldeburgh Music's Open Space scheme. Her first dedicated solo disc, a recording of Morton Feldman's Three Voices, was released on the HatHut label in November 2016."

"Sophie Fetokaki is a singer, poet and interdisciplinary artist. In her practice she explores the experience of being a contemplative and desiring body, and the delicate process of moving from what is known to what can only be intuited. She approaches song as ritual and sacrament, and singing as a practice of recollecting, realising and transmitting embodied knowledge. Besides singing, she can be found writing and performing poetry, devising performance works, and dismantling pianos very slowly. She is currently preparing the release of her debut album 'Abundance' (featuring her own songs, folkloric songs from a range of traditions, and reinventions of Bach and Schumann), the publication of her poetry book epigraphē with 1913 press (U.S.A), and the submission of a practice-based PhD at Huddersfield University."

Nobukata Yoshizawa, koto: "Born 1982 in Tochigi pref. Began koto at the age of seven studied with Fumiko Waku.

2001-05 studied at Tokai university art department musicology course and 2005-07 studied at Tokai university graduate school Acoustic art course: koto music with Chieko Fukunaga.

2006, adopted rising artist training institution by Agency for Cultural Affairs: koto and 17 strings koto studied with Teiko Kikuchi, Kazue Sawai and Chieko Fukunaga, JIUTA Sangen studied with Miho Ashigaki, analyse studied with Takehito Shimazu.

2007, held "Nobutaka Yoshizawa koto recital" in Tokyo.

2008, took Kenjyun award (1st prize) at The Kenjyun commemorative whole country koto music competition.

2009, awarded Utsunomiya citizen prize in Utsunomiya city, and performed "Three elegies for Koto" (composed by Tokuhide Niimi) be broadcasted art quintessence TV program "This shining young performers" in Japan National TV - NHK, and appeared "Salome" (sponsored by TV Asahi Broadcasting, original: Oscar Wilde, direction: Katsuhide Suzuki ) and held " Nobutaka Yoshizawa Koto recital - take a new turn " in Tokyo.

2010, appeared on「MATSURI 2010 GAZIANTEP」(Republic of Turkey)

2011, awarded Utsunomiya Esuperu prize, took Japanese music tour in Minneapolis (US), held "KOTO Nobutaka Yoshizawa" 34th Huddersfield Contemporary Music Festival 「hcmf// shorts」(UK).

2012, held "Planet and KOTO" koto concert with Planetarium machine in Tochigi pref. performed Ryohei Hirose's Metamorphosis of the "MIDARE" for seventeen strings bass koto at 90th anniversary concert of seventeen strings bass koto in Tokyo.

2014, released solo performance CD"KOTO Nobutaka Yoshizawa", held "Nobutaka Yoshizawa Koto recital -UNITE-"(Organizer: Utsunomiya Arts and Culture Foundation)Member of Japan Finland Contemporary Music Society."

"Katharina Gross studied at the Musikhochschule Lübeck with David Geringas, at the Musikhochschule Cologne with Frans Helmerson (Diploma 2003) and at the Royal Northern College of Music in Manchester with Ralph Kirshbaum (Diploma in Professional Performance 2005). She took part in masterclasses with Mstislaw Rostropovich, Martin Lovett, Harvey Shapiro, Karine Georgian and Philippe Muller. She is prizewinner of several international competitions. She was soloist with the Philharmonic Orchestra of Kiev, the Philharmonic Orchestra of Klausenburg, the Staatsorchester Kassel, the Symphonic Orchestra of Thüringen and with the Salzburg Chamber Soloists on tour to the USA (Kennedy Center/Washington DC, The Old Cabell Hall/Charlottesville, the American Theatre in Hampton, at "Abendmusik" in Lincoln, the Bethel Performing Arts Series a.o.).

Katharina Gross performed as a soloist and chamber musician at the Muziekgebouw aan ´t IJ, Concertgebouw Amsterdam, Musikverein Vienna, Konzerthaus Vienna, the Kennedy Center in Washington DC, Bodenseefestival, Nafplion Festival, Festivals Limone sul Garda and Caldonazzo, Cello Biënnale and Berio Festival Amsterdam, Europäische Wochen Passau and the Al Bustan Festival amongst others.

Since 2010 she is artistic director of the concert series concertello based in Austria. In 2014 Katharina Gross started the project cellomondo: composers from all around the globe and their students write pieces for cello solo. The first eight compositions of the project were premiered in November 2014 at the Institut für Elektronische Musik und Akustik in Graz."

Elisabeth Smalt is a Modern Classical living in Amsterdam, Noord-Holland, Netherlands. She is a member of The Barton Workshop, Musica ad Rhenum, Nepomuk Fortepiano Quintet, Oxalys, Trio Scordatura, and Zephyr Quartet.

"Diamanda La Berge Dramm (1991) grew up in Amsterdam, the Netherlands playing the violin since the age of four. Growing up among the leading figures of the Dutch classical, avant-garde and improvisation scene, her own concerts reflect all of these elements. At the age of thirteen, she premiered "Raadsels" by Louis Andriessen in the Concertgebouw for the opening of the Holland Festival 2005 and has gone on to perform internationally as a soloist, chamber music player and band member. In April 2018 Diamanda won the Dutch Classical Talent Tour & Award, the first ever string soloist to do so.

She has worked extensively with modern music luminaries such as Christian Wolff, Alvin Lucier, Gunther Schuller, Chaya Czernowin, Garth Knox and George Benjamin. Recent performances include a collaboration in Florence with Georg Friedrich Haas and concerts in Brussels and London with avant-garde rock legend John Cale.

You can hear her on New World Records as a soloist on Burr van Nostrand's Voyage in a White City, and on Tzadik Records with Anthony Coleman.

She completed her Bachelor of Music at the New England Conservatory in Boston with James Buswell and Nicholas Kitchen, and previously studied with Lex Korff de Gidts (Conservatory of Amsterdam). At graduation, she was awarded the John Cage Award for her contribution to new music.

Diamanda received her Masters of Music from the Royal Conservatory of the Hague, studying with Vera Beths. She was awarded the Nicolai Prize for the most exceptional recital.

Current projects include the editing and premiering of a new series of violin studies by Garth Knox, and a duo with pianist Helena Basilova focusing on early 20th century Eastern European repertoire.

As a Splendor Founder she plays and hosts concerts regularly.Splendor is a collective of 50 musicians, composers, and stage artists who transformed an old bathhouse in the heart of Amsterdam into a local cultural paradise."

Janneke van Prooijen: concert violinist at Prisma String Trio, Atlantic Piano Trio, Lunapark.

"Frank Denyer is an English composer whose brilliantly coloured and imaginatively rich compositions fall between several and into none of the accepted categories of contemporary music.

Born in London in 1943, he was a chorister at Canterbury Cathedral by the age of nine, the director of the experimental music ensemble Mouth of Hermes in London at the age of twenty-five, and a Doctoral student in ethnomusicology at Wesleyan University, Connecticut at the age of thirty. He has lived and worked in east Africa and India.

Denyer's music is distinguished by a keen sensitivity to sound. Each of his works is written for a unique combination of instruments, more often than not a combination that no composer has dreamed of before. Each work finds its own individual form, laying down the path for its journey as it proceeds. In some cases even such basic musical materials as the scales and the tuning system are invented from scratch.This music is handmade in every detail; it is engaged in a complex process of affirmation and negation, accepting no easy solutions.

For Denyer, a fine pianist who has composed not one note for his own instrument since his student days, the whole question of musical instruments is a central one. His compositions present an astonishingly varied array of sound sources - new instruments of his own invention, adapted instruments, instruments of non Western traditions, rare or virtually extinct instruments, and conventional Western instruments. This whole concern with what his friend Morton Feldman called 'the instrumental factor' is not a postmodern mixing-and-matching of instruments from different 'ethnic' traditions: rather, his work suggests that all instruments bear the imprint of the tradition of which they are a part, whether that tradition be nascent, mature or decaying, and that at the beginning of the twenty-first century we cannot afford to be complacent about which musical traditions we consider to be 'ours.' Neither is his music that of a composer making do with ready-mades or whatever lies to hand (like Cage's percussion ensemble works of the 1930s and early 1940s). Nor, at the other extreme, does one have the sense of the composer gradually assembling an instrumentarium of his own, creating the illusion of an alternative musical universe (like Harry Partch): for one thing, Denyer's assembly of new instruments hardly ever plays together; for another, they rarely recur from one work to the next - each new composition wipes the slate clean and starts afresh. The instruments are like flowers that suddenly spring up between the cracks in a wall; they seem to be there because the opportunity has arisen for them to exist, to fill the gaps between isolated islands of instrumental sound.

Denyer's concern with musical instruments can also be seen as a metaphor for the larger question of what can be salvaged, artistically, from the chaos of civilization as we begin our new century. Compositions like A Monkey's Paw (1987-88) and Finding Refuge in the Remains (1992) confront this central issue - the sense of new life emerging from a morass of dead or decaying matter - an urgent issue for him both compositionally and culturally."