Felix Mendelssohn (1809-1847) – Symfonie nr.10
- adagio
– allegro
– piu presto

Gara Garaev (1918-1982) – Drie Miniaturen
- Berceuse
- Ayse
- Danse

Béla Bartók (1881-1945) – Divertimento, Sz.113
- Allegro non troppo
- Molto adagio
- Allegro assai

About the Concert
Mendelssohn as a fourteen-year-old 

A fourteen-year-old who writes a piece that is still performed almost two hundred years after his death. That is a rarity, but Felix Mendelssohn was a rarity. He was a child prodigy like Mozart was. But where Mozart soon pushed boundaries and opened the doors to Romanticism ajar, Mendelssohn was taught in the style of the old masters Haydn and Bach. In his early symphonies for string orchestra, he seems to have been inspired by Carl Philipp Emanuel Bach, who wrote symphonies for the same line-up. The slow introduction of Mendelssohn's Tenth Symphony is again strongly reminiscent of Haydn. In this symphony, as in the ten other symphonies that Mendelssohn wrote between the ages of twelve and fourteen, we hear a composer playing. Playing with diverse groups within the orchestra, playing one energetic melody after another. And all with a natural ease; in this too he is strongly reminiscent of Mozart. Mendelssohn was also fortunate that every symphony was performed directly at his home. The house of the wealthy banking family Mendelssohn was a gathering place for intellectuals and musicians. After each performance, Mendelssohn had new ideas for his next symphony. It is sometimes claimed that Mendelssohn was not very innovative. Indeed: he has never been ground-breaking like Beethoven or storming heaven like Mahler. On the other hand, few composers have ever expressed such energy and ease in their music. Moreover, if Mendelssohn had not worked thoroughly with early music, we might not even have known Bach's St Matthew Passion today. 

Garayev and his love for Azerbaijan 
"In sun, rain or fog, Baku is the most beautiful city in the world." Signed: Gara Garayev. Azerbaijan was more to him than just the country where he was born. With a heavy heart, he left Baku to study with Dmitri Shostakovich in Moscow. Shostakovich about his student: 'a brilliant talent, with an extremely profound knowledge of instrumentation and polyphony. He has a great future.” Those words turned out to be prophetic: Garayev twice won the prestigious Stalin Prize and was also given the title Hero of Socialist Labor. As director of the conservatory in Baku, he ensured that Azerbaijani folk music was given a solid place in the courses. We also hear this in the Three Miniatures for string orchestra that are on the program today. Although Garayev also wrote operas and symphonic repertoire, his music is best appreciated in the small character pieces. The first miniature is dreamy in nature, the second, with the pizzicato performed rhythm in the cello, is reminiscent of the Habanera from Carmen by Bizet. In the lively final miniature, Danse, we hear that Garayev was inspired by folk music. More precisely, the folk music of the country he liked most and where his body was flown immediately after he died in Moscow: Azerbaijan. 
A cheerful Bartók in dark times 
A spacious chalet in Switzerland as a workplace, with a beautiful piano and a cook who is ready to cook for you all day long: it could be worse. It happened to Bartók when he started his Divertimento for string orchestra. The sponsor was Paul Sacher, a Swiss conductor and patron of the arts. Bartók wrote to his son that he felt like 'a composer from the past': 'I am the guest of a patron, who even sent a piano from Bern. He oversees everything, but luckily from a distance.” Bartók worked diligently and fifteen days later the piece of almost half an hour was already finished. Haste was in this case good, because Bartók wrote his Divertimento with the greatest care. He has indicated down to the second how long the various parts last and in the 74 bars of the second part he has noted at least fourteen different metronome numbers. In some cases, such a tempo lasts only one bar. 
As Sacher wished, Bartók has written a freely accessible work with his Divertimento, which can be seen from the title alone: ​​a divertimento was originally intended as pure entertainment for audiences and performers and was extremely popular in the time of Mozart and Haydn. In short, Bartók's Divertimento is classical in form and modern in rhythm and harmony. In the first part, for example, we hear an alternation between solo parts and tutti passages, reminiscent of the Baroque concerto grosso. Within the classical sonata form in this movement, however, we hear a kind of waltz with irregular accents and surprising syncopated rhythms. Hungarian folk music, Bartók's greatest source of inspiration, is never far away in this part. In the second part, we hear Bartók's 'night music', which is described as 'eerie dissonances that provide a backdrop to sounds of nature and lonely melodies'. The last part of the Divertimento is less dissonant than the second and with a fugue Bartók returns to an old compositional technique. Certainly, by Bartók's standards, the finale has a cheerful character: we rarely hear him so exuberant. According to Sacher, who also knew the composer well personally, Bartók was 'reserved, but occasionally laughed aloud in a fit of boyish cheerfulness'. And that while Bartók was very worried on the eve of the Second World War. He wrote to his son, “Just one thing has to happen, and I might not even be able to come home. I can only close myself off from it if I do my very best.' In the third part of the Divertimento, he succeeded wonderfully, but it would be one of the last times that we hear Bartók so cheerful. The sixth string quartet, which he wrote immediately after the Divertimento, is a dark work. Shortly afterwards he fled to the United States, where he would spend his last years sick and broken by homesickness. 

Marc Tooten

Marc Tooten (born 1957) teaches Viola and Chamber Music at Conservatorium Maastricht at the Lemmens Institute in Leuven (Belgium) and gives masterclasses in France, Portugal, Norway, Spain and Hungary, including for the European Academy of Arts. Tooten studied at the Royal Conservatory of Brussels and the Sweelinck Academy in Amsterdam and was principal soloist with the I Fiamminghi chamber orchestra, the Beethoven Academy and the Brabants Orkest Eindhoven. He is often invited to perform as a soloist with the Royal Flemish Philharmonic, the Netherlands Radio Chamber Philharmonic in Hilversum, philharmonie zuidnederland, the WDR Symphony Orchestra Cologne and the Orqustra Ciudad de Granada.

Tooten is a member of the Arriaga String Quartet. Together with the Salzburger Solisten, he has taken part in the most renowned chamber music festivals in Germany, Austria, France and Switzerland. Among the musicians with whom he has collaborated are Abdel Rachman El Bacha, Edouard Brunner, Andras Adorjan and Martin Lovett. With the Arriaga string quartet, Marc Tooten has also collaborated with renowned musicians, including Martha Argerich, Boris Berezovsky and Itamar Golan. In 2009, he founded the Trio Tooten, together with violinist Orsolya Horvàth and violoncellist Luc Tooten.

As a musician and producer, Marc Tooten has collaborated on music theatre productions and recorded many CDs. His recordings include the lighter repertoire of Johan Verminnen, Clouseau, Kane, and Rocco Granata. With the Hermes Ensemble he specialises in contemporary music, and has recorded many CDs. Grammophone magazine praised Marc Tooten for his beautiful, warm recording of Raga III (Wim Hendrickx).

Yuzuko Horigome 

First prize winner in the 1980 Queen Elisabeth Music Competition Yuzuko Horigome (born 1957) has brought her virtuosity and rich musical mind to audiences all over the world. Her brilliant collaborators include such legendary conductors as Erich Leinsdorf, Sándor Végh, Herbert Blomstedt, André Prévin, Claudio Abbado, Seiji Ozawa, Iván Fischer, Riccardo Chailly, and Simon Rattle. She has also appeared as a soloist with the world’s greatest orchestras, including the London Symphony, Berliner Philharmoniker, Wiener Symphoniker, Amsterdam Concertgebouw, Tonhalle Orchester Zürich, Scala di Milano, Czech Philharmonic, St Petersburg Philharmonic, New York Philharmonic, Boston Symphony, Los Angeles Philharmonic and NHK Symphony. She has shared her passion for music on stage with exceptional artists like Rudolf Serkin, János Starker, Martha Argerich, Gidon Kremer, Mischa Maisky, Charles Neidich, Jean-Marc Luisada and Abdel Rahman El Bacha. Horigome’s prominent recordings are Mozart Complete Concertos with Sándor Végh and Camerata Academia, Violin Works (series no.1 - 5) as well as her recent recording Brahms Concerti with the Czech Philharmonic. Based in Belgium as a professor at the Royal Conservatory in Brussels, Yuzuko Horigome has been active in masterclass projects. She annually gives masterclasses in Cassero, Italy, and Trinity College Cambridge, UK. Horigome herself studied under Mr Toshiya Eto at the Toho Gakuen School of Music. Now she is often on the jury at numerous international competitions including the Sendai International Music Competition, where she chairs the jury. In the Classical Music department of Conservatorium Maastricht, she teacheClassical Violin.


Mendelssohn + Karaev 

Violin 1 Gabriela Grabo 

Violin 1 Nikita Akulov

Violin 1 Georgios Boultadakis

Violin 1 Grigorius Banias 

Violin 1 Vasco Sequeira

Violin 2 Ioanna Boultadaki

Violin 2 Pedro Cruz Vieira

Violin 2 Adamo Rossi

Violin 2 Alejandro Ruiz Vazquez

Viola Marc Tooten

Viola Ijen Hamel

Viola Maria Alejandra Martinez Calderon

Viola Saar van Bergen

Cello Caterina Vannoni

Cello Maria Millan Dominguez

Double Bass Daniel Correa Zuluaga Angelo Viviani 



Violin 1 Yuzuko Horigome

Violin 1 Ioanna Boultadaki

Violin 1 Arzas Voskanyan

Violin 1 Daryl Chiew Kah Weng

Violin 1 Lucas Debraux

Violin 2 Kristina Rimkeviciute

Violin 2 Gabriela Grabon 

Violin 2 Pedro Cruz Vieira

Violin 2 Alejandro Ruiz Vazquez

Viola Carolina Mendoza Garzon

Viola Ijen Hamel

Viola Maria Alejandra Martinez Calderon

Cello Benedetta Baravelli

Cello Guille Guantes

Double Bass Angelo Viviani 

Double Bass Riccardo Settime