Sergei Nakariakov
the russian born israeli trumpet player, has established himself as one of the most sought-after trumpet players on the international stage. Gifted with a rare combination of stunning virtuosity, a suave and velvet-toned sound and a deep sensitivity he was named “The Paganini of the trumpet” and “Caruso of the trumpet”. Nakariakov has single-handedly brought the flugelhorn to prominence on the concert platform. He has developed long-standing relationships with many of the world’s most respected leading orchestras, conductors and musicians.

Nakariakov’s repertoire covers not only the entire range of original literature for trumpet, but is continually expanding into broader territories, comprising many fascinating transcriptions and commissions by Peter Ruzicka, Uri Brener, Enjott Schneider and Jörg Widmann, while he searches for ever new means of musical expression.

Jörg Widmann
was born in Munich on 19 June 1973. He studied the clarinet at the Hochschule für Musik in Munich with Gerd Starke and later with Charles Neidich at the Juilliard School in New York (1994-1995). He additionally began to take composition lessons with Kay Westermann at the age of eleven and subsequently continued his studies with Wilfried Hiller and Hans Werner Henze (1994-1996) and later Heiner Goebbels and Wolfgang Rihm in Karlsruhe (1997-1999). Widmann’s great passion as a clarinettist is chamber music and he regularly performs with partners such as Daniel Barenboim, Tabea Zimmermann, Heinz Holliger, András Schiff, Kim Kashkashian, and Hélène Grimaud. He has also achieved great success as a soloist in orchestral concerts in Germany and abroad. Several works have been dedicated to Widmann by fellow composers: in 1999, he performed the premiere of “Music for Clarinet and Orchestra” by Wolfgang Rihm in the musica viva concert series; in 2006, he performed "Cantus" by Aribert Reimann with the WDR symphony orchestra, and in 2009, at the Lucerne Festival, the world premiere of Rechant by Heinz Holliger. From 2001 to 2015, Widmann was professor of clarinet at the Freiburg Staatliche Hochschule für Musik where he also took up the post of professor of composition in 2009. From 2017, he holds a chair at the Barenboim-Said-Academy in Berlin. Moreover, Widmann is Pricipal Conductor of the Irish Chamber Orchestra.

It is the string quartets which form the core of Widmann’s œuvre: String Quartet No. I (1997), followed by Choralquartett (2003/2006) and Jagdquartett which was premiered by the Arditti Quartet in 2003. This series was completed in 2005 by String Quartet No. IV (first performance given by the Vogler Quartet) and Quartet No. V with soprano, Versuch über die Fuge [Attempt at a Fugue], premiered by Juliane Banse and the Artemis Quartet. The five string quartets are intended as a large cycle, with each individual work following a traditional form of setting. Widmann's sixth quartet Studie über Beethoven (2019), commissioned by Anne Sophie Mutter, initiated a second five-part quartet cycle which explores Ludwig van Beethoven’s art of the quartet. The Artemis Quartet launched String Quartet No. 7 (Beethoven Studie II) in 2020, and Beethovenstudien III (String Quartet No. 8) and V (Cavatina) were premiered by the Juilliard String Quartet in 2022.

Widmann has composed a trilogy of works for large orchestra on the transformation of vocal forms for instrumental forces consisting of the compositions Lied (2003/2007), Chor (2004) and Messe (2005). A second series comprises the pieces Labyrinth (2005), Zweites Labyrinth (2006) and Drittes Labyrinth (2013/2014) as well as the trumpet concerto Towards Paradise (Labyrinth IV) premiered in 2022 by Håkan Hardenberger and the Gewandhausorchester Leipzig under Andris Nelsons. Each of these pieces relates to the experience of spatial perception and the search for orientation associated with the labyrinth. In 2007, Christian Tetzlaff and the Junge Deutsche Philharmonie gave the premiere of Widmann’s first Violin Concerto. The same year, Pierre Boulez and the Vienna Philharmonic gave the first performance of Armonica for orchestra: Widmann combines the heavenly tonal colours of a glass harmonica above the orchestra to produce a homogenously breathing body of sounds and sound effects. This was followed by Con brio, an homage to Beethoven, performed for the first time by the Bavarian Radio Symphony Orchestra under the direction of Mariss Jansons. It has since been performed by more than 60 conductors and became one of Widmann's most popular orchestral works. In his flute concerto Flûte en suite Widmann playfully confronts the solo instrument with different orchestral groups. It consists of eight short movements and was premiered by Joshua Smith and the Cleveland Orchestra under the direction of Franz Welser-Möst in 2011. For pianist Yefim Bronfman, Widmann wrote the piano concerto Trauermarsch. It was first performed in December 2014 with the Berlin Philharmonic under the baton of Sir Simon Rattle. Premiered in November 2015 by the Orchestre de Paris and soloist Antoine Tamestit, Widmann's Viola Concerto uniquely explores the Sound possibilities of the Instrument as does the Violin Concerto No. 2 for Carolin Widmann, written and premiered in 2018.

Three music-theatre projects prove Widmann to be an outstanding composer for the stage: the opera Das Gesicht im Spiegel was chosen by the German magazine Opernwelt as the most significant first performance of the season 2003/04. Am Anfang (2009) is the result of a unique kind of collaboration between a visual artist and a composer; Widmann created the work together with Anselm Kiefer and conducted the world premiere on the occasion of the 20th anniversary of the Opéra Bastille in Paris. The subsequent stage work Babylon (2011/12) is a commission by the Bayerische Staatsoper Munich, the new version für 2019 was commissioned by the Staatsoper Unter den Linden, Berlin. Widmann and philosopher Peter Sloterdijk in his first venture as librettist present a new interpretation of the Babylon myth in this musicaldramatic Gesamtkunstwerk. Widmann’s large-scale oratorio ARCHE (2016) for the opening of Hamburg’s Elbphilharmonie includes scenic elements as well as a view of the human existence as a whole. It was premeired by Kent Nagano and the Philharmonisches Staatsorchester Hamburg in January 2017.

Jörg Widmann has received numerous prizes for his compositions: the Belmont Prize for Contemporary Music from the Forberg-Schneider Foundation (1998), the Schneider-Schott Music Prize, the Paul Hindemith Prize (both in 2002), the Encouragement Award from the Ernst von Siemens Music Foundation, the Achievement Award from the Munich Opera Festival (both in 2003) as well as the Arnold Schönberg Prize (2004). In 2006, Widmann received the Composition Prize from the SWR Sinfonieorchester Baden-Baden und Freiburg as well as the Claudio Abbado Composition Prize from the Orchestra Academy of the Berlin Philharmonic Orchestra. In 2009, he received the Elise L. Stoeger Prize of the Lincoln Center Chamber Music Society, New York and in 2013, he was awarded the Music Award of the Heidelberger Frühling and the GEMA German Music Authors Award, in 2018, he was awarded the Robert Schumann Award of the Academy of Sciences and Literature Mainz and the Bayerischer Maximiliansorden für Wissenschaft und Kunst, followed by the Music Award of the City of Munich in 2021. He is a fellow of the Institute for Advanced Study in Berlin and a full member of the Bavarian Academy of Fine Arts, the Free Academy of the Arts in Hamburg, the German Academy of Dramatic Arts and the Academy of Sciences and Literature Mainz. He was composer-in-residence of the Deutsches Symphonie-Orchester Berlin, the Cleveland Orchestra, the Salzburg Festival, the Lucerne Festival, the Cologne Philharmonic Orchestra, and the Vienna Konzerthaus.

The Irish Chamber Orchestra
is one of Ireland’s most acclaimed orchestras, celebrated for its eclectic repertoire and its exhilarating playing style. Founded in 1970, the orchestra continues to innovate, offering a diverse range of concerts at home and abroad, collaborating with leading international artists, and pioneering community initiatives designed to deliver real change.

The Irish Chamber Orchestra is Ireland’s most dynamic ensemble. Mixing traditional repertoire with new commissions and collaborating with everyone from DJs to dance companies, the ICO pushes the boundaries of what a chamber orchestra can do. These days, you are as likely to find us at the Electric Picnic as Mozartfest, but wherever we perform, the ICO delivers world-class concerts feted for their energy and style.

Over many years, it has thrived under a succession of outstanding artistic partners, including Fionnuala Hunt, Nicholas McGegan, Anthony Marwood and Gábor Tákacs-Nagy, supported by a board that has included such illustrious members as Mary Robinson and Dr Ed Walsh, founding president of UL. It was the passion of these forward-thinking leaders that has enabled the orchestra to grow throughout its history, and that same thirst for excellence drives it today.

In 1995, under the guidance of Dr Mícheál Ó Súilleabháin, Professor of Music at the Irish World Academy of Music and Dance, the ICO became orchestra-in-residence at the University of Limerick, forging a deep and lasting partnership with the university – and the city – that flourishes to this day. One of the orchestra’s long-cherished ambitions was to own its own studio and it was John Kelly, CEO of the Irish Chamber Orchestra from 1993 to 2012, who masterminded the fundraising and construction. Opened in 2008, the ICO Studio is a state-of-the-art recording and rehearsal space that provides the orchestra with a world-class home.

From its position at the heart of the cultural scene in Limerick, the ICO has long harboured the desire to play a transformative role in the lives of its people, and in 2008, with the help of seed funding from the university, the orchestra launched Sing Out with Strings, a groundbreaking initiative that offers free tuition to 300 primary school children in Limerick every year. Supported by many generous patrons, Sing Out with Strings has been wildly successful, with many of the children involved going on to join the new Irish Chamber Orchestra Youth Orchestra. The orchestra has also forged a partnership with the University of Limerick’s MA in Classical String Performance, offering an inspiring series of classes to its talented students.

In 2002, violinist Katherine Hunka was appointed Leader of the ICO and her rapport with the orchestra, together with her programming expertise, has been instrumental in developing the ICO’s appeal across Ireland. Thanks to funding from Culture Ireland, the orchestra regularly tours overseas, and it was in Berlin in 2007 that the ICO first performed with Jörg Widmann, the clarinettist, composer and conductor whose energy and verve have been central to the orchestra’s recent success.

As Principal Conductor/Artistic Partner, Widmann works closely with the Artistic Committee, devising diverse and innovative programmes that mix standard repertoire with new work – often specially commissioned – from the best young Irish composers. This dynamic approach to programming has opened up new opportunities for the orchestra to work with leading artists, venues and festivals across Europe and beyond.

The support of the board is crucial to the orchestra’s success. From 2008 to 2017 it was chaired by Michael Buckley, former CEO of AIB, whose business acumen and fundraising expertise enabled the ICO to successfully negotiate the turbulent waters of the recession. Today Aibhlín McCrann chairs a board whose passion and commitment inspires the orchestra to reach new heights.

Despite a challenging funding environment in recent years, the Arts Council – which has funded the ICO since 1995 – has maintained its support, recognising the orchestra’s unparalleled contribution to musical life in Ireland. As a result, the ICO has made extraordinary progress over the last five years, performing 154 concerts in 95 venues at home and abroad. Tours to China, Australia and the US, together with performances at leading festivals and recordings on the prestigious Orfeo label, have enhanced its reputation. Collaborations across six different art forms, from theatre to rock, have introduced a range of new audiences to the orchestra’s work.