Luke has never played the violin. At age 5 he began to study viola with his father Robert Turrell and in September 2000 joined the Yehudi Menuhin School where his teachers included Maciej Rakowski, Suzie Mezaros, and Berent Korfker.
Luke went on to study at the Universität der Künste in Berlin with Hartmut Rohde and then with Wilfried Strehle. In 2010 he won the prize for “The Most Promising British Competitor” at the Lionel Tertis International Viola Competition. In 2012 Luke joined the Academy of the Berlin Philharmonic where he studied with Mate Szücs.
Luke joined the Sächsische Staatskapelle in Dresden in 2015 and in 2020 moved to the Gewandhaus in Leipzig as 1st Principal viola.
Since 2015 he has been playing on a viola from Ragnar Hayn modelled on an instrument from Giaccomo Gennaro from 1695.
“With over 80 concerts a year, Nicolas Dupont (°1992) is one of the most active Belgian chamber musicians of his generation.” (El Diario Montanes)
As a member of the Kugoni Trio, the Malibran Quartet, the Urban Piano Quartet, the Argenta Trio and the Duo Andaluza, he has performed in venues such as Wigmore Hall, St Martin-in-the-Fields, King’s Place, Colston Hall (UK), BOZAR, Flagey, AMUZ, deSingel (BE).
Based in Brussels since 2017, Nicolas frequently travels as a soloist, in duo with the pianists Olga Kirpicheva, Yunus Tuncalı and Giulio Potenza, or with his trio and quartet colleagues across Europe and Asia. His ensembles are ambassadors for contemporary music and have commissioned over fifty pieces in close collaboration with composers.
“Never mind the superb technical accomplishment of his playing, it’s the musical and interpretative achievement that is so impressive here.” wrote the International Record Review about the young Czech violinist Josef Špaček, who is fast emerging as one of the most accomplished violinists of his generation. He has been guided by highly regarded pedagogues, including Ida Kavafian and Jaime Laredo at the Curtis Institute of Music and Itzhak Perlman at the Juilliard School. In May 2012 he was finalist of the International Queen Elisabeth Competition in Brussels; in 2009 Josef won the Michael Hill International Violin Competition (New Zealand) and both Third Prize and the Young People’s Jury Prize at the Carl Nielsen International Violin Competition in 2008. He currently combines a flourishing solo career with the position of concert master of the Czech Philharmonic Orchestra.
French pianist Julien Quentin has established himself as a versatile and sensitive musician, exhibiting great maturity and poise. His remarkable depth of musicianship and distinct clarity of sound coupled with flawless technique, make him an artist in demand as both soloist and chamber musician.
He has made successful recital debuts in Paris (Salle Cortot), Geneva Conservatoire Hall and Bargemusic in New York. He has appeared as soloist with the Wroclaw, Qatar and Córdoba Philharmonic Orchestras under such conductors as Tommaso Placidi, Paul Biss, and Han-Na Chang. Regularly invited to numerous international Festivals, Quentin’s appearances in Europe include Verbier, Lucerne, Gstaad, Montreux, Zermatt, Dresden, Braunschweig, Schwetzingen, Ludwigsburg, Mecklenburg-Vorpommern, Beethovenfest Bonn, Radio France Montpellier and Saint Denis. A regular performer in North America, he has appeared at the Ravinia, La Jolla and Mostly Mozart Festivals in the United States. He has broadcast in Canada, United States, Japan and in countries across Europe.
Olga Sitkovetsky has been part of the Hellensmusic Masterclass Programme’s team as an accompanist since 2014, backing students in their individual classes as well as in their Sunday concert.
A distinguished accompanist, she has performed alongside many of today’s leading interpreters. Originally from Russia, she moved to the UK in 1991 at the request of Lord Menuhin, who invited her to work at the Yehudi Menuhin School of Music in Surrey. She has toured extensively with many of her former students, performing in venues such as Carnegie Hall, the Concertgebouw, the Salzburg ‘Mozarteum’ and the Vienna Konzerthaus.
“Throughout the piece the out-of-this-world clarinettist shone star-like from above” Salzburg Festival
‘The clarinettist played so beautifully it was as though he wished to make the very air melt” Tokyo Times
One of Europe’s leading clarinettists, Matthew Hunt is a distinctive musician, renowned for the vocal quality of his playing and his ability to communicate with audiences. Matthew enjoys an international career as both soloist and chamber musician, and currently holds the position of Solo Clarinettist of the Deutsche Kammerphilharmonie, Bremen,
As a soloist, Matthew has recently collaborated with the conductors Paavo Jarvi, Trevor Pinnock, Clemens Schuldt, Alexei Ogrintchuok and Reinhard Goebbel, and with orchestras including the Deutsche Kammerphilharmonie, the Georgian Chamber Orchestra, the Concertgebouw Chamber Orchestra, the Estonian Festival Orchestra and as a guest of the Berlin Philharmoniker in their series at the Berlin Philharmonie Kammermusik Saal.
Bruno Delepelaire owes the fact that he became a cellist to his grandmother, an enthusiastic amateur cellist. As a five-year-old, he also wanted to learn the instrument. The cello lessons with his first cello teacher Erwan Fauré were formative experiences for him. Bruno Delepelaire later studied at the Paris Conservatoire under Philippe Muller. In 2012 he went to Berlin to continue his training under Jens Peter Maintz at the University of the Arts and under Ludwig Quandt at the Orchestra Academy of the Berliner Philharmoniker. He also attended master classes with Wolfgang-Emanuel Schmidt, François Salque, Wen-Sinn Yang and Wolfgang Boettcher.
Like many players of the viola, Máté Szücs first learned the violin. He completed his violin studies with Ferenc Szecsödi at the conservatory in Szeged, changing to the viola in 1996 and becoming a pupil of Ervin Schiffer, who taught him at the Royal Conservatory in Brussels and at the Chapelle Musicale Reine Elisabeth in Waterloo. This was followed by studies from 2000 to 2005 with Leo de Neve at the Royal Conservatory in Antwerp, completed by Máté Szücs with distinction.
In 2003 he began his career as an orchestral musician and principal violist. It has taken him from the Royal Flemish Philharmonic Orchestra in Antwerp by way of the Bamberger Symphoniker, Dresden Staatskapelle and Frankfurt Radio (hr) Symphony Orchestra to the Deutsche Kammerphilharmonie Bremen (Principal Viola from 2008 to 2012) and the Berliner Philharmoniker. Máté Szücs, who appears in concert throughout Europe as a soloist and chamber-music player, also teaches at the Thy Chamber Music Festival in Denmark and is joint Artistic Director of Hellensmusic.
Maya Iwabuchi began violin lessons at the age of two. Her main influences who remain integral to her working life are Professors Alice Schoenfeld and Rodney Friend. Since her first concert at age five, Maya has enjoyed an international career as a solo violinist, chamber musician and orchestral leader.
Her performances have taken her to major concert halls world-wide such as the Royal Festival Hall and Wigmore Hall in London, Musikverein in Vienna, Royal Concertgebouw in Amsterdam, Lincoln Centre and Carnegie Hall in New York City and Suntory Hall in Tokyo to name a few. Highlights for Maya as soloist include appearances with the Los Angeles Philharmonic, New York Philharmonic and the Philharmonia Orchestra, and she has appeared in numerous renowned music festivals such as the BBC Proms, Aldeburgh, Bath and Chichester festivals, and the International Musicians Seminar in Prussia Cove. The Strad has hailed her playing as ‘simply brilliant’ and the Times ‘gorgeous’, and she continues to receive praise from the press.
A deeply passionate and sensitive performer, Christian Blackshaw is celebrated for the incomparable musicianship of his performances. His playing combines tremendous emotional depth with great understanding and, in the words of one London critic, “sheer musicality and humanity”. Pianist magazine, reviewing his performance of Schubert’s great B Flat Sonata D.960 at the Queen Elizabeth Hall wrote that the work “has become the calling card of many a pianist wishing to declare themselves a musician’s musician and Blackshaw most certainly belongs to this category”.