1988

Auditions-Workshop format

Ton Koopman becomes Musical Director and plays a key role in shaping the auditions into a workshop-masterclass format with orchestral and chamber music sessions —a model still used today. The co-creative process encourages interaction, exchange, and peer learning.
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“In the first year of the EUBO’s existence I was one of their tutors and came to Oxford a few times a year to give masterclasses to the young Baroque musicians and to prepare their concert programmes. Already in that first year (1985) I was asked by Paul James to lead the upcoming concert tours. A lot of time was reserved during the rehearsals to arrive at a common Baroque language. The concerts involved a lot of travelling. My first important tour was Handel’s Vespri de Carmelitani. Alfredo Bernardini played the Baroque oboe for one of the first times in this concert and The Sixteen were the choir. I remember beautiful concerts in beautiful churches, including in Rome in the church where the Vespri de Carmelitani was premiered in Handel’s time.

The EUBO is a student Baroque orchestra, unique in the world. Many young musicians, in love with baroque music, are given the opportunity to perform Baroque music in concerts under the direction of well-known Baroque musicians after a strict selection. The level started off sluggishly, but by appointing a professional concertmaster and everyone’s great commitment, it quickly took off. Every year, a few tours were planned by Paul James, who, together with Emma Wilkinson, made it a great success. First, there were auditions every year, where the line-up for the next EUBO year was hand-picked.

There was always plenty of time to prepare the concert tours well. During breakfast and/or the evening drinks, there was intense discussion. The young musicians were selected from students of European conservatories. Many of my former students were also present and learned the profession of Baroque orchestra musician in practice. These alumni can still be found in all European Baroque ensembles (and beyond!), including in my own ABO. For a year they were trained by various colleagues and thus broadly educated. I have fond memories of my own projects with the EUBO: of the journeys through Europe and South America, of a beautiful Samson by Handel, and of the joy of playing music together”.

Ton Koopman