Violin

Ida Lorenzen

Ida Lorenzen

Violin

Ida Lorenzen kom ind på Det jyske Musikkonservatorium som 15-årig og debuterede herfra i 2001. Hun har desuden studeret i Berlin på “Hochschule für Musik Hanns Eisler” samt i USA på “Hartt School of Music”, hvor hun deltog i et kammermusik program med Emerson kvartetten. Som medlem af Talisker kvartetten var hun bl.a. udtaget til Banff International String Quartet Competition og desuden prisvinder i P2 kammermusikkonkurrence i 2006. I 9 år (2001-2010) var Ida ansat i det svensk/internationale strygeorkester Camerata Nordica under ledelse af Terje Tønnesen. Desuden spillede hun ny musik i Athelas Sinfonietta Copenhagen.

Siden 2009 har Ida fokuseret på barokviolinen. Hun studerede 2009-2012 på dkdm hos Sirkka Liisa Kaakinen, Rachel Podger, Arek Golinski og Peter Spissky. I 2012 blev hun medlem af Concerto Copenhagen.
I 2010 var Ida med til at stifte Camerata Øresund, hvor hun idag desuden også er involveret administrativt.
Ida fortæller: “ Jeg havde elsket barokmusikken i mange år og spillet den på min moderne violin, men vidste ikke for alvor noget om barokviolin. Mit første “officielle” møde med barok verdenen var set tilbage, lettere pinlig… Jeg havde besluttet mig for at søge ind på baroklinjen på Dkdm, og mødte op med en tilfældig barokviolin jeg havde lånt et par dage inden. Strengene var i dårlig stand, men hvad værre var at jeg ikke anede at den skulle stemmes i 415! Så jeg havde bare stemt den som jeg plejede i 440 og måtte stemme ned, hvilket slet ikke var så nemt! Sirkaa Liisa kiggede temmelig strengt og temmelig undrende på mig, det var egentlig utroligt at jeg overhovedet kom ind..
Siden har jeg da heldigvis fået lidt bedre styr på stemningerne..

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Alison Luthmers

Alison Luthmers

Violin

After completing my modern violin studies at the Colburn School in Los Angeles, I moved to Sweden in 2012 and began pursuing my true love, Baroque violin, which I had been studying since age 15. Since moving to Europe I have been performing and touring with Camerata Øresund, Concerto Copenhagen, and Barokksolistene among others, and especially love to play chamber music with the wonderful musicians of these orchestras. Through a grant from the Canada Arts Council, I was able to spend two years studying the connections between Scandinavian folk music, early music and dance. I have combined all these musical interests in my project BookJam, a series of informal chamber music concerts at a bookshop in Malmö, where I live with my husband and daughter.

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Tinne Albrechtsen

Tinne Albrechtsen

Violin

I was introduced to playing baroque music already as a child, as the music school orchestra I grew up in had baroque music as its core repertoire. I later began exploring early music repertoire during my professional studies at The Royal Danish Academy of Music. I have always been very curious, and drawn to exploring many different genres, especially those that include improvisation. The instrument and approach used in early music felt so familiar to me, but it was only after completing my modern violin studies that I had the opportunity to systematically collect knowledge and experience, fully specialize in the field, and finally take a Masters degree. I found the baroque violin, with its sensitive, crispy, sonoric gut strings, and the flexible baroque bow with all its agility, liberating. What I particularly enjoy in performing baroque music is the freedom of spontaneous expression and movement, gesture, colours, all eternally in balance with, and in contrast to, the frames of harmony and dance phrase structures. When I play with Camerata Øresund, I find the delicate, highly nuanced and sensitive way we communicate and create the music together especially rewarding. It is one of many reasons why being a part of CØ is so valuable to me. I have performed with many established orchestras. I have always been particularly devoted to chamber music, and have therefore performed in many different constellations, with many different kinds of instruments, from late rennaissance/early baroque and onwards to contemporary repertoire. I find, that each single collaboration broadens my horizon and hightens my understanding.

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