Ludwig van Beethoven (1770-1827) kwam in november 1792 als jonge man vanuit Bonn naar Wenen om, in de woorden van zijn weldoener Graaf Waldstein “uit handen van Haydn de geest van Mozart te ontvangen”. Beethoven had Mozart ontmoet gedurende een kort bezoek aan Wenen in 1787 en waarschijnlijk zelfs enkele lessen van hem gehad, maar aangezien Mozart juist in 1791 was overleden was het plan om bij hem te gaan studeren onmogelijk geworden. Haydn, op dat moment de beroemdste componist ter wereld, nam de jonge Beethoven graag onder zijn hoede. Beethoven’s introductie in de Weense aristocratie soepel: met behulp van Graaf Waldstein en de reputatie van zijn leraar Haydn, en het feit dat hij in Bonn hof-organist, altist en componist was geweest en een protegé van Vorst Maximilaan Friedrich, werd hij binnen korte tijd de favoriet van de muzikale Weense adel. Een aantal van hen, waaronder Baron van Swieten, wierpen zich op als patroon en weldoener van de jonge componist. Zijn spectaculaire optredens in de private salons leidden al gauw tot publieke concerten. Beethoven’s grote vernieuwingen zouden geschiedenis maken en componisten tot op de dag van vandaag inspireren en beïnvloeden. De breuk met de galante salonstijl, waarvan Haydn in essentie de laatste grote representant was, was met Beethoven een feit, en de romantiek werd tijdens zijn leven en mede door zijn toedoen geboren. Bart van Oort
Trio106 is an international ensemble, comprised of musicians from Japan, Canada, and the USA. Formed in 2014 by three masters students of the Early Music department at the Koninklijk Conservatorium in Den Haag, Trio106 performs famous and lesser-known works of a variety of classical composers. Performing on period instruments, Trio106 seeks to bring to life the atmosphere and rhetorical eloquence of the classical era. The Trio has performed in the Beethoven Twilight series at the Koninklijk Conservatorium, and will perform as the pre-concert performance for the van Swieten Society in the TivoliVredenburg in Utrecht in March 2015. Trio106 takes its name from the room in which the ensemble can often be found rehearsing.
Maryse Legault is a French-speaking Canadian from Montreal, specializing in historical clarinets. It is in the course of her studies in modern clarinet that she first was interested in learning historical instruments. She vastly understood it was her true vocation and decided to found a Montreal-based ensemble on period instruments, focusing on classical repertoire, called Les Lys naissants. After two years of working as an artistic director and soloist in her ensemble, Maryse Legault decided to head to the Hague to complete a master degree in historical performance in the class of Eric Hoeprich.
Annabeth Shirley began her cello studies at age nine, in her hometown of Salem, Oregon, USA. During her Bachelors studies in modern Cello Performance and Neuroscience at The University of Michigan, she discovered her enthusiasm for historically informed performance practice. She began her baroque cello studies with Lucia Swarts at the Royal Conservatoire of The Hague in September 2012, and will complete the masters degree in June 2015. During her studies in The Hague she has had the opportunity to play in masterclasses and lessons with Hidemi Suzuki, Jaap ter Linden, Bruno Cocset, Cristophe Coin, and Anner Bijlsma, and in projects directed by Kati Debretzeni, Barthold Kuijken, Patrick Ayrton, Fabio Bonizzoni, and Enrico Gatti. She has performed with the Nederlands Kamerkoor, Ars Musica, Cafe Haydn, and in pre-concert performances for the van Swieten Society. She performs on an 1830s cello of most likely French origin.
Born in 1985 in Tokyo, Mariko Goto was admitted in early childhood toToho Gakuen School of Music’s special program for gifted children, for training in piano and classical music. Her piano studies were further enriched by Yasuko Nakayama and Machiko Nishikawa. She entered Tokyo University of the Arts (Geidai) and studied musicology. Her specialty was the keyboard and the chamber music of the 18th and 19th centuries. She deepened her studies with Prof. Eizaburo Tsuchida, and earned a master's degree for her thesis, written on improvisation in Haydn’s Piano Sonatas. She worked as an accompanist and musical writer, simultaneously with her studies, and her interests in 18th-century music introduced her to the fortepiano, as well as the cembalo. She started fortepiano with Kikuko Ogura and cembalo, with Asami Hirosawa. Since 2012, as a student at the University of Music and Performing Arts, Munich, she has been studying fortepiano and cembalo with Christine Schornsheim. Moreover, she has joined many masterclasses, taught by various professors, such as Bart van Oort, Wolfgang Brunner, Alexey Lubimov at the Accademia Villa Bossi, Giovanni Togni, Andrea Marcon, Pierre Hantaï, Elisabeth Joyé, François Guerrier and Christian Rieger. She is now pursuing a masters degree in fortepiano at the Royal Conservatoire of the The Hague with Bart van Oort.