A native of San Antonio, Texas, Kerry Turner received his Artist Diploma from the Manhattan School of Music in New York and, as a Fulbright Scholar, continued his studies with Hermann Baumann at the Stuttgart College of Music and Performing Arts. Following his studies, he placed 5th at the Geneva International Horn Competition and won the Bronze Medal at the 39th Prague Spring International Music Competition.
Mr. Turner's compositional career has sky-rocketed over the past several years. His works for horn in combination with virtually every genre of chamber music continue to be heard literally around the world. He has been commissioned by many organizations, including the United States Air Force Heritage of America Band, the Luxembourg Philharmonic, the Japanese Horn Ensemble, and the Richmond, Virginia Chamber Music Society (with Mr. Thomas Jostlein), just to name a few. He has been awarded top prizes at the International Horn Society Composition Contest as well as the IBLA Foundation. In his spare time, Mr. Turner sings tenor, studies languages (he is fluent in 4 and dabbles in a few others) and loves to cook.
So it was that I accepted employment with the Luxembourg Radio Orchestra under Leopold Hager. And I have been here ever since. I have seen conductors come and go. I have performed almost the entire orchestra repertoire multiple times on both 1st and 3rd horn (except oddly enough Mahler 6th). I have traveled the world with this group and I have gone through some good times and some pretty bad times. We are now called the "Orchestre Philharmonique du Luxembourg " or The Luxembourg Philharmonic. And I refer to it on this website as simply the OPL. Over the past 29 years, I have been privileged to be able to balance all of my AHQ tours and concerts as well as my solo appearances with my orchestral schedule. The colleagues in the horn section have supported my extracurricular activities and they have always shown a great deal of respect for the AHQ and me. As one can imagine, it has not been easy trying to keep up work hours, especially when I have been on the road for sometimes up to three weeks with the quartet. But we always managed. As I am getting older however, I have noticed how difficult it has become to jump off of a plane and go straight to orchestra rehearsal, continuing to work every service thereafter until the next tour with the quartet or with the Virtuoso Horn Duo took off. My esteemed colleagues in the OPL have also expressed a desire to see and hear me more in the section as I have been gone quite a lot these past few years.
Thus I have decided to include the OPL with the content of this website. It occurs to me that I have never included them on any of my sites, although I have written about some of my experiences in the orchestra on various blogs throughout the years. Yes, I perform with the Luxembourg Philharmonic. In fact, I now play more with this esteemed organization than with any other ensemble.
Turner- Twas a Dark and Stormy Night
Bach- Pieces with Organ
Mozart- Concert Nr. 2
Turner- Ghosts of Dublin
Strauss Also Sprach Zarathustra
Strauss Also Sprach Zarathustra
Magnificat in G minor, Purcell
3rd Tune from Archbishop Parkers Psalter, Tallis
Ave Verum Corpus, William Byrd
Drop, drop slow tears, Gibbons
God be in my head, Walford Davies
Sing Joyfully, Byrd
2013 ist das erste Jahr an dem die Sauerländer Horntage mehrtägig sind!
Es sind auch weiterhin alle Hornistinnen und Hornisten eingeladen. Es ist egal wie lange, oder auf welchem Niveau die Musiker spielen. Hauptziel ist es, dass jeder das mitnehmen kann, was er möchte. Gute Musik, Tolle Gespräche, super Dozenten, ein Highlight für jeden Hornisten und jede Hornistin! Contact: firstname.lastname@example.org
43, rue Arthur Herchen
+352 2644 0637
American Record Guide (Kilpatrick)
"fabulously imaginative and brilliant…continuing to establish Kerry Turner as one of the finest young composers for horn today."
The International Horn Society Horn Call (Scharnberg)
"Picturesque music that shows admirable compositional ability! For that, many thanks!"
Alfelder Zeitung (Germany)
Kerry Turner, a native of San Antonio, Texas, has been writing music since he was ten years old. At the age of 11, he won the San Antonio Music Society Composition Competition and six years later was awarded Baylor University's first prize at its composition contest with a large scholarship to that institution. Composition however was not Kerry's passion at this time. He was also an accomplished horn player and chose to concentrate his studies there instead. He transferred to the Manhattan School of Music in New York in 1980 where he began his intensive horn studies. After completing graduation, he was awarded a Fulbright Scholarship to study with the world-renowned horn soloist, Hermann Baumann, who was teaching at the Stuttgart College of Performing Arts in Germany.
In 1985, Kerry Turner joined the American Horn Quartet. It was then that he decided to once again put pen to paper and compose for this ensemble. The horn quartet repertoire at that time was rather small and unchallenging to modern players. With this in mind, Kerry composed his Quartet Nr. 1, which subsequently won first prize in the International Horn Society's composition contest. Other big hits for horn quartet followed, such as the thrilling tone-poem, The Casbah of Tetouan, his second quartet subtitled "Americana" and then the Quartet Nr. 3, which once again was awarded a prize in the International Horn Society composition contest in 1996. Mr. Turner began by this time to receive commissions to compose for the horn in different chamber ensemble combinations. His dramatic Six Lives of Jack McBride (horn, violin, piano and tenor) was a commission by Mr. Charles Putnam and the IHS Meir Rimon Foundation. Following that, the Freden International Music Festival in Germany commissioned him to compose a brass quintet (Ricochet), which has since become one of Mr. Turner's most successful works. He has also been commissioned by the U.S. Air Force "Heritage of America" band (Postcards from Lucca), the Alexander Horn Ensemble Japan (Ghosts of Dublin), the Brass Ensemble of the Symphony Orchestra of Lyon (The Heros), and many more established ensembles.
Mr. Turner has been a guest lecturer in composition at several notable institutions of music, such as the Royal Academy of Oslo, the Academy of Fine Arts in Hong Kong, the Nero House of Music in Osaka, Japan, West Virginia State University and the Winterthur Hochschule für Musik in Switzerland. His works have been heard in major concert halls and colleges of music around the globe and have been recorded extensively not only by the American Horn Quartet, but by reputable soloists and chamber musicians worldwide. The music of Kerry Turner, which contains elements of folk music from the British Isles, an inherent Mexican influence combined with his own western American style, and the exotic sounds of North Africa and the Arab world, has been performed and recorded by chamber ensembles from the New York Philharmonic, The Berlin Philharmonic the Vienna Philharmonic and the Chicago Symphony Orchestra, among many others.
"When the muse comes, it flows like a deep, dark river. Nothing can stop it; not pseudo-intellectualism, or practicality, or technology, or pressure to conform to a certain style, nor the obligation to always find something "new." (Kerry Turner)
"My goal is to paint a musical picture, thought, impression as clearly as possible and then communicate it to the listener and the performer, that it might appear in their minds as vividly as if it were on a large movie screen." (Kerry Turner)
Orchestral works and concertos by Kerry Turner
It is with great pleasure that we present these four works for 2 solo horns and chamber orchestra. The opening concerto by Haydn has been a source of controversy among horn players for quite some time. This charming and highly melodic work has all the trademarks of a concerto by his contemporary, the horn player Antonio Rosetti. Indeed, it would not at all have been unusual for Rosetti to use the great Haydn name in order to sell what may have been his finest piece of music. Apparently that sort of thing was done rather regularly in those days. The version on this recording is from the first publication of the Oettinger-Wallenstein Manuscript and was arranged by Edmond Leloir. The concerto in E-flat by Rosetti, which we have included on this album, could almost stand as proof of this theory as there are many similarities betwen the two works. Antonio Rosetti understood the horn remarkably well - he was after all a horn player - and thi si quite evident in these two works. The version recorded here of the Concerto Grosso number II from the larger group of works entitled "L'estro armonico" is an arrangement that was presented to us by Mr. Zoltan Varga with the request that we perform it at the Hungarian International Horn Festival at Mór. After assessing its succcess, we decided to include it on this recording and it has become a staple of our repertoire ever since. The decision regarding the fourth work of the album was not an easy one. There is, after all, a plethora of great concertos written for 2 horns and orchestra - Bach, Vivaldi, Leopold Mozart, Kuhlau, Händel and Telemann, just to name a few. Naturally, we wanted to include something a little bit different and perhaps something new. Thus we came upon the idea ot rework a piece of mine originally composed for solo horn and organ. We had previously performed this piece rearranged for 2 horns and piano at a recital in Rome. At the time, I knew that this Gothic sounding work had not yet found its true home. Adding some new material and a few special effects and reworking it for string orchestra seemed to be an answer to this call. The story behind the piece is a simple one: there is a writers competition called the Bulwer-Lytton Fiction Contest, inspired by the parenthetical, rambling, melodramatic opening lines of a novel by the author of the same name. Contestants submit a sentence intended to open a novel, usually comic or satirical in nature, along the lines of the original "It was a dark and stormy night..." It just so happens that this is a wonderful way to start a musical composition as well. I truly had no idea where I was going with this work until I wrote the opening solo horn call - my version of "Twas a dark and stormy night..."
Over the past 10 years, several CD recordings of the chamber works of Kerry Turner have been released. The programs for these projects had been more or less comprised of works composed around the same periods of time. His prodigious output over the past two decades makes it somewhat simple, generally speaking, to categorize Mr. Turner's works into several different styles. The works from the late nineteen-eighties combine an interesting Shostokovitch-like sound to Turner s already developing Western-American style. The Sonata for Horn and Strings on this album provides a very good example of this. As Kerry Turner performed increasingly frequently and further abroad with the renowned American Horn Quartet, it became clear to him that audiences around the world desired to hear more of the Western-American sound. It is, after all, an intrinsic and colorful style, unique to the United States. The development of this particular sound is largely due, of course, to the soundtracks of the great American Western films seen around the world. The Quartet Number 3 on this CD is quite possibly the best example of Turner s compositional style during this period in the mid-nineties. As the millennium approached, and Kerry began to look toward his 40th birthday, he started to seek a deeper level at which to express himself. A keen interest in counterpoint and a deep insight into the works of Arnold Schoenberg exuded a strong influence on his compositional technique and style. Although two works on this CD, Quarter-After-Four and Rhapsody for Nine Instruments are perhaps not the best examples of the music from this particular period of Turner s opus, the influences of counterpoint and Schoenberg are nevertheless evident. There has been, however, one element in Turner s works that has prevailed throughout all his musical development periods: his fascination with history and historical events.
Heroes (1997) is a three movement tone-poem for large brass ensemble and pays homage to three inspiring people in history who have displayed undaunted courage. The Casbah of Tetouan was conceived during a visit to Morocco in the summer of 1988. First recorded by the American Horn Quartet in a version for five horns, it appears here in its original instrumentation for brass ensemble. Farewell to Red Castle (1985) is based on a traditional Scottish pipe march presumably inspired by the Red Castle of Beauly Firth, possibly the oldest inhabited castle in Scottland. Originally written for string orchestra, this piece has also been recorded by the American Horn Quartet with the NY Philharmonic horn section and receives it's world premier on this recording in a version for Brass Octet. The form is traditionally a theme with 4 variations and a finale. Ghost Riders (1994) (Brass Octet and Optional Voice) was inspired by a traditional Western American folk song. It tells of a cowboy who, while riding the range, has a terrifying encounter with a ghostly herd of cattle. In the vision a ghost rider warns him to better his sinful ways or end up riding with the devil herd for the rest of eternity. The Labyrinth (1995/6) is for large brass ensemble and percussion. The inspiration for the piece came from a dream where one stands before the gate of a giant labyrinth. It contains countless corridors which must be traversed before one can successfully exit the maze. Improvisation (1998) If a jazz musician is asked to improvise a solo during a number, he will invent variations on the song being played and spontaneously adjust the themes and harmonies to fit his own style, mood and capabilities. That is more or less what has been doen with this piece, hence the name. Kaitsenko (1991, arr. 2995) is the name of an exclusive warrior society of the Kiowa Indians. The Kaitsenko vowed to die only together with their enemies in battle. Soundings on "The Erie Canal" (1984) is based on the well-known American folk song "Fifteen Miles on the Erie Canal". The piece is meant to be light hearted and fun rather than a serious addition to the brass quintet repertoire.
Our long awaited recording of Robert Schumann's original 1849 version of the Konzertstck took place in Warsaw in July, 2003. With the accompaniment of the famous Sinfonia Varsovia and the baton of Dariusz Wisniewski, the AHQ also recorded three other original works for 4 horns and orchestra: Handel's Concerto in F, Telemann's Mythological Suite and Haydn's 31st Symphony "mit dem Hornsignal." This CD is only available from the AHQ!
The production of this exciting CD took place in August, 2002, with help from the horn section of the New York Philharmonic. This brilliant CD features horn octets by Kerry Turner and Eric Ewazen. There are also riveting arrangements of Bernstein's Candid Overture, Brahm's Hungarian Dance Nr. 5, Paul Desmond's Take Five and I've Got Rhythm by Gershwin.
This latest CD from the American Horn Quartet and Kerry Turner features Turner's Quartet Nr. 4 and the exciting Fandango. This CD also features other chamber music including Ricochet, performed by the Saturday Brass Quintet of New York as well as Turner's The Labyrinth, performed by the Brass of the Luxemburg Philharmonic.
The AHQ is proud to present our latest CD including works by J. S. Bach, Georg Philip Telemann and other famous Baroque composers. Many of our favorite fugues from Bach's "Wohl Temperierte Klavier" and many selections from the "Art of the Fugue" can be heard on this Album. Also included on this CD is an arrangement of the famous "Toccata and Fugue in d-minor", arranged for 6 horns by kerry Turner, recorded with the help of Diane Eaton (hornist with the Basel Symphony Orchestra) and Andrew Hale (principal horn of the Southwest German Philharmonic in Konstanz).
The third CD involving the AHQ, this disc features chamber music of various instrumentation composed by Kerry Turner. Members of the AHQ perform such works as the "Sonata for Horn and Strings", "Sonata for Horn and Piano", "Six Lives of Jack McBride" (Horn, Violin, Tenor and Piano) and "Kaitsenko" (Brass Quintet). This combination of the Western American sound with European refinement is not to be missed.
This CD contains many of the more "classical" works performed by the AHQ. The album starts off with Robert Dickow's exciting "Entrance Fanfare", followed by a number of arrangements of romantic composers such as exerpts from "Carmen", by Bizet, choral works of Brahms and Debussy piano works. Also included on this CD are original quartets for horns by Castelnouovo-Tedesco, Dauprat, Homilius and Mitushin.
The first CD produced by the American Horn Quartet includes the "Fanfare for Barcs", "Casbah of Tetouan", "Quartet Nr. 1" and "Quartet Nr. 2, Americana" by Kerry Turner. Also on this CD is Langley's "Quartet for Horns" and "Fripperies" 1 through 8 by Lowell Shaw. With guest artists Andrew Hale (horn) and Bonnie Adelson (drum).
This second CD by the AHQ has Kerry Turner's "Quartet Nr. 3" as well as the famous "Sonata fur Vier Horner" by Paul Hindemith, "Concerto for Four Horns" by Walter Perkins and an exciting arrangement of Leonard Bernstein's "West Side Story".
Large Ensemble Works
Having said that, I can most definitely point to an actual event in my early life that ignited the fire of my devotion to the classical arts. As a fifteen year old, I remember lying in bed, listening to a recording of the Cantata Nr. 50 by Johann Sebastian Bach. I found it to be mysteriously powerful in its ultimate "baroque-ness". For double choir and orchestra, it is a one movement fugue based on a very obscure, yet frighteningly pertinent bit of text from Revelation 12 in the Holy Bible. As I listened to the recording, I became aware that I was able to hear clearly every voice and every line and knew exactly where they were going and what they meant. I heard beautifully trained performers executing these lines with marvelous precision. Witnessing all the artists- composer, singers and instrumentalists- collaborating on this recording with such devotion moved me to tears. Indeed, I remember weeping quite uncontrollably.
Interestingly enough, it was only later that the music of Bach became such a huge inspiration for me. As a matter of fact, it was the tone poems of Richard Strauss which gripped me as a teenager. His command of colorful harmony and his gift for melody have served as an example to me throughout my career. Similarly, and for the same reasons, the soundtracks of John Williams continue to inspire me to this day. As I began to perfect my skills in harmony and counterpoint, it was inevitable, I suppose, that I would be drawn to the music of Arnold Schoenberg. Very often, I listen intently to one of his works just prior to beginning a composition of my own.
Today, though I still revert faithfully to these old friends before composing, I have gradually developed what some might consider a controversial calling. I truly feel that the art of modern composition is going down the wrong path. Composers today seem to feel compelled to paint the ugly and chaotic in their "music". I do not say this strictly from a compositional point of view. I have sat in orchestras for 20 years and have witnessed the loathing with which my colleagues have approached the vast majority of pieces written since about 1970. This attitude has come not only from the players, but certainly the audiences and very often from the conductor himself! Yet we are somehow obligated to play it. I call it "The Emperor's New Clothes Phenomenon". I sometimes wonder if these composers are truly following their hearts or writing on a solely academic level. Moreover, this style of composition seems to have monopolized the funding for modern music. More often than not, performers, sponsors and audience members are neither inspired nor satisfied from this style of "music" and, ultimately, I feel this much-needed funding will disappear from the arts altogether.
Perhaps it has become somewhat of an inspired calling to attempt to bring things back into balance. Yes, creative art should mirror the contemporary condition of humanity. But does the majority of music written and played today accurately do this? Shouldn't an artist also be allowed to embody the adventurous, positive and life affirming spirit of our age? To me, the gift of song and harmony as well as the proper use of the splendid instruments we master are crucial to achieving this more beautiful aspect of our lives in the 21st century.
Entering its twenty-eighth season, the American Horn Quartet continues to be unique in the field of brass chamber music. Their exuberant performances have brought audiences all over the world to their feet. In 1982, four American horn players who were working and residing in Europe met for the first time to explore the potential of the horn quartet, a chamber music formation with a much longer tradition than most people realize. Mastering the already existing repertoire, they then began to compose and arrange, as well as commission new works for the horn quartet. The individual members of the AHQ are all very successful soloists in their own right, having won top international competitions in Geneva, Prague, New York, Passau and Munich. It comes then as no surprise that together they brought home top honors at chamber music competitions in Barcs, Hungary (Philip Jones Competition), Brussels and Tokyo.
Over the past twenty years, besides being featured at horn and brass festivals around the globe, the American Horn Quartet has established itself at regular chamber music concert series on the international circuit. They have also appeared as soloists with numerous symphony orchestras, among them the Royal Stockholm Philharmonic, Sinfonia Varsovia, the Illinois Philharmonic, the Philharmonica Hungarica, the Brabants Orchestra of Eindhoven and the Bordeaux Aquitaine Symphony Orchestra in France, just to name a few.
Some of the highlights of the AHQ career include their performance on stage at the Barbican in London, an appearance with orchestra at the world famous Tonhalle in Zürich, a recording collaboration with the horn section of the New York Philharmonic, a recital in Melbourne, Australia featuring the great horn soloist Barry Tuckwell in a cameo appearance, performances at the Kennedy Center in Washington D.C., and a five-minute standing ovation at the 20th International Horn Society Workshop in Tallahassee, Florida.
"Kristina Mascher and Kerry Turner are indeed virtuosos of the first rank." - Classical Music Guide, May 2007
The Virtuoso Horn Duo, Kerry Turner and Kristina Mascher, began performing in 2002. These two highly accomplished horn players began studying, perfecting and performing the existing repertoire for two horns, putting a particular emphasis on the concertos with orchestra, many of which were written by very well known composers, such as Haydn, Vivaldi and Telemann.
After performing at the Britain in Luxembourg Exhibition in 2002 , the Deputy Head of Mission wrote, “Exhibitors were unanimous in praising the animation you helped to provide. The only complaint was that they would have liked even more.”
Shortly thereafter, Kristina and Kerry presented a recital and master class at the University of Prague and at further venues in Luxembourg. They traveled extensively, giving concerts to enthusiastic audiences in Valencia, Spain at the International Horn Society's Annual Workshop, the 2nd Australian Brass Festival in Melbourne, Australia, at the Academy of Music in Singapore, and at the Festival of Nations in Rome. The VHD has also performed in the Southwestern United States (including AIR Horns in Arizona) and Chemnitz, Germany. They have presented concerts and master classes at Virginia Commonwealth University, for the USAF Heritage of America Band, have been featured guest artists at the 2nd Hungarian Horn Festival in Mor as well as at the University of Cape Town in South Africa. They have also appeared as soloists with the Richmond Symphony Orchestra and various orchestras around Poland. In 2006 Mr. Turner and Ms. Mascher recorded a CD of concertos for 2 horns and chamber orchestra with the Sinfonietta Cracovia for the MSR Classics label. They recently completed a highly successful tour of the United States as the Virtuoso Horn Duo and Friends with tubist Kyle Turner and pianist Lauretta Bloomer. Most recently, the VHD were artists in residence at the Beijing Conservatory as part of the 2nd China Horn Festival.
The Virtuoso Horn Duo offers a program of highly melodic, sometimes traditional and often technically dazzling horn playing, combined with world class artistry and execution.
Kerry Turner is certainly no new-comer to the international touring circuit. As a member of the world-renowned American Horn Quartet, Bronze Medalist at the Prague Spring International Music Competition, and member of the Luxembourg Philharmonic Orchestra, he has performed as soloist, chamber and orchestral musician all over the world. He has appeared as soloist with, among others, the Orchestra of Radio-Tele-Luxemburg, Saarbrucken Radio Orchestra, South-West German Philharmonie, Munich Bach Orchestra and Ensemble Modern of Frankfurt and the U.S. Air Force Band. With the AHQ he has performed with the Sinfonia Varsovia in Warsaw, the Royal Philharmonic of Stockholm, the Symphony Orchestra of Bordeaux, Beethovenhalle Orchestra Bonn, Moscow Radio Orchestra, Illinois Philharmonic and the Birmingham Symphony, just to name only a few. He has also recorded extensively. The Horn Call magazine dubbed Kerry “a remarkable individual. Not only is his hornistry of world class level, but also his compositional skills are wonderful….a fantastic musician who just happens to play the horn” (Dressler, Horn Call 5/04).
Kristina Mascher, former principal horn of the Brussels Philharmonic Orchestra (Flemish Radio Orchestra), hails from Albany, Oregon and currently resides in Luxembourg. She graduated from the University of Wisconsin-Madison (Douglas Hill) and the Hanns Eisler Conservatory, Berlin (Kurt Palm,) and also studied with Fergus McWilliam. Early in her career, she was engaged in various chamber and symphony orchestras, including the Odense Symfoniorkester in Denmark, three tours as principal horn with the Gustav-Mahler-Jugendorchester under the direction of Claudio Abbado, Pierre Boulez, and Kent Nagano, and the Luxembourg Philharmonic Orchestra. In addition to being the newest member of the American Horn Quartet, Kristina is a member of the Ni Ensemble of Luxembourg (First prizewinners at the 9th International Passau Competition) and forms with husband Kerry Turner the Virtuoso Horn Duo. Their critically acclaimed CD of works for two horns and chamber orchestra can be found on the MSR Classics label. She also performs on a regular basis with the renowned Ictus Ensemble of Brussels. Ms. Mascher has given master classes and performed in over 30 countries on six continents. Horn aside, Kristina sings soprano in various vocal ensembles, is a practicing Reiki master, enthusiastic world traveler, and dedicated foodie.
Repertoire with Orchestra:
Concerto in Eb for Two Horns and Orchestra/ Franz Joseph Haydn
Concerto in Eb no.III for Two Horns and Orchestra/ Anton Rosetti
Concerto in D major Two Horns and Orchestra/ Georg Phillip Telemann
Concerto in D major Two Horns and Orchestra/ Antonio Vivaldi
Concerto No.II "L'Estro Armonico"/
Brandenburg Concerto Nr. 1/ J. S. Bach
Divertimento for 2 Horns and Orchestra/ J. W. Kalliwoda
Concerto Grosso in d minor for 2 Violins and Orchestra(adaptation)/Antonio Vivaldi
Twas a Dark and Stormy Night (orchestra version)/ Kerry Turner
Fantasia Concertante/ Bernhard Krol
Recital Repertoire (selection):
6 Grand Duets/ Otto Nicolai
6 Duos/ Louis Dauprat
12 Duets/ W. A. Mozart
4 Duos/ Kerry Turner
African Impressions/ Paul Basler
6 Grand Duos/ Franz Duvernoy
All the Things You Are (with piano)/ Kern/ Hammerstein
Siciliana/ J. S. Bach
Two Part Inventions/ J. S. Bach
Twas a Dark and Stormy Night (with piano)/ Kerry Turner
Lauretta Bloomer, the pianist with the Virtuoso Horn Duo, was born in Oxford, England and studied at the Royal College of Music in London with Y. Solomon. Lauretta specializes in chamber music and received a special invitation to study this discipline with H. Medjimorec and G. Ebert in Vienna. During her busy career, she has performed with such soloists as Bruno Pasquier and Franz Helmerson, and has worked with ensembles in North America and Europe. She forms a regular duo with violist Michael Gieler and is a member of the Immanuel Horn Trio of Amsterdam. Lauretta was invited to perform at the School of Fine Arts in Banff, Canada and was special guest at the first International Course for Contemporary Music in Siguenza, Spain. Ms. Bloomer moved to Holland in 1993 where she works as a repetiteur with the Netherlands Opera Center. Lauretta has recently completed a recording and been featured in a documentary for Irish television performing works by Clara Schumann, on Clara Schumann's piano, in period costume. She has also collaborated with the Concertgebouw Orchestra, Amsterdam Sinfonietta, Netherlands Chamber Orchestra, Netherlands Philharmonic, and the Dutch Radio Orchestra, and is a much sought-after chamber music partner in the Benelux area as well as the United Kingdom.
Contact Information and Bookings:
Kerry Turner / Kristina Mascher
4, Rue du Kiem
Tel/Fax: (+352) 2644 0637
email@example.com / firstname.lastname@example.org