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Save the dates for Next ECMTA meetings in Tallinn, Estonia, and Kuopio, Finland!

Dear ECMTA members and friends!

Welcome to the European Chamber Music Teachers Association Autumn Gathering in Tallinn, Estonian Academy of Music and Theatre (EAMT) on 9-11 Dec 2016!
The event will be filled with presentations from ECMTA delegates and guests, concerts, masterclasses, Members Forum, workshops, workgroup discussions and the General Meeting.
As we are approaching the celebration of our 10th anniversary in 2017, all members and guests are warmly welcome to Tallinn to share our joy and to make new plans for the future!
Please find attached the information flyer and inscription form.
Welcome to Tallinn!

Tallinn Information Flyer

Tallinn Inscription Form Please register before Nov 1, 2016!

Contact: This email address is being protected from spambots. You need JavaScript enabled to view it.


Statement on the UKs EU Referendum by EMC Chairman Ian Smith

Dear members and friends, here you can read the statement on the UKs EU Referendum by EMC Chairman Ian Smith:

* * * * *

Dear members and friends of the European Music Council,

I write as Chair/President of the European Music Council to express my deep regret and sorrow that at yesterday's referendum, the UK voted to leave the European Union by a narrow margin of 52% voting to leave and 48% voting to remain. The EMC remains at the core of my being and my responsibilities as Chair are if anything strengthened by this regrettable vote. I am happy to report that Scotland voted by a clear majority of 62% to remain as part of the EU and that could, of course lead, not only to the break up of Europe, which we all fear, but the break up of the UK too.

The majority vote has come almost entirely from an English-based populace who fear continuing immigration and want to retain control of the UK which is, in my view a misplaced priority and fails to grasp that we are stronger together. From a cultural and artistic perspective this is certainly the case and is why the European Music Council is strong and that strength comes from our members and our shared priorities and vision for music as a universal language that knows no barriers wherever it is practiced across all genres, all abilities and for the benefit of all peoples.

We will remain strong and focussed on our European and global agenda and I hope it is clear that what has just happened in the UK must make us all vigilant and ensure that we unite through the common language of music that is and remains our passion. 

Ian Smith, Chair of the EMC

Board of the ECMTA

Elected May 1st, 2016, General Assembly of the ECMTA, Fryderyk Chopin University of Music, Warsaw


  • Marje Lohuaru, Estonian Academy of Music and Theatre, Tallinn, Estonia

Vice Chairman:

  • Katariina Liimatainen, Kuopio Concervatory, Finland


  • Eilis Cranitch, Assoziaxione Ensemble Xenia, Turin, Italy
  • Filippo Faes, Conservatory in Castelfranco Veneto, Italy
  • Petras Kunca, Lithuanian Musicians´ Union
  • Yiannis Miralis, European University, Nicosia, Cyprus
  • Miriam Roycroft, Royal Irish Academy of Music, Dublin, Ireland
  • Jakub Tchorzewski, Conservatorio di Venezia, Italy

Deputy members:

  • Anna Prabucka-Firlej, Gdansk Academy of Music, Poland
  • Michael Tsalka, pianist

Chairman’s message

Dear ECMTA family!

I’m very grateful to all of you for your remarkable contribution to the very inspiring and constructive meeting in Warsaw!

My special thanks go to Katarzyna Jankowska-Borzykowska and Maia Nosowska!
I would sincerely like to thank Evan Rothstein and Keijo Aho for the incredible work that has been done in the development of the organisation.

Let us together create ECMTA as a flexible and dynamic platform of chamber music!
This work can be done together.

In gratitude,
Marje Lohuaru

How to join ECMTA

Annual fees:

  • Individual Member: 70 euros
  • Chamber Ensemble (2-5 members): 110 euros
  • Institutional Member: 140 euros
  • Contributing member (non-teacher, non-musician, individual or institution): 70 euros minimum

An Individual Member receives one vote in the General Assembly, a Chamber Ensemble 2 votes, and an Institutional Member 3 votes. A Contributing Member may participate in all activities, but may not vote in the General Assembly. A Chamber Ensemble must have a legal administrative identity and confirmed pedagogical activity.

For new members

  • Take a look at the Rules of the ECMTA in English or in Finnish
  • Return the membership form completed to: This email address is being protected from spambots. You need JavaScript enabled to view it.
  • Pay the membership fee after receiving an invoice for payment.


Membership fees 2016

The membership fees of Ecmta in 2016 will be same than in 2015. The fees, accepted by the general meeting in Nicosia, are following:

  • Institutional members 140€ per year
  • Individual members 70€ per year
  • Ensemble members 110€ per year
  • Contributing members 70€ (minimum) per year

The invoices of the fees to the members will be sent in the beginning of January 2016 by the Tili ja Talous (Account and Finances)- accounting office through the Maventa Transactions - invoicing company. The fees have to be paid by 31.1.2016.

New members will get their invoices after they have sent their membershipforms to This email address is being protected from spambots. You need JavaScript enabled to view it.

After having got the invoice message from ECMTA through the Maventa, all you need is to open the invoice. Behind the link in the message you will receive all necessary information to print and make a wire transfer. First there will open a summary of the invoice and in the lower part of it you can upload and print it in a usual looking pdf- form.

If you have any questions considering the fees, please, take a direct contact to the booking office. It is a friendly, multilinguistic company where our members can communicate in Finnish, English, German, Russian, Estonian and Swedish languages. You will find their contact information in the invoice.

Membership of ECMTA offers a lot of possibilities

One of the missions of Ecmta shall be the non-profit promotion of chamber music activity in Europe. The association has been present in several chamber music events and it's members have learned how to benefit the possibilities that the meetings offer in networking, developing common projects and supporting each other. Visiting each other´s events, festivals and competitions as performing artists, jury members, masterclass teachers, lecturers etc. belong already to the activities of many members of the association.  The Ecmta logo is to be seen still more frequently in the brochures of the chamber musical events.

As an example of these kind of activities the following couple of events from Autumn 2015:

t p henellyiannis miralisIn the middle of November there  took place a small festival called ”Light of Sound” in Finland. The festival had its roots in the Ecmta meeting in Savonlinna in the year 2013 where composer and producer Tero-Pekka Henell became friends with saxophonist Yiannis Miralis and pianist Michael Tsalka. Already earlier, when Ecmta gathered in Tallinn, he had met pianist Cristina Cavalli who already in December 2012 gave in Rome  the first performance of his composition "Twelve Roman preludes". During a steamship cruising on the lake Saimaa at the end of the Savonlinna-conference, Henell found an idea for a new work, ”Autio, seven Presumptions of the Unknown” (Word "Autio" means "Desert" in English), that he composed during 2013-2014. Yiannis Miralis ordered the work and it is dedicated to him.

Aspects of assessing chamber music

One can say that chamber music coaching is very similar to teaching a solo instrument. They both involve listening to the same things: intonation, rhythm, sound production on the instrument, fingerings, bowings, and so on.

Even the very concept of chamber music is not so different from solo works or orchestral works. Considered from a broad point of view, everything is chamber music, from the solo pieces of Bach to the huge symphonies of Mahler.

But assessing a chamber music performance is very different from assessing a solo performance. One should not assess only the performance generally but also how the members of the ensemble handle their respective roles in the ensemble. This places particular demands on the person doing the assessing, as one has to understand the psychology of chamber music and the dynamics of different ensembles, and also the roles of members in a group.