Save the dates!
Autumn Gathering will take place in Tallinn, Estonia, December 9-11, 2016!
The Estonian Academy of Music and Theatre in Tallinn, beautiful hanseatic city, is honoured to host the ECMTA Autumn Gathering on December 9-11, 2016. The days will be filled with seminars, masterclasses, concerts, featuring the opening of Chamber Music LAB concept. More details coming soon!
Welcome to Estonia!
We have also a great joy to announce that next year, ECMTA is celebrating its 10th anniversary.
In 2007, in Jyväskylä, Finland, the Pedagogic Chamber Music Conference took place. The main event of the Conference was the forming of the ECMTA - European Chamber Music Teachers´Association. To celebrate these 10 years of work, the General Meeting will be in Finland once more, this time in Kuopio, on 21-23 April, 2017. More details about Kuopio meeting coming soon.
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.
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
- 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
- Anna Prabucka-Firlej, Gdansk Academy of Music, Poland
- Michael Tsalka, pianist
- 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
- Pay the membership fee after receiving an invoice for payment.
For current members
- Current members should only use membership form if any information has changed.
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 old 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.
After having got the invoice message from ECMTA through the Maventa, all you need is to open the invoice. Behind a 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.
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:
In 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.
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.