8-11 March 2019
enCORE Classical Vol 1. is a classical music conference for youth, by youth.
It explores the new ways in which people are playing, experiencing and relating to classical music around the world. It brings together 50 young musicians from around the world to engage in an exciting classical music lab to share the future of this beloved artform.
The Hans Eisler School of Music
The Hochschule für Musik Hanns Eisler in Berlin, Germany, is one of the leading music conservatories in Europe. It was established in East Berlin in 1950 as the Deutsche Hochschule für Musik because the older Hochschule für Musik Berlin was in West Berlin.
Journalist, facilitator, film producer and coach. After studying Social & Business Communication at the Berlin University of the Arts (Universität der Künste; former HdK) she worked for the European broadcasters NDR, Pro 7, BBC1 and DIE ZEIT print magazine. In 1999, Andrea co-founded BOOMTOWNMEDIA in Berlin, producing cinematographic documentaries for 12 years. In 2005 she was awarded the German Film Prize for the internationally recognized box office hit RHYTHM IS IT! about the education work of the Berlin Philharmonic orchestra and Sir Simon Rattle. Andrea, mother of two teenage daughters, loves to facilitate diverse groups, podiums and open space formats in the field of arts & cultural transformation, sustainability and digital disruption.
Founder and Director of Musicians without borders, Laura Hassler was born and raised in New York. From an early age, she was active in US civil rights and peace movements. She studied cultural anthropology and music, then worked for social change organizations in the US and Europe. After moving to the Netherlands in 1977, she built a career in music, focusing on the power of music to connect across cultures. In 1999, Laura mobilized a large network of socially conscious musicians to found Musicians Without Borders. Today, MWB is a world leader in
developing sustainable music programmes with local musicians and organizations. In Europe, MWB trains musicians to
work with refugees in Italy, Germany, Greece and Bosnia. MWB offers professional training to international musicians
and promotes social activism among musicians through presentations, publications and academic collaborations.
In partnership with
Born in 1982, Wojciech Walczak is a Polish musician and workshop leader. In 2012, Walczak became the President of JM Poland and was soon appointed General Manager of Polish National Youth Orchestra. He is responsible for a widely acclaimed unique improvisationcomposition training programme for young music students. As a violinist and violist, Walczak became a locally renowned session player, made his appearance on many classical and pop releases. He plays various instruments (piano, guitar, winds, drums) which helps him in his day to day work. As an active workshop leader, Walczak works annually with hundreds of children, students and music teachers around the world.
This professional cellist and entrepreneur is an active chamber musician, curator and concert designer across Europe. Furthermore, he publishes and holds lectures on artistic and management topics at conferences and at different universities. Steven Walter is the initiator, Artistic Director and Manager of PODIUM Esslingen, an international centre for innovation in classical and contemporary music. Highly praised for numerous innovations in concert design, education and communication, PODIUM Esslingen was awarded, among others, the ECHO Klassik, red dot award, European Culture Brand Award and classical: NEXT Innovation Award. From 2016 to 2018, Steven Walter was responsible for the programme of the digital music curator HENRY, a transmedial streaming offer by PODIUM Esslingen. Currently, Steven also curates the FellowshipProgramme #bebeethoven, a programme of PODIUM Esslingen running from 2017-2020, supported by the Federal Cultural Foundation of Germany in occasion of Beethoven’s 250th anniversary in 2020.
Community musician, music educator and researcher. She has been working as a trainer of Musicians without
Borders since 2016. Based on her experiences as a choir conductor and voice teacher for the music school of the
Barenboim-Said Foundation in Ramallah, she currently researches in her PhD the work of two international music
projects working in Palestine. Moreover, Marion is engaged as a choir conductor, workshop leader, vocal coach and
trainer in the field of community music in various projects in and outside Germany.
Karl Heinrich Wendorf
Professional musician, educator and cultural manager, Karl Heinrich Wendorf studied trombone in Berlin and London. In 2009/10 he
founded the junge norddeutsche philharmonie with friends, acquiring hands-on knowledge in project management. During his Masters
cultural and media management at the University of Music and Theatre Hamburg, he was hired as dramaturge and project
manager at the Festspiele Mecklenburg-Vorpommern. Subsequently shifting his focus towards music education, he
established his own non-profit organization for education projects kultursegel in 2017. In 2018, he joined the Hanns
Eisler School of Music Berlin and in addition to his seminars on music and self-management, he, very recently,
founded the #eislerlab, a forum for discussion on relevant subjects of the classical music business. Karl Heinrich is
also a board member of JM Deutschland and was a fellow of the Körber- and Toepfer-Foundation F.V.S.
Juri De Marco
Founder and Director of STEGREIF.orchester - The Improvising Symphony Orchestra. STEGREIF.orchester is a free ensemble founded in 2015, that plays without conductor and without music sheets, but with an unlimited love for original classical music, interpreted by young musicians in a fearless and radical way, using all available methods of improvisation, electronics and choreography, stretching the boundaries of music, presenting it in a sensual and up-to-date form. This constellation unleashes the diverse talents often hidden within an orchestra. “Stegreif“ means being able to jump on or off board at any moment. It is precisely this flexibility and freedom that the audience shares and feels. Musicians crossing genres, appreciating the heritage of classical compositions such as free improvisation, jointly embarking on the journey of modifying existing works. This new kind of concert performance, without conductor and sheet music, starts off from classical symphonies, yet constantly conquers spaces of freedom from choreography