The Jury

“I studied orchestral conducting at the Music Conservatoire in Maastricht in The Netherlands. After having attended several conducting courses in Holland and abroad, e.g. in Salzburg (where I studied with Ferdinand Leitner), I won several prizes in competitions for young conductors.

Many invitations followed: in Russia, I conducted the leading orchestras and furthermore orchestras in Lithuania, China, South Korea, Japan, Germany and of course in my own country The Netherlands where I also conducted several operas. With various orchestras I took part in famous festivals like the “World Music Days” and the “Warsaw Autumn”. Further, I led the national radio orchestras of Poland, Romania and Slovenia.
During my career, I worked with a lot of world famous soloists, like Alexei Lubimov, Anna Kravchenko and Lauma Skride as well as with almost all major instrumentalists and singers from The Netherlands.

In the past, I was a principal guest conductor with the National Symphony Orchestra of Chile, the Slovenian Radio and Television Orchestra and the Kosovo Philharmonic Orchestra. From 1988 to 2004, I was Music Director of the Dutch chamber orchestra “Ensemble ’88” which has played innumerable concerts and radio recordings. Since the beginning of my career, I conducted many ensembles for contemporary music.

I have been teaching orchestral conducting at the music academies of Maastricht and Enschede.
During 16 years, I was teaching at the music academy in Münster (Germany) and during 7 years, I was professor at the music academy in Hamburg (Germany). In this city, for two years, I also was Director of Music at the University. From 2018 to 2020, I was professor for Orchestra Conducting at the Royal Conservatoire in The Hague (Netherlands). Since 2012, I teach at the University of Arts in Bremen (Germany). As a result of all my lessons, I wrote the book “A complete conducting technique”. Last year I started with my “International Masterclass Conducting Technique” in Belgium. Next August will be the next edition (www.renegulikers.nl/masterclass).

I was most influenced by the late Anton Kersjes, my first teacher. He taught me to express my musical feelings in movements of my body and my face. Although he was not an expressive conductor himself, he was able to observe his students very well and give them exactly what they
needed.
This is what I am trying to do myself while teaching: my individual approach is very constructive, calm, I am making everyone feel safe and open, but at the same time I am approaching everyone differently and stimulating everyone to take a step forward at his own level.

During my career, there were several highlights like conducting the Slovene Philharmonic Orchestra during an European Broadcasting Union Concert as the opening of the “World Music Days”: millions of people were looking and listening – and hopefully enjoying – my skills as a conductor on TV.
Furthermore I remember conducting “Le Sacre du Printemps” (I. Stravinsky) and “Ein Heldenleben” (R. Strauss) in Russia, and Mahler’s 4 th symphony in Chile as very happy moments.

Thinking of 3 CDs that I would bring to a desert island? Definitely I would choose the “Four last Songs” by Richard Strauss, sung by Elisabeth Schwarzkopf and conducted by George Szell.
My second CD would by Beethoven’s third symphony by the London Classical Players, conducted by Sir Roger Norrington and my last, but not least, I would take “Monteverdi – Teatro d’Amore” with me and listen
a thousand times to “Pur ti miro” by Philippe Jaroussky and Nuria Rial with the ensemble “L’Arpeggiata”.”

“My name is Michael Kuhn, and I studied at the conservatories of Berlin and later in Karlsruhe by Prof. Günter Reinhold. I graduated with distinction.

I have won first prizes in various competitions and received grants for “outstanding artistic achievements” from industry and commerce and the European Piano Teachers Association in Basel, Switzerland.
I was appointed to a substitute professorship at the conservatory of Karlsruhe. Now, I teach at the music school in Tübingen and in addition at the “International Academy of musical education” in Karlsruhe.

I have played a lot of recitals in Germany, France, Spain, Italy, Austria, Swisse, Belgium, Netherlands, Luxembourg, Macedonia, Poland, Israel, Mexico and USA, both as a solist and as a chamber musician.
In addition, I gave master classes for pianists in Germany, at the “New Mexico State University” and in Los Alamos in the USA.
I’m also managing dirctor of the world-famous original MontanaraChoir and first chairman of various cultural associations.

Mostly, I was influenced by Günter Reinhold, himself a student of Alfred Cortot and Olivier Messiaen. And so, I prefer an elegant, French style of playing piano with a lot of arm weight and as less as possible tension in the wrist.

The most important achievement for me is, that I can play hundreds of concerts all over the world and that I can conduct important sacred works for orchestra and large choir, like Messa per Rossini, Requiem by Verdi, Elias and a lot more.

There are so many good pianists. Who are my favourite performers it’s a difficult question and I have no favourite.

There is so much injustice in this world, but each and every one of us can help make it a little better. Always be fair, just, and generous.
With the organisation “Plan” I support children in Africa and I fight vigorously against animal experiments in various organisations.

If I were in a deserted island 3 CDs I would bring would be:
Chopin Ballads, performed by A. Benedetti Michelangeli
Tschaikowsky’s symphonies, performed by the Gwandhausorchester Leipzig, conducted by Kurt Mazur
Liszt’s Faust-Symphonie with the Boston Sinfonie Orchestra and Leonard Bernstein.”

Born October1st, 1953, in Kinshasa, Democratic Republic of Congo.
“I studied at Institut National des Arts, where I lectured in Music Theory. I undertook Musical Research at CEDAR & served as Head of the Experimental Ensemble Maisha of INA,National University of Zaire. In 1991, I obtained Master Degree of Arts, in Art of Music, Composition from Shanghai Conservatory of Music. Later, I attended Seminars at EPHE, Sorbonne in Paris 1991-92. And I got recognition from the International Music Council of UNESCO, Paris. Also, I have attended Festivals in Vienna-1979, Quebec-1980 & Composers’Workshops in Amsterdam- 1990, Johannesburg -1996 & International Music Symposium at Churchill College, University of Cambridge, 2001, UK.

Prelude: ln this article, I will focus on of the big challenges concerning Music education in general & Music Composition in particular and especially for authors & musicians belonging to the non- western music background or tradition. Given my own experience, I have noticed the fact that Music Composition implies more about aesthetics & technique. In that matter, the chronological sense is absolutely crucial in terms of period of creation. In the meantime, let me stress the fact that the personality, the environment and geographic area have an undoubted influence on the Composer’s oeuvre. Also, I will emphasise the fact that a Composer’s philosophy must deal with the purpose of any music in terms of audience; for example when creating pieces which can improve a certain cognitive capacity inside the society, or creating epic music such as “Eroica Symphony “completed in 1804, or a ‘glamorous’ piano piece such as “Letter for Elise” both composed by L.V. Beethoven” (1). Therefore, both a Composer’s and a Writer’s chefs – d’oeuvre are akin to great admiration.

In Music education sphere: I have chosen to stress the changes in terms of creativity relating to new perspectives enhanced fundamentally by Igor Stravinsky（2）, Claude Debussy（3） & Charles Ives（4）. Indeed, I would like to mention the fact that those Composers brought up some innovative patterns. By the way, a very typical and historical music fact occurred through them(e.g.)”The Rite of Spring”, in which the rhythm is a kind of connecting thread for the harmony holds a second position in the music structure while during the previous century the melody was playing  contrarily, a preeminent role. Indeed, in view of circumstances, their achievements became fairly remarkable.

A) Russian born Composer, Igor Stravinsky: The main characteristics of his early music were the Russian features . But after his voluntary exile from Russia, he was obliged to change his aesthetic stance. Instead, he paved the way for Neo-classical works of the next thirty years. As you know, once in France,Stravinsky was influenced by a certain European mold instead of Russian idioms. Next, during his second & final exile in the United States of America, he has accumulated some unorthodox recipe in terms of orchestration.

B)Debussy, a so called “impressionist” French Composer. In fact, he was very typical at that time. Basically, his music has the tendency to explore new aggregate sounds where harmonic linkages are only picturesque.About his subjects, there are more flexible even evasive.In substance,Debussy’s sphere of action remains the exploration of French poetry and utilisation of pentatonic scale（e.g.）”La fille aux cheveux de lin”and a pure sense of mythology (e.g.) “Syrinx”. In doing so, he built up his modal harmony in the French spirit and manner.

C)Charles Ives. Now, let’s talk about one of the greatest American Composers. His music reflects a very American culture.His field contains popular tunes, revival hymns and dances of his ‘’New England‘’. Obviously, he borrowed some techniques from the European Music especially tone clusters, microtonal intervals. Also, polytonal harmonies and polymetric entities. Concerning his personality,I would like to say probably, he has four global areas which are as follows: a. Nationalism, b. Nature, c. Religion & d.Local aspects. One of his famous compositions, Piano Sonata No.2, the“Concord Sonata”; written (around 1910-1915), contains four parts hymn in Beethoven’s way but with contemporary assorted and complex sounds. These four movements consists of impressionist pictures of four authors namely Emerson, Hawthorne, The Alcotts and  Thoreau. In addition, a very typical American music’s popular style was inserted, the Ragtime（5）.

Some pedagogic indications related to my academic map.Who taught me?

a. First,I would like to share my own story concisely.In 1985, when I entered the Shanghai Conservatory of Music, my first Professor of Composition was a women Composer, like Germaine Tailleferre（6）.Her name is Madam Wang Qiang. Indeed, she is  very serious and strict in terms of artistic appreciation.In that matter, in my humble opinion, a woman is so instinctive and sensitive especially when choosing colors, clothes, shoes and so on.By the way, the choice of instruments, dynamics, tempo including forms in music area could be very colourful .She pays more a meticulous attention to those parameters.Professor Wang Qiang really appreciates all the Composers who have a patriotic love and vision as Nationalists.To go straight to the point about her favourites Composers, it seems that she belongs to the music partisans of Russian School.She is a brave woman and very talkative and has composed many superb works.

b.As Professor Wang Qiang moved to Hong Kong, my second one was Professor Zhao Xiao Sheng; graduated from Columbia University,USA.This time, was the starting point of my emancipation in terms of Contemporary Music.Professor Zhao Xiao Sheng is a very enthusiastic and opened mind.He belongs to a new generation of Chinese Composers and Music Educators.What I know from his teaching method’s secret is the fact that he is hostile to those who try to dictate their choices and views towards their students.That means, he is against this saying:”Like the Teacher, the student”.So I could only listen to his works after my graduation.Also,I realised that without the practice of polyphony,I mean Fugue & Counterpoint, it could be impossible to accomplish my goal.By the way, let me mention both Professors Chen Ming Zhi (1925-2009) & Lin Hua.The first one was an excellent Master of Fugue & CounterpointCounterpoint in western Art Music.By the way, he asked me to exploit my ‘own African music’ accordingly.And the second one belongs to the young generation.In that matter, he has encouraged me to create my fugues with Congolese music’s savour. So I have no transparent influence in terms of emotion from my Academic mentors.

Broadly, speaking what I have learned from my Tutors is relating to the concept of form and their evolution, the domain of coherence, the need of balance between the woodwinds, brass and strings including the role of pitched & unpitched percussions. In addition, I’m so thankful to my Tutors for their pedagogical experience and artistically speaking for their pragmatic approach in music culture.

My philosophy of teaching.

Before explaining my method or didactic frame, it is necessary to describe the compartments relating to music creation. And personally, I have selected at least four categories:

Creation of academic essence in terms of technical feats (e.g) Paganini（7）.

Creation which inspiration is based on esprit de corps of a hometown or rustic landscape(e.g.) Be’la Barto’k（8）, Koda’ly（9）.

Creation which is intrinsic to religious obedience (e.g.) J.S.Bach in‘’Vingt regards sur l’Enfant JESUS”（10）,G.F Handel(e.g.)”Hallelujah”（11a）,W.A Mozart (e.g.)Mass No.18”Great”（11b）.

Creation characterised by the Composer’s own introversive condition or by experimentalism such as Music & Ornithology by Olivier Messiaen（12）.

To give you an insight about the process, firstly I will ask my student to make sure the theme’s contour. Secondly, to choose the materials. Tertiary, to choose the instrument or the instrumentation.

In closing, for me, the main point remains the three key points namely the coherence, the contrast and the climax. Also, determining and having a clear picture concerning any specific audience is a must because Music depicts some mental imagery. Hence, the music punctuation or cadences and the dynamics must be precised and the tempo has a pivotal role.

Most achievements

a. My orchestral works which inspirational sources are the Congolese traditional music and Congo’s Patrimony; were performed by the Shanghai Philharmonic Orchestra under the baton of Cao Peng, in the Shanghai Auditorium, in 1990.

b. My Lullaby for piano was selected by Dr Nyaho Chapman & published by Oxford University Press in 2007.

c. My piano piece“Homage to Philip Glass” was selected & performed by Nicolas Paul Horvath at Carnegie Hall,N.Y(USA)in 2015

d. My “Piano Music “was selected & published by Da Vinci Publishing, in Osaka, Japan in 2017

e. My Orchestral piece “Rhapsody No.2” which depicts the Creation of the Universe, was performed by Harmonia Classica; conducted by Alexander Blechinger, in Vienna,Austria in 2018.

About my favourites performers

At this time of hardships due to the pandemic,I would like to mention the fact that music could play a very helpful role as many people are confined to their houses. So, they can enjoy more music to relax.In this matter,I will mention some of  my preferred performers: Daniel Barenboim, Emanuele Arciuli, Martha Argerich, Nicolas P.Horvath, Lang Lang,Sophia Agranovich(Piano)，Rachel Barton Pine,Hilary Hahn, Pablo Ferrandez, Ray Chen(Violin),YO Yo Ma,Pierre Fournicet, Misha Maisky (Cello). Of course, my list is not exhaustive. Lastly, let me conclude with this quote:”Try not to become a man of success, but rather try to become a man of value”(Albert Einstein).

Humanitarian project I would like to sustain

Indeed, I keep very clear in my mind that we have to take care of orphans. Thus, in the future,I will get involved in such a project.

Futurology & dream

If I could find a deserted island, I would bring with me three CDs which would contain: A.Church Music. B.Music by J.S.Bach to represent Western serious Music. C.Jazz.”

“Definitely Douglas Susu-Mago.
On a period where I was facing a lot of vocal doubts and problems and even thought on quitting my career, I’ve found Doug. I never seen or met anyone so interesting, intelligent, intelectual, funny, and so on.. I could write an essay about this Man and still be far from what he is, how he is and what he means for me. 
Everything I know is thanks to him, everything I’ve done so far i owe it to him. 
He not only saved my voice and my career, as he is my inspiration as a singer and as a human being. 

Well I don’t have a philosophy of teaching I must admit. 
I just try to help anyone who seeks for help. In masterclasses that I have been invited for when singing around the world I just try to make people realize how the voice is the result of a system of muscles and not only something you’re naturally born with. One can be born with a so called “ natural talent “ and work that talent , but that’s nothing compared to what she/he can achieve with proper work. 
And proper work is not manipulating the sound but developing the muscles that create the sound. 

Those are always the next ones. 
I started singing very early and did my first recital at the age of 16, still a kid. 
10 years after I had the privilege to perform in great halls or festivals  and that for  someone seeking fame can be something special. 
I try to improve my artistry, concert after concert and not focus that much  if I’m singing in a great opera house or festival or in a total unknown place. 
So if I had to answer that question I would say that I just recorded my first Cd and I was proud to realize how much my interpretation of Schumann’s Dichterliebe changed over the years. That is something I’m proud of because it makes me realize that I’m growing up as an artist and have more to give to the audience that hears me and also to the pieces I perform. 

I don’t think there’s a day that I don’t hear a Karajan’s recording. 
I love everything about him.
But if I should focus more on singers, I definitely must name Di Stefano, Macneill, Dieskau…

Well that’s a tough question as there are so many. 
When I was a kid I dreamed on being so famous that i would give concerts to gather a big amount money and end with hunger. 
But if I had to choose one today I’ll probably would go to human traffic.

Hoping that I’ll have a desert island one day, I wouldn’t move without Karajan’s recording conducting Tchaikovsky Symphonies with the Berliner Philharmoniker, Maria João Pires complete solo recordings and the Sinatra/Jobim album to cheer up the spirit.”

Czech cellist František Brikcius was born in Prague. He studied at the Prague Conservatoire, the Janáček Academy of Music, the Toho Gakuen Academy in Japan and the United Kingdom. He has been awarded many scholarships and fellowships, including the Czech Music Foundation, the Ministry of Culture of the Czech Republic, the Music Foundation OSA and the Gideon Klein Foundation for the propagation of works written by Jewish Holocaust Composers.

František chose to dedicate his life to the interpretation of cello compositions written by composers of the 17th, 18th, 19th, 20th and 21st centuries, giving special consideration to compositions for solo cello. Together with his sister Anna Brikciusová, he is a founder member of the “Duo Brikcius”. He is artistic director of FESTIVAL BRIKCIUS – Chamber Music Concert Series in Prague, BACH FESTIVAL GERS in France and WALTHAM FOREST CELLO FEST in London.

As a soloist František has performed at many festivals in Algeria, Austria, Belgium, Bosnia and Herzegovina, Bulgaria, the Czech Republic, France, Germany, Israel, Italy, Japan, Liberland, Pakistan, Poland, Russia, Serbia, Slovakia, Sweden, Turkey, Uzbekistan and the United Kingdom.

František has been teaching cello for many years. He is experienced at taking students at all levels, able to give master classes as well as support beginners. He is giving cello master classes in the United Kingdom, France, Italy and remotely online via Zoom/Skype. Accepting new cello students now. All ages and abilities are welcome!

Served as a jury member in various competitions including the Berliner International Music Competition in Germany, the Music and Stars Awards, the Music International Grand Prix, the Sound Espressivo Global Competition, the Palm Beach International Music Awards, the King’s Peak International Music Competition and the Baku International Cinema Festival in Azerbaijan.

Legendary cellist Prof. Anna Shuttleworth (student of Pablo Casals) is the teacher who influenced me the most. There are several reasons, all of them mentioned in her Memoirs (2014).

My philospohy of teaching is focusing on both technical and musical aspects of cello playing.

There are several important achievements in my carreer. One of them is music documentary film MAKANNA, based on the novel of the Jewish writer Jiří Weil (1900 – 1959), from the concert performance of the ballet MAKANNA, composed by composer Irena Kosíková for voice (Jan Židlický), solo cello (František Brikcius) and orchestra (Jan Talich – conductor, Talich Chamber Orchestra), was held at the Convent of St Agnes of Bohemia under the auspices of Sir Tom Stoppard and Václav Havel. It’s about the rise and fall of the 7th century false prophet with his face covered with the green veil and his eyes glowing as embers. It was already screened in the Czech republic, China, Mexico, Portugal and the United Kingdom. I’m currently working on new music documentary film eSACHERe (2021).

Organist Irena Kosíková (CZ, France) with her fantastic performance of organ music by Johann Sebastian Bach is my favourite performer.

If I had to choose a humanitarian project I would definitely do Médecins sans frontières (Doctors Without Borders). Our FESTIVAL BRIKCIUS – Chamber Music Concert Series in Prague is regularly organise various charity concerts for this international, independent medical humanitarian organisation. You can support the MSF here: https://www.msf.org/ .

I would bring no CD’s on a deserted island. But I would bring there my “George Kriwalski” cello made in 1904 and pile of cello music sheets. Specially by Johann Sebastian Bach, Max Reger, Ernest Bloch and Benjamin Britten. Together with cello music by Czech (Antonín Dvořák, Leoš Janáček, Bohuslav Martinů, Josef Suk and Irena Kosíková), Jewish & Terezín (Gideon Klein, Erwin Schulhoff, Zikmund Schul, Jaromír Weinberger, James Simon and David Popper) and contemporary composers (Conrad Beck, Luciano Berio, Pierre Boulez, Benjamin Britten, Henri Dutilleux, Wolfgang Fortner, Alberto Ginastera, Cristobal Halffter, Hans Werner Henze, Heinz Holliger, Klaus Huber and Witold Lutoslawski).”

The lrish guitarist Jerry Creedon was born in Cork and has
studied guitar from a young age. After graduating from University
College, Cork, he studied with the famed German guitarist Siegfried
Behrend in Germany; a Spanish Government Scholarship enabled
him to study at the Andres Segovia Summer School in Santiago de
Compostela; the Irish Arts Council grant-aided him to attend master
classes given by world-famous virtuoso John Williams in Cordoba.
Jerry Creedon is a Lecturer of Classical Guitar and founder of the
Classical Guitar Studies Programme (since 1998) at the state-of-the-
art MTU Cork School of Music.

“The teacher I learnt the most from was John Williams, because of his
open minded attitude to all kinds of music and his encouragement of
becoming an all round musician, with special emphasis on developing
sight reading and ensemble work.

Teaching is a kind of catalyst for both the student and the teacher
to examine things in a way that they wouldn’t normally do. It is
good for students to take responsibility for the way they play
something and to explain why they do it that way. Music is about
finding a way of experiencing that music yourself in a way that you
can then transmit to other people. You can’t experience music by
simply doing what someone else tells you to do.

My biggest achievements are:
Founding the Classical Guitar Programme in the MTU Cork School of
Music.
Performing with the Irish Guitar Quartet. www.irishguitarquartet.com
Bringing John Williams to teach and perform in Cork.

My favourite performers are:
Jason Vieaux, guitar
John Williams, guitar
Stephen Hough, piano
Bob James, jazz piano

If I had to choose a humanitarian project would be to encourage governments worldwide to stimulate ingenuity to combat climate change by dramatically increasing spending on research and development.

I would bring “John Williams plays Spanish Music”, “Jordi Savall, Le Concert des Nations: Bach – Brandenburg Concertos” and “Fourplay, Fourplay” on a deserted island.”

Anna Hashimoto (ARAM)’s career encompasses appearances as a soloist and orchestral musician alongside a commitment to education.  As a soloist Anna has worked with conductors such as Vladimir Ashkenazy, Myung-Whun Chung and Martyn Brabbins, and performed chamber music collaborations with artists such as Michael Collins, Leon McCawley, and the Endellion, Maxwell and Kodaly String Quartets. She is a founding member of the Atéa Quintet, who is Associate Ensemble in Residence at the Royal Birmingham Conservatoire. Anna teaches clarinet and E-flat clarinet at the Royal Birmingham Conservatoire, and tutors on courses for the National Youth Orchestra of Great Britain, Vacation Chamber Orchestra, Sound and Music Summer School for young composers, and Dartington International Summer School & Festival.  She has appeared as guest principal clarinet with orchestras such as the BBC Symphony Orchestra, London Philharmonic Orchestra, Royal Philharmonic Orchestra, Orchestra of the Royal Opera House, Japan Chamber Orchestra, and the Flanders Symphony Orchestra.

“Ever since I started the clarinet I have hugely admired Michael Collins.  Even as a nine year old I felt something incredibly engaging, almost magical, about his interpretation of all repertoire.  I used to skip school to attend his masterclasses and was able to study with Michael for my sixth form and my undergraduate, and learned so much about spontaneity and performance.

I strongly believe that my role as a teacher is to draw out the highest potential in each student.  Rather than sharing my interpretation as the ‘right’ way, I try as much as possible to share my personal experience, why I would choose certain ways to play things, but leave room for different ideas to blossom. My wish is that students become more and more confident and find their own voice.

Which is my biggest achievement is a difficult question.  Practically speaking, I think that winning the international Clarinet Competition in Kortrijk back in 2010 opened many doors for my career.  I also went on to release 3 solo CD albums, and this was always a challenge at the time but something I can look back on now with great appreciation to have been able to record them. 

Who inspires me is another tough question!  Clarinet wise, as I’ve shared I’m a huge fan of Michael Collins.  I also love hearing Andrew Marriner in the LSO, and Philippe Cuper playing Francaix.  However I feel constantly inspired by many, many performers on records, listening to concerts, and also working with fantastic colleagues.  So I feel I cannot mention any more names as the list is too long!

There are so many important humanitarian concerns, and so much change that needs to happen.  One of the UN’s 17 Sustainable Development Goals is Gender Equality.  For me this is deeply important and I’ve seen how much work needs to be done, more so in some countries than others. Especially in Japan I have encountered sexist remarks and very dated ways of thinking, and can see how many young women can be discouraged from pursuing their dreams because of societal pressure.  I also had the great fortune to work on a project mentoring and working side-by-side with the Afghan Women’s Orchestra when they came to the UK, and understanding how brave these women are, I felt the importance of having role models for the next generation. 

The first CD on my list if I were to be on a deserted island is Jean Francaix’s Clarinet Concerto recorded by Phllippe Cuper.  It never fails to cheer me up, and I’m tempted to have the slow movement played at my funeral.  The second CD, if I’m choosing today, is Britten’s War Requiem, the original 1963 recording.  The final disc might be something I can ‘chill’ with, like the Lord of the Rings soundtrack, or a Studio Ghibli film music collection…”

Pamela Sklar, flutist and composer
Praised by The New York Times as “…engaging…piquant…delightful…”,  Pamela Sklar has toured as flute soloist with famed pianist and composer Claude Bolling and other ensembles throughout the USA, Canada, Mexico, Japan, in Paris and Morocco. A sought-after flutist for her pure tone and expressive, versatile musicianship, Pamela’s performances include(d) film and international television, recordings &/or appearances for well-known artists including Paul Simon, Dave Brubeck, Alan Hovhaness, Tony Bennett, Lady Gaga, and for Aretha Franklin at the Grammy Awards. 

An award-winning and published composer of chamber music, Ms. Sklar collaborates as a flutist and composer with her own and other ensembles, writing and performing chamber music for unusual combinations of instruments. Performances, recordings and premieres of her works include the USA, Spain, and Cuba.  

Pamela Sklar studied with John Wummer, Samuel Baron, Julius Baker and in master classes with Thomas Nyfenger, and Marcel Moyse; formerly the last living legacy of the French School of Flute Playing.

Which are the professors who most influenced you or what do you remember from them and why?
“Two professors, both American, who influenced me most are
Samuel Baron. His wonderful approach to problem-solving and method of working was so helpful to me when I was working on some very challenging music. Sam was full of ideas and offered much guidance.
Karl Kraber. I admired greatly his inventive collaborations, inspiration, phrasing and great arrangements for ensembles, which he gifted to me for my own trio.”

Who are your favorite performers?

“Emmanuel Pahud, Lorna McGhee, Michael Rabin, Leonard Bernstein, Jimi Hendrix (musically speaking. I also love tap dancers including Fred Astaire, the Nicholas Brothers).”

If you would have to choose a humanitarian project to sustain, which one would you choose?

“Environmental causes- clean energy/wind & solar, work to counteract climate change, support projects to bring enough clean water to everyone, everywhere.
Help Native Americans/tribal members protect their sacred lands.”

“Driving a car a big city for the first time is very stressful. When I got my driver’s license, I knew that it would be difficult for me at first. But I had a plan. The first music CD that appeared in my car was Vivaldi’s The Seasons. I’ve always been soothed by this music. I think this is the disc I would take with me to a desert island.

Even as a student, I was interested in video production. My friends and I made amateur films. But then I could not imagine that this would become my profession. In 2010, fate brought me to the film school at the Sverdlovsk film Studio in the group of a wonderful master, cinematographer Vyacheslav Petukhov. It was this person who gave me a ticket to my favorite profession. Up until his death in 2020, we maintained good relations, called each other, and sometimes I visited him.

Working with a music video takes up most of my time. Promotional videos for concert tours, video clips, films from live performances – this is my passion, and I am glad that I have the opportunity to work with such content. This allows you to get real pleasure from the work and from the result that gets a positive response from the viewer.”