The scholarship starts on 1 August 2018 and ends on 31 July 2020. Scholarship holders participate in selected tours and opera productions of the Balthasar Neumann Ensemble. Furthermore, regular and individual workshops as well as individual lessons are offered (in total 2-3 days each month). Scholarship holders can take part in the programme and continue their university studies at the same time. It is not necessary to move to a different city.

Scholarship holders receive a monthly stipend of 900 Euro for a period of two years. Travel expenses and accommodation in single/double rooms are reimbursed for all projects and workshops.

The Balthasar Neumann Ensemble doesn’t have a fixed rehearsal venue. Rehearsal venues usually depend on the concert location. The monthly workshops and individual classes mostly take place in Hamburg or Freiburg.

The scholarship holders receive individual lessons and chamber music lessons by Thomas Hengelbrock, members of the Balthasar Neumann Ensemble and external guest musicians (e.g. Matthias Goerne, Arabella Steinbacher, Daniel Rowland). Guest lecturers from various backgrounds are invited for the additional workshops.
You can here find a list of the past and current workshops.

The aim of the Balthasar Neumann Ensemble is to perform music on the basis of historically informed performance practice, while not limiting themselves exclusively to the field of early music. Works from the early Baroque to the modern period are performed on period instruments in keeping with the historical background and the date of their composition.
Every scholarship holder needs a baroque instrument and bow for the period the programme. Furthermore, a classical bow is useful. Gut strings are used in the tours and opera projects of the Balthasar Neumann Ensemble as well as in many of the lessons and workshops.
The projects of the Cuban-European Youth Academy usually require modern instruments.
If the scholarship holder doesn’t own a baroque instrument or a classical bow, the office can offer help to find one.

Unfortunately travel expenses and accommodation for the audition cannot be reimbursed.

Usually every audition takes 15 minutes. First, the candidate presents one major standard work from the Baroque, Classical and Romantic period (in the case of a solo concerto: 1st movement + cadenza).
Furthermore, selected orchestral excerpts have to be prepared. They will be communicated with the invitation for the audition.
Correpetition with harpsichord and cembalo will be provided. The candidates have to communicate the exact repertoire in advance and are moreover required to bring along scores for the pianists.
After the instrumental part, a conversation with the jury takes place.
Repertoire and procedure are the same for both first and second round.

If possible, candidates should use a baroque instrument for the baroque work and the baroque orchestral excerpts. If candidates don’t have a baroque instrument, they should at least use a baroque bow.

Two harpsichords will be provided for the audition: One is tuned in low pitch (415’), one in modern pitch (442’). The baroque work can thus be played in 415’ as well as in modern tuning.