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Jury
The names of the jury members are announced after the video preselection round, together with the names of the selected candidates.

While the composition of the jury may vary from one round to another, members of the jury attend the whole of the round that they have been appointed to judge. Each member of the jury gives his or her marks for all the candidates to the ministerial official at the end of each round. The members of the jury may not vote for their own students. No consultation takes place between them.
The role of the Chairperson of the jury is to direct the operations of the competition. He or she is assisted in this task by a Secretary. Neither takes part in the voting. As from 2019, the jury of the next instrumental sessions (2019, 2020 & 2021) is chaired by Gilles Ledure, that of the next voice session (2022) by Bernard Foccroulle.
Personalities
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Chairperson of the Jury
Arie Van Lysebeth was the President of the Jury of the Queen Elisabeth Competition from 1996 to 2018. He took up the violin at the age of four. He completed his higher education at the Brussels Conservatory in music theory, bassoon, chamber music, and orchestral conducting. Following a competition, he was appointed bassoon soloist of the Belgian Radio and Television Symphony Orchestra. Two years later, he came joint first in the Prague International Bassoon Contest. He also studied conducting under Bruno Maderna in Salzburg and under Pierre Boulez in Switzerland. Starting in 1970, he conducted the Flemish Chamber Orchestra, both in Belgium and abroad. As a guest conductor, he has appeared with the major Belgian orchestras as well as with symphony orchestras in the United States of America, Argentina, Taiwan, the United Kingdom, Italy, and Germany. He has performed with many famous soloists, including Igor Oistrakh, José Van Dam, Murray Perahia, and Augustin Dumay. From 1995 to 2004 he was the regular conductor of the Symphony Orchestra of the Brussels Conservatory, where he taught chamber music for many years (1970-1994) and served as director (1994-2003). From 2004 to 2014, he was the artistic director of the Queen Elisabeth Music Chapel.
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Member of the jury
Pierre Bartholomée began studying the piano at the age of six. He is a laureate of the Royal Brussels Conservatory, where his piano teacher was André Dumortier. In Italy he followed a series of Beethoven piano performance classes given by Wilhelm Kempff. He is, with Henri Pousseur, a founder of the Ensemble Musique Nouvelle and of the Centre de Recherches et de Création Musicales de Wallonie. After embarking on a career as pianist that enabled him to give recitals, perform with orchestra and play chamber music in Belgium, France, Germany, Switzerland and Spain, he took the Ensemble Musique Nouvelle not only to the main cities of Belgium but also to many European festivals (Avignon, Paris, Amsterdam, Warsaw, Madrid, Belgrade, Zagreb), while being a producer for the musical services of Belgian television (RTBF). He subsequently devoted thirty years of his career to orchestral conducting, conducting many Belgian, Dutch, French, Italian, Swiss, Austrian, German, Norwegian, Finnish, Spanish and American orchestras, and for twenty-two seasons he directed the Orchestre Philharmonique de Liège. Invited all over Europe, America and Japan to perform a very broad repertory, Pierre Bartholomée has collaborated with soloists such as Arthur Grumiaux, Yehudi Menuhin, Leonid Kogan, Frank-Peter Zimmerman, Boris Belkin, Nikita Magaloff, Yvonne Loriod, Elisabeth Leonskaya, Shura Cherkasky, Martha Argerich, Christian Zacharias, Hélène Grimaud, Jessye Norman, Barbara Hendricks, Montserrat Caballé, José Van Dam, Narciso Yepes, Heinrich Schiff, Janos Starker, Paul Tortelier and made many radio and discographic recordings, awarded with among others a Prix Charles Cros, a Victoire de la Musique, a Koussevitzky Prize and two Cecilia Prizes. His personal catalogue includes two operas, two oratorios, six works for large orchestra, chamber music, vocal music, instrumental pieces and electronic music. Most of these works have been performed, some in the great international centres for music (Paris, Berlin, Amsterdam, Washington, Montreal, Quebec, Geneva, etc.). The oratorio Ludus Sapientiae, composed to a text by François Jongen on the occasion of the 575th anniversary of the foundation of the University of Louvain, was given its first performance in 2001 in the Grande Aula of Louvain-la-Neuve, conducted by Jordi Savall, and was also performed in Brussels on 10 June 2007 conducted by Jean Tubéry. La Monnaie has commissioned three works from him, inspired by Henry Bauchau: Le Rêve de Diotime, a dramatic scene for soprano and chamber orchestra, first performed in 2000 and revived in 2002, and Œdipe sur la route, an opera in four acts, first staged in 2003 in a performance conducted by Daniele Callegari with stage direction by Philippe Sireuil, and with José Van Dam in the title role. In 2008 his opera La Lumière Antigone with a libretto by Henry Bauchau was world premiered. Having for several years taught musical analysis at the Royal Brussels Conservatory, Pierre Bartholomée was composer in residence at the Catholic University of Louvain (UCL) where he was guest professor and where he set up and for three years ran an inter-faculty composition workshop. One of his recent works, Fragments des Belles Heures, a song cycle for soprano and small instrumental ensemble, with texts by Liliane Wouters, was premiered in Brussels at the instigation of the UCL. His 13 Bagatelles for piano and his String Quartet were given first performances in Brussels in 2004. The String Quartet subsequently featured in the programmes of several concerts in Germany. His Sonata for viola and piano was performed several times in 2004, Pentacle for eight instruments, commissioned by the Nouvel Ensemble Contemporain, was premiered in Switzerland in 2005 and All days are nights (two visions of Shakespeare’s Sonnet XLII), for female voice, flute, cello and piano, was incorporated into a music-poetry production and was published in a CD/book by Éditions Esperluète. In 2006 a Passacaglia for marimba and live electronics, a commission from the Centre de Recherches et de Formation Musicales de Wallonie, was first performed in Liège and later performed in Brussels, at the Ars Musica Festival, further performances of 13 Bagatelles, Fragments des Belles Heures and of the String Quartet, the premiere in Brussels of Histoire d’un caillou, three songs for soprano and piano to a short poem by Henry Bauchau, the composition of 7 x 7 for 7 concertante instrumentalists, a commission from Ars Musica (the first performance taking place in March 2007), and the completion of two large-scale works, a Requiem, first performed in Brussels in 2007 and Oraisons for cello was premiered in Paris in 2007. Commissioned by the city of Maastricht, La Rupture des Falaises was created in 2008 for the Ensemble 88. In 2009 Ars Musica Festival has featered Face à face. For its 50th anniversary in 2010, the Orchestre Philharmonique de Liège commissioned and performed Symphonie. In 2011 he has composed the string quartet Envol et mort d’un papillon and a score for the National Orchestra of Belgium to accompany a silent film by Joris Ivens. A new production of La Lumière Antigone will take place in Switzerland in 2012. The record labels Cypres, Igloo and Fuga Libera have issued recordings of most of Pierre Bartholomée’s symphonic works as well as a large part of his chamber music output. Several of his discs have won many awards from the international musical press (Choc from Le Monde de la Musique, Joker from Crescendo, etc.). Pierre Bartholomée is a member of the fine arts division of the Royal Belgian Academy. He has on several occasions presided the jury of the Antonio Pedrotti International Orchestral Conducting Competition in Trento (Italy) and has been a member of juries for the Queen Elisabeth Competition, the Gaudeamus Competition (Hilversum), the Queen Marie-José Composition Competition (Geneva), the Composition Competition of the International Besançon Festival, the Geneva International Piano Competition and the International Saxophone Competition of Dinant. His works are published by Universal (Vienna), Salabert and Jobert (Paris), Cebedem (Brussels) and Quindicesima (Valenciennes). Editor Mardaga and the Conseil de la Musique de la Communauté française have dedicated a book by Robert Wangermée to him : Pierre Bartholomée - parcours d’un musicien.
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Member of the jury
A laureate of the 1980 Queen Elisabeth Competition, Véronique Bogaerts has been entirely trained by Belgian violin teacher Carlo Van Neste. She has won several international competitions and has given many concerts in Europe, the Far East and South America. She has also participated in the juries of international contests, such as the Queen Elisabeth Competition in 1997 and 2001 and the Competition of Prague in 2004. An accomplished player of chamber music, she plays the violin in piano duos and trios, string quintets and piano quintets (Ensemble César Franck). Her very extensive repertoire has also allowed her to interpret numerous concertos from all periods with conductors of world renown. Véronique Bogaerts is a much sought-after violin pedagogue. Having started teaching at age eighteen at the Brussels Royal Conservatory of Music, she subsequently was nominated as a violin professor at the Royal Conservatory of Mons and at the Chapelle Musicale Reine Elisabeth. Currently, she teaches at the Brussels Royal Conservatory and the Centre Eduardo Del Pueyo. Véronique Bogaerts plays a 1699 violin by Jean-Baptiste Roggerius.
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Member of the jury
Augustin Dumay is one of the last representatives of the great European classical tradition and, in particular, of its Franco-Belgian branch which was previously embodied by Ysaÿe and Grumiaux. He first came to the attention of the European public thanks to his meeting with Herbert von Karajan, his concerts with the Berlin Philharmonic Orchestra and his recordings for EMI, a.o. the Concerto’s of Mendelssohn and Tchaikovsky with the London Symphony Orchestra. His distinctive place as the ‘grand classical stylist’ amongst the violinists of our time has been corroborated by his outstanding recordings of the Mozart concertos with the Camerata Academica Salzburg (violin and conducting, Deutsche Grammophon) ‘without exaggeration one of the finest Mozart violin concerto discs ever made.’ (Julian Haylock, Classic CD) and Beethoven’s complete sonatas for violin and piano with Maria João Pires (Deutsche Grammophon) ‘which set surely ranks with Grumiaux and Haskil, Menuhin and Kempff or Perlman and Ashkenazy...’ (International Record Review). Chamber music and orchestral conducting are equally important in his musical trajectory today, attracting increasing interest from orchestras who are inviting Augustin Dumay to assume their direction: he has been appointed Musical Director of the Royal Chamber Orchestra of Wallonia until 2013 and, having been the Principal Guest Conductor of the Kansai Philharmonic Orchestra in Osaka, he takes up the position of Musical Director as from 2011 for five seasons. Augustin Dumay performs regularly with the leading orchestras in the world under the direction of the greatest contemporary conductors. He is also very much involved in the development of a new generation of musicians ; as a master in residence at the Queen Elisabeth Music Chapel, a new European pilot project based in Brussels, he coaches talented young violinists, most have met the success in the main international music competitions. The film-maker Gérard Corbiau (Le Maître de Musique, Farinelli, ...) made a documentary film about him - ‘Augustin Dumay - Laisser une trace dans le cœur’ - shortly to be released on DVD. His discography includes some forty recordings, many of which have received prestigious awards - Gramophone Awards, Audiophile Audition, Preis der deutschen Schallplattenkritik, Grand Prix du Disque, The Record Academy Award - and is available on the EMI and Deutsche Grammophon labels. His next recordings (2012) will be devoted to Concerto’s of Beethoven and Brahms.
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Member of the jury
Italian violinist Franco Gulli (1926-2001) studied with his father (a graduate of Prague Conservatory under Sevcik) and with Arrigo Serato at the Chigi Academy in Sienna. He pursued further studies with Joseph Szigeti in Switzerland, followed by an international career as a soloist with major orchestras and celebrated conductors. Franco Gulli has also performed as a chamber music player, with pianist Enrica Cavallo and as a founding member of the Italian String Trio, with Bruno Giuranna and Giacinto Caramia. Recordings include the complete cycle of Beethoven sonatas and string trios, the Mozart violin concertos and Paganini’s Fifth Concerto. Franco Gulli has taught at the Chigi Academy of Sienna, Italy, the Lucerne Conservatory, Switzerland, and the Indiana University School of Music in Bloomington, Indiana, where he carried the title of Distinguished Professor of Music.
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Member of the jury
Tuomas Haapanen studied the violin at the Sibelius Academy in Helsinki. After his debut in 1948 he pursued his studies in Paris with Léon Nauwinck and René Benedetti. In addition to a fine career as soloist and chamber musician, he has also been appointed concert master for the Finnish Radio Symphony Orchestra and the Helsinki Chamber Orchestra. In 1962 he was appointed head violin teacher at the Turku Conservatory, and in 1978 he became violin professor at the Sibelius Academy; where, from 1987 to 1990, he also acted as principal. He has held master classes in Europe, America and Japan, and many of his students have won prizes in international competitions. Tuomas Haapanen acted as the chairman of the International Jean Sibelius Violin Competition from 1981 to 2001, and has regularly been invited to serve as member of the jury in most major violin competitions. In 1999 he received the Finnish State Music Prize.
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Member of the jury
Born in 1945, Koichiro Harada studied the violin, chamber music, and orchestral conducting at the Toho Gakuen School of Music in Tokyo and at the Julliard School under Hideo Saito, Kazuyoshi Akiyama, Dorothy DeLay, and Ivan Galamian. In 1969, he founded the Tokyo String Quartet, of which he was first violin for twelve years. He later taught at the Cleveland Institute of Music and at the Aspen Music Festival. In 1983, Koichiro Harada returned to Tokyo and founded a number of other chamber music ensembles, including NADA and the Mito Quartet. He has also become a well-known orchestral conductor and works regularly with ensembles such as the New Japan Philharmonic, the Osaka Philharmonic Orchestra, the Hiroshima Symphony Orchestra, the Sapporo Symphony Orchestra, the Kyoto Symphony Orchestra, and the Tokyo Philharmonic Orchestra. In parallel with his concert activities, Koichiro Harada teaches at the Toho Gakuen School of Music in Tokyo and serves regularly on the juries of a number of international competitions, including the Queen Elisabeth Competition and the Wieniawski and Paganini competitions; in 2005, he chaired the jury of the Long-Thibaud-Crespin Competition in Paris.
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Member of the jury
Yuzuko Horigome started learning the piano at the age of four; she began the violin the following year, with Ryosaku Kubota. In 1975 she continued her violin studies with Toshiya Eto, before graduating from the Toho Gakuen School of Music in 1980. That same year she became the first Japanese musician to win First Prize in the Queen Elisabeth Competition. She has played with the Berlin and New York Philharmonic Orchestras, the London, Chicago, St Petersburg, Montreal, Vienna, and Tokyo Symphony Orchestras, the Amsterdam Concertgebouw, La Scala (Milan), the RAI Orchestra, the New Japan Philharmonic, and the Camerata Salzburg. She has performed with prestigious conductors such as C. Abbado, A. Prévin, K. Masur, C. Dutoit, R. Chailly, E. Leinsdorf, S. Ozawa, I. Fischer, S. Rattle, A. Dimitriev, V. Ashkenazy, and S. Vegh. In chamber music she has played with M. Argerich, A. R. El Bacha, P. Rogé, W. Manz, G. Kremer, P. Graffin, T. Zehetmair, N. Imai, K. Kashkashian, M. Maisky, A. Meneses, and many others. Yuzuko Horigome has been and continues to be a guest at many international festivals, including Marlboro, Lockenhaus, Tanglewood, Musicfest La Jolla California, Lugano, and Buenos Aires. A guest teacher at the Brussels Conservatory, she is one of the most prominent soloists in Japan, where she tours for several months every year.
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Member of the jury
The celebrated violinist and teacher Kim Nam Yun has served on the juries of numerous prestigious competitions, including the Taipei International Competition, the Tibor Varga International Violin Competition, the Joseph Joachim International Violin Competition Hannover, and the Tchaikovsky Competition. Her career took off when she won First Prize in the Tibor Varga International Violin Competition after studying at the Juilliard School of Music under Ivan Galamian and Felix Galimir. As a promising young soloist, she was invited to perform at major venues such as Carnegie Hall, Lincoln Center for the Performing Arts, the Kennedy Center, and Sydney Opera House, as well as in other major concert halls in Europe and Asia. She has performed with major orchestras throughout the world, including the St Petersburg Symphony, the Royal Philharmonic, the Zagreb Radio Symphony, and many others. She has been invited to many famous music schools and festivals and is currently professor of violin at the Korea National University of Arts.
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Member of the jury
Herman Krebbers made his first public appearance as a nine-year-old prodigy. Since 1945 he has toured the United States, France, Germany, Switzerland, Poland, Italy, Finland, Norway, Sweden, Belgium, Argentina, Russia, Portugal and England. He received a Golden Record for his interpretations of the Beethoven, Brahms and Mozart violin concertos together with the Concertgebouw orchestra, as well as an Edison for Haydn’s two concertos. He has recorded concertos by Paganini, Dvorák, Viotti No. 22, Bruch, Vieuxtemps No. 4, Bach A moll, Brahms’ double-concerto with Tibor de Machula on cello, Vivaldi and Bach double-concertos with Theo Olof on violin, Vivaldi’s Four Seasons, Saint Saens’ Havanaise and Rondo Capriccioso and Ravel’s Tzigane. Herman Krebbers was a professor at the Robert Schumann Hochschule Düsseldorf and has taught at the Sweelinck Conservatory in Amsterdam for over 30 years. He has served as a jury member at competitions around the world. To give master classes, he has been invited to Japan, Canada, France, Spain, South Africa, England, Belgium, Germany, Italy and Holland. On account of his many contributions to musical life in the Netherlands, he was appointed Officer in the Order of Oranje-Nassau.
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