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Maruša Brezavšček (SI)

 

EDUCATION
(2023) Schola Cantorum Basiliensis (Master of Arts FHNW in Musikpädagogik, Studienrichtung Alte Musik instrumental/vocal, Blockflöte)
(2021) Schola Cantorum Basiliensis (Master of Arts FHNW in Spezialisierter Musikalischer Performance, Studienrichtung Alte Musik, Historische Spielpraxis, Blockflöte)
(2019) Universität Mozarteum Salzburg (Bachelorstudium Blockflöte)
(2018-2019) Escola superior de musica de Catalunya (Erasmus, flauta dulce)
(2016-1017) Conservatorio di Brescia »Luca Marenzio« (Corso libero di flauto dolce)
(2014) Universität Mozarteum Salzburg (PreCollege, ex Vorbereitungslehrgang)

CONCERTS (10 most important from the last 4 years)
(2025) Radovljica, Festival Radovljica 
(2025) Celje, Festival Seviqc 
(2025) Varaždin, Varaždinske barokne većeri 
(2025) Basel, Forum Frühe Musik ReRenaissance 
(2025) York, York Early Music Festival 
(2024) Innsbruck, Innsbrucker Festwochen der Alten Musik 
(2024) Cividale del Friuli, Festival Musica Cortese 
(2023) Basel, Erasmus klingt! Lab Festival Basel 
(2023) London, London International Festival of Early Music 
(2022) Tel Aviv, Zucker Hall

FOCUS (the most important from the last 4 years)
Specialisation in Italian Trecento, Renaissance, early and high Baroque, and contemporary music,
recorder, dulcian (Renaissance bassoon), Baroque bassoon,
active as a soloist and chamber musician.

PROJECTS (the most important from the last 4 years)
(2025) Brummen und Blasen (Forum Frühe Musik ReRenaissance) 
(2025) Phantasma: Heaven and Hell (York Early Music Festival) 
(2024) From Royal Courts to the Stage: The Musical Pulse of London (Innsbrucker Festspiele Alter Musik, Seviqc, Baročni Randevuji)

RECORDINGS (the most important from the last 4 years)
(2025) Radiotelevizija Slovenija
(2024) Radiotelevizija Slovenija
(2023) Radiotelevizija Slovenija, BBC

DISCOGRAPHY
(2025) Stradivarius (Accursio Antonio Cortese: Peregrinatio) 
(2019) Ars Slovenica, Edicije DSS (Brina Jež Brezavšček: Ponotranjene razsežnosti) 
(2015) Radio Slovenija, ZKP RTVS (Brina Jež Brezavšček: Samo drobec modrega) 

ACHIEVEMENTS (the most important from the last 4 years)
(2025) Ljubljana, Priznanje pomembnih umetniških del: Področje glasbene ustvarjalnosti in poustvarjalnosti – kljunasta flavta
(2024) York, EUBO Development Trust for the Most Promising Young Artist/s specialising in the Baroque repertoire
(2022) London, London International Festival of Early Music, First Prize

AFFILIATIONS
(2023-) Self-employed musician in Switzerland
(2023-) Lecturer at Music Academy Ljubljana
(2023-) Capella Helvetica (member) 
(2022-) Musikschule Küttigen/Biberstein
(2021-) Bastion (artistic director) 
COLLABORATIONS (the most important from the last 4 years) 
(2025) Musica Cubicularis
(2024) Musica Gloria
(2023) Camerata Bern
(2022) Jerusalem Baroque Orchestra

 

REVIEWS

  • One of the highlights of this year’s Seviqc festival, which relocated to Celje this summer, was the performance of the outstanding interpreter Maruša Brezavšček, together with the Switzerland-based Ensemble Bastion. With every concert in Slovenia, Maruša Brezavšček confirms her status as an artist of international standing, as evidenced by her appearances with ensembles such as Ensemble Bastion, Musica Cubicularis and Ensemble Pampinea. She is equally accomplished in contemporary, baroque and medieval repertoire, demonstrating remarkable artistic breadth and maturity. […] Maruša Brezavšček shone with brilliant phrasing and exceptional technical virtuosity, always combined with an authentic and historically convincing interpretation. (Marina B. Žlender, Glasna, 1 September 2024)

  • Maruša Brezavšček is an exceptional virtuoso; together with her Basel colleagues she created one of the most substantial concerts of baroque ensemble music heard in recent years on the Ljubljana concert scene. She was not a soloist in the conventional, foregrounded sense of the word; particularly in the ritornellos she assumed the role of a more or less integrated voice within the overall texture, shining precisely where appropriate. In the opening movement by Johann Joseph Fux, one could even hear several delicate glissandi, which by no means sounded accidental – they enriched the entire composition. In Telemann’s quartet it seemed as though she quite literally spoke the composer’s language. Her phrasing approached almost speech-like articulation, softening in dialogues with the ensemble; rhetorical confidence, charisma and wit characterised the solo passages. (Lovrenc Rogelj, Radio Ars, Glasbeni utrip, 6 October 2021)

  • She demonstrated that the recorder is not a one-dimensional instrument, as an unfounded prejudice sometimes suggests; when well played, its expressive range is far greater than generally recognised here. She performed as a fully focused musician alongside a justifiably renowned ensemble. (Ivana Maričić, Delo, 18 October 2021)

  • The multi-award-winning young Slovenian musician Maruša Brezavšček clearly masters such a subtle instrument as the recorder with great authority. Her technical command is convincing, as is her distinctly musical phrasing and dynamic nuance in all three highly virtuosic movements of Vivaldi’s Concerto for Recorder in D major, RV 428. Together with the Baroque Orchestra Musica Cubicularis, the young artist delivered a truly impressive interpretation. (Zdenka Weber, Klasika.hr, 27 September 2021)

 

 

WEBSITE
www.marusabrezavscek.com

FACEBOOK
https://www.facebook.com/marusabrezavscek/

VIDEOS
Christoph Graupner - Ouverture-Suite for Recorder, Strings and Continuo in F major, GWV 447
Ensemble Pampinea - Saltarello
Ensemble Bastion / Arcangelo Corelli, Sonata Nr. 4, op. 5 / Ornamentation by Johan Helmich Roman