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ZVONIMIR Hačko
ICCM Music Director
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Now in his fourth season as the Artistic Director/Prin-cipal Conductor of the International Centre for Contemporary Music (ICCM), Zvonimir Hačko stands as one of the leading figures in contemporary music. He is an avid performer and curator of new works as well as special projects – all of which he promotes on the wider international scene. Hačko also maintains a busy conducting schedule on both sides of the Atlantic with major
orchestras including those in London, Warsaw, Los Angeles and New York City. An artist with a career that spans nearly four decades, he brings to his performances a keen sense of style, broad artistic perspective, and a deep commitment to artistic authenticity.
Prior to his appointment to ICCM he served as Music Director of Österreichische Symphoniker, Sacramento Philharmonic, and Oregon Music Festival. His recent guest conducting activities have included engagements with Brazil National Symphony, Haifa Symphony, London Sinfonietta, Tbilisi Symphony Orchestra (Georgia), Philharmonia, State of Mexico Symphony, Royal Philharmonic Orchestra, Orchestra Sinfonica Siciliana (Italy), Sacramento Philharmonic (USA), Orchestra and
Chorus of Croatian National Theater, and many others.
Hačko’s upcoming performances and recordings include work with Budapest Symphony Orchestra, The Hanover Band, Royal Philharmonic Orchestra, London Symphony Orchestra, Orchestra of St. Luke’s (NY), Musica Sacra Chorus & Orchestra (New York), Oratorio Society of New York, Sinfonia Varsovia, and the English Chamber Orchestra. He records for Signum Records, Naxos, and Supraphon.
Summit Leadership
Beethoven Conference
27-30 March 2026, London
DR. CHRISTINA GUILLAUMIER
Summit Director
Dr Christina Guillaumier is a musicologist, pianist, and multilingual author with extensive experience in research leadership and international collaboration across the arts. She is Director of Research and Global Engagement at ICCM, where she leads the Centre’s research vision and international strategy, developing global partnerships that connect artists, scholars, and cultural organisations.
Her research explores how music reflects and shapes cultural life, with particular strengths in twentieth-century repertoire, performance practice, and conservatoire pedagogy. She is internationally recognised for her scholarship on Sergei Prokofiev, including The Operas of Sergei Prokofiev (2020) and the award-winning biography Prokofiev (Reaktion Press, 2024).
Christina has held senior leadership and academic roles at leading UK conservatoires and has taught widely across Europe and North America. Alongside her academic work, she is an editor for Bärenreiter and an active broadcaster and public communicator. At ICCM, she brings research expertise, sector leadership, and an international outlook to shaping ambitious, globally engaged programmes.
BARRY COOPER
Principal Advisor to the Summit
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For the past two years, Barry Cooper has played a pivotal role in shaping the Summit through hisinsights, critical observations, and astute commentary on all things Beethoven. He has beenextraordinarily generous with his time, sharing his deep and wide-ranging knowledge, and offeringconsistently clear, probing perspectives—particularly when navigating the challenges of performance-practice issues from
Beethoven’s later years. His sustained engagement in discussions with our artistsand visiting scholars has led to sharper focus and deeper insight, much of which will be shared at thisfirst in a series of composer-focused summits.
Born in Westcliff-on-Sea, Essex, Cooper studied piano and composition from an early age, earning scholarships to Gordonstoun School and later to University College, Oxford. There he studied organ with John Webster, receiving an MA in 1973 and a DPhil in 1974. His own compositions include the oratorio The Ascension.
Cooper is internationally renowned for his scholarship on Beethoven, including his work on Beethoven’s sketchbooks and his influential book Beethoven and the Creative Process. He is also widely known for his completion and realization of Beethoven’s fragmentary Symphony No. 10.
Drawing on his extensive study of the sketches, Cooper identified material for the individual movements and assembled the first movement into a musically coherent whole. The realization was recorded by the London Symphony Orchestra under Wyn Morris, later revised, and received its public premiere in 1988 with the Royal Liverpool Philharmonic Orchestra conducted by Walter Weller—fulfilling Beethoven’s original promise of a Tenth Symphony to the Royal Philharmonic Society. Several recordings of the work are now available.
From 1974 to 1990, Cooper taught at the University of Aberdeen, where his interests expanded to include early printed music in the city and music theory in 18th-century England. His research has also led to the discovery of rare 17th-century French harpsichord music and one of the oldest known canons.
More recently, Cooper released a new edition of the Beethoven Piano Sonatas for ABRSM, incorporating three additional sonatas not usually included. He also authored the accompanying critical commentary, detailing the editorial decisions and documenting many thousands of corrections. Since 1990, Cooper has taught at the University of Manchester, where he serves as Professor of Music. Alongside his ongoing work on Beethoven’s sketches, he teaches courses in Western music history, editing, bibliography, harmony, and counterpoint.
Additional Support Staff
Nuno Lucas
Conference Coordinator
Nefeli Erma Maliali
Conference Coordinator