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How different can the same combination of instruments sound? At the Calefax Reed Quintet concert at the Hagenhaus, this question became the starting point for a musical journey spanning several centuries. Under the title Change of Color, the five musicians demonstrated the remarkable versatility of the oboe, clarinet, saxophone, bass clarinet and bassoon.

Calefax itself has played a defining role in establishing this unusual instrumentation. Since the 1980s, the Dutch ensemble has developed the reed quintet into a chamber music format of its own. With little original repertoire initially available for this combination, the musicians began creating their own arrangements. This has become one of the ensemble’s defining qualities: familiar works are not simply transcribed, but approached from an entirely new perspective of sound.

At the Peter Kaiser Concert Hall, this approach led through remarkably different musical worlds. Nicolaus Bruhns was followed by excerpts from Leoš Janáček’s piano cycle On an Overgrown Path, music from Sergei Prokofiev’s ballet Romeo and Juliet, and finally George Gershwin’s Rhapsody in Blue. Baroque lines, finely drawn textures, sharp rhythmic contrasts and the energy of jazz did not merely follow one another, but repeatedly formed unexpected connections.

It was particularly in these transitions that the title Change of Color became tangible. A single instrument could emerge from the ensemble, only moments later to become part of a unified sound again. Bright, transparent passages gave way to darker, almost orchestral colours; precisely defined individual voices could suddenly merge into a dense musical whole. Each of the five instruments retained its own character while continually becoming part of something new.

The concert also demonstrated what an arrangement can achieve. Music normally associated with piano, orchestra or an entirely different instrumentation gains a new perspective in the hands of Calefax. Familiar melodies remain recognisable, yet their colours shift. Details come to the foreground, secondary voices acquire new significance, and well-known works can be heard almost as if for the first time.

Perhaps this was the particular fascination of the evening: musical transformation did not mean leaving the original behind. Instead, a different sound opened up another way of approaching it. Change of Color thus became more than the title of a programme – it was an invitation to listen closely to just how many colours music can contain.

What does it mean to look back on one’s own story – and what questions can that story raise for the present? At the first evening of the Nachfragen erlaubt – Questions Welcome – series at the Hagenhaus, this idea of open conversation took centre stage. Moderator Alexa Ritter led an encounter with Swiss film critic and author Alex Oberholzer in which personal memories, social questions and a global health issue became closely intertwined.

Oberholzer’s biography is extraordinary. Born in 1953 without his right hand and right foot, he later contracted polio as a child. He spent the first twelve years of his life at the children’s hospital in Affoltern am Albis, largely separated from his family. In his autobiographical book Im Paradies der weissen Häubchen, he has written about these formative years. At the Hagenhaus, he recalled a childhood shaped by restrictions and decisions made by others, but also by encounters, humour and the ability to maintain his own perspective on life.

The evening, however, was not simply about looking back. Oberholzer went on to study mathematics, literature and art history before finding his professional path in journalism. For more than three decades, he followed the world of cinema as a film critic for Radio 24. The conversation therefore revealed a life that cannot be reduced to illness or disability, but one marked by intellectual curiosity and a repeated determination to open up new possibilities.

The presence of members of Rotary and a representative of the World Health Organization added another dimension to the discussion. The global fight against polio has been one of Rotary’s major international commitments for decades. Through Oberholzer’s personal account, a disease that can easily become an abstract matter of statistics acquired a human dimension: polio became tangible as the experience of one individual, while at the same time remaining a global challenge that has not yet entirely disappeared.

It was precisely this connection between personal memory and a wider global perspective that shaped the evening. Alexa Ritter took the title Questions Welcome seriously, picking up ideas, exploring them further and allowing different perspectives to meet. The aim was not to provide a definitive answer to every question. Instead, the conversation created space to reflect on self-determination, inclusion, medical progress and what hope can mean when it is rooted in lived experience.

Perhaps that was the particular strength of the evening: one person’s story opened a window onto much larger questions. Asking questions does more than reveal something about another person. At times, it can also change the way we understand history, responsibility and the present.

What does the musical history of a country sound like when it is not simply recounted, but played, danced and remembered together? At Rock ’n’ Roll im Fürstentum, the Peter Kaiser Concert Hall at the Hagenhaus became a place where past and present met in a particularly immediate way.

As part of the Donnerstag im Hagenhaus series, the LIVE music podcast Musik aus Liechtenstein explored a distinctive chapter of Liechtenstein’s cultural history on 8 October. The evening was not simply about familiar songs or historical facts. At its centre were the people, experiences and memories that have shaped the development of rock music in the country.

Host Andreas Krättli guided the audience through the evening in conversation with Antoine Lemaire, author of the book Rock ’n’ Roll im Fürstentum. DJ Heinz Mühlegg added original vinyl records and personal recollections to the discussion. Music history was therefore not presented as something abstract, but became audible through actual recordings and lived experience.

The evening also showed that rock ’n’ roll has always been closely connected with movement. Tanzclub Liechtenstein brought partner dancing to the stage, while Urban Dynasty added a contemporary perspective through street dance. Further contributions by Kurt Ackermann as well as Fausi and Marco Meier of the Väh-Hüater broadened the programme and revealed the many different stories connected with Liechtenstein’s music scene.

It was precisely this combination that gave the evening its character: memories met live performance, vinyl met dance, and personal stories became part of a shared cultural history. Rather than offering a nostalgic look back, the event demonstrated how musical traditions remain alive when people continue to tell their stories, reinterpret them and pass them on to another generation.

Musik aus Liechtenstein extends this idea beyond the event itself by recording these stories in audiovisual form. The resulting documentation preserves more than a single evening. It captures voices, encounters and memories that form part of Liechtenstein’s musical history.

How quickly can a concert hall become a dance floor? At the Los Pitutos concert at the Hagenhaus, the answer came in the most spontaneous and exhilarating way. More than 100 guests experienced an evening that began with warm, inviting sounds and ended with the entire audience on its feet.

Los Pitutos bring together musical worlds that might initially seem far apart. The classically trained musicians from Chile and Colombia combine bolero and cumbia with influences from the 1970s, pop, funk and rich vocal harmonies. The result is not simply a collection of different styles, but a distinctive sound that feels immediately familiar while continuing to surprise.

Acoustic strings met electric bass and clear, infectious grooves. Gentle melodies gave way to driving rhythms, while short breaks created space for improvisation. The musicians responded to one another with an unmistakable joy in performing. This sense of interplay gave the evening its immediacy: rather than following a fixed sequence, the audience seemed to experience the music taking shape in the moment.

A special closeness soon developed between the stage and the audience. The vocal harmonies invited people to hum along, the rhythms became increasingly irresistible, and by the end of the concert hardly anyone remained seated. The entire audience was dancing. For a while, the Peter Kaiser Concert Hall became an open and vibrant meeting place where the boundary between listening and participating almost disappeared.

Perhaps this was the most memorable experience of the evening: music from different countries and traditions does not need to be explained in order to bring people together. Sometimes all it takes is a melody, a shared rhythm and a willingness to be carried along. Los Pitutos showed how naturally these elements can create joy, connection and movement.

The concert was held with the kind support of Liechtensteinische Kraftwerke.

How many different sides can a single voice reveal? At the concert with British mezzo soprano Anita Monserrat and pianist Iain Burnside, the Hagenhaus became a place where this question received a surprisingly varied answer. From Bizet’s “Carmen” to Mozart, Brahms and Mahler, and on to Berlioz, Korngold and Montsalvatge, the programme felt less like a journey through musical history than a journey through different human emotions.

We encountered very different female characters and emotional worlds along the way. Carmen asserts her freedom with sensual confidence, Mozart’s Dorabella is overcome by almost uncontrollable agitation, while Berlioz leads us into the darker and more fragile world of Ophélie. Between them came songs about love, longing, memory and loss. These are emotions that require no musical expertise because we recognise them from our own lives.

Anita Monserrat gave each of these worlds its own colour. Her voice could create intimacy, withdraw almost completely and then, moments later, fill the room with striking presence. Yet the beauty of the sound was only part of the experience. Again and again, there was a sense that she wanted to discover what the words were really telling us. The highly experienced song pianist Iain Burnside was far more than an accompanist. Voice and piano entered into a dialogue in which words, sound and silence all carried meaning.

One of the pleasures of the evening was the ease with which familiar music could sit alongside less familiar discoveries. The Habañera from “Carmen” or Rossini’s “Una voce poco fa” may have awakened memories, while other works opened new doors. There was no need to know when a song was written or where it belongs in musical history. Listening was enough.

Perhaps that was the most memorable experience of the evening: within a matter of minutes, a voice can take us into very different lives while touching something unexpectedly familiar. Those willing to follow it may discover more than music in a concert like this. Sometimes, they may also encounter a side of themselves.

At the recent concert featuring clarinettist David Orlowsky, the Hagenhaus became the setting for a musical journey that reached far beyond sound alone. Together with guitarist Daniel Stelter and percussionist Tommy Baldu, Orlowsky presented music from the programme “Petrichor”, exploring the fascinating connection between sound, scent and memory.

Petrichor is the distinctive scent that rises when rain falls on dry earth. For David Orlowsky, this sensory experience became the inspiration for a series of compositions. Pieces such as “Lisboa”, “Magnolia” and “Marrakesh” do not tell stories in the traditional sense. Instead, they open spaces for association, allowing personal images, places and memories to emerge.

The immediacy of this music also has much to do with the way it was created. Many of the pieces grew out of melodies, chords and rhythms developed collaboratively by the three musicians. Clarinet, guitar and percussion meet as equal voices, creating music that moves freely between genres and draws much of its character from the attentive interplay between the performers.

This was precisely what made the evening so appealing. There was no need to know the works beforehand or to have any particular musical expertise. All that was required was a willingness to listen and to notice which images and memories the music might evoke. Like a familiar scent, music has the remarkable ability to bring something long forgotten suddenly back into the present.

The concert at the Hagenhaus demonstrated just how personal a musical experience can become. Perhaps that is one of the most rewarding qualities of evenings like this: you come to listen to music and leave with something that connects unexpectedly with your own life.

At the latest dance evening with the Rowsekit Band, the Hagenhaus was once again transformed into a place of joy, connection, and movement. Numerous dance enthusiasts took the opportunity to fill the dance floor and enjoy an uplifting evening in a warm and welcoming atmosphere.

With its versatile repertoire, the band provided the perfect musical backdrop and delighted the audience with rhythms that invited everyone to dance. From the first song to the last, the joy of sharing music and movement was evident throughout the evening. Whether experienced dancers or spontaneous participants, the dance floor remained lively all night long.

At a time when opportunities to dance to live music are becoming increasingly rare, evenings like these offer a special cultural and social value. They create space for encounters, strengthen community, and bring people of different generations together.

The evening was marked by energy, elegance, and many smiling faces – an event that will be remembered for a long time to come.

In conversation with moderator Alexa Ritter, philosopher Wilhelm Schmid explored the question of what happiness truly means. Known for his philosophy of the art of living, Schmid challenged common ideas of permanent happiness and offered a broader perspective on human fulfillment.

At the heart of the evening was his concept of the “fullness of happiness”: the ability to embrace not only joyful and successful moments but also crises, disappointments, and difficult experiences as essential parts of a meaningful life. Schmid argued that a sense of meaning often provides a more lasting foundation than the pursuit of constant well being, and that the art of living lies in learning to navigate life's contradictions.

A particularly engaging aspect of the event was the active participation of the audience. Guests were invited to reflect on their own understanding of happiness and contribute their thoughts to the discussion. This created a lively exchange that connected philosophical ideas with personal experiences.

The evening offered both inspiring insights and an opportunity for collective reflection on fundamental questions of life. The strong audience response and thoughtful discussion highlighted the enduring relevance of Schmid’s ideas on happiness and the art of living.

In his recital, Seth Schultheis, winner of the Telekom Beethoven Competition Bonn 2025, presented an evening of remarkable stylistic range and musical maturity. The program connected works by Timo Andres, Debussy, Beethoven, Chopin, and Schumann in a compelling dramaturgical arc.

Opening with Timo Andres’ Fiddlehead, Schultheis immediately demonstrated great tonal sensitivity and a refined sense for contemporary sound worlds. In Debussy’s selected Préludes, he impressed with transparency, nuance, and atmospheric depth. Beethoven’s Variations Op. 34 were shaped with clarity and structural precision, while the two barcarolles by Ned Rorem and Chopin unfolded moments of lyrical calm and expressive richness.

In the second half, Schumann’s Davidsbündlertänze formed the emotional center of the evening. With naturalness and narrative depth, Seth Schultheis brought the cycle’s constantly shifting moods and characters vividly to life.

The result was a concert evening full of contrast, poetic moments, and musical intensity.

In a recital with Andreas Ottensamer and José Gallardo, the audience experienced an evening of stylistic variety and tonal elegance. The program ranged from Mendelssohn’s lyrical Songs Without Words and Schumann’s intimate Romances to Piazzolla’s History of Tango and Gershwin’s jazz inspired Preludes.

Andreas Ottensamer brought the clarinet to life with expressive depth, flexibility, and a luminous sound. An internationally distinguished clarinetist shaped by a strong orchestral tradition and a broad chamber music perspective, he combined refined tone with spontaneous vitality. José Gallardo shaped the piano part with sensitivity, energy, and clear musical presence.

What made the evening especially engaging was the connection between highly contrasting sound worlds: Romantic intimacy, French simplicity, tango, blues, and jazz came together in a vivid musical arc.

The result was a concert evening full of color, character, and musical agility.

In a recital with Elli Choi and Anna Han, the audience experienced an evening defined by virtuosity, stylistic diversity, and strong musical presence. The program ranged from Schubert and Beethoven to Stravinsky and Wieniawski, opening up a wide spectrum of sound worlds.

In Schubert’s Rondo brillante and Beethoven’s Sonata No. 10, Elli Choi already demonstrated her remarkable technical command and expressive depth. The young violinist, who is rapidly establishing herself on the international stage, impressed with clarity of tone, presence, and refined musical sensitivity. Anna Han shaped the piano part with nuance and depth, proving an equal and attentive partner.

A particular highlight of the evening was Stravinsky’s Divertimento, which stood out as an exciting discovery for many listeners. Its rhythmic precision and colorful language brought a sense of freshness and energy to the program.

The concert concluded with Wieniawski’s virtuosic Polonaise de concert, leaving the audience with an impression of energy, curiosity, and musical intensity.

In her piano recital, Yulianna Avdeeva presented a program of remarkable breadth, spanning from Bach to Chopin and bringing together diverse facets of pianistic expression.

The evening opened with Bach’s Chromatic Fantasy and Fugue, performed with clarity and structural precision. This was followed by several works by Liszt, whose dark and experimental sound world created a striking contrast. Here, Avdeeva demonstrated not only her extraordinary virtuosity but also her ability to shape highly contrasting expressive landscapes.

In the second half, she turned to Chopin’s 24 Preludes, Op. 28. With a strong sense of unity and refined attention to character and atmosphere, she shaped the cycle into a compelling whole.

The internationally acclaimed pianist, who rose to global prominence after winning the Chopin Competition in 2010, impressed with playing that combined power, sensitivity, and interpretative depth.

The result was an evening of great intensity, tonal variety, and artistic coherence.

At the concert on April 16, violinist Soyoung Yoon and pianist Marcin Sikorski presented a program of remarkable dramaturgical range under the title “Myths.” Works by Kreisler, Weinberg, Szymanowski, and Debussy brought together contrasting musical worlds into a richly layered listening experience.

From the very beginning, in Kreisler’s virtuosic Präludium and Allegro, Soyoung Yoon demonstrated her strong tonal presence, technical command, and stylistic refinement. The internationally acclaimed violinist, born in Seoul and recognized early through major competition successes, impressed throughout the evening with playing that combined precision and expressive depth. Marcin Sikorski shaped the piano part with great sensitivity and clarity.

A particularly striking element of the concert was the direct engagement with the audience. Through brief musical introductions to Weinberg and Szymanowski, the artists opened up the works and guided the listening experience. The result was an evening marked by closeness, depth, and a rich variety of sound that left a lasting impression.

At the concert “Zeitlos” on March 26, the Cologne-based organ jazz trio Neuzeit presented a program that reimagined classical masterpieces in a fresh sonic language. Works by Tchaikovsky, Satie, Grieg, Shostakovich, Offenbach, Paganini, Rachmaninoff, and Bach were interpreted with creativity and stylistic openness.

The trio impressed with a distinctive sound that moved fluidly between jazz, classical music, and improvisation. Familiar melodies appeared in surprising arrangements that preserved their original character while opening up new perspectives. The interplay of organ, double bass, and drums created a rich sonic spectrum, ranging from subtle nuance to powerful grooves.

With “Zeitlos,” the musicians succeeded in connecting different listening habits and creating a concert experience that was both accessible and artistically compelling.

In a recital with Kevin Zhu and Benjamin Hochman, the audience experienced a program that combined virtuosity with remarkable narrative depth. The evening opened with Brahms’s Hungarian Dances in Joseph Joachim’s arrangement, performed with rhythmic precision, vivid color, and great energy.

Grieg’s Violin Sonata No. 3 in C minor unfolded a wide emotional range, moving between lyrical intimacy and passionate intensity. The second movement in particular stood out for its subtle interplay and expressive nuance.

Richard Strauss’s Violin Sonata formed the powerful conclusion of the program. Here, both artists displayed an impressive spectrum of sound and expression, from singing warmth to brilliant virtuosity. Kevin Zhu captivated with technical command and storytelling intensity, while Benjamin Hochman proved a sensitive yet powerful partner at the piano.

The audience experienced an evening rich in contrast, expression, and musical dialogue.

On March 12, 2026, the Schumann Quartett performed its program HEIMAT. The evening featured Mozart’s String Quartet No. 20 in D major, K. 499, known as the Hoffmeister Quartet, alongside Dvořák’s String Quartet No. 12 in F major, Op. 96, the “American”.

The ensemble impressed with an interpretation marked by precision, tonal depth, and remarkable immediacy. Particularly striking was the natural way in which the quartet combined musical tension, refined ensemble playing, and vivid communication. This resulted in a concert experience that brought out both the transparency of Mozart’s musical language and the warmth and expansiveness of Dvořák’s work.

The audience experienced an evening full of intensity, openness, and chamber music energy.

On 19 February 2026, piano and sand met at the Hagenhaus in an encounter that felt both delicate and profoundly immediate. A quiet thread of poetry ran through the evening, shaped by the tension between sound and transience. The sand images created live by Anna Vidyaykina shifted with each gesture, opening a visual space in which familiar piano repertoire unfolded anew.

Alongside these ever changing scenes, Sabina Hasanova guided the audience through her New Moon programme with poised clarity. Her selection of works by Debussy, Rachmaninoff, Beethoven, Chopin, Ravel and Boulanger invited listeners into emotional landscapes where the moon has long served as a quiet companion to human feeling. The music resonated through the room while the sand in Anna’s hands offered a second voice to the narrative.

It was this interplay that made the evening so distinctive. Music that exists only in the moment and images that dissolve as soon as they appear reminded us how rich the fleeting can be when we allow ourselves to perceive it fully. Those who embraced this combination experienced a concert that lingered like a familiar thought revealing its depth only in reflection.

On Thursday, 12 February 2026, the Hagenhaus in Nendeln hosted an evening that fully lived up to its title, Intimacy. Daniel Müller Schott on violoncello and Annika Treutler on piano shaped the concert as an intense musical dialogue in which broad sound arcs and the finest nuances complemented each other naturally.

The programme opened with Schumann’s Fantasiestücke op. 73, creating a deeply personal atmosphere. Tenderness, agility and flashes of energy unfolded organically, carried by a performance that made every turn feel like a short narrative. Prokofiev’s Cello Sonata op. 119 then expanded the expressive range considerably. Between dark stillness and striking clarity, a compelling tension emerged, driven by precision and a carefully shaped musical breath.

After the interval, Brahms’ Cello Sonata No. 2 op. 99 formed the centre of the evening. Warmth, passion and architectural grandeur came together in a performance that was both powerful and finely detailed. The interplay sustained the energy of the fast movements as convincingly as the intimate depth of the quieter moments.

An evening of the highest artistic level, marked by intensity and a resonance that lingered.

Am February 5, 2026, the evening was defined by musical openness and a rich variety of sounds. With the Preda World Collective, the audience experienced an ensemble that effortlessly builds bridges between tradition and the present.

At the center of the program, cimbalom virtuoso Marius Preda held the threads together. Shaped by his studies in The Hague and international collaborations, he created a sound world that was both dense and remarkably flexible. At the piano, Eduard Preda impressed with a distinctive touch—his playing and compositions clearly revealing the voice of a new generation.

The ensemble’s foundation was provided by Robertino Mihai, whose warm double bass tone anchored the music, while Maxim Zettel brought energy and depth with a refined feel for Brazilian and Afro-Latin rhythms. As a guest, guitarist Ratko Zjaca expanded the ensemble’s sonic palette with additional colors and textures.

Original compositions, clear melodic lines, and plenty of space for improvisation shaped the night. The dialogue between the voices—driven by virtuosity and attentive listening—made the music feel alive, tracing a wide arc from folklore to jazz and contemporary expression.

On 22 January 2026, the Hagenhaus in Nendeln hosted an impressive evening dedicated to contemporary Fado from Lisbon. At the heart of the programme was an ensemble led by guitarist, composer and producer Diogo de Castro, who gently opens the tradition of Fado to new musical ideas.

He was joined by Tomás Pauseiro on Portuguese guitar, singer Carolina Varela Ribeiro, Manuel da Silva on acoustic bass and violinist João da Silva, creating a rich and immersive sound world.

The programme explored Fado as music of longing, the city and the night. Original compositions stood alongside traditional forms, while improvised interludes connected verses and refrains. The Portuguese guitar formed the shimmering core, supported by guitar and bass, while the violin added an unusual second narrative voice, setting the sense of saudade in motion.

On 15 January, the Cuarteto Casals opened the Thursday at the Hagenhaus concert series in Nendeln with an outstanding programme. Founded in Madrid in 1997, the ensemble has been among the leading string quartets worldwide for more than 25 years.

The programme featured Joaquín Turina’s La Oración del Torero op. 34 and Franz Schubert’s final String Quartet in G major D 887. With exceptional clarity, technical mastery and a profound understanding of musical structure, the quartet delivered a performance of remarkable intensity and depth.

Based in Barcelona, the ensemble performs regularly at major international concert halls and festivals and is widely regarded as a benchmark for artistic excellence in chamber music.