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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.