Ensemble Esperanza – Nordic Suites
ENSEMBLE ESPERANZA was presented with the Special Achievement Award 2017 at the International Classical Music Awards.

Florian Noack – Sergei Lyapunov, Works for Piano Vol. 2
Florian Noack wurde in der Kategorie „Solo Instrument Award 2017“ bei den „International Classical Music Awards“ ausgezeichnet.


Kotaro Fukuma – Chopin

Born in Tokyo, Kotaro Fukuma began learning piano at the age of five and has received many high awards in international competitionscompetitions, including the Arthur Rubinstein, Tel Aviv; Paloma O’Shea, Santander; Maj Lind, Helsinki; BNDES, Rio De Janeiro; and Gina Bachauer, Salt Lake City. In 2003, at the age of 20, Kotaro won both First Prize and the Chopin Prize at the 15th Cleveland International Piano Competition. Since then his concert career has developed on five continents (North and South America, Europe, Africa and Asia).


Sabine Weyer – Berliner Camerata

Johann Sebastian Bach’s harpsichord concertos were written between 1729 and 1740 in Leipzig. The Brandenburg Concerto No. 5 was the first in the history of the keyboard concerto to contain an extended solo part for the harpsichord. In the harpsichord concertos that followed soon after, the keyboard instrument fully established its leading role. Meanwhile, manuscript studies have shown that Bach’s harpsichord concertos are derived from earlier concertos for other instruments.

Felix Mendelssohn’s Double Concerto for Violin, Piano and Strings in d minor shares certain similarities with Bach’s keyboard concertos, both in terms of its sparkling effervescence and youthful exuberance, but also in the many contrapuntal passages with which the young composer sought to demonstrate his capabilities. At the same time, Mendelssohn also sought to pay homage to “the Father of Western music”. It is widely known that he played a critical role in Bach’s rediscovery; Mendelssohn’s revival of the St Matthew Passion helped to restore Bach’s rightful place in the history of music.


Siri Karoline Thornhill, Sopran – Grieg-Lieder

“For me, it is important when I compose songs, not first and foremost to make music, but above all to give expression to the poet’s innermost intentions. To let the poem reveal itself and to intensify it, that was my task. If this task is tackled, then the music is also successful. Not otherwise, no matter how celestially beauti-ful it may be.”

At the time Edvard Grieg wrote these words in a letter to his biographer Henry Finck in 1903, he was at the height of his success and enjoyed the reputation as the greatest living composer in his native country of Norway.