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The ENSEMBLE DIALOGHI was formed in 2014 in Barcelona by a group of musicians motivated by a shared desire to raise questions about some aspects of performance practice: are we being fully effective in our role as performers? Are we successful at connecting with our listeners and conveying to them the entire gamut of emotions contained in the score? Are audiences aware of the basic elements of a particular musical language they are asked to appreciate? These considerations became the starting point for their study of the ways to approach the interpretation of a work, to engage the audience, and to rethink the traditional concert format.

The Ensemble Dialoghi aims to offer an innovative approach to the music of the Classical and Romantic eras. It seeks to emphasise the interconnections between instrumental music and other genres and art forms (opera, stage plays, poetry, and painting), but also to absorb the traditions and attitudes of the musical and social milieu of the period in the hope of shedding new light on the expressive aspects of the music that may lie hidden behind the notes.

The Ensemble Dialoghi, whose name symbolises a desire to communicate, feels the need to acquaint audiences with the building blocks which make up the musical language of each era. By exploring this distinctive ‘musical code’ and placing it in its historical context, one can glean certain aspects of the score that might otherwise go unnoticed. This process has shown itself to be an essential tool for bringing us closer to the experience of our precursors.

The ensemble’s insistence on period instruments stems from the same intent. The instruments used by its members prove to be a fundamental tool for a rediscovery of the full expressive potential of the music. The nucleus of the ensemble is for winds and fortepiano, which can combine into various groupings: a quintet favoured by the Viennese Classical masters, a trio typical of the Romantic period (piano, clarinet, and horn), and other combinations that may be required by the repertoire dating from the first half of the twentieth century.

Members of the ensemble have been performing together for some years, notably as players of the Freiburger Barockorchester, in Europa Galante, La Petite Bande, and other European orchestras. The ensemble can often be heard in Europe, as well as in Canada, Japan, and Singapore. Its musicians are passionate about sharing their vision with the new generation of players as part of the master classes which regularly accompany their concerts.

Cristina Esclapez, Fortepiano
Josep Domènech, Oboe
Lorenzo Coppola, Clarinet
Bart Aerbeydt, Horn
Javier Zafra, Bassoon


Photo credit: ©IGOR STUDIO

Panel 1


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IV9A8744_Dialoghi_©IGOR STUDIO copyhigh

Cristina ESCLAPEZ (Spain) pursued her graduate studies in piano performance with Ramón Muñoz in Murcia and Patricia Montero in Brussels, in the course of which she played the complete solo keyboard works of Haydn and Bach’s Well-Tempered Clavier. She subsequently decided to focus on her true passion, which is chamber music. She performs regularly with musicians such as Lorenzo Coppola and Vicens Prats, who have had a decisive influence on her career. She also shares her passion for chamber music with her students, with whom she partners in Barcelona and around the world, deeply convinced of the importance of this role, which calls for the combined talents of a music coach, confidante, advocate, ally, and improviser.


Josep DOMÈNECH (Spain) teaches historical oboe at the Amsterdam Conservatory (where he succeeded his teacher, Alfredo Bernardini) and at the Hochschule für Künste in Bremen. Josep is fascinated by period performance practice in a repertoire ranging from J. S. Bach to Gustav Mahler. He regularly performs with some of the best period orchestras, including the Bach Collegium Japan, Il Giardino Armonico, the Balthasar Neumann Ensemble, the Orchestre Révolutionnaire et Romantique, The English Baroque Soloists, and The Orchestra of the Age of Enlightenment, and he plays first oboe in the Orchestre des Champs-Élysées, led by Philippe Herreweghe. He frequently gives master classes and lectures at festivals and conservatories throughout Europe. He also collaborates with Pau Orriols, maker of period oboes.


Lorenzo COPPOLA (Italy) studied period clarinet with Eric Hoeprich. He performs regularly with the Freiburger Barockorchester, Les Arts Florissants, La Petite Bande, and La Grande Écurie. He shares his love of chamber music with artists such as Andreas Staier, Isabelle Faust, Alexander Melnikov, the Zefiro Ensemble, the Kuijken Quartet, and he enjoys a special rapport with his colleagues from the Ensemble Dialoghi. He has recorded the Mozart Clarinet Concerto with the Freiburger Barockorchester, the Mozart Clarinet Quintet with the Kuijken Quartet, and the Brahms Clarinet Sonatas with Andreas Staier. Very keen on conveying the full expressive range of the score, he loves to decode the musical vocabulary of each era and sharing it with audiences and his students. He teaches period clarinet at the Escola Superior de Música de Catalunya in Barcelona.

Bart AERBEYDT (Belgium) plays regularly with period-instruments ensembles such Freiburger Barockorchester. He can also be heard with the Orchestre des Champs-Élysées, the Orchestra of the Eighteenth Century, Akademie für Alte Musik Berlin, Collegium Vocale Gand, Concerto Kœln. He has performed as soloist in concertos by Mozart, Telemann, Handel, and Graun. After studying modern horn in Gent and Antwerp conservatories with Luc Bergé and Rik Vercruysse, he studied natural horn at Amsterdam Conservatory with Teunis van der Zwart. He can be heard in many recordings, as the Bach’s Brandenburg Concertos with Freiburger Barockorchester, of which Fanfare Magazine wrote the following : “in the new version the horn players are Bart Aerbeydt and Gijs Lauceulle, two of the best reasons to like this set”.


Javier ZAFRA (Spain) has been principal bassoon of the Freiburger Barockorchester for twenty years. He studied in The Hague with Donna Agrell and was part of the European Union Baroque Orchestra under the direction of Ton Koopman. He also performs with several other European and Japanese orchestras. In chamber-music repertoire, he regularly partners with Isabelle Faust and Alexander Melnikov, among others. He has performed the Mozart Bassoon Concerto on many occasions, notably at Wigmore Hall in London and at Lincoln Center in New York, where his performance was lauded by a reviewer fromThe New York Times. Inquisitive by nature, he tirelessly explores the timbre properties of historical bassoons and loves to share his discoveries with audiences and his longtime performing partners. He teaches Baroque bassoon at the Hochschule für Musik Freiburg im Breisgau.

Panel 2


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In a letter addressed to his father Leopold, Mozart wrote on April 10th, 1784: “I have written two grand concertos, and also a quintet […] which was received with extraordinary applause. I consider it myself to be the best thing I ever wrote in my life. How I wish you could have heard it; and how beautifully it was executed!” The quintets of Mozart and Beethoven are true little jewels of the chamber music repertoire, engaging the audience with a variety of emotions: opera-like dialogues and improvisation, drama and humor… An experience made of contrasts!

Wolfgang Amadeus Mozart (1756-1791)
Quintet for Fortepiano, Oboe, Clarinet, Horn and Bassoon in E-flat major, K. 452 (1784)

Ludwig van Beethoven (1770-1827)
Quintet for Fortepiano, Oboe, Clarinet, Horn and Bassoon in E-flat major, Op. 16 (1797)

Cristina Esclapez, Fortepiano
Josep Domènech, Oboe
Lorenzo Coppola, Clarinet
Bart Aerbeydt, Horn
Javier Zafra, Bassoon



Born in 1824, Carl Reinecke’s long career as a pianist, conductor of the famous Leipzig Gewandhaus orchestra, teacher and composer spanned over three quarters of a century. Reinecke was acquainted in his youth with musicians such as Schumann, Mendelssohn and Brahms, and went on to have pupils such as Grieg, Janacek and Bruch. His longevity allowed him to experience the early stages of the 20th century technological innovations. Besides a catalogue of around 300 compositions, his musical heritage comprises many recordings he made as a pianist, which allow us further to understand the style of playing in vogue during the 19th century in Germany. This program, enriched by the unique colors of the period instruments, evokes with a hint of nostalgia a glorious century of German romantic music.

Felix Mendelssohn (1809-1847)
Three Pieces for Clarinet, Horn [Cello] and Piano (arr.: Ernst Naumann, end of 19th c.)

Richard Strauss (1864-1949)
Andante for Horn and Piano in C major, Opus posthumous AV 86a (1888)

Johannes Brahms (1833-1897)
Sonata No. 1 for Clarinet and Piano in F minor, Op. 120 (1894)

Carl Reinecke (1824-1910)
Trio for Piano, Clarinet and Horn in B-flat major, Op. 274 (1906)

Lorenzo Coppola, Clarinet (after Ottensteiner, Munich, 1864; by Schwenk & Seggelke)
Bart Aerbeydt, romantic Horn
Cristina Esclapez, Fortepiano (end of 19th, beginning of 20th century)