Français | Español | Italiano

The DIALOGHI ENSEMBLE (Spain) offers an innovative approach to music of the classical and romantic periods. The ensemble stands out by its highest level of artistry and its ability to (re)connect with audiences. Its members perform on period instruments and share with audiences the main keys of the musical language in order to unveil all the emotions intrinsic to the music. The ensemble’s debut recording featuring Mozart and Beethoven quintets for fortepiano and winds will be released in 2018.

Photo credit: ©IGOR STUDIO

Panel 1


Français | Español | Italiano

IV9A8744_Dialoghi_©IGOR STUDIO copyhighCristina ESCLAPEZ (Spain) is a teacher at the Escola Superior de Música de Catalunya as well as at the Conservatorio Superior de Música del Liceu, in Barcelona. As a chamber musician, she performs regularly along artists such as Vicens Prats, Jaime Martín, Julia Gállego, Benoît Fromanger, Philippe Bernold, Branimir Slokar, Michel Becquet, Lorenzo Coppola, etc.


Josep DOMÈNECH (Spain) is often collaborating with Les Talens Lyriques (Christophe Rousset), the Bach Collegium Japan (Masaaki Suzuki), Il Giardino Armonico (Giovanni Antonini), the Orchestre Révolutionnaire et Romantique (Sir John Eliot Gardiner) and the Concert des Nations (Jordi Savall). He teaches baroque oboe at the Amsterdam Conservatory.

iv9a8707_dialoghi_c2a9igor-studio-copyhigh.jpgLorenzo COPPOLA (Italy) performs regularly with the Freiburger Barockorchester, Les Arts Florissants, La Petite Bande and other leading orchestras of the early music scene. He recorded several significant works from the clarinet repertoire such as the Mozart Clarinet Concerto with the Freiburger Barockorchester, the Mozart Quintet with the Kuijken Quartet, the Mozart Wind Serenades with Zefiro Ensemble and the Brahms Sonatas alongside pianist Andreas Staier.

iv9a8646_dialoghi_c2a9igor-studio-copyhigh.jpgPierre-Antoine TREMBLAY (Canada) plays regularly with top period-instruments ensembles such as the Freiburger Barockorchester (Germany), Europa Galante (Italy), the Orchestre des Champs-Élysées (France), Arion Orchestre Baroque (Canada), the Orchestra of the Eighteenth Century (The Netherlands) and B’Rock (Belgium).

iv9a8620_dialoghi_c2a9igor-studio-copyhigh.jpgJavier ZAFRA (Spain) is a member of the Freiburger Barockorchester and a teacher at the Hochschule für Musik Freiburg. He is also a founding member of the Parisian orchestra Le Cercle de l’Harmonie (Jérémie Rhorer). He played the Mozart Bassoon Concerto numerous times, most notably at the Wigmore Hall in London and the Lincoln Center in New York, where his performance was praised by the New York Times.

Panel 2


Français | Español | Italiano



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
Pierre-Antoine Tremblay, 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)
Pierre-Antoine Tremblay, Horn (after Alexander, Mainz, c. 1890; by Richard Seraphinoff)
Cristina Esclapez, Fortepiano (end of 19th, beginning of 20th century)