26.04.2026 | 17:00h | FESTSAAL, ALTES STADTHAUS WINTERTHUR
Valentina Dubrovina, Cello
Silvia Carlin, Piano
Anna Zanetta Reichert, Piano
Alexandre Zanetta, Horn
PROGRAM:
J. C. Eschmann (1826-1882), from Im Herbst – Phantasiestücke op. 6 for horn and piano
Phantasiestücke
Ständchen am Abend
R. Schumann (1810-1856), Adagio and Allegro op. 70 for cello and piano
F. Mendelssohn (1809-1847), Variations concertantes op. 17 for cello and piano
J. C. Eschmann (1826-1882), from Waldabendbilder op. 74 for piano
Waldeinsamkeit
Freundliche Begegnung
Notturno
Puck
J. Brahms (1833-1897), from Fünf Lieder op. 105 (arr. for cello and piano)
“Wie Melodien zieht es mir leise durch den Sinn” (Groth)
“Immer leiser wird mein Schlummer” (Lingg)
“Der Tag ging regenschwer” (Liliencron)
J. C. Eschmann (1826-1882), from Phantasiestücke op. 3 for horn and piano
Sehr langsam
J. C. Eschmann (1826-1882), from Im Herbst – Phantasiestücke Op.6 for horn and piano
Allegro vivace
Intermezzo
Zum Weinlese
Today, the name Carl Johann Eschmann reveals a composer who was deeply embedded in the vibrant musical life of the nineteenth century, yet who now feels almost like a rediscovery. On the occasion of his 200th anniversary, we present him afresh: as a refined Romantic, a poet of sound, and a musical contemporary of some of the period’s most familiar names.
Eschmann belonged to an era in which music became increasingly charged with passion, longing, and inner intensity—the world of Robert Schumann, Felix Mendelssohn, and, a little later, Johannes Brahms. Their music continues to shape our concert life today, and it was within this rich artistic landscape that Eschmann developed his voice.
His music balances clarity with expressive depth. At times we sense Mendelssohn’s elegance and lightness, at others Schumann’s poetic intimacy, and occasionally an early glimpse of the warm sonorities later associated with Brahms. Yet Eschmann remains unmistakably himself: personal, direct, and immediately engaging.
For his 200th birthday, we bring Eschmann into the spotlight—not in isolation, but in dialogue. In our Winterthur concert, his works are heard alongside those of the composers to whom he is stylistically and intellectually close. What emerges is not a historical exercise, but a living musical conversation across generations.
The REVISION Project invites listeners to rediscover a composer—perhaps to hear him attentively for the first time—and to place him where he belongs: at the heart of the nineteenth-century Romantic sound world.
An anniversary is always an invitation. Here, it is an invitation to listen closely, to be surprised, and to rediscover a voice that has too long remained unheard.
VALENTINA DUBROVINA & SILVIA CARLIN
The cellist Valentina Dubrovina and the pianist Silvia Carlin met in Basel ten years ago while studying at the Hochschule für Musik. Their shared passion for rare and overlooked music led them to found the REVISION Project. Through a thoughtfully curated repertoire and refined interpretations, they shape the identity of the project and embody its high musical standards.
Both are award winners of renowned international competitions and have established their musical careers in Switzerland and Europe.
Valentina performs as a soloist, in chamber ensembles, and with her clarinet trio, the Varga Trio, while also playing in various orchestras.
Silvia teaches piano at the Musik-Akademie Basel and performs in concerts across Switzerland and Europe.
ANNA ZANETTA REICHERT
Anna Reichert studied piano at the Zurich University of the Arts as well as at the Lübeck Academy of Music with Konrad Elser. An exchange year at the Berlin University of the Arts (UdK), masterclasses with distinguished pianists such as Evgeni Koroliov, Lars Vogt, and Menahem Pressler, and several awards—including first prize at the Landolt Competition—shaped her musical training.
After returning to Switzerland, she taught at the music schools of Winterthur and Schaffhausen, while simultaneously completing a Master of Advanced Studies in Music Pedagogy at the Bern University of the Arts and a Certificate of Advanced Studies in Piano Pedagogy in Basel. In addition to her musical activities, she trained as a yoga and children’s yoga teacher and, in 2022, published a collection of finger exercises for young piano students with the Holzschuh Music Publishing House.
Today, Anna Reichert is active as a pianist, accompanist, and juror, with a particular interest in chamber music and in the works of the forgotten Swiss composer Johann Carl Eschmann. Since August 2023, she has been teaching at the Riehen Music School.
ALEXANDRE ZANETTA
Alexandre Zanetta, originally from the Paris region, began playing the horn at the age of six. He discovered his passion for the natural horn at an early stage through his studies with Jacques Adnet, before continuing his training on the modern horn with Marie-Luise Neunecker in Berlin and Jens Plücker in Lübeck.
At the Schola Cantorum Basiliensis, he further refined his studies with Thomas Müller and Jean-François Madeuf, specialising in historical horns and pursuing an approach rooted in historical authenticity, without the use of modern intonation aids.
Since 2021, Alexandre Zanetta has been active as a lecturer in historical horn performance, first in Trossingen and later at the HEM Geneva. In autumn 2022, he was appointed Professor of Historical Horn at the Schola Cantorum Basiliensis.
Alongside his teaching, he maintains an active international performing career, regularly collaborating with leading ensembles such as La Cetra Barockorchester Basel, Collegium 1704, and Café Zimmermann. He has also participated in recordings with the Akademie für Alte Musik Berlin, the Mozarteum Orchestra Salzburg, and Los Elementos.