Few cellists have as much schwung and charisma on stage as Anastasia Kobekina. But even more important is her intense play and unprecedented perfection. Anastasia shows these qualities in three masterpieces from the cello repertoire. You probably recognize the beginning of Bach's First Cellosuite, because you regularly hear it passing by in films and commercials. With Chopin's Cello Sonata, Anastasia touches the heart of romance. The music sounds like Chopin is personally pouring out his heart to you. With his First Cello Sonata, Beethoven wrote the first piece in which cello and piano play an equal role

Technical perfection and lilting melodies: these are just a few words from the international press that describe Anna Vinnitskaya's wonderful playing. This masterly pianist can rarely be heard as a soloist in the Netherlands. That is why it is extra special that she can be heard in the Edesche Concert Hall. Anna makes an impression with the narrative Ballads by Brahms and the atmospheric Arabesque by Schumann. Chopin's Second Piano Sonata, with the world-famous Weeping March, is recognizable from the first note. They are all pieces that seem to have been made for the Bösendorfer Imperial. Anna Vinnitskaya is looking forward to it: "The basses on this wing are so deep!"

Schubert's Der Tod und das Mädchen is without doubt the best-known string quartet ever composed. What makes this piece so special? And why do listeners want to hear it over and over again? Maybe because it's about the essence of existence. Life and death are circling around each other in the Tod and the Mädchen. For Schubert's masterpiece, there is hardly a better interpreter imaginable than the sublime Signum Quartet. This German ensemble is a specialist when it comes to Schubert. "The quartet plays transparently and animated," says Gramophone. "A top ensemble that provides heartwarming interpretations", writes OpusKlassiek.

Together with Bach's St. Matthew Passion, St. John's Passion is one of the most beloved passions ever. One of the secrets of the play lies with the evangelist John himself. In his version of Jesus' Passion, the writer is more 'to the point' than the other evangelists. Bach makes clever use of this, because in St John's Passion there is speed and you hear more drama. This is reinforced by the choir's considerable contribution, as in the poignant opening choir 'Herr, unser Herrscher'. And of course there are beautiful arias like 'Zerfließe, mein Herze' and 'Ergwäge'. The Apollo Ensemble provides an impressive experience in passionate times.

You know what's so great about improvisation? The music originates on the spot. Without sheet music in front of them, trumpeter Eric Vloeimans and organist Hayo Boerema take you into the moment. It is an adventurous tour, the outcome of which is undecided. How's that? Hayo says: "Where we are on aces are those moments when we get inspired. That gives an atmosphere where everything that happens is exciting!"