ATOS TRIO
Annette von Hehn (violine), Thomas Hoppe (piano), Stefan Heinemeyer (cello)
Since its foundation in 2003, the ATOS Trio has conquered the world's most prestigious concert halls, accompanied by overwhelming reactions from critics and audiences.
"Three voices – one sound: it´s this absolutely perfect unit of phrasing, sound, feel and interpretation that distinguishes the ATOS Trio from all others”.
- (Detroit FreePress, USA) -
From the Kalichstein-Laredo-Robinson International Trio Award, the most prestigious US prize for the genre, and the Melbourne Competition with numerous special prizes to the exclusive award as New Generation Artists by the BBC: the ATOS Trio has been elevated to the top of the podium since its early years. And from Carnegie Hall New York to the major festivals and Oceania: ATOS is acclaimed by audiences and celebrated by critics.
Mar. 17, 2026 - 7:30pm
(doors open 6:45pm)
ATOS Trio
"Brilliant - Sparkling - Beautyful - Dancing - Joyfull - Passion - and what a lovely interaction between three great musicians."
Program for the anniversary “2 years of
feingeistmusik – chamber music at Nicolaihaus”
Johannes Brahms:
Piano Trio in B major, Op. 8 (first version, 1854)
Brahms’s early Piano Trio Op. 8 reveals the 21-year-old composer in expansive Romantic breadth and passionate intensity. Contemporary figures such as Clara Schumann valued this original version more highly than the later revision, praising its immediacy, boldness, and emotional richness.
Fanny Hensel-Mendelssohn:
Piano Trio in D minor, Op. 11
Fanny Mendelssohn’s Piano Trio in D minor was premiered in the circle of the celebrated Sunday musicales hosted by the Mendelssohn family—just a few steps from today’s Nicolaihaus. The work combines dramatic tension with lyrical intimacy and is now regarded as the pinnacle of her chamber-music output.
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Samuel Coleridge-Taylor:
Five Negro Melodies, Op. 59
In the Five Negro Melodies, Samuel Coleridge-Taylor transforms African American spirituals into finely crafted chamber music, marked by memorable melodies, warm sonorities, and rhythmic vitality.
“What Brahms did for Hungarian folk music, DvoÅ™ák for Bohemian, and Grieg for Norwegian folk music, I have tried to do for these Negro Melodies,” the composer wrote.