„Music is maybe one of society's most unexplained necessity.
As we all develop special abilities and talents, some people are
on this world to make music. Helping musicians
to reach their highest level of expression and to live doing
what they are meant to be doing is taking part in preserving
our own cultural heritage.“
Foundations for supporting the artists are nothing new. A substantial financial investment is required to study and give someone a chance to achieve something in art. This financial issue too often inhibits the optimal growth of young musicians striving towards a concert career. The times are over when being talented was sufficient to be recognized and supported. Talent, high-level performance and hard work aren't enough anymore. Without considerable financial assets, the opportunity to study music and to be given a chance to prove one’s worth in public are reduced to almost zero.
There are already several prestigious foundations that support artists. In order to access these institutions, one must already be a part of an inner circle. Formated "products" are then brought by the media dictatorship to the public, promoting an indiscriminate music consumption from which individuality is frowned upon (and occasionally even talent or actual abilities). The media world is simply focused on guaranteeing large-scale profits. The combination of money struggles and strong artistic individuality (which are not easily accepted by the mainstream media) causes many great artists-to-be to find themselves isolated, with their future career jeopardized.
The aim of the Esperus Art Fund is to focus exactly on some of these unknown talents. Mainly aimed at musicians, but open as well to any art forms, the Esperus Art Fund strives to take care of the "first expenses" (such as those for education, living, administration and promotion) necessary for a young artist to survive and thrive, and to help promote those ready to go on stage. Because the fund aims to make daily life and growth easier for these artists, this project is of great importance for a better future.
The cost of living is continually rising, and earning one’s living (especially as an artist) is continually getting more difficult. Countries around the world, though they couldn’t exist without art, often mistreat the young artist. One often forgets that the concept of the tortured, brilliant, and penniless artist has evolved, and that today it is only synonym of oblivion.
An utopian spirit, combined with a taste for adventure and challenge were the motivating factors in carrying out this project. Founded by Louise Chisson and Tamara Atschba in 2016 and supported by the ABC Musique Association, the Esperus Art Fund aims to give high-potential talents a chance to show their abilities and share with us the beautiful things they, each in their own way, have to tell through their talent.
"Radiantly inspired and beguilingly engineered performances. Notably sensitive piano playing from
Tamara Atschba" - ***** BBC Music Magazine
Tamara Atschba was born into a singer's family in Tbilisi, Georgia. At the age of four, she had her first piano and composition lessons with her mother, Prof. S. Egorowa and with Prof. L. Nikabadze. She won numerous competitions such as the Kabalevski Competition, the Caucasian Competition for Young Interprets, the Soloists Competition of the Philharmony of Tbilisi and the Radio & Television National Georgian Composition Competition. She received her Master’s degree as a concert pianist, chamber musician, piano accompanist (vocal and instrumental) and teacher at the Sarajishvili Tbilisi State Conservatory, after studying with Prof. E. Russischvili and Prof. L. Bakradze.
Her strong musical personality, the high quality of her playing and the particular colours of her sound have been noticed by outstanding musicians such as Yehudi Menuhin, Zubin Metha ("such a wonderful and powerful sound!"), Vladimir Ashkenazy ("exquisite piano playing"), Claudio Abbado, Wolfgang Marschner, and Ivry Gitlis ("she is an astonishing musician!"). She has given performances and made recordings at the Wiener Konzerthaus, the Bösendorfer Saal in Vienna, the Austrian Broadcasting Corporation (ORF), the Arthuro Benedetti Michelangeli Hall in Italy, the concert hall of the Liszt Conservatory in Budapest, the Radio and Concert Hall Flagey in Brussels, the Kaufmann Hall in New York, the Rose Theater Hall Fuji in Japan and other concert halls around the world, which all contributed to building her reputation of excellence. The public and critics continually praise the musicality and aestheticism of her playing ("uncomparable, inspired pianist", "remarkable virtuosity" ).
Tamara Atschba has been teaching at the University of Music and Performing Arts in Vienna since 1995. She is a long time partner of the renowned violinist Dora Schwarzberg. For ten years she has been a colleague of Günter Pichler, the former first violinist of the Alban Berg Quartet, who describes her as "an amazing coach of students and partner for the chamber music repertory". In 2012, she began teaching at the Vienna Prayner Conservatory where she demonstrates great pedagogical talent. She has been a member of the International Academy of Performing Arts and Sciences since 2015, and in 2016, became co-founder of the Esperus Art Foundation and of the Music Academy in Monpazier, France. She regularly gives masterclasses in Austria and abroad (Korea, Japan, Turkey, among others).
Tamara Atschba has been playing and working for many years with the violinist Louise Chisson, with whom she recorded a debut CD dedicated to the sonatas of Janacek, Prokofiev and Poulenc, and a second CD titled, “1914”, on which she gives noteworthy interpretations of the Preludes for Piano op. 38 and the piano quintet of Louis Vierne.
Violinist Louise Chisson is "a rare talent", has "great technical mastery" and "above all has a deep and remarkable musical personality", says Dora Schwarzberg.
Louise Chisson has become an original and multifaceted artist, displaying her outstanding abilities in the classical and romantic repertory as well as in modern and contemporary music.
On stage since a very early age, she distinguishes herself with her audacious repertoire choices and her great technical skills, especially during solo performances of the Caprices of Paganini, and the sonatas of Ysaye, Bach and Prokofiev.
The special affection she has for the great sonatas as well as her constant desire to enrich her repertory led her to develop a special affinity to the works of the 20th century. The choices of her programs and the quality of her interpretations always delight the public. In 2013, she became first violinist of the ensemble LUX, a string quartet dedicated to modern and contemporary repertoire.
She performs regularly with Georgian pianist Tamara Atschba. Their first CD, which was dedicated to Janacek, Prokofiev and Poulenc, was released in 2013 by the Austrian label Gramola. The album was praised by numerous critics, received 4 Diapasons and was listed, along with seven others recordings, as best classical music album of 2013 on the American website Artistxite. In 2014, she recorded another CD with Tamara Atschba titled "1914", consisting of works by C. Koechlin and L. VIerne, which was rated ***** by BBC Music Magazine.
Born in Bordeaux, Louise Chisson began playing the violin at age three with Robert Papavrami. At the age of 17, she entered the class of violinist Dora Schwarzberg at the University of Music and Performing Arts in Vienna, where she went on to receive her Master’s degree unanimously with congratulations of the jury. Since 2015, she teaches at the Vienna Prayner Conservatory. Having grown up with and around the free-spirited festival created by her parents in 1988, she follows in their footsteps and creates in 2016 with Tamara Atschba, the Esperus Art Fund as well as the Esperus Music Academy.