Spanish music from the Renaissance to Romanticism—and its influence beyond—lies at the heart of Concierto Ibérico. Founded in the chill of northern Germany, the ensemble brings warmth to even the frostiest listeners with its vibrant and original programs. 
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With an array of historical wind instruments, recorders, keyboards, baroque guitar, theorbo, percussion, original programs, and a strong entrepreneurial spirit, Concierto Ibérico has made its mark far beyond the concert halls of Bremen, its home base. Their dynamic performances and innovative formats have set them apart. We spoke with Lea Suter and Juan González Martínez to learn more.
Why did you form your ensemble?
Juan González Martínez: I founded Concierto Ibérico during my master’s studies in Bremen, partly out of necessity, as we had no other way to dedicate ourselves to Spanish Renaissance and early Baroque music. It started with a recorder player, then a guitarist joined us, and finally, Lea came in, bringing in the harpsichord, the organ, and the clavichord.
Lea Suter: We then began structuring our concert programs and professionalizing the ensemble, especially during the COVID period.
Who decides on the programing?
J. G. M.: We do it together. Often, an idea emerges spontaneously—either from Lea or me—then we brainstorm, shaping a vision of how we could produce it and with whom.
L. S.: It’s also common for guest artists to contribute creatively to a program. This occurred with a dancer, and currently, it’s happening with a composer and a guitarist specializing in romantic-era guitars.
How has the ensemble evolved over the years?
J. G. M.: We’ve moved towards increasingly interdisciplinary projects because we want to reach as broad an audience as possible. It was important for us to step outside the purely academic framework that often defines historically informed performance.
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