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Kammermusik des Konzerthausorchesters

The Horenstein Ensemble, founded almost 20 years ago by musicians of the Konzerthausorchester, has existed ever since in the rare formation of string quartet, clarinet, flute and harp. Our associate principal cellist Andreas Timm, who is one of the five founding members, describes making music together: “In chamber music in particular, things sometimes happen spontaneously that you can't prepare for in rehearsals: As a player, you suddenly feel this tension that spontaneously arises between the audience and the performers on stage. You can explore these moments of extreme intensity even more, make a piano even more delicate, lend even greater tensioin to a pause... These are the moments when you can work magic as a chamber music ensemble. In very different formations, from duo or trio to quintet to septet, we can offer a wide range as an ensemble - a possibility that musicians would otherwise hardly have. As a result, the audience naturally experiences particularly exciting contrasts, which are rooted both in the different music-historical epochs and in the acoustic diversity of the instruments.”

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Kammermusik des Konzerthausorchesters

mit dem Horenstein Ensemble

Horenstein Ensemble

Horenstein Ensemble

© Simon Pauly

The Horenstein Ensemble, founded almost 20 years ago by musicians of the Konzerthausorchester, has existed ever since in the rare formation of string quartet, clarinet, flute and harp. Our associate principal cellist Andreas Timm, who is one of the five founding members, describes making music together: “In chamber music in particular, things sometimes happen spontaneously that you can't prepare for in rehearsals: As a player, you suddenly feel this tension that spontaneously arises between the audience and the performers on stage. You can explore these moments of extreme intensity even more, make a piano even more delicate, lend even greater tensioin to a pause... These are the moments when you can work magic as a chamber music ensemble. In very different formations, from duo or trio to quintet to septet, we can offer a wide range as an ensemble - a possibility that musicians would otherwise hardly have. As a result, the audience naturally experiences particularly exciting contrasts, which are rooted both in the different music-historical epochs and in the acoustic diversity of the instruments.”

Germaine Tailleferre - Sonate für HarfeAndré Caplet - „Conte fantastique“ für Harfe und Streichquartett (nach der Erzählung „Die Maske des roten Todes“ von Edgar Allan Poe)PauseCarl Maria von Weber - Klarinettenquintett B-Dur op. 34Pjotr Tschaikowsky - Trepak, "Tanz der Zuckerfee" und "Blumenwalzer" aus dem Ballett „Der Nußknacker“ op. 71, für Kammerensemble bearbeitet von Felix Korinth

Artists/Collaborators: Horenstein Ensemble, Johanna Pichlmair (Violine), Jana Krämer-Forster (Violine), Matthias Benker (Viola), Andreas Timm (Violoncello), Ralf Forster (Klarinette), Ronith Mues (Harfe), Yuan Yu (Flöte)

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