Hornist

"Man only plays when he is in the full sense of the word a human being, and he is only fully a human being when he plays." These famous words come from Friedrich Schiller, and the program under the direction of our honorary conductor Christoph Eschenbach inspires us to many musical flourishes – with our wind players repeatedly shining through with their playful spirit. And the instrumental pieces hit the mark perfectly, for example in the overture from Weber's opera "Der Freischütz" from 1821: Here, bullets cursed by demonic powers decide the love life of a young hunter in a competition – but "the whole thing ends joyfully," as the composer noted. Afterwards, together with our solo horn player Andreas Kreuzhuber, we perform a fascinating concerto by Reinhold Glière: Although this virtuoso piece was composed in 1950, it is entirely imbued with a romantic spirit.

Christoph Eschenbach, Andreas Kreuzhuber

Bamberger Symphoniker

Visiting Innsbruck

Congress Innsbruck

Aunt Milla loves Christmas, carols, and her richly decorated Christmas tree. But she soon finds it impossible to part with it and becomes beside herself when Christmas is supposed to be over. Her exasperated husband, Franz, has no choice but to ensure that a decorated tree remains in the house throughout spring and summer. For Aunt Milla, Christmas is now a year-round occurrence – with presents, lots of music, but also, gradually, more and more signs of wear and tear…

Advent concert with the brass quintet of the Bamberg Symphony Orchestra

The opportunity to play chamber music together is always a delight for us, as it allows our musicians to showcase their individual talents in smaller ensembles, far removed from the grand orchestral repertoire. This concert offers a magical blend of wind and string sounds with surprising pieces and humorous, playful antics – after all, music should be fun. Richard Strauss clearly shared this sentiment when he once remarked with a twinkle in his eye: "I just wanted the people in the concert hall to have a good laugh." He was referring to his delightful composition about the mischievous Till Eulenspiegel, which we now have on our music stands in a slightly different version: In 1954, Franz Hasenöhrl transformed the famous symphonic poem into a whimsical, grotesque chamber music piece – a series of jokes in several episodes for just five instruments. A playful spirit was also the guiding principle for Harald Genzmer, and his 1967 quartet is an impressive work brimming with experimentation and vitality. Franz Berwald's Septet, completed in 1828, is equally original and remarkable for its rich soundscape – and we can indulge our virtuoso musicality in daring, rollercoaster-like passages. We'll also stage a "futile serenade" with the cheerful "Serenata in vano" from 1914.

Chamber concert: Septet

A splendidly interwoven sound tapestry! The chamber concerts do not require a conductor – because our musicians love to count on each other in a smaller setting. This programme starts with string playing and a key work of the string quartet genre. Ravel’s piece was premiered in 1904 and is an inspiring example of the vibrant spirit in France at that time – where Cocteau advised the young avant-garde: »Cultivate what the public accuses you of, because that’s exactly what you are.« This is exactly what Ravel, as a »master of musical masks«, did in his only string quartet: he veiled the traditional norms of composition in his own characteristic way and created music that is refined and relatable – which may be peculiar, but nevertheless captivates with its grandiose sound effects and deep emotional worlds. Schubert’s Octet then takes us right into the heart of Romanticism: it was written after a difficult phase in his life, which he sought to »make as beautiful as possible« through his imagination. And so, exactly 200 years ago, he wrote the opulent work in a true creative frenzy, with which he wanted to »pave his way to the great symphony« – and indeed, it widens the intimate chamber music sound to the limits of the orchestral. One of the emotional highlights is the Adagio, a »song without words« typical of Schubert with an elegiac melody and a flow of notes passing by. The finale begins with sombre sounds, but it then develops passionately – and leads to a spectacular conclusion to this gripping milestone, about which a contemporary wrote: »Mr Schubert’s composition is worthy of the author’s recognised talent, full of light, pleasant and intriguing.«

Hornist

Andreas Kreuzhuber

Events

Past events

Apr 19, 2026

Christoph Eschenbach, Andreas Kreuzhuber · Bamberger Symphoniker

Apr 17, 2026

Visiting Innsbruck · Bamberger Symphoniker

Future and recently performed repertoire

Horn in Horn Concerto No. 1 by Strauss

Bamberger Symphoniker

Horn in String Quartet by Ravel

Bamberger Symphoniker

Horn in Serenata in vano by Nielsen

Bamberger Symphoniker

Horn in Septet in B-Flat Major by Berwald

Bamberger Symphoniker

Horn in Concerto for Horn and Orchestra in B-flat major by Glière

Bamberger Symphoniker

About

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