Clarinetist

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

Bamberger Symphoniker

In 1774, the encyclopaedia »Allgemeine Theorie der Schönen Künste« (General Theory of the Fine Arts) stated that only someone could compose trios »who combined all parts of art with a fruitful and lively imagination, and exercised himself to feel every trait of a character or passion musically and to articulate it in tones«. Our concert brings together three trios by composers who truly had what it takes. Although Brahms actually told his publisher in 1890 that it was »certainly time to go«, his creative energy came back and he composed the clarinet trio op. 114 a year later. Turned in on themselves and almost withdrawn, the instruments engage in a quiet dialogue here, loosened only by the two middle movements. A friend of Brahms said: »It is as if the instruments loved one another.« Clarinet, cello and piano are also musical soulmates in Beethoven‘s trio: According to one critic, they made »quite a good ensemble« in 1799. This popular Opus 11 was named the »Gassenhauer-Trio« (popular song trio) because the fiery opening movement and the heartfelt Adagio are followed by an entertaining finale for which Beethoven adopted a popular catchy tune – from Joseph Weigl‘s opera »L‘amor marinaro« (»The Corsair of Love«). However, the fact that too great feelings can also cause suffering is dealt with in Glinka‘s trio, which he prefaced in 1832 with the motto: »I have only experienced love through the pain it causes!« The emotional work seems like an expression of mental anguish set to music: Although the composer was living a carefree life in Italy at the time, the trio reveals the darker side – unhappy love affairs as well as physical ailments, so much so that one musician called out in dismay after the premiere: »What despair!«

Clarinetist

Lina Neuloh

Events

Past events

Dec 2, 2025

Chamber concert: Septet · Bamberger Symphoniker

Apr 11, 2024

Chamber concert: Cello, Clarinet and Piano · Bamberger Symphoniker

Future and recently performed repertoire

Clarinet in Clarinet Trio by Brahms

Bamberger Symphoniker

Clarinet in Piano Trio by Beethoven

Bamberger Symphoniker

Clarinet in Trio Pathétique by Glinka

Bamberger Symphoniker

Clarinet in Serenata in vano by Nielsen

Bamberger Symphoniker

Clarinet in Septet in B-Flat Major by Berwald

Bamberger Symphoniker

About

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