Do you remember your first visit to the Musikverein? What impressions are associated with it?
In the second or third grade – I was at the music high school in Salzburg – we went to Vienna, and our music teacher planned a trip to the music club. We were allowed to attend a rehearsal, and it was immediately apparent that we all respected this space. It wasn’t so much about the rehearsal, but rather we experienced this atmosphere, this history – you felt that this was an important, special place. And when I studied in Vienna at 18, I was constantly in the standing room. I still love these places and have many wonderful memories in this house.
In the meantime, you have performed in the various halls of the house yourself. In the 2025/26 season, you will be coming to the Musikverein as an artist in focus with two chamber music programmes, among other things. What does chamber music mean to you?
I grew up with chamber music. My father is a cellist in the Hagen Quartet, and my first concert experience was chamber music. For me, it’s natural to play chamber music: When you’ve found a group of people who harmonize and understand each other blindly, there’s so much trust that you can make music freely – that’s the best thing. This only exists in chamber music.




