The summer concert of the bavarian chamber orchestra in bad bruckenau, which this year was aptly titled "landpartie," was completely sold out stand. The more than 300 listeners enjoyed a varied, coherent program, heard an excellently prepared orchestra, impressive soloists and experienced a good two hours of colorfully played music in a summery atmosphere.
The title was aptly chosen in that, for long stretches of the evening, french horns – at times obviously, at other times with an underground presence – were at the center of the music. Above all, through their special sound, through the use of hunting and nature motifs in a broader sense, the compositions led out into the open, creating a variety of scenes in the mind of the listener. The friendly atmosphere of the evening and the summer air, which flowed into the warm festival hall through doors open to the park, underlined this effect. As is customary at the BKO's seasonal concerts, its chief conductor johannes moesus gave a brief introduction to the works played, which was helpful in directly grasping the musical associations or interpretations during listening.

The continuation of the chase
The structure of franz anton hoffmeister's symphony in d major "la chasse for example, in which the dawn's departure, the midday's mud, the encouraging musical entertainment and the continuation of the hunt were quite comprehensible. A delicate, darkly luminous sound stood at their beginning. But soon a variety of sounds and impressions developed from it: horn quints, for example, played by the orchestra's own horn players and strengthened by the woodwinds, which transformed these signal calls sonically into chamber music-compatible motifs; they were wonderfully shaped as calls and echoes, were equally perfectly executed in color and precision in the forte and the piano. Strings suggested the sound of hooves, horns the barking of dogs. The orchestra set up quasi backdrops in the four movements, which it shifted imperceptibly through different lighting and the building of suspense arcs to expressive points, thus creating fabulous transitions in subject and mood. The bandwidth of the flexible musicians ranged from powerful grun to silver-pencil insinuation.

Visible joy of playing
Fascinating rushing of string figures, stimulating dialogues, touching, elegant flute solos, bucolic bordune and much smiling on the faces of the performers, in addition the changes between soft, powerful sound and rather tight, tender, always clear sound, the difference between warm string sound and the distinctive, fine woodwind part in the menuet, which turned into an airy serenade, inspired.
Nature, which also included joseph haydn's symphony in G major "le soir" the evening was rounded off with the performance of a certain piece of music, which gave numerous members of the ensemble the opportunity to introduce themselves as soloists. Besides the enchanting bassoon/cello dialogues, the imaginary meeting of papageno with antonio vivaldi, the storm that the flute suggests in the last movement, the dark clouds that the horns paint on the horizon and the rain that the cello creates, the impressive orchestral unisoni or the fascination of seemingly chaotic but actually orderly runs, one thing in particular remained in the mind: the double bass solo with charming cadenza, played by matej varga in the menuet. The young double bass player, who had stepped in at very short notice to replace the BKO bassist, became a favorite of the audience – and not just because of his precision, his joyful and gripping way of playing.
He shared this distinction with the two guest soloists premysl vojta and ondrej vrabec, who were invited to perform antonio rosetti's concerto for two horns and orchestra in F major.
A highly demanding work for the horn players, during which one was repeatedly amazed at how one can play such complicated, intertwined, rapid figures with such intonation certainty, such rhythmic precision, and with such tonal and technical perfection. The horns stood out roundly and powerfully from the sound of the orchestra, which here was that of a small symphony orchestra. Captivating introductions, lively dialogues, the imperceptible adoption and continuation of a thought begun by a soloist, or the cheerful playing of sequences to each other: listening to the well-matched musicians vojta and vrabec was a pleasure. The cadenza, composed by vrabec with stylistic confidence, deserves special recognition, not only because it makes imaginative use of rosetti material, but also because it is set in an already fantastic sounding register and is so elaborate that one occasionally thought one was hearing more than two horns.

Ulrike langer the audience in the well-attended parish church in obertheres gave a standing ovation to the traditional brass band of the obertheres music society and its conductor eduard marpoder for their concert "wind sounds in advent.

After the festive start with the nordic fanfare and hymn, which was written for the opening ceremony of the nordic ski championships in oberstdorf in the allgau region, the chairman of the association, thomas klopf, invited the visitors to close their eyes and to think back to how it used to be in the advent season or at christmas. "Perhaps you have memories of the glittering christmas tree balls in which the candles were reflected, and perhaps you have memories of a certain place scent that you still associate with the advent season. That's why we'll start by playing 'best memories' for you, a contemplative and quiet piece that will certainly help you remember your best memories.", he said. In the course of the concert, which was moderated by some musicians of the band, the musicians performed some beautiful compositions of christmas music. As many as 17 different melodies were heard, for example, in the potpourri "uberall ist weihnacht" ("christmas is everywhere"), and also the medley "the magic of christmas" presented various german, but also american christmas songs.

The youngsters played on

In between other contemplative pieces, martina hublein read the story of the christmas tree stander and brought a smile to the faces of the audience. They were also pleased with the new blood being trained in the brass classes at johann-peter-wagner-grundschule in obertheres. So aron marpoder, rosa voit, enya marpoder, nele voit, nevio ganzinger and moritz hublein presented some christmas songs and invited the audience to sing along as well.

Lord of the dance is a household name. But no one will have associated this with upper franconia, but only with ireland. Bernd menzel and his wife sabine want to change this now. They offer traditional irish dancing not only in their dance school and at the adult education center, but now also in a recently founded association. "Various names were discussed, until it was decided to call it the 'irish cultural association of franconia', says menzel, who is also chairman of the committee. The club is aimed at all people in igensdorf and the surrounding area who are interested in irish culture.

Menzel is convinced that the french and irish cultures have more in common than they have in separation. There are especially the traditional music and dance. For example, the "french double offered at festivals in france, so why not offer the traditional irish music and dance here?
Menzel slipped into this scene through friends in wurzburg. They knew an irish band personally. A musician came from new york."He taught us how to dance", recalls menzel. Then he moved to france and was often at the erlanger tanzhaus, where one thing led to another. Menzel met his future wife sabine there. Together they started the IFO dance series: irish dancing on mondays, french dancing on tuesdays, and then eastern european dancing.

It is not a question of age
After moving to stockach, the menzels had to decide: stop teaching or teach themselves? They continued. Offered regular courses, also in nurnberg, organized workshops and attracted with different offers more and more attention to the irish music and dance.

Anyone walking through the town hall courtyard in wiesentheid in the afternoon or evening will usually find an instrument being played. Directly behind the municipality’s administrative headquarters, the municipality has a house of music, which is used primarily by the steigerwald singing and music school and the wiesentheid music society (MGV). The building, whose creation and construction was largely driven by former mayor walter hahn, has been in existence for exactly ten years. The tenth anniversary will be on sunday, 21. October, will be an open house, with many instrumental groups presenting and opportunities for children to try out the instruments.

A good 180 children and young people are currently learning an instrument at the steigerwald singing and music school, which is headed by hans-joachim kramer. Around 100 lessons are given weekly in the six rooms available in the building. From individual lessons to rehearsals for the children’s choir or the music school band, the offer ranges. At the music club, those responsible are happy that they have an ideal rehearsal location for the orchestra in the large room on the first floor. "We were previously passed around in the village and were looking for a clubhouse", describes it chairman wolfgang lurati.

He agrees with hans-joachim kramer on the question of what the gebaude created in 2008 means. It was "the best thing that could have happened" for both the association and the music school was. The cooperation between the two has become much better and easier as a result. The music club can find out which children from the region are learning instruments in the singing and music school and ask them if they want to come to the rehearsal.