Besides symphonic and family concerts, the members of the Radio Symphony Orchestra Berlin also perform regularly in smaller ensembles. In the 2017/2018 season this will be in the former silent film cinema Delphi and the silent green Kulturquartier in Wedding. Chamber music provides valuable additional nuances to the musicians’ everyday work, enabling members of the RSB to stage their own appearances: it enhances the programme for both musicians and audiences in many respects.

› All seven of this season’s chamber music concerts can be found at a glance in our Concert Calendar.


In the 2017/2018 season, the RSB will play as guests for the first time in the former silent film cinema, Delphi, where three concerts in its chamber music series are to take place. The Delphi opened in 1929 as the final silent film cinema in the Berlin district of Weißensee, which enjoyed a reputation as “Little Hollywood” due to flourishing film production there at that time. The Delphi survived the world economic crisis and the Second World War, but after 1959 it entered a deep slumber and functioned in the meantime as a stamp shop and vegetable depot. Restoration work initiated in 2006 and redesign as a new location for art and culture as from 2013 have helped the Delphi to flourish anew, whereby the special charm of its construction era has been kept. Today, a wide range of art and cultural events take place in the listed building. There is a bar at the back of the large auditorium, where drinks are served.

Presented by: tip Berlin


In the 2016/2017 season, the silent green cultural quarter in Wedding already proved itself an outstanding venue for chamber music. The RSB will be guests in the building complex situated close to the S- and U-Bahn station Wedding once again for four concerts in the 2017/2018 season. Originally built as Berlin's first crematorium in the years 1908 to 1911, the silent green has been extensively converted and restored for its current re-utilization. The heart of the listed complex is the 17-metre-high former hall of mourning with its octagonal ground plan and pyramid-shaped mansard roof. After conversion, it now offers an impressive backdrop to concerts and other cultural events. The concert audience are able to obtain food and drinks in the adjacent café.

Presented by: Zitty

tickets 20 €
› Book three chamber concerts in a package for just 45 €!


› Christoph Korn has played bass clarinet in the RSB since 2002 and is enthusiastic about the artistic freedom offered to him by chamber music.

What motivates you to play chamber music alongside your orchestral duties?

The motivation is immense. In the orchestra, sometimes there are 100 people on stage; there, you are a small part of a great whole. In chamber music you can liberate your own musical personality far more, and basically, you can present yourself as a soloist. Orchestral playing and chamber music are two aspects that really need to coexist in our lives as musicians. The chamber music concerts and in particular the preparation for them involve a lot of work, but in the end you are rewarded with a great deal of pleasure. In chamber music we can give free rein to our creativity, we are our own dramatists, and can put together the programs ourselves. It is also very important for me to play quite often without a conductor and therefore with a certain artistic freedom. On orchestral duty, we also need to put in a lot of effort if we wish to make contact with colleagues from different sections. During chamber music projects we can get to know the others much better, both personally and musically.

The RSB chamber music concerts often take place in venues where you don't find perfect acoustic conditions. How do you deal with that?

It is terrific fun to play in crazy venues, like we did in the Kesselhaus (boiler house) of the Kulturbrauerei or the dinosaur hall in the Museum of Natural History. Such venues are great for the audiences, too. It is possible to adjust to many things acoustically, and the spaces are tested in the run-up, of course. It only becomes really critical when it is too cold for the instruments and our fingers, for some reason or another, or when there are loud disturbing noises.

Is chamber music productive for your general clarinet playing in any way?

Absolutely! When you are involved in a chamber music project you work even harder on your own instrument. As a woodwind player, this makes you particularly fit in terms of embouchure and intonation. And so playing in the full orchestra becomes easier as well.

In October 2015 you played a very difficult solo sequence by Luciano Berio during a chamber music concert. How did you get on with that?

Oh yes, for a short time I felt abandoned by the whole world, that was certainly the ultimate kick. But in the end it went well. However, it wasn't finished in a few hours of practice; I recall working hard all year for it! As a student you are constantly alone on stage but later on it doesn't happen any more. For this same reason, it is a good idea to put your name down for chamber music; this type of training is important for all fields – musical, technical and interpersonal. No matter whether you are a woodwind player or a tutti strings player, it certainly helps you to make progress. And if you have wonderful colleagues to play with, like there are here in the RSB – well, it all has a very special quality, and it is great fun, as well!


› Juliane Manyak has been a member of the second violins at the RSB since 2004. She is an enthusiastic chamber music player and was one of the co-initiators of “Klangraum K”.

There you have it, an idea. Initially, perhaps, it only consists of one work, but then the idea develops. It changes, grows, takes its time – and finally a complete concert program emerges. The planning of symphonic concerts is out of our hands as musicians, but chamber music is a different field, where things are democratic both on stage and in proposals for concert programs. If the suggestion we submit as a chamber music ensemble is an attractive proposition, it becomes part of our concert series. The decisions about the programs for the coming season are always made in winter. And so there is enough time in the run-up to the concerts for keen anticipation, time to begin a long and exciting process that continues until the final performance. But usually, our rehearsal work doesn't take place publicly. We think that is a shame, as so much happens there: the music blossoms, colleagues find one another and their voices, initial ideas are sometimes discarded, but our understanding of the music deepens with each meeting. Sometimes we are astonished, too, and cannot fathom entirely and in detail what the composer wanted to express through his music. Then we decide from our own points of view, with the zeitgeist of the composition in mind, and our own heart-felt emotions. We believe that all this should no longer take place behind closed doors. When we prepare for chamber music concerts, therefore, we have begun to share our ideas with you in our new blog, “Klangraum K”. It offers insights, prospects and quite a few surprises; why not join us regularly at!