Marie Luise Neunecker . Antje Weithaas . Silke Avenhaus

A simple whitewashed wooden house located a little higher up with a view of the mountains and the roads from Lichtenthal and Baden-Baden. It was here that from 1865 Brahms spent his summers. He got up early, after breakfast took a good walk and composed until lunch and after that took coffee at Clara Schumann's. Amid the beautiful nature of the Black Forest, Brahms was able to find the rest and inspiration necessary to compose. In 1867 he took his friend Albert Dietrich to the place where the first part of the Horn Trio came to him: 'The theme suddenly emerged when, one morning, I was walking in this spot and the sun began to shine'. One might call Brahms' Trio for horn, violin and piano 'a work of nature', especially because he had intended it specifically for the 'natural horn'. Brahms preferred the full natural tones of the 'natural horn' even though the French horn had been in use for a considerable time. Schumann, on the contrary, was one of the first to explore some of the broad possibilities of the new French horn in his 'Adagio und Allegro, opus 70' in 1849. This piece became best known in the version for cello. Just like the Horn Trio by Brahms, both are rarely heard in the concert hall.