We took the obligatory group photo before the rehearsal in Nuremberg - everyone is ‘on board’ and playing. Our tour is obviously under a lucky star in many respects - and not just because the concerts are all sold out! Our tour is obviously under a lucky star in many respects - and not just because the concerts are all sold out! 

One instrument, which was left in the luggage rack on the journey from Graz to Nuremberg when changing trains in Vienna travelled on to Berlin unscathed. Fortunately, a colleague coming to play with us a day later was able to collect it straight away so that it was back in Nuremberg for the next concert - a huge relief for the owner!

An orchestra on tour is a little cosmos of its own, where everything that doesn't have to do with music and travelling from place to place together becomes a little more distant for a short time. It has to be that way, because this concentration is the only way to create wonderful concerts. But of course the world doesn't stand still: during the journey through Bavaria, we looked at the high water levels of the Danube and other rivers in many places with trepidation and contemplation. If, like us, you are only affected by this in the form of trains that are running late, then you have certainly been lucky.

For five years, our chief conductor was general music director of the Nuremberg Opera, celebrated for her interpretations, admired for her energy and  by the people of Nuremberg. She told us over dinner that she learned to appreciate Franconian ‘Schäufele’ during this time - which was of course on the programme aka menu for the occasion.

So we started our concert in the Meistersingerhalle with on a wave off sympathy from the audience and, together with violin soloist Augustin Hadelich, played a concert that completely convinced the Nuremberg audience that Joana Mallwitz is in very good hands with us!

Anyone planning a tour has to take many interests into account. It starts with minimising the ecological footprint and does not end with the ideal time between the end of the rehearsal and the start of the concert. Orchestra director Ulf Werner has many years of experience in this field and knows that not everything in life and on tour can be planned - but a lot can.

"Basically, it's always a question of covering distances between venues in a reasonable amount of time. It's not just the musicians who have to get from A to B, but also our instrument lorry, which is on the road the whole time, except for long-distance destinations. When we fly in order to keep travelling times reasonable, it sometimes gets very tight for it on the ground. So nothing can go wrong. The alternative would be not to include a concert venue in the tour, but that's always a shame.

Both the logistics and the costs of an orchestra tour are a big puzzle. Especially for longer tours and those that lead further afield, such as to Japan, we work with local agencies who put together a schedule for us and also take care of the bookings. If we plan the tour ourselves, as we did for our current tour, we have to keep an eye on what travel alternatives are available on any given day, even spontaneously if possible. If you're travelling to the concert evening standing in an overcrowded train, you won't have the energy for a good concert later on stage."

Orchestra director Ulf Werner (left) has not only planned this tour of the Konzerthausorchester, but also many others. This time Joana Mallwitz's assistant Hans Brauß and orchestra manager Sophia Berendt support him.

A few hours of free time and an orchestra is born again! For some, running shoes and sportswear belong in every tour suitcase. Others are happy to have the opportunity to prepare for next week's concerts - a Mozart programme with François Leleux conducting and a challenging Konzerthaus Chamber Orchestra programme, including a work by Bartók. Many, however, like to take a little time to explore the historic city with its well-known and hidden sights. 

With violinist Jana Krämer-Forster, we wandered through the winding alleyways between the real and reconstructed Middle Ages, discovered allotment gardens full of roses and lavender in the shadow of the city walls and bought herbs and spices from wooden drawers in the traditional shop ‘Madlon Scharff’. We are approached as we look into the Lorenzkirche church with its famous light-filled hall choir: Anne, a US-American, is in charge of the stall selling candles, postcards and souvenirs at the entrance. She has discovered our Konzerthaus Berlin bag and reveals herself to be a big fan of our chief conductor from her time in Nuremberg: ‘I've had an opera subscription for many years. We all miss Mrs Mallwitz very much here and wish her all the best for the future in Berlin!"

On Friday, we will continue by bus to our fourth and final tour stop in Mannheim, where we will perform in the evening.