May 18, 2026
Six questions for the Armida Quartet
Moving, masterful, captivating – the Armida Quartet is one of Germany’s leading string quartets. Founded in Berlin in 2006, the quartet has developed a distinctive ensemble sound.
We asked all four of them six questions and wanted each to pick and answer four of them.
Why are you doing what you are doing, actually?
Martin Funda: For over 20 years, working out every detail of musical moments as a quartet and sharing them with the audience in concert has been both a great joy and a great challenge.
Teresa Schwamm-Biskamp: I can’t think of a better answer than: it just feels right!
Teresa Schwamm-Biskamp: I can’t think of a better answer than: it just feels right!
Which two pieces of music would you recommend to someone who knows absolutely nothing about classical music?
Johanna Staemmler: Generally speaking, I would recommend Bach’s Christmas Oratorio and Mozart’s “The Magic Flute”; both works touch on something truly universal that can unite us all, regardless of our background and across generations.
Teresa Schwamm-Biskamp: Schumann’s Quartet in A major, Op. 41 No. 3, 2nd movement, and Marco Nikodijevich’s “String Quartet No. 2”.
Peter-Philipp Staemmler: Beethoven’s 7th Symphony, final movement, and Bartók’s String Quartet No. 5, final movement.
Teresa Schwamm-Biskamp: Schumann’s Quartet in A major, Op. 41 No. 3, 2nd movement, and Marco Nikodijevich’s “String Quartet No. 2”.
Peter-Philipp Staemmler: Beethoven’s 7th Symphony, final movement, and Bartók’s String Quartet No. 5, final movement.
What was the last musical experience that made you cry?
Johanna Staemmler: Brahms’ Waltz No. 15 for four hands – played by my husband and my son to celebrate the birth of our daughter.
Teresa Schwamm-Biskamp: Whilst researching Brahms’ String Quintet, I came across the women’s choir song ‘Und gehst du über dem Kirchhof’ (from Op. 44) – it’s very moving!
Teresa Schwamm-Biskamp: Whilst researching Brahms’ String Quintet, I came across the women’s choir song ‘Und gehst du über dem Kirchhof’ (from Op. 44) – it’s very moving!
What annoys you about the classical music industry?
Martin Funda: There’s nothing annoying about it – the classical music world is diverse, constantly evolving and always fascinating.
Johanna Staemmler: I generally get annoyed when people take themselves too seriously – unfortunately, that happens in the classical music world too, of course.
Peter-Philipp Staemmler: That the quality of the artist no longer seems so important, whereas almost everything revolves around appearances, marketing and so on.
Johanna Staemmler: I generally get annoyed when people take themselves too seriously – unfortunately, that happens in the classical music world too, of course.
Peter-Philipp Staemmler: That the quality of the artist no longer seems so important, whereas almost everything revolves around appearances, marketing and so on.
What concert ritual could you absolutely not do without?
Martin Funda: Getting enough sleep on the day of the concert, a banana and a little caffeine boost before the show would be ideal.
Teresa Schwamm-Biskamp: Put on my red shoes and head straight onto the stage.
Peter-Philipp Staemmler: My hair has to look just right.
Teresa Schwamm-Biskamp: Put on my red shoes and head straight onto the stage.
Peter-Philipp Staemmler: My hair has to look just right.
What do you appreciate most about your fellow ensemble members?
Martin Funda: Trust, a willingness to take risks, a love of discovery and musical creativity.
Johanna Staemmler: What I appreciate most about my colleagues is their sense of humour, which never ceases to surprise me…
Teresa Schwamm-Biskamp: Making music without blinders.
Peter-Philipp Staemmler: A healthy mix of seriousness and humour.
Johanna Staemmler: What I appreciate most about my colleagues is their sense of humour, which never ceases to surprise me…
Teresa Schwamm-Biskamp: Making music without blinders.
Peter-Philipp Staemmler: A healthy mix of seriousness and humour.
