The German concuctor, Helmut Müller-Brühl, studied philosophy, catholic theology as well as art and music science. By that he had acquired himself global theoretical bases in the interpretation of Baroque and Classical music, which he completed by early directing practice and violin course with his mentor Wolfgang Schneiderhan.
In 1964 Erich Kraak transferred the line of Kölner Kammerorchester (Cologne Chamber Orchestra) to Helmut Müller-Brühl. He started his connection with the ensemble in 1958 as the house orchestra he created for the Brühler Schlosskonzete (Palace Concerts).
Kölner Kammerorchester started under the direction of Helmut Müller-Brühl in the autumn 1964 with the great pianist Wilhelm Kempff in his first appearance tour to Switzerland. It was the prelude for co-operation with other internationally renowned solists, including Maurice André, Frans Brüggen, Caspar Cassadó, Jörg Demus, Christoph Eschenbach, Pierre Fournier, Patrick Gallois, Ingrid Haebler, Olli Mustonen, Igor Oistrach, Jean Pierre Rampal, Irmgard Seefried and Maria Stader. At many guest appearance in Europe, North and South America and Asia as well as at the international festivals in all world Kölner Kammerorchester celebrated more impressive successes.
Over 200 LP and CD recordings, broadcast and television productions document a repertoire of over 500 masterpieces and unknown preciousnesses, which Helmut Müller-Brühl and Kölner Kammerorchester presented in more than 30 years.
Two special features characterized the Kölner Kammerorchester in recent time: From 1976 to 1986 the ensemble under the name Capella Clementina made music exclusive on historical original instruments. With numerous concerts, opera and oratorio productions. Helmut Müller-Brühl and the Capella in these years set yardsticks for historical performance practice and the feasting inheritance living of Baroque concert hall.
The experiences won Helmut Müller-Brühl and his ensemble thereby transferred since 1987 on modern instruments. Thus Kölner Kammerorchester belongs today to the few ensembles, which consider the principles of historical performance practice transferred to modern instruments and by this connection the requirements of modern concert halls.
The second boundary stone in the newer history of the orchestra was its return to the place of its establishment, where it maintains DAS MEISTERWERK, one of the most successful Cologne concert series in the Cologne Philharmonic Concert Hall since 1988. Since 1995 the orchestra executes DAS MEISTERWERK also in the Théâtre of the Champs Elysées in Paris and since 1997 in the Munich Prince Theatre. Since many years Helmut Müller-Brühl is in a special request to present and promote young and talented musicians as orchestra members or soloists; many today famous soloists have their first successes to his credit.