The Wunderkammer, or chamber of wonders, was the place where kings – but also scholars and men of culture, such as the Jesuit philosopher Athanasius Kircher – kept extraordinary and marvellous objects, known as “mirabilia”. These were objects brought back from distant countries, preferably from across the sea, natural finds with exceptional characteristics (the so-called “naturalia”), or ingenious man-made machines, such as geocyclic machines or automata (called “artificialia”). The WunderKammer is the perfect metaphor for the place where every child keeps their treasures, the objects that are significant in their lives: the oddly shaped stone, the dry leaf, the seagull feather. The idea of play, of wonder, together with the very important idea of childhood – which is the age of superfluous but at the same time indispensable things (such as music) – exude from the concept of the WunderKammer and constitute its key concepts. So why limit ourselves to chamber music when we can make “chamber music of wonders”? That is, music that puts education and instruction first, which should be the foundation of every civilised country.