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March 2010
Events from Swedish Chamber Orchestra
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Apr »
3/13/2010 4:00 PM
THE CONDUCTOR AND THE LEADER
3/18/2010 7:00 PM
TO VIENNA WITH LEILA
4/15/2010 7:00 PM
INTERNATIONAL CLASH

Örebro Konserthus
Fabriksgatan 2, Örebro
Opens one hour before the concert
Logotyp: Örebrompaniet
TICKETS
019-21 21 21, ticnet.seexternal link, opens in new window
SUBSCRIPTIONS
+46 (0)19-766 62 02
abonnent@orebrokonserthus.com
Phone hours: M 10-12, W 14-16
(Closed for Christmas &
New Years Dec 23-Jan 3.)

Opening doors (BIS)

Opening Doors is an ongoing series in which the Swedish Chamber Orchestra and Thomas Dausgaard explore a wide range of Romantic symphonic music. The project will include a complete Schumann Symphony cycle as well as symphonic works by Schubert, Dvorak and Bruckner.
The first volume — which included the original version of Symphony No. 4 — was greeted with acclaim by the critics, receiving special recommendations from the German website Klassik Heute and from BBC Music Magazine which has since nominated it for Orchestral Recording of the Year for their 2007 Awards. The website klassik.com gave the verdict ‘With this wonderful recording, Dausgaard and the Swedish Chamber Orchestra catapult into the very top of the list of excellent Schumann interpreters´, while the reviewer in the Sunday Times (UK) deemed the playing to be ‘first-rate´ with ‘a real feeling for the emotional extremes that are at the heart of Schumann´s art.´ Gramophone Magazine commented ´All this talk of Schumann's stodgy orchestral writing ... Rubbish, I say! Evidence for the defence is simple: keep the orchestra slim and well balanced, the tempi lively and the textures clear and the calories positively fall away. Thomas Dausgaard, with just 38 players, turns the symphonic Schumann into a thoughtful athlete who burns energy while his mind spins.

The complete orchestral works of Beethoven (Naxos)

This is a series where all the orchestral music by Beethoven is presented. Based on the latest available material and research, such as the Jonathan Del Mar Bärenreiter edition of the symphonies, the project also includes the piano concertos with the pianist Boris Berezovsky.
“This series goes from strength to strength. In a world overflowing with Beethoven symphonies, theseper formances have in abundance the all-important qualities of freshness and vitality, of the kind that makes youper k up your ears and listen anew to music you thought you had memorized ages ago. The outer movements of both symphonies move at a lively pace that never sounds frantic, excitement generated as a function of rhythm and phrasing (particularly in the finales) rather than by the conductor's desire to urge the music into a frenzy. The third movements dance, and the two slow movements really sing, and though Dausgaard adopts a " per iod-influenced" approach, it's good to be able to report that there's no lack of warmth or of the long sustained line in the music's more lyrical passages.

The playing of the Swedish Chamber Orchestra is above reproach. The balance between strings and windsper mits maximum clarity at all dynamic levels, while the sound in loud passages is remarkably full for a small ensemble, with trumpets and drums cutting through the texture cleanly. Dausgaard never inhibits his players with fussy phrasing or self-serving mannerisms, but the effect he creates ( per haps paradoxically) is music-making full ofper sonality and character ... Don't overlook this practicallyper fect release. If you're in the market for Beethoven's first two symphonies, you can't do better.“

classicstoday.com       10/10

“Thomas Dausgaard and the Swedish Chamber Orchestra have obviously learned lessons from theper iod-instrument innovators, but there's nothing mannered or willfully contentious about the results. Instead there's abundant life, quick-witted musical intelligence, inwardly charged expression, scintillating precision, humour and a sense of awe before Beethoven' more startling inspirations - yes, they can still startle even today. It's a long time since I've enjoyed a new recording of the Fourth as much as this; clearly there was never any danger of Dausgaard falling for the old idea that No. 4 is a lighter, and therefore lesser symphony.“

 BBC music magazine     ***** stars

 
“An attractive issue marked by an immaculate pianism, nimble conducting and refined sound."
Gramophone

“Thomas Dausgaard's reading of Beethoven's Seventh Symphony is Wagner's "Apotheosis of the dance" made manifest. This is aper formance of boundless energy and irresistible spirit in the manner of Toscanini's NBC Symphony recording. From the first chord, which sounds with startling precision and decisiveness the music flows impulsively under Dausgaard's purposeful phrasing and tempos ...
Dausgaard also has some interesting things to say about Beethoven's score, as illustrated by his intelligent and idiosyncratic phrasing of the Allegretto's insistent rhythm. The scherzo bounces merrily, with the brass and drums fierce and proud in the trio. Dausgaard's finale is quite brisk, but he shows a more convincing way to render it than fellow del Mar adherent Abbado, with his too-frantic tempos and blurred, faceless articulation. By emphasizing rhythm and accents, Dausgaard creates genuine and lasting excitement--a tour de force of aper formance. ... Even in these days of Beethoven saturation, this release demands acquisition.“

Classicstoday.com

“In Dausgaard's hands, and with the brilliant playing of the three soloists led by cellist Mats Rondin, the Triple Concerto, with its ungainly proportions and, in the hands of many interpreters, mind-numbing passage work, receives its best recording ever."

International Record Review

“The closing minutes here just makes you think “Bravo Beethoven!" If that was Dausgaard's intention, then he and his orchestra have succeeded, in spades."
 Paul Ingram, Fanfare