Calendar
September 2010
| 1 | 2 | 3 | 4 | 5 | ||
| 6 | 7 | 8 | 9 | 10 | 11 | 12 |
| 13 | 14 | 15 | 16 | 17 | 18 | 19 |
| 20 | 21 | 22 | 23 | 24 | 25 | 26 |
| 27 | 28 | 29 | 30 | |||
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.)
+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.)
Works
Ludwig van Beethoven
Piano Concerto No. 1 in C major, Op. 15
Piano Concerto No. 2 in B flat major, Op. 19
Rondo in B flat major, Wo0 6
Piano Concerto No. 1 in C major, Op. 15
Piano Concerto No. 2 in B flat major, Op. 19
Rondo in B flat major, Wo0 6
Artists
Swedish Chamber Orchestra
Thomas Dausgaard, music director
Thomas Dausgaard, music director
Reviews
“The Swedish Chamber Orchestra under Thomas Dausgaard are exceptionally vital and acute and Boris Berezovsky, too long absent from the studios, offers performances that are marvels of fleetness and nonchalant, understated style. True, for those accustomed to a more unbuttoned, open-hearted vigour in early Beethoven he may seem almost too wellbehaved, preferring a seamless flow of events to a relish of the composer's early brio and vivid cross-accentuation. Yet everything is delectably buoyant and light-fingered and lesser pianists will weep with envy at his easy and immaculate command. A formidable Titan of the keyboard Berezovsky refuses to be tempted into the overt brilliance for which he is celebrated, preferring the second of the two shorter cadenzas in the First Concerto. At the same time he is every inch the master pianist and, more importantly, every inch the master musician. For his encore he includes the discarded finale of the B flat Concerto, where it would be difficult to imagine a more sparkling or engaging virtuosity. The recordings are beautifully focused and refined and I can scarcely wait to hear this superlative young pianist and his warmly sympathetic companions in music-making in the three remaining concertos."
“There's a tendency on the part of some performers to play Beethoven's First and Second Piano Concertos as if they were really by Mozart--all elegance, poise, and refinement. Happily, Boris Berezovsky finds the Beethovenian fire burning beneath the Mozartian surface. Right from his vibrant entrance in Concerto No. 1, Berezovsky plays with fierce energy (despite his generally light touch) and a clearly discernible enjoyment. This is matched Thomas Dausgaard's equally electric reading of the orchestral part, which in many ways reminds me of the classic Szell/Fleisher recording ... Concerto No. 2, which can be a rather bland affair in the wrong hands, here sparkles with refreshing vitality, giving us reason to listen anew.“
Bryce Morrison, Gramophone, July 2001
“There's a tendency on the part of some performers to play Beethoven's First and Second Piano Concertos as if they were really by Mozart--all elegance, poise, and refinement. Happily, Boris Berezovsky finds the Beethovenian fire burning beneath the Mozartian surface. Right from his vibrant entrance in Concerto No. 1, Berezovsky plays with fierce energy (despite his generally light touch) and a clearly discernible enjoyment. This is matched Thomas Dausgaard's equally electric reading of the orchestral part, which in many ways reminds me of the classic Szell/Fleisher recording ... Concerto No. 2, which can be a rather bland affair in the wrong hands, here sparkles with refreshing vitality, giving us reason to listen anew.“
Victor Carr Jr, Classicstoday.com
“The lessons of period performance have been taken on board to a greater or lesser extent by all younger performers nowadays, but Dausgaard and his band are plainly total converts. Right from the beginning of the First Concerto, the wiry string sound with lean vibrato, the characterful unhomogenised wind, and the pinging timps are much closer to John Eliot Gardiner than Otto Klemperer. With its crisp attack, tight rhythms and detached phrasing, this opening orchestral tutti does exactly what it´s supposed to: screw up the tension for the appearance of the soloist."
Martin Cotton, BBC Music Magazine
Concerts
News & Press
Discography
Orchestra
In Swedish
