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Örebro Konserthus
Fabriksgatan 2, Örebro
Opens one hour before the concert
Logotyp: Örebrompaniet
TICKETS
019-21 21 21, ticnet.se
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.)

"WITH A TRANSPARENT SOUND ... AND FIERY CONDUCTING"

Publicerad: 05 March 2011
Der Tagesspiegel  reviews Thomas Dausgaard and the Swedish Chamber Orchestra's concert in Berlin, Germany, with solo pianist Kit Armstrong
There are already two different types of personalities which Thomas Dausgaard and the Swedish Chamber Orchestra presented at the start of their guest appear-ance in the Chamber Music Hall: Firstly there is, the Cine fantasist Tim Burton, whom Swedish composer Albert Schnelzer portrays in his Overture "A freak in  Burbank": In a bustling film music score, which is shaped more by imagery than by format,  the orchestra is given the opportunity to play warmly and effectively. And then there is the 18-year-old Kit Armstrong, whom several years back was named by Alfred Brendel as "the greatest musical talent" that he had ever met and whose career will likely fail unless he is catapulted into the area of Olympic pianists.

In Beethoven's First Piano Concerto Armstrong combines a completely effortless
dexterity with a crystal-clear view of architecture, which he works out extremely economically setting accents and colours. Yet the clarity, beauty and unpretentiousness of the melodic line seems to be lacking in the physicality and sensuality as characterized by the string sound of the Swedish Chamber Orchestra.

The moments which were the more affective were when there was an exchange of ideas, when he matched or imitated the pizzicato contours of the orchestra. There could probably have been more of these moments, if the transparency and attentiveness of the accompanying orchestra (and here in particular the woodwind) had engaged even more precisely with the soloist. The emotional highlight of the evening however was Brahms' First Symphony:  With a transparent, vibrato-less sound – that seems to be inspired by historical knowledge – and fiery conducting, Brahms’ first symphony works rocks with the aftershocks of Schumann.

Der Tagesspiegel, Carsten Niemann, 5 March 2011

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