May 2012
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+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.)
THOMAS DAUSGAARD AND THE SCO TOUR GERMANY IN EARLY MARCH 2011 WITH CONCERTS IN KÖLN, WUPPERTAL, BERLIN & HANNOVER
Joining the orchestra as soloist is the 18 year old pianist Kit Armstrong who received the “Leonard Bernstein Award” at the 2010 Schleswig-Holstein Music Festival.
On disc as well as in concert, Thomas Dausgaard and the Swedish Chamber Orchestra have attracted a growing international interest. The team regularly visits some of the world’s leading concert venues and last year made their debut at the Salzburg International Festival performing a programme including Beethoven’s Symphony No. 7 which was received by Die Presse as follows:
“Ein Jubelsturm brach da los, der fast ebenso ausdauernd und unermüdlich schien, wie die musikalischen Eruptionen von Beethovens Siebenter Symphonie: Ein Konzert als wunderbarer Beweis dafür, dass sich die erstaunlichsten, mitreißendsten Aufführungen oft abseits vom Starrummel ereignen.”
Beethoven was also featured in the programme of the ensemble’s 2007 German tour to which Der Tagesspiegel responded:
“Da muss also erst der Däne Thomas Dausgaard kommen, um uns zu zeigen, was ein echter „Egmont“ ist. Mit dem Schwedischen Kammerorchester spielt er im Konzerthaus Beethovens „Egmont“-Ouvertüre. Ständig ist was los, und Zeit für Pathos hat man auch nicht: Die selbstbewusste Herbheit der Eingangsschläge!“
Since Thomas Dausgaard joined the orchestra when they were still just a fledgling ensemble 13 years ago, the atmosphere in Örebro has been one of continual energy and excitement as each project has taken the musicians on an extended journey far beyond their original aspirations as a local county orchestra. From Beethoven to Schubert and Schumann, the ensemble has gradually and intensively extended their repertoire. Now Dausgaard takes the musicians on a new journey with a composer whose symphonies are often regarded as the epitome of Romantic grandeur, well out of reach of the chamber orchestra – Anton Bruckner, and his Second Symphony.
Why take the “dangerous” move into such main-stream repertoire with an ensemble whose core members number just 38? Thomas Dausgaard explains:
‘“I am convinced that Bruckner, like many of his contemporaries, would be used to the idea that orchestras - or organs! - of different sizes brought different qualities to his works. Compared with its expressive range the 2nd symphony is rather modestly scored; but what seemed just possible for the Swedish Chamber Orchestra turned out to be revelatory right from our first performance of the work several years ago. I can best describe the experience as a kind of collective chamber-musical improvisation with a strong symphonic undercurrent. I hope he would have liked it... “’
The recording thus becomes a sort of test to how the ‘Opening Doors’ project on BIS can be applied to music from the High Romantic period.
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