Intro
Thomas Sanderling
Biography
Thomas Sanderling
Biography
After graduating from the Music School of the Leningrad Conservatory and the Music Academy in East-Berlin, Thomas Sanderling started his career at the age of twenty-four as the Music Director of the Halle Opera. He appeared frequently with most of the East German institutions including the Dresden Staatskapelle, Leipzig Gewandhaus and Komische Oper, Berlin, and won the Berlin Critics’ Prize.
He attracted the attention of Shostakovich, who asked him to give the East German premieres of his Thirteenth and Fourteenth symphonies and to make the world premiere recording of The Michelangelo Suite, the composer’s last orchestral work. As a direct result of this he became the assistant of Leonard Bernstein and Herbert von Karajan.
A Permanent Guest Conductor of the Deutsche Staatsoper Unter den Linden in Berlin until 1983, he then moved to the West where he appeared at the Vienna Staatsoper, Bayerische Staatsoper, Frankfurt, Deutsche Oper Berlin and the Hamburg State Opera, La Fenice (with Ponnelle), the Royal Danish Opera and the Finnish National Opera.
Parallel to a successful career in opera, Thomas Sanderling has extensively conducted symphonic concerts together with, in North America, the Dallas, Baltimore, Vancouver, Pittsburgh, Detroit, Montreal and the National Symphony Orchestras; in Europe with the Vienna Symphony and Berlin Radio Symphony Orchestras, the Liège, Czech, Dresden, Royal Liverpool, Royal Stockholm, Oslo and Helsinki Philharmonic Orchestras, The Philharmonia, the London Philharmonic and the Royal Philharmonic Orchestras, the Polish Radio National Symphony and the Radio-Symphony Orchestra in Saarbrücken; in Japan, with the Osaka Symphony Orchestra, with which he has been the Principal conductor for ten years and where he is the lifetime Music Director Laureate; and in Russia, where he enjoys particularly strong relationships with the Tchaikovsky Great Radio-Symphony, the St Petersburg Philharmonic and the Russian National Philharmonic, of which he is the Principal Conductor.
Recording credits include a CD of Mahler’s Sixth Symphony with the St Petersburg Philharmonic Orchestra (1998 MIDEM/Cannes Classical Music Award), Brahms’ complete cycle of Symphonies with The Philharmonia, Albéric Magnard’s four symphonies with the Malmö Symphony (2001 MIDEM award) and the complete symphonic works by Karl Weigl with Radio Symphony Orchestra Berlin, from which the first CD, containing the Symphony No 5. Apocalyptic, received great critical acclaim (CD of the Month in the Répertoire Magazine).
In 2006, for the centenary of Shostakovich’s birth, Thomas Sanderling conducted a series of programmes including rarely performed works by the great Russian composer with the Symphonieorchester des Bayerischen Rundfunks and for the Shostakovich Jubilee Festival in Moscow. The programme in Moscow included the world premiere of the Suite op 29a from Lady Macbeth of Mtsensk which he also recorded for Deutsche Gramophon, together with The Story of the Priest and his Servant Balda. A second CD of ‘Songs and Waltzes’ was also released with Bass Sergei Leiferkus to great critical acclaim.
March 2010
Not to be altered without permission. We update our biographies regularly. Please destroy all previous biographical material.
Discography
Thomas Sanderling
Discography
2010
Sergey Ivanovich Taneyev: Symphonies Nos. 2 and 4
Novosibirsk Academic Symphony
Naxos 8.572067
2008
Handel: Italian Cantatas
Adele Stolte (Soprano), Siegfried Pank (Viola da gamba), Wolfgang Notzold (Harpsichord)
Halle Handel Festival Orchestra
Berlin Classics 13972
2006
Dmitri Shostakovich: Songs and Waltzes
Sergei Leiferkus (Bass-baritone)
Russian Philharmonic Orchestra
Deutsche Grammophon 00289 477 6111
***Editor's Choice - Gramophone - September 2006***
Dmitri Shostakovich
The Tale of the Priest and his Worker, Baldaí, Op.36
Symphonic Suite from the Opera "Lady Macbeth of the Mtsensk District", Op.29a
World Premiere Recording
Russian Philharmonic Orchestra
Deutsche Grammophon 00289 477 6112
2004
Camille Saint-Saëns (Volume I)
Piano Concerto No.1, D major Op.17
Piano Concerto in G minor, No.2 Op.22
Piano Concerto in C minor, No.4 Op.44
Anna Malikova (Piano)
WDR Sinfonieorchester Köln
Audite 92.509
Camille Saint-Saëns (Volume II)
Piano Concerto No.3, E-flat major Op.29
Piano Concerto in, F major, No.5 Op.103
Anna Malikova (Piano)
WDR Sinfonieorchester Köln
Audite 92.510
Paul Kletzki
Symphony No. 3, ‘In memoriam' (1939)
Concertino for Flute and Orchestra (1940)
Sharon Bezaly (Flute)
Norrköping Symphony Orchestra
BIS-CD-1399
***BBC Music Magazine. July 2004***
2003
Nanes - Symphonies No.3 & 4
London Philharmonic Orchestra
Deflong 9090
Tobias Picker
Keys to the City - Piano Concerto
And Suddenly It's Evening (1994) - Premiere recording
Concerto for Cello and Orchestra (1999) - Premiere recording
Jeremy Denk (Piano), Paul Watkins (Cello)
Russian Philharmonic Orchestra
CHAN 10039 - 2003
2002
Barber - Violin Concerto
Ital Shapira violin
Russian Philharmonic Orchestra
ASV Platinum 8501
Karl Ignaz Weigl
Symphony No.5, ‘Apocalyptic Symphony' (1945)
Phantastisches Intermezzo für Orchester, Op.18 (1921)
Rundfunk-Sinfonieorchester Berlin
BIS-CD-1077
***10 de Répertoire - CD du mois***
***Cannes Orchestral CD Premiere Award 2003***
Gustav Mahler - Symphony No.6 in A minor
St. Petersburg Philharmonic Orchestra
RS 052-0186
2000
Dmitri Shostakovich - Suite Op.145a
Suite on a Verse of Michelangelo Buonarroti for Bass and Orchestra
Hermann Christian Polster (Bass)
Rundfunk-Sinfonie-Orchester Berlin
Berlin Classics 0091932BC
Steven Gerber
Symphony No.1 (Premiere Recording)
Dirge and Awakening for Orchestra
Viola Concerto
Triple Overture for Violin, Cello, Piano and Orchestra
Lars Anders Tomter (Viola)
The Bekova Sisters
Russian Philharmonic Orchestra
Chandos 9831
1999
Johannes Brahms
Symphony No.1 Op.68 in C minor
Symphony No.2 Op.73 in D major
Symphony No.3 Op.90 in F major
Tragic Overture Op.81
Symphony No.4 Op.98 in E minor
Philharmonia Orchestra
RS 054-0041
1998
Handel - Alexander's Feast
Barbara Hoene (Soprano), Rosemarie Lang (Alto), Hans-Jürgen Wachsmuth (Tenor), Hermann-Christian Polster (Bass)
Leipzig Radio Chorus, Halle Handel Festival Orchestra
Berlin Classics 9249 ADD
Albéric Magnard - Symphonies No.2 & 4
Malmö Symphony Orchestra
BIS - 928
*** Cannes Classical Award 2001***
1997
Johannes Brahms
Symphony N.1 in C minor, Op.68
Symphony No.2 in D major, Op.73
Symphony No.3 in F major, Op.90
Tragic Overture, Op. 81
Symphony No.4 in E minor, Op.98
Philharmonia Orchestra
RS 953-0041 - 1997
1996
Gustav Mahler - Symphony No. 6 in A minor
St. Petersburg Philharmonic Orchestra
RS 953-0186- 1996
***Cannes Classical Award 1998***
Richard Strauss
Don Juan Op.20
Macbeth Op.23
Tod und Verklärung Op.24
Orchestra Filarmonica di Torino
RS / DARPRO 951-0170
1993
Pettersson - Symphony No.8
Radio Symphony Orchestra, Berlin
CPO 1068800 - 1993
Repertoire
Thomas Sanderling
Repertoire
Operas and Ballets
| Operas | |
| “The Gamblers” after a play by Gogol | |
| “Rothshild's Violin” (after Chekhov) | |
| Ballets | |
| “The Dreamers” | |
| “The Bolt” | 1930-31 |
| “The Golden Age” | 1930 |
| “The Limpid Stream” | 1935 |
Film Music
| Film score "Alone" (1930-31) | |
| Suite from the music to the film "Golden Mountains" (1931) | 25’ |
| Three Excerpts from the Music to the film "The Counterplan" (1932) | 10’ |
| The Tale of the Priest and his Servant, Balda op. 36 (1933-34) | |
| Prologue from the film "Maxim's Youth" (1934) | 4’ |
| "Volochaevka Days"(The Far East ) (1936-37) | 10’ |
| Overture from the music of the film "Vyborg District" (1938) | 3’ |
| "Man at Arms" (1938) | 10' |
| Funeral March from the Music to the film "The Great Citizen” (1939) | 3’ |
| Music to the Cartoon "Stupid Little Mouse" after verses (1939) by Marshak | 20’ |
| "Korzinkina's Adventure" a film-comedy (1940) | 10’ |
| "Zoya " (1943-44) | 20’ |
| Overture from the music to the film "Young Gards" (1948) | 3’ |
| Excerpts from the music to the film "Michurin" (1948) | 8’ |
| Excerpts from the music to the film "Meeting on the Elbe" (1948) | 10’ |
| Excerpts from the music to the film "The Fall of Berlin" (1949) | 15’ |
| "Unity " (1954) | 10’ |
| "The Gadfly" (1955) | 25’ |
| Excerpt from the music to the film "Five Days--Five Nights" (1960) | 4’ |
| Excerpts from the music to the film "Hamlet" (1964) | 20’ |
| "Sophia Perovskaya" (1967) | 20’ |
| Music to the film "King Lear" (1970) | 15’ |
Symphony and Chamber
| Waltz Suite | 30’ |
| The Picture of the Past, Satire, op 109 for Soprano | 19’ |
| Symphonic Suite from the “Lady Mcbeth of the Mitsensk District” op. 29a | 7’ |
| Michelangelo Suite, op 145A - for Bass and orchestra | 46’50 |
| Five Romances on texts from the magazine ‘Krokodil’ op 121b | 12’ |
| Four Verses of Captain Lebyadkin (after Dostojevsky) Op.146a | 14’ |
| Scherzo Op.1 (1919) | 5’ |
| Theme and Variations in B flat minor Op. 3 (1922) | 16’ |
| Scherzo Op.7 in E flat major (1924) | 4’ |
| Suite from the opera "The Nose" Op.15a (seven excerpts) | |
| Suite from the music for the silent film "New Babylon" op 18 (1929) | 45’ |
| Two pieces by Scarlatti Transcription for wind ensemble and timpani Op.17 (1928) | |
| Six Romances on Japanese Poems Op.21 (1928) | 13' |
| Suite from the ballet :"The Golden Age" Op.22a (1929) | 16’ |
| Suite from the ballet "The Bolt" Op. 27a (two versions: 1931/1934) | 24’/21’ |
| Suite from the incidental music for "Hamlet" Op.32a (1932) | 20-30’ |
| Five Fragments Op.42 (1935) | 11’ |
| Four Romances on Poems by Pushkin Op.46 (1937) | 14’ |
| Jazz Suite No 2 (no Op.) | |
| Johann Strauss Transcriptions no Op. (1938) | 3’ |
| "Native Leningrad" Op. 63 (1942) | |
| Incidental music "Russian River " Op.66 (1944) | |
| Music for the film "Simple Folk" Op.71 Nos 1-5 (1945) | |
| Incidental music for "Victorious Spring" Op.72 (1945) | 10’ |
| Suite from the music for the film "Pirogov " Op.76a (1948) | 25’ |
| Concertino Op.94 for two pianos (1953) | 9’ |
| Suite from the Operetta "Moscow, Cheryomushki" | |
| Satires Op. 109 for sopran and small orchestra (1960) | 16’ |
| Orchestration of Musorgski's Songs and Dances of Death (1962) | 23’ |
| Overture on Russian and Kirgiz Folksongs Op. 115 (1962) | 9’ |
| Suite from the music for the film "A Year as Long as a Lifetime" Op.120a (1965) | 25’ |
| "Six Songs on Poems of Marina Tsvetaeva" Op. 143a (1974) | 20’ |
| Orchestration of the Song of the Flea (Beethoven) (1975) | |
| Symphony No 9 | |
| Symphony No 14 | |
| Chamber Symphony Op. 110a (String Quartet No 8) | |
| "Four Verses of Captain Lebyadkin " Op.146 (1974) | 14’ |
| Music to the Cartoon "Stupid Little Mouse" after verses by Marshak (1939) | 20’ |
| Overture – music of the film "Young Gards" (1948) | 3’ |
| Film music - "Five Days--Five Nights" (excerpts) (1960) | 4’ |
| Second Jazz Suite | 7’ |
| Preface to the Complete Collection of my Works and a Brief Reflection upon this Preface - Op 123b |
2’ |
| Satire, op 109 | 19’ |
| Five Romances on texts from the magazine ‘Krokodil’ op 121b | 12’ |
| Four Verses of Captain Lebyadkin (after Dostojevsky) Op.146a | 14’ |
Music for Plays
| Music for the show entitled ‘Hypothetically Murdered’ | 45’ |
| ‘The Bedbug’ – Music for a play by Maiakovksi (1929) | 15’ –20’ |
| ‘Cheremouchki’ – Shostakovich’s operetta (to be re-arranged by Thomas Sanderling) | |
| ‘The Gunshot’ – incidental music to a play by Bezymensky (1929) | 10’ |
| ‘Rule, Britannia !’ - Music to a play by Piotrovsky, 1931 | |
| ‘Hamlet’ - incidental music to Shakespeare's tragedy - Suite (1932) | 20’ |
| ‘The Human Comedy’ - music to Balzac’s masterpiece (1934) | 15/20’ |
| ‘A Salute to Spain’ - incidental music to a play by Afinogenov | 10’ |
| ‘King Lear’ - incidental music to Shakespeare's tragedy (1940) | 15/20’ |
| Suite from the incidental music for "Hamlet" Op. 32a (1932) | 21’ |
| Music for the film "King Lear" Op.137 (1970) | 28’ |
| Suite from the incidental music for "King Lear" Op. 58a (1940) | 13’ |
| Suite for the film "Hamlet" Op.116a (1964) | 40’ |
reviews
Thomas Sanderling
reviews
Concerts
| With the Royal Liverpool Philharmonic Orchestra, Liverpool Philharmonic Hall - 21 November 2009 |
| World Premiere of Mieczyslaw Weinberg's Requiem |
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World premieres are always special. This one particularly so, as the brilliant Requiem by Mieczyslaw Weinberg was unveiled 42 years after its completion and suppression in an aetheist- led Soviet Union. That Weinberg was a Polish- born Jew fleeing Nazism, rather than a native Russian, didn't aid his cause. But he enjoyed a sustained friendship with Shostakovitch, as did saturday's conductor, Thomas Sanderling, son of the iconic Kurt of Philharmonia fame. And it was Sanderling's junior (now 67) by his association with Weinberg's family, that won Liverpool this prestigious event, in what would have been the composer's 90th year, and as part of a larger seasonal canvas promoting Polish music. |
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Liverpool Echo, November 2009
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| (...) The Royal Philhamonic Orchestra, under the conductor Thomas Sanderling, provided sound accompaniment, the keyboard players in particular, plus the solo flute, all called upon to play complex and challenging parts (...) |
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Liverpool Daily Post- November 2009
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| Mieczyslaw Weinberg's Requiem received its world premiere 13 years after his death under Thomas Sanderling conducting the Royal Liverpool Philharmonic Orchestra. Rating *** |
| "So it is that a major statement such as Weinberg's Requiem could languish until now, 13 years after his death, when Thomas Sanderling persuaded the RLPO to undertake the world premiere. This is an anti-war piece setting poets from four different countries. The texts are angled towards ecological themes - mankind's despoiling of the planet through conflict, and the imperative to sow the seed for the future - and the music commutes between outrage and compassion." |
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Telegraph- November 2009
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With the London Schools Symphonic Orchestra, Barbican Hall - 21 January 2003 |
| Kodaly Hary Janos Suite, Ravel Tzigane, Shostakovitch Symphony No. 5 |
| "On the podium, Thomas Sanderling was as valuable for his theatre experience (to perform Kodaly's suite from Hary Janos) as for the personal authority that he brought to Shostakovitch later on...The conductor's connections - and those of his father, the legendary Kurt Sanderling - with Shostakovich must have inspired the players because, right from the beginning, there was an authentic and uneasy desolation... A feeling of quite suspense and ultimately terror showed in this surprisingly mature account, and with such full-bodied strings no allowances needed to be made....Rightly, the slow movement became the emotional heart of the work, but the movements on either side were ferociously driven and utterly compelling." |
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The Times - January 2003 |
| With the Royal Philharmonic Orchestra, Royal Festival Hall - 2 April 2002 |
| Brahms Tragic Overture Op. 81, Piano Concerto No. 1 in D Minor Op. 15, Symphony No. 1 in C Minor Op. 68 |
| "Guided by the serious temperament of the music, his performances here brought out the muscle in Brahms. There was a toughness to these interpretations, securing the structure of the works with a firm foundation and framework. His pacings were measured, with a corresponding attention to detail and texture that gave the music a vibrancy, while at the same time allowing for the more mellifluous, melodically expressive facets of Brahms's writing. There was above all a sense of reason and a sureness of purpose to his conducting." |
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The Telegraph - April 2002 |
| "The concert was conducted by Thomas Sanderling, standing in at short notice... it's a gestural language that produces a powerful result. Things went extremely well in the Symphony No.1, where phrases were sculpted out of the granite rock of the first movement, shaped with richly Romantic passion in the slow movement, and built to a thrilling climax in the finale. I also liked the way the reed instruments were incisively articulated: Sanderling may have had a full body of strings, but he knew better than to allow them to swamp the winds.... the loving care and finesse lavished on the symphony." |
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The Evening Standard - April 2002 |
Recordings
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Taneyev: Symphonies Nos 1 and 3, Novisibirsk Academic Symphony Orch/ Sanderling (Naxos)
This pairing of Taneyev's First and Third Symphonies mirrors a Chandos release that appeared a year ago, but it leaves an entirely different impression from its predecessor. The earlier disc suggested that the first shoots of what appeared to be a revival of interest in the music of the Tchaikovsky protege, who himself taught Rachmaninov and Scriabin, were unlikely to develop very extensively. But these strongly characterised performances under Thomas Sanderling suggest that Taneyev's music does have something to offer, with a personality distinct from that of his fellow countrymen. It's easy to understand, from the Third Symphony particularly, why Taneyev was sometimes known as the "Russian Brahms"; the ghosts of Brahms' later symphonies haunt many passages. It is the combination of that influence with the purely Russian inheritance - so obvious in the First Symphony - that gives the music its special flavour, one that Sanderling and this highly accomplished orchestra project vividly to make an excellent budget-price introduction to the composer.
Andrew Clements - 15 February 2008 |
| "Thomas Sanderling clearly has an outstanding feeling for this side of Shostakovich" "…and Sanderling makes the orchestra spit and curse to properly alarming effect. They also give themselves over body and soul to the suite of eight waltzes from film scores, and recording quality throughout both discs is absolutely outstanding." |
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David Fanning, Gramophone - September 2006 |
| Camille Saint-Saëns (Volume I), Piano Concertos No. 1, 2 & 4 / Audite 92.509 – 2004 |
| "Une prestation mesurée, efficacement servie par l'éclat sans tapage avec lequel l'accompagne Thomas Sanderling, modèle de clarté et d'élégance." |
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Diapason - juillet-août 2005 |
| "Das WDR-Sinfonieorchester Köln, die Pianistin Anna Malikova und der Dirigent Thomas Sanderling - Sohn des legendären Kurt Sanderling mit durchaus eigenem und unverwechselbarem Profil - haben jetzt die fünf Klavierkonzerte bei dem Label audite in Dortmund co-produziert und dergestalt ein irisierendes Mirakel enträtselt, in aller Poesie, Klarheit, Virtuosität." |
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Bayerischer Rundfunk - 23.02.2005 |
| "La pianista uzbeka Anna Malikova, vincitrice nel 1993 del concorso ARD di Monaco, per noi rappresenta una sorpresa, ma sono una sorpresa anche la WDR Sinfonieorchester di Colonia e Thomas Sanderling: una formazione splendida, splendidamente guidata da un direttore che riesce a ottenere un fraseggio molto morbido e curato. L’esordio del Concerto n. 1è un capolavoro di finezza interpretativa, in virtù del suono morbido e nostalgico dei corni e un primo tema enunciato dai violini con suono sensuale. E il fraseggio è sorprendentemente naturale, come mostra, per fare un esempio, la parte centrale del primo movimento del Concerto n. 3. Ottimi risultano gli equilibri dinamici tra solista ed orchestra." |
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Musica - Dicembre 2004-Gennaio 2005 |
| Paul Kletzki, Symphony No. 3, ‘In memoriam’ (1939) / Concertino for Flute and Orchestra (1940) BIS-CD-1399 – 2004 |
| "The performances are outstanding: Thomas Sanderling’s account of the Third Symphony is the best thing I’ve heard him do on disc, (…). A major discovery." |
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International Record Review – July 2004 |
| Weigl - with the Berlin Radio Symphony Orchestra - 2002 - BIS CD 1077 |
| Weigl Symphony No.5 'Apocolyptic' & Phantastisches Intermezzo |
| "The Berlin Radio Symphony Orchestra, guided by the masterly hand of Thomas Sanderling, is shining like a thousand lights. A major discovery with an exceptional interpretation." |
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Répertoire- July/August 2002 |
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"The Berlin Radio Symphony and Thomas Sanderling deserve special credit for their effervescent performance of this gossamer-textured, extremely rapid and tiring piece. But then, they play both works with tremendous commitment. Sanderling clearly understands the special emotional world that the symphony's Adagio inhabits; he and his players deliver the music with a hushed intensity that, more than any other factor, sets the seal on Weigl's claim to musical greatness. Thrilling recorded sound, warm yet clear, captures the music's complex textures with tactile immediacy. Don't miss this stunning new release." |
| Classics Today - July 2002 Artistic Quality 10/10 Sound Quality |
| "…The two works here, very well played by the Berlin Symphony Orchestra under Thomas Sanderling…. |
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The Guardian - June 2002 |
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"A fascinating voice, then, considerately tended by the Berlin Radio Symphony Orchestra under Thomas Sanderling who, with some luck, might now go on to tackle Weigl's still unknown Sixth Symphony." |
| The Compact Collection - May 2002 |
| "The recording revelation of 2002 has undoubtedly been Thomas Sanderling's exemplary exhumation of the long-forgotten 'Apocalyptic' Symphony by Karl Weigl (BIS CD-1077). Even if you investigate no other recordings of unfamiliar repertory this year, there's no denying that this searching and magnificent realisation of a work that has genuine claims to greatness will prove deeply rewarding." |
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Fanfare 'Wants List' 2002 |
| Gustav Mahler, Symphony no. 6 in A minor. St. Petersburg Philharmonic Orchestra. RS 953-0186– 1996 |
| "One of the finest of these [Symphony no.6] is easily available and is by Thomas Sanderling and the Saint Petersburg Philharmonic on RS (RS 953-0186)." "I like the contrast this gives to the movement because, though the theme is treated with some warmth, Sanderling doesn't overheat the emotion, passing it as the second subject in a sonata form pure and simple. He's helped by reining back the brass at particular points, especially in the quicker sections too." "Sanderling's approach is to suggest a very cold contemplation." "Tomorrow, or the next day, a conductor may come along to move this work on. In the meantime, my advice is to seek out a profile of recordings from those conductors who make us ask questions rather than give the impression that they have answered them for us - Sanderling, Zander, Mitropoulos, and also Rattle are mine. With Sanderling the one I reach for first. For now." |
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Tony Duggan – Musicweb (August 1999) |
| Albéric Magnard, Symphonies no. 2 & 4 – BIS – 928 / 2001 |
| "In Sanderling's hands, everything is more vivid, emphatic, and sharply contrasted. The very opening sounds far more dramatic as shaped by Sanderling, the deep brass richer, the piccolo (which announces the symphony's "motto" theme) brighter, and those arching string phrases infinitely more yearning and passionate. The same holds true for the Scherzo: Ossonce is light and tripping, Sanderling's rougher accents and trenchant rhythms move the music into the orbit of Roussel and other French masters yet to come." "Sanderling's slower tempo actually sounds faster because he maintains a firm rhythmic basis over which he builds the music in large arcs of sound. Just listen to the way the strings phrase the central fugue, and notice the perfect clarity of its development! Ossonce minces through the contrapuntal thicket as if he might break something, while Sanderling proves that Magnard's music is made of much sturdier stuff."
"Sanderling and his band create a climax of unsurpassed radiance" |
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David Hurwitz (no other precisions) |