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| Concerts |
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| With the London Schools Symphonic Orchestra, Barbican Hall - 21 January 2003 |
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| Kodaly Hary Janos Suite, Ravel Tzigane, Shostakovitch Symphony No. 5 |
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| "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." |
| The Times - January 2003 |
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| With the Royal Philharmonic Orchestra, Royal Festival Hall - 2 April 2002 |
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| Brahms Tragic Overture Op. 81, Piano Concerto No. 1 in D Minor Op. 15, Symphony No. 1 in C Minor Op. 68 |
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| "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." |
| The Telegraph - April 2002 |
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| "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." |
| The Evening Standard - April 2002 |
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