Concerts

Recordings

Recordings

Deutsche Grammophon: Dmitri Shostakovich, Songs and Waltzes (00289 477 6111 – 2006) / The Tale of the Priest and his Worker, Baldaí, op. 36; Symphonic Suite from the Opera “Lady Macbeth of the Mtsensk District”, op. 29a (00289 477 6112 – 2006)

"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."

David Fanning, Gramophone - September 2006 ***Editor’s Choice – 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."

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."

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."

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."

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."

Répertoire- July/August 2002 Disque du Mois

"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…."

The Guardian - June 2002 Classical CD of the Week

"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."

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."

Tony Duggan – Musicweb (August 1999) http://www.musicweb.uk.net/Mahler/Mahler6.htm

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"

David Hurwitz (no other precisions)