ARTISTS INTERNATIONAL

ROYAL PHILHARMONIC ORCHESTRA LONDON DIRK JOERES
In 2007 the Royal Philharmonic Orchestra London appointed Dirk Joeres as their Permanent Guest Conductor.

		Newest CD: Schumann Symphony No. 3 op. 97 (‚Rhenish) Overture, Scherzo and Finale op. 52 Symphonic Studies op. 13 (Adagio, Finale) orchestrated by Tschaikowsky RRC 1237, Regis Records „Exemplary ‚Rhenish’ – a reference recording“ Pizzicato, Supersonic Award „An exultant reading – one of the best recordings“ Musicweb international

		Further releases: Schumann/Ravel: 4 Pieces from ‚Carnaval’ op 9 Schumann/Adorno: 6 Pieces from op. 68 Schumann: Symphony No. 2 op. 61 BIS 1055 „Here is a disc with a difference. Dirk Joeres easily joins the front rank.“ Fanfare USA „... A fascinating interpretation; Joeres is an exciting Schumann conductor and he goes for extremes...“ Gramophone, Great Britain/Japan „Dirk Joeres’ new Schumann-CD includes one of the best interpretations of Schumann’s multi-facetted Second that I have ever heard.“ Scala

EXCERPTS FROM THE PRESS EUROPEAN TOUR NOVEMBER / DECEMBER 2008 Cambridge · London · Köln · Düsseldorf · Rosenheim · Graz · München · Nürnberg Joeres/RPO, Rehearsal at Cadogan Hall London, 11/2008, © RPO London

LONDON Cadogan Hall		“ Joeres gave a towering performance of Elgar’s ‚Enigma’ Variations. This was splendid stuff indeed and what really made this an exceptional performance was the attention to even the smallest detail. The Brahms [Academic Festival Overture] and Elgar contained some of the best orchestral playing I have heard all year; the RPO just gets better and better and it is to be applauded in its efforts in matching such great music with performances of equal stature. “ musicweb international, 12/2008

KÖLN Philharmonie		“ ... Dirk Joeres, since 2007 Permanent Guest Conductor of the Royal Philharmonic, gave the work [Elgar: Enigma Variations] a well-defined profile and character which fitted this work ideally. ... Joeres also left nothing to be desired in the picturesque moments. ..... A structurally concieved view of Brahms’ ‘Academic Festival Overture’ made an excellent opening to the ‘Meisterkonzert’. “ Kölnische Rundschau, 08.12.2008

GRAZ Musikverein		“ BEAUTIFUL GOLDEN SOUND The Royal Philharmonic Orchestra crowned a magnificent visit to the Musikverein with a superb performance of Felix Mendelssohn’s Third Symphony. .... In Dirk Joeres the Orchestra has chosen a top ranking Permanent Guest Conductor. ... Mendelssohn’s ‘Scottish’ sounded lithe and beautiful, with golden colours. .... The Royals immersed Elgar’s ‘Enigma’ Variations in tonal beauty ... an exceptionally fine concert. “ Kronenzeitung, 11.12.2008

MÜNCHEN Philharmonie		“ ... The lightness and naturalness with which the Orchestra knew how to solve acoustic problems was admirable, equally the noble pallor of many passages, which sounded so distinctive and aptly sovereign. ... Dirk Joeres, Permanent Guest Conductor of the Orchestra since 2007, gave a clear and compelling interpretation of Mendelssohn’s ‘Scottish’. “ Süddeutsche Zeitung, 13.12.2008

NÜRNBERG Meistersingerhalle		” ... The Permanent Guest Conductor of the London guests, Dirk Joeres, knows how this imperial creed should sound. For the ‘Enigma’ Variations he decided, quite rightly, to opt for beautifully painted genre pictures. “ Nürnbeger Nachrichten, 13.12.2008 “ In the Meistersingerhalle the Royal Philharmonic Orchestra overwhelmed with sumptuous splendour. An intelligent overall idea held the programme together ... and with lively tempi Dirk Joeres, Permanent Guest Conductor of the RPO, polished this jewel of an overture [Weber: ‘Oberon’] to gleaming warmth. “ Abendzeitung, 13.12.2008

NÜRNBERG Meistersingerhalle		“ ... The concert was conducted by the Permanent Guest Conductor Dirk Joeres – after Rudolf Kempe the second German conductor in the history of this renowned Orchestra. .... [Mendelssohn: 3. Symphony] The transparency of ensemble went hand in hand with the conductor’s sense for organic, expansive phrasing. ... There is no question about it: Joeres takes great care with his treatment of Mendelssohn.. His precise conducting left a superlative impression. ... With Joeres Elgar’s musical quiz-variations (Enigma Variations op. 36) had a very intelligent advocate, with whom not one note of the heavy brass section (for example in Variation No. 14) had to gasp for breath. “ Klassik.com, 15.12.2008

ROSENHEIM Kongress-Zentrum		” Some things in life you can be sure of: for example, that the Royal Philharmonic Orchestra London is absolutely unbeatable where the Crown Jewels of British music culture are concerned. ... One could only be absolutely amazed at how the ‘Royals’ presented Carl Maria von Webers’s Oberon Overture: the solo horn player was sensational with his first horn call literally echoing into infinity. ... What the RPO achieved in Mendelssohn’s Third Symphony was phenomenal. “ Oberbayerischen Volksblatt, 10.12.2008
		2007

PASSAU, Europäische Wochen		World Class Orchestra A veritable highlight of this year’s Festival was the concert with the Royal Philharmonic Orchestra London directed by their Associate Conductor Dirk Joeres. His maxim seems to be a nobly balanced interpretation, which he achieves with an economic conducting technique. Robert Schumann’s “Manfred” Overture was in this way characterised by an exemplarary balance of sound and well calculated romantic expressiveness. ... However, the highlight expected by many listeners was Peter Tchaikovsky’s Symphony “Pathéthique” ...From the very first note, one was pulled into the magic of seemingly endless phrases, which made the extremely differentiated score appear as sound-texture of highest density. ... With this grandiose interpretation, the “Royals” impressively confirmed their reputation as one of the world’s best orchestras. Passauer Neue Presse, 16.07.2007

BAD KISSINGEN, „Kissinger Sommer“		What makes the flair of the “Kissinger Sommer” was especially manifest on the occasion of the last but one concert of this year’s Festival: the uncomplicated way in which top soloists, star conductors and first class orchestras enter into a dialogue with an expectatious public ... And so this Gala Concert with the pianist Jean-Ives Thibaudet and the Royal Philharmonic Orchestra London directed by Dirk Joeres was a felicitous occasion for the Festival. ... An effective and high-spirited Liszt interpretation [Piano Concerto No. 1] was framed by Schumann’s rather introverted “Manfred”-Overture, from which the Londoners however drew a great deal of elegance, and Brahms’ Fourth Symphony. The gripping interpretation of the grandiose final Passacaglia proved that Dirk Joeres, conducting with crystalline clarity, and the Royal Philharmonic Orchestra had not promised too much. Main-Post, 16.07.2007

International Herrenchiemsee Music Festival		Romantic Expressiveness The concert on Sunday evening with London’s Royal Philharmonic Orchestra directed by Dirk Joeres was a highlight of this year’s Festival on Herrenchiemsee. The opening overture [Schumann: “Manfred”] was characterized by effortless tonal balance. From the first moment Dirk Joeres succeeded in leading his orchestra with romantic expressiveness. ... The highlight of the evening was undoubtedly Tchaikovsky’s Sixth Symphony. ..., the music was moving, due to the sensitive interpretation. Joeres and his “royal” musicians sparked off passionate feelings, creating intense phrases ranging from sombre moods, yearning nostalgia to buoyant dancelike characters. ... ... The public were quite stunned, before acknowledging the exceptionally high quality performance with tremendous applause. Klassik.com, 15.07.2007
		2005

KÖLN Philharmonie		„Meisterkonzert in the Philharmonie Cologne – Joyous fanfares, emphatically expressive lyricism – this optimistic outlook on life coming from the depths of romantic German woods was well met by the Royal Philharmonic Orchestra when, directed by Dirk Joeres, it made Robert Schumann’s „Konzertstück” for four Horns its own. This precious repertoire rarity was framed by three compositions by Brahms, the Haydn-Variations, the Schönberg orchestration of the g minor Piano Quartet and an “Hungarian Dance” as encore. The famous London orchestra approached this epochal music with warmheartedness they ‘understood’ the works in their structure, essence and content and, where lucidity, levity, sportivity was asked for, ones legs were dancing along under the seat.” Kölner Stadt-Anzeiger, 05.10.2005

KÖLN Philharmonie		Spirit of Romanticism in Piano Quartet “With Schönberg’s orchestrated Piano Quartet Joeres let the Orchestra sparkle and shimmer for a good threequarters of an hour. There is an overwhelming inventiveness of sound colours which seemingly surpassing itself at times but respects the character of the original. The agile orchestra gave the music a lot of fire and Dirk Joeres seemed to be fully in his element in this ecstatic music. Perfect encore: the 5th. Hungarian Dance by Brahms.” Bonner General-Anzeiger, 06.10.2005

FRANKFURT Alte Oper		„A Pro-Arte Evening with the Royal Philharmonic Orchestra showed what a programme can be: a complete programme of German romantic music without symphony and solo concerto. This excellent orchestra was travelling with Brahms: the Haydn-Variations and the Piano Quartet op. 25 in Schönberg’s orchestration. The connecting work was Robert Schumann’s “Konzertstück” for four horns, in which the Horn Quartet of the RPO played their solos with beauty of tone and virtuosity... In addition to energetic drive, the orchestral version of op. 25 displays expansive passages of lyricism ... The playing of this British orchestra showed a chambermusic-like sensitivity and perception rare even with good orchestras. And Dirk Joeres presented another aspect of himself: Brahms adventurous and passionate. The Finale was played with virtuosic panache, for all its excessive colourfulness with deep emotion and seriousness of approach.” Frankfurter Rundschau, 06.10.2005

LINZ Brucknerfest 2005		„ .... Schumann’s “Rhenish”, was performed with energetic expression and dreamy lyricism. Conductor Dirk Joeres knew extremely well how to control the full sound of the orchestra... With the Second Symphony Alexander Borodin created an important work of the Russian National School, which was rapturously received by the public. As an encore there was a “Hungarian Dance” by Johannes Brahms.” Neues Volksblatt, 03.10.2005

ESSEN Philharmonie		„ ... In the inner textures the wind sparkled like jewels, the juxtaposition between Glockenspiel and muted trombones came through with crystal clarity. With his physically energizing conducting style Joeres inspired the London musicians to engaged, intensive music making which grew from the richly expressive cantability of the Andante to the folkloristic explosive climax of the Rondo alla Zingarese. The 5th. Hungarian Dance as an encore fitted to this perfectly.” NRZ Essen, 01.10.2005

FRANKFURT Alte Oper		„In the Haydn-Variations the RPO did not aim at dynamic and dramatic extremes thus enhancing the well-balanced contrapunctual writing. Joeres underlined the joy of creating thematic developments, convincingly achieving a genuinely classical architecture. ... Quite differently then in Brahms Piano Quartet op. 25 in the orchestrated version by Arnold Schönberg. ... With full orchestral forces, subtly scored and with a big percussion section, differentiated instrumental colouring developed an enormous plasticidity, which Joeres presented in minute detail with his orchestra.” Offenbach Post, 07.10.2005

BRATISLAVA Internationale Musikfest		„ ...Thirty years ago the UNESCO declared the first of October as the International Day of Music. Bratislava could not have honoured it in any better way than to have a concert with the world famous Royal Philharmonic Orchestra. Two symphonies by Robert Schumann und Alexander Borodin were the centre of the programme: the “Rhenish” by Schumann and Borodin’s Second. The character of both works were the basis for the interpretation, of overall architecture and details, in which the German conductor Dirk Joeres suceeded most impressively. He had an excellent ensemble with noble and at the same time transparent sound at his disposal. With an orchestra of this class it is superfluous to single out particular instrumental groups, but it would certainly be a mistake not to mention the London wind-players. Such artistry has hardly any match worldwide and will remain unforgettable for us.” Pravda, 03.10.2005

		2004

Festspielhaus Baden-Baden 6./7. November 2004		"Europäische Romantik" Gade: "Nachklänge von Ossian" op. 1 Bennett: "Die Naiaden op. 15 Chopin: Klavierkonzert Nr. 1 op. 11 Berlioz: "Les Nuits d’Eté" op. 7 Mendelssohn: Sinfonie Nr. 3 op. 56 Schumann: Sinfonie Nr. 3 op. 97

		Eine klangvolle Beschwörung romantischer Zaubergeister Badische Neueste Nachrichten, 8. November 2004

		Tugendhaft und glanzvoll Badische Neueste Nachrichten, 9. November 2004

		Maßgeschneidertes Programm für die Sommerhauptstadt der guten alten Zeit Badisches Tagblatt, 8. November 2004

		Londoner Royals energiegeladen bis stürmisch Badisches Tagblatt, 9. November 2004

		Die vollständigen Rezensionen können bei Artists International angefordert werden AIPR Infoline 0211 836 8155

Online Musikmagazin		"Wohlige Klanglandschaften" Mitten im regnerisch kalten Herbst von Baden-Baden hat das London Philharmonic Orchestra sein Publikum im Festspielhaus der Kurstadt in Sphären wohliger Klangwelten entführt und ein Landschaftspanorama der europäischen Romantik entfaltet, das vom wild bewegten schottischen Hochland bis zu den schaurig schönen Bildern des französischen Dichters Théophile Gautier in den Liedern von Héctor Berlioz und von der Ausgelassenheit rheinischer Bauerntänze bis zur empfindsamen Serenade in einem polnischen Salon des Jahres 1830 reichte. Unter der ebenso temperamentvollen wie präzisen Stabführung seines Associate Conductor Dirk Joeres gestaltete sich das Programm zu einer abwechslungsreichen Reise durch repräsentative Werke des 2. Viertels des 19. Jahrhunderts und gab einen Einblick in die Vielfalt dessen, was landläufig musikalische "Romantik" genannt wird. Reiche Klangfarben, gesättigt orchestrale Stimmungsmalerei und solistische Beiträge von ausgeprägter Individualität schufen einen weit gespannten Bogen musikalischer Poesie. Eröffnet wurden die Konzerte jeweils wie es sich gehört mit einer Ouvertüre. Am ersten Abend war dies die nostalgische Beschwörung der keltischen Vorzeit in Gestalt des blinden Sängers Ossian, den Goethe schon Homer gleichgestellt hatte. Dass es sich dabei um eine Phantasiefigur des englischen Dichters MacPherson handelt, tut der romantischen Wirkung von Niels Wilhelm Gades Komposition aber keinen Abbruch. In schwärmerisch rhapsodischem Ton beschwört er die "Nachklänge von Ossian" in dem elegischen Cellomotiv der Einleitung herauf. Bald übernehmen die machtvoll geblasenen Posaunen der Londoner Philharmoniker choralartig die visionäre Verklärung der Vergangenheit. In einem zart-lyrischen Harfensolo verklingt diese gälische Traumphantasie wieder, unterlegt vom mehrfachen Pianissimo sanfter Paukenschläge. Eine stimmungsvolle Einleitung war auch am zweiten Abend eine Ouvertüre des 1816 geborenen Engländers William Sterndale Bennett, in der er klangsinnlich "Die Najaden" bei ihren Wasserspielen beobachtet. Auch hier ließ das Orchester die Tonmalerei besonders in den Bläserstimmen erblühen. Die polnische Pianistin Ewa Kupiec bot mit zart nuanciertem Anschlag eine begeisternde Aufführung des e-moll -Klavierkonzertes ihres Landsmannes Frédéric Chopin. Besonders den 2 Satz, eine verträumt melancholische Romanze, spielte Ewa Kupiec mit dezent verinnerlichtem Gefühl wie ein Nocturne, das aus einer schemenhaften Dunkelheit herüberglänzt. Mit energischem Temperament nahm sie den rondohaften Tanzrhythmus des 3. Satzes auf und steigerte das Konzert zu einem fulminanten Finale. Mehr als nur Begleitung war bei allem das Orchester, obwohl der Komponist ihm eine untergeordnete Rolle zugemessen hat. Es führte klangschön über die harmonischen Brücken und belebte die dekorativen Flächen nicht ohne Ausdruck. Ein Chopin-Nocturne gab Ewa Kupiec dem Publikum wie ein feines Praliné dann auch als Zugabe mit in die Pause. In den "sechs Melodien mit kleinem Orchester" ließ Dagmar Peckova in "Les nuits d` été" lyrische Empfindungen von Théophile Gautier nacherleben, die Hector Berlioz zu seinem Liederzyklus verbunden hatte. Die Lieder handeln von der Erinnerung an die Liebe, von der Vergänglichkeit und dem Tod. Dagmar Peckova traf den morbid melancholischen Ton der Gesänge treffend genau und verlieh mit ihrem warmem Mezzosopran den opernhaften Liedminiaturen lebendige Gestalt. Auch hier war Dirk Joeres mit dem klangsensibel aufspielenden Orchester ein ebenso hellwacher wie behutsamer Begleiter. Schluss und Höhepunkt der Konzerte bildeten jeweils eine Sinfonie: Mendelssohns "Schottische" am ersten und Schumanns "Rheinische" am zweiten Abend. Auch diese Werke malen jedes auf seine Weise intensive Klangbilder auf einen geistigen Horizont. Die von Mendelssohn atmosphärisch dicht eingefangenen Stimmungen - im 1. Satz die geheimnisvoll verhangene Grundstimmung mit dem sturmartigen Schluss, die burleske Dudelsackimitation im 2. Satz, den natürlich liedhaften Tonfall des Adagio mit dem düster - pathetischen Mittelteil sowie das heftig bewegte Allegro des 4. Satzes - ließ das Orchester mit viel Liebe zum Detail erleben, wobei der Dirigent gleichwohl die innere Spannung feinnervig zu halten vermochte. In Schumanns 3. Sinfonie beeindruckte zudem, wie pointiert das Orchester die Kontraste zu setzen vermochte und den Ausdrucksbogen weit spannte vom schwungvoll belebten ersten Satz über das heitere Scherzo, den versonnenen 3. Satz zum düster strengen 4. Satz mit seinem schauerlich-feierlichen Blech bis hin zur unkomplizierten Ausgelassenheit des Bauernfesttanzes im 5. Satz. Und in der Zugabe am Ende des ersten Abends gipfelte die Spielfreude des Royal Philharmonic Orchestra in Glinkas Ouvertüre zu "Ruslan und Ludmilla", die zu einem Fest der Orchestervirtuosität geriet. Alle Gruppen präsentierten sich in inspirierter Höchstform und der große Apparat (allein 10 Violoncelli spielten wie mit einem Strich) schien dabei die musikalische Schwerelosigkeit zu erfinden. FAZIT Ein gelungenes Portrait einer oftmals gering geschätzten Musikepoche wurde da durch den höchst motiviert gestimmten Klangkörper ihrer Majestät geboten. People were very amused. Royal Philharmonic Orchestra London Ewa Kupiec, Klavier Dagmar Pecková, Mezzosopran Dirigent: Dirk Joeres Konzert am 6. November 2004 Niels Wilhelm Gade "Nachklänge von Ossian", Ouvertüre Op. 1 Frédéric Chopin Konzert für Klavier und Orchester Nr. 1 e-Moll Op.11 Felix Mendelssohn-Bartholdy Sinfonie Nr. 3 a-Moll Op. 56 "Schottische Sinfonie" Konzert am 7. November 2004 William Sterndale Bennett "Die Najaden", Ouvertüre Op. 15 Hector Berlioz "Les Nuits d` été " Op. 7 Robert Schumann Sinfonie Nr. 3 Es-Dur Op.97 "Rheinische Sinfonie"