Irish Chamber Orchestra 

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September 2013 – HAYDN IN ESTERHAZY – Irish Times

Irish Chamber Orchestra
Gábor Takács-Nagy Principal Artistic Partner/Conductor
István Várdai Cello

“…the Irish Chamber Orchestra responded to him with an almost super-human alertness…they delivered with a melting, sighing beauty.”

Michael Dervan

The Irish Times

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Thumbnail for July 2013 – Lichfield Festival – Lichfield Live

July 2013 – Lichfield Festival – Lichfield Live

The Irish Chamber Orchestra

 Jörg Widmann, Klarinette

“I think we were all ready for what Lucia Pillson of Tilling would have called “un piccolo divino Mozartino” and we got it in full, rippling, fluid notes falling like glistening drops of blessed rain, at times stately and sombre, at others spry and light. The hymn-like second movement seemed to possess infinite pathos, while in the third the weighty tones of the orchestra effortlessly supported the joyous, playful, clarinet. I honestly don’t think this piece could be played any better.”

Phil Preece,

Lichfield Live

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Thumbnail for July 2013 – Rheingau Music Festival – Wiesbadener

July 2013 – Rheingau Music Festival – Wiesbadener

The Irish Chamber Orchestra

 Jörg Widmann, Klarinette

“The effortless sounds from Widmann’s instrument create magic moments in the famous Andante, resulting in the rebirth with unspoiled beauty of a work which belongs to the “Greatest Hits” of classical music.

The lasting impression of lively and accomplished music playing which goes beyond good reproduction of the printed score is also thanks to the inspired collaboration between Widmann and the Irish Chamber Orchestra.”

Von Volker Milch,

Wiesbadener Kurier

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Thumbnail for July 2013 – Rheingau Music Festival – Frankfurter Allgemeine Zeitung

July 2013 – Rheingau Music Festival – Frankfurter Allgemeine Zeitung

The Irish Chamber Orchestra

 Jörg Widmann, Klarinette

The Dark Side

“Irish Chamber Orchestra with a Mozart vintage in the Kloster Eberbach cloister

The long term weather forecast had foreseen perfect weather for the first open air concert of the Rheingau Music Festival and they weren’t wrong: Mozart resounded in multiple facets in the cloister of Kloster Eberbach, which a few days earlier had been the scene of a wet raindrop Prelude. The Irish chamber orchestra, under the leadership of Jorg Widmann played the Adagio and Fugue in C minor Opus 546. The ensemble did an excellent job in how they played and understood one another, allowing the progressive harmonies (from a classical perspective) to bloom and unfold…The brilliance of the last movement was not the centre of attention here, but rather the exposition of unbelievably beautiful melodies against the backdrop of deep alternate shadow worlds. One had in mind the long-time motto of the Mozart series “Mozarts grosse Nachtmusiken”, which was demonstrated at this point at the latest, by means of serenades which cannot be endlessly repeated, reinterpreted as a view of the spiritual night / dark side.

It was was with Mozarts Symphony No. 40 in G minor, Opus 550 that an evening that brought together relaxed open air atmosphere with a deep sense of unity was brought to a close. “

Benedikt Stegemann

Frankfurter Allgemeine Zeitung

 

May 2013 – Steeplechase – Irish Examiner

The Irish Chamber Orchestra
The National Chamber Choir
Nicholas Kraemer Conductor
Peter Barley, Organ

 

“…the music was pleasing, exciting and individual…….marvellously performed”.

Declan Townsend,

The Examiner

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  • Featured Article

    • February 2013 – Welcome Gábor – Irish Times

      Irish Chamber Orchestra
      Gábor Takács-Nagy Principal Artistic Partner/Conductor

      “The Irish Chamber Orchestra, under Gábor Takács-Nagy, its new musically dynamic “principal artistic partner/conductor”, performed the Bizet a la Shchedrin at the RDS on Saturday. The players conveyed the music’s every nuance with colourful allure, snapped its rhythms with bracing energy, and turned the whole work into a real tour de force……. The orchestra’s music-making was a pure delight in the two 18th-century symphonies they performed before the interval, one light (Mozart’s No 15), one furrowed and earnest (Haydn’s No 44, nicknamed the Mourning), and both played with an intensity of moment-by-moment focus that was totally gripping”

      Michael Dervan

      The Irish Times

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