Nov 19, 2016
Oct 26, 2016
“Saraste leads the WDR Sinfonieorchester Köln in this performance for radio broadcast, and he states that it is a privilege to conduct this orchestra, which made many great Bruckner recordings under Günter Wand. If there is a little of Wand’s style in Saraste’s expansive phrasing and warm orchestral blend, it may be because he grew up listening to Wand’s recordings, so it’s fair to say that he is keeping a great tradition alive. The performance rates high marks for Saraste’s scrupulous interpretation and the orchestra’s committed playing”
AllMusic, Blair Sanderson, October 2016
Saraste’s very personal Bruckner
“The Finnish conductor has a rather relaxed, unagitated approach to Bruckner’s monumental music. His phrases are generous, he elicits a round, warm sound with a slightly dark timbre from the orchestra, takes a little edge off the effervescant sound mass and entirely refrains from a triumphant attitude.
…Bruckner’s Eighth gains a rhythmical sharpness here. This becomes most evident in the Scherzo, but no less in the three remaining movements. Saraste uncovers structures frequently buried by other conductors. Yet, he does not do this out of pure lust for dissection and never loses sight of the entirety of the work.”
Pizzicato, Guy Engels, December 2016
Oct 17, 2016
7 October 2016
Orchestre Philharmonique de Radio France, Chœur de Radio France, Géraldine Chauvet, Yann Beuron, Henk Neven
“Jukka-Pekka Saraste on great form, knowing well how to bring out the best in the Orchestre Philharmonique de Radio France, was the primary and magnificent architect of this exhilarating Roméo et Juliette.”
7 October 2016
Gilles Lesur, ConcertoNet
Oct 14, 2016
Sep 30, 2016
Aug 16, 2016
Recorded live April 2016 – Kölner Philharmonie
Conductor: Jukka-Pekka Saraste
Aug 16, 2016
WDR Chief Conductor Jukka-Pekka Saraste on the Sibelius anniversary and his Sibelius concert at the Cologne Philharmonie
Mr. Saraste, you have just rehearsed Sibelius’ Fourth Symphony with the WDR Symphony Orchestra. Are German orchestras able to do Sibelius?
It always depends on the tradition. And it is obvious: The Fourth is still rather “new” in Germany – as opposed to the First or the Second or even the Seventh which contains much Wagner. But the Fourth is really difficult – the musical language is so “plain” and at the same time so profound – this has nothing to do with Brahms or Mahler.
Have you been able to make this accessible to the orchestra?
It gets better and better. We have done much Sibelius together after all. But once again: The Fourth is something special, in fact there is no model. It is somewhat similar to Webern – one has to find these exact sounds.
Jul 27, 2016
May 27, 2016