Truls Mørk
Cello

“Mørk enthralled the audience from the first to last note. By turns tender, introverted, fiery and passionate, he constantly propelled us forward on this compelling epic journey.” (Joanne Talbot, The Strad)

Contacts

Linda Marks +44 (0)20 3725 9120
Katie Cardell-Oliver +44 (0)20 3725 9149
Margot Moseley +44 (0)20 3725 9177

Biography

During the 2017/18 season, Truls Mørk returns to Orchestre National de France and to the Czech Philharmonic. The season also includes Grafenegg Festival and a tour of Switzerland, a performance at Carnegie Hall in New York together with the Orpheus Chamber Orchestra, and he will appear in three performances in Salzburg as part of the Helsinki Philharmonic Orchestra’s residency under Susanna Mälkki. He continues to give regular recitals at major venues and festivals throughout the world. He has recently developed a collaboration with Behzod Abduraimov which will see them perform on tour in the US and Europe. 

A great champion of contemporary music, Truls Mørk has given in excess of 30 premieres. These include Rautavaara’s Towards the Horizon with the BBC Symphony Orchestra/John Storgårds, Pavel Haas’ Cello Concerto with Wiener Philharmoniker/Jonathan Nott, Krzysztof Penderecki's Concerto for Three Cellos with the NHK Symphony Orchestra/Charles Dutoit and Haflidi Hallgrimsson’s Cello Concerto, co-commissioned by the Oslo Philharmonic, Iceland Symphony and Scottish Chamber orchestras. 

During the 2017/18 season, Truls Mørk returns to Orchestre National de France and to the Czech Philharmonic. The season also includes Grafenegg Festival and a tour of Switzerland, a performance at Carnegie Hall in New York together with the Orpheus Chamber Orchestra, and he will appear in three performances in Salzburg as part of the Helsinki Philharmonic Orchestra’s residency under Susanna Mälkki. He continues to give regular recitals at major venues and festivals throughout the world. He has recently developed a collaboration with Behzod Abduraimov which will see them perform on tour in the US and Europe. 

A great champion of contemporary music, Truls Mørk has given in excess of 30 premieres. These include Rautavaara’s Towards the Horizon with the BBC Symphony Orchestra/John Storgårds, Pavel Haas’ Cello Concerto with Wiener Philharmoniker/Jonathan Nott, Krzysztof Penderecki's Concerto for Three Cellos with the NHK Symphony Orchestra/Charles Dutoit and Haflidi Hallgrimsson’s Cello Concerto, co-commissioned by the Oslo Philharmonic, Iceland Symphony and Scottish Chamber orchestras.   

With an impressive recording output, Truls Mørk has recorded many of the great cello concertos many of which have won international awards including Gramophone, Grammy, Midem and ECHO Klassik awards.His most recent recordings include Shostakovich’s Concertos with the Oslo Philharmonic Orchestra/Vasily Petrenko, works for cello and orchestra by Massenet with the Orchestre de la Suisse Romande/Neeme Järvi and the Saint-Saens Concertos together with the Bergen Philharmonic Orchestra/Neeme Järvi.

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Contacts

Linda Marks +44 (0)20 3725 9120
Katie Cardell-Oliver +44 (0)20 3725 9149
Margot Moseley +44 (0)20 3725 9177

Reviews

“The performance that will stay longest in my mind, though, was of the Elgar concerto, with the Norwegian cellist Truls Mørk. No player at the festival produced a handsomer tone: Mørk had the benefit of a magnificent instrument, a 1723 Domenico Montagnana, and he made it sing with unforced splendor, his expansive, Russian-inflected bowing and vibrato insuring that quiet passages floated into the far reaches of the hall. As an interpreter, Mørk avoided the noble-minded protocol—the high-school-graduation tread—that is too common in Elgar. Unmannered rubato gave a sense of moment-to-moment improvisation, of a halting search for honest expression. What emerged was a monologue set against a landscape of shadows: the cellist as Shakespearean actor, uneasy with the crown of power.” (New Yorker, June 2016)

“In Schumann’s Cello Concerto the Norwegian Truls Mørk provided playing that was emotionally rapt and technically assured… Mørk’s absorbed dedication made it into a meditation alternately serene and dramatic, a reverie whose moods hung together” (Martin Hoyle, Financial Times review, August 2014).

“Truls Mørk shows an infinite amount of musicianship… the Norweigian cellist develops a round and velvety rough sound, time and time again. A great artist at work, getting to the heart of the Brahms discourse.” (Julian Sykes, Le Temps, March 2014)

“The performance that will stay longest in my mind, though, was of the Elgar concerto, with the Norwegian cellist Truls Mørk. No player at the festival produced a handsomer tone: Mørk had the benefit of a magnificent instrument, a 1723 Domenico Montagnana, and he made it sing with unforced splendor, his expansive, Russian-inflected bowing and vibrato insuring that quiet passages floated into the far reaches of the hall. As an interpreter, Mørk avoided the noble-minded protocol—the high-school-graduation tread—that is too common in Elgar. Unmannered rubato gave a sense of moment-to-moment improvisation, of a halting search for honest expression. What emerged was a monologue set against a landscape of shadows: the cellist as Shakespearean actor, uneasy with the crown of power.” (New Yorker, June 2016)

“In Schumann’s Cello Concerto the Norwegian Truls Mørk provided playing that was emotionally rapt and technically assured… Mørk’s absorbed dedication made it into a meditation alternately serene and dramatic, a reverie whose moods hung together” (Martin Hoyle, Financial Times review, August 2014).

“Truls Mørk shows an infinite amount of musicianship… the Norweigian cellist develops a round and velvety rough sound, time and time again. A great artist at work, getting to the heart of the Brahms discourse.” (Julian Sykes, Le Temps, March 2014)

“Truls Mørk has tremendous stature as a recitalist. Technical control is one thing, but the compelling quality throughout this programme was the intense personal conviction both he and Christian Ihle Hadland conveyed... Mørk enthralled the audience from the first to last note. By turns tender, introverted, fiery and passionate, he constantly propelled us forward on this compelling epic journey. ” (Joanne Talbot, The Strad, September 2013)

“Truls Mørk… is on exceptional form here. Particularly in the 2003 Cello Concerto, he combines a seemingly flawless technical command with a real passion for the music. He delivers some truly beautiful sounds with his 1723 Montagnana, from icicles of harmonics to bronzed bass figures, yet there is a clarity and cleanness to everything he articulates…Strongly recommended.” (The Strad, June 2009)

“Technically exacting, it is stunningly played by the great cellist, Truls Mork, who gives an equally commanding account of the first 'concerto', Herma.” (Yorkshire Post, May 2009)

“Mørk’s realisation is gripping and inexorable.” (The Scotsman, May 2009)
 
“It goes without saying that the performance here by Truls Mørk… is a towering achievement in which every single detail has been worked out carefully… the sound is spectacular. (MusicWeb-International, May 2009)

“Mørk’s cello playing, delicate yet forceful, is a treat in itself.” (The Daily Telegraph)