The Saint Paul Chamber Orchestra

"Probably the leading ensemble of its kind in America" (New York Times)

Contacts

Jasper Parrott +44 (0)20 7229 9166
Viola Frankenfeld +49 (0)89 6797 10484

Overview

Renowned for its artistic excellence, remarkable versatility of musical styles and adventurous programming, The Saint Paul Chamber Orchestra is widely regarded as one of the finest chamber orchestras in the world.

SPCO has recently undergone transformational change, with the opening of their new home, the Ordway Concert Hall, the addition of a new generation of players, and significant changes in the scope of its artistic aspirations and profile. Committed to championing new music, SPCO is primarily an unconducted ensemble that works in close collaboration with a diverse series of Artistic Partners. In 2015-2016, these include Jeremy Denk, Martin FröstPatricia KopatchinskajaPekka Kuusisto, Christian Zacharias and Thomas Zehetmair; past Artistic Partners include Pierre-Laurent Aimard, Douglas Boyd, Joshua Bell, Nicholas McGegan and Stephen Prustman.

Renowned for its artistic excellence, remarkable versatility of musical styles and adventurous programming, The Saint Paul Chamber Orchestra is widely regarded as one of the finest chamber orchestras in the world.

SPCO has recently undergone transformational change, with the opening of their new home, the Ordway Concert Hall, the addition of a new generation of players, and significant changes in the scope of its artistic aspirations and profile. Committed to championing new music, SPCO is primarily an unconducted ensemble that works in close collaboration with a diverse series of Artistic Partners. In 2015-2016, these include Jeremy Denk, Martin FröstPatricia KopatchinskajaPekka Kuusisto, Christian Zacharias and Thomas Zehetmair; past Artistic Partners include Pierre-Laurent Aimard, Douglas Boyd, Joshua Bell, Nicholas McGegan and Stephen Prustman.

Entering its 58th season in September 2016, the SPCO present over 130 concerts and educational programmes every year, have released 67 recordings, commissioned 146 new works, performed 49 world premieres of additional compositions and tour nationally and internationally, including Europe, Asia and South America.

HarrisonParrott is proud to work with the SPCO for their 2016 tour to Europe with Patricia Kopatchinskaja, performing concerts in Austria, Germany and Italy.

Contacts

Jasper Parrott +44 (0)20 7229 9166
Viola Frankenfeld +49 (0)89 6797 10484

Reviews

“the brilliantly communicating and connecting musicians did not simply play Schubert, but in the second movement Kopatchinskaja recited the poem by Matthias Claudius on which this work was based on.” (Die Presse, November 2016)

“Schubert remains the focus, whose quartet Kopatchinskaja has not only simply fueled from the four-string combination to a string orchestra version, but uses the possibility of differentiation. In her version the basses gain in importance, motifs wander through individual instrument groups, and occasionally the happening is reduced to a quartet, in order to rise immediately to the tutti and to push Schubert's melancholic-churned sounds in unison like a well-oiled machine.” (Tiroler Tageszeitung, November 2016)

“The atmosphere changed dramatically for the final movement (Allegro assai), which the SPCO players turned into quite the romp, with spirited melodic phrases being tossed back and forth between the piano, strings and winds. The clarinet passages were especially winsome, and the movement ended as it began, in boisterous high spirits.” (Bachtrack, October 2016) 

“the brilliantly communicating and connecting musicians did not simply play Schubert, but in the second movement Kopatchinskaja recited the poem by Matthias Claudius on which this work was based on.” (Die Presse, November 2016)

“Schubert remains the focus, whose quartet Kopatchinskaja has not only simply fueled from the four-string combination to a string orchestra version, but uses the possibility of differentiation. In her version the basses gain in importance, motifs wander through individual instrument groups, and occasionally the happening is reduced to a quartet, in order to rise immediately to the tutti and to push Schubert's melancholic-churned sounds in unison like a well-oiled machine.” (Tiroler Tageszeitung, November 2016)

“The atmosphere changed dramatically for the final movement (Allegro assai), which the SPCO players turned into quite the romp, with spirited melodic phrases being tossed back and forth between the piano, strings and winds. The clarinet passages were especially winsome, and the movement ended as it began, in boisterous high spirits.” (Bachtrack, October 2016) 

“The Presto finale was exciting and vivacious, making for an immensely satisfying conclusion to a concert that spoke in equal measure to the heart as well as the head.” (Bachtrack, October 2016)

“The SPCO’s presentation was a joy from beginning to end. Tempos in most of the movements were bracing – somewhat faster than I typically hear – but highly effective.” (Bachtrack, October 2016)

“In the bustling finale, there was striking clarity to crisscrossing lines and spiky harmonies. I have seldom heard this familiar Neo-Classical score sound so multi-layered and contemporary.” (The New York Times, March 2015)