New York Classical Review

July 15, 2016

Eschenbach, National Youth Orchestra of USA scale the heights with Bruckner

by Bruce Hodges

... Last night, the conducting honors fell to Christoph Eschenbach, currently music director of the National Symphony Orchestra and the John F. Kennedy Center for the Performing Arts. Leading an impassioned, highly focused group of over 100 young players (ages 16-19), Eschenbach not only gave a memorable evening for a packed Carnegie Hall, but provided further evidence of the formidable prowess of today’s young musicians ...

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April 30, 2016

Matthias Goerne and Christoph Eschenbach – « Vier Ernste Gesänge Lieder » by Johannes Brahms

by Jon Sobel

... On his new recording of the theatrical melodies of Brahms’s lieder and gesänge on the new album Vier Ernste Gesänge, it sounds at times almost as if there’s more accompanying him than just distinguished conductor and pianist Christoph Eschenbach‘s two hands. Both musicians here display exceptionally soulful (as well as wonderfully compatible) senses of rhythm and timing, and timing is so important in conveying the spirit of these sublime songs ...

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The Guardian

April 11, 2016

LPO, Eschenbach, lucid and humane pairing of Brahms and Schoenberg

by Tim Ashley

... The two composers can complement each other when performed together, and for his latest concert with the London Philharmonic Orchestra, Christoph Eschenbach prefaced Brahms’s German Requiem with Verklärte Nacht in its 1943 version for string orchestra.
Eschenbach is noted for his fondness for expansive tempi, and the central section of Verklärte Nacht could perhaps have done with greater pressure and emotional density ...

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Classical Source

April 9, 2016

LPO, Eschenbach, Transfigured Night and, with Sarah Tynan & Matthias Goerne, A German Requiem

by Colin Anderson

A heavyweight and apt pairing that became a massive concert. Christoph Eschenbach brought gravity to both works.
Schoenberg’s Transfigured Night (in fact replacing the originally planned UK premiere from Marc-André Dalbavie) owes to Richard Dehmel’s poem. From string-sextet original to string orchestra, this emotional and vivid music enjoyed the full resources of the London Philharmonic’s strings, 60 in number, the eight double basses in a line behind the antiphonal violins, with centrally placed violas (left) and cellos. It looked great!..

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March 27, 2016

He brought out the best from the Philhamonic

by Gal Apelroit

... Mahler’s Symphony No. 4 was beautifully performed. The orchestra transformed Mahler’s most “Haydnesque” symphony into a demonstration of orchestral effects bordering on the modern with a warm, uplifting sound. The sole supervisor of the concert, conductor Christoph Eschenbach, did wonders with his interpretation of Mahler and brought to the surface every nuance hidden between the notes of the intensely dense score ...

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Opus Magazine

March 27, 2016

Eschenbach at the Philharmonic

by Oded Zahavi

... Mahler’s 4th Symphony is a gem. He gives us a spectacular spectrum of instrumental and vocal tonal colors, one enchanting melody gives way to another just as beautiful, the “emotional map” is clear and Mahler seems to have almost renounced the irony or unexpected contrasts that characterize his early symphonies. It also seems that the attempt to create majestic exaltation and glory, which characterizes his later symphonies, is absent from this score. This is a bare symphony which represents a major challenge for the orchestra and conductor ...

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November, 2015

HINDEMITH Mathis der Maler

by Tim Ashley

The second disc in Christoph Eschenbach’s Hindemith series with the NDR Sinfonieorchester brings together the works that effectively marked the beginning and end of the major crisis in the composer’s life. The Mathis der Maler Symphony (1934), drawing on material from his opera about the need for artistic integrity in dark political times, brought him into direct confrontation with the Nazis, setting in motion the chain of events that led to his exile in 1938.

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The Baltimore Sun

November 11, 2015

A riveting Mahler Third from Eschenbach, NSO

by Tim Smith

Gustav Mahler's music speaks to certain conductors in a distinctively personal way. An extra spark animates their performances. An extra depth comes through as well. Christoph Eschenbach is one of those conductors, as reiterated by his riveting account of Mahler's Third with the National Symphony Orchestra over the weekend at the Kennedy Center.
Eschenbach can be counted on to deliver individualistic interpretations of almost anything, of course. But with Mahler, he seems to put an especially firm stamp on the notes as he seeks to uncover the heart and generate the sound world of the composer. He did so again Saturday night.

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Peter Krause

August 31, 2015

Adieux en requiem

Peter Krause

Adieux en requiem

Le requiem de Verdi clôture avec succès le festival de musique de Schleswig-Holstein du Stade de la Sparkasse de Kiel.

Tel un maître de cérémonie bouddhique, Christoph Eschenbach saisit avec pertinence les prémisses de l’expression musicale : au commencement était le silence...

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Peter Krause

August 31, 2015

Abschied mit Totenmesse

Peter Krause

Verdis Requiem belebt zum Ausklang des erfolgreichen Schleswig-Holstein Musik Festivals die Kieler Sparkassen-Arena

Am Anfang war die Ruhe.
Christoph Eschenbach versteht sich gleich einem buddhistischen Zeremonienmeister auf die Voraussetzung einer jeden relevanten musikalischen Äußerung...

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Kiel Nachrichten

August 31, 2015

Der Geist des Miteinanders

Oliver Stenzel

...Auf allen Ebenen durchmischt und konzentriert
Die Idee, mittels der Durchmischung des NDR Sinfonieorchesters mit den jungen Angehörige der Akademie des NDR auch auf der Orchesterebene Semiprofessionalität zu erzeugen, erweist sich im Ergebnis als überaus zweckdienlich. So entsteht hier ein runder Großklang ohne extreme Asymmetrien und außerdem frischt das Jugendsinfonieorchester den Sound seines großen Paten hörbar auf. Und wer könnte eine solche Zusammenführung souverän meistern, wenn nicht ein in Sachen Nachwuchsarbeit so beschlagener Maestro wie Christoph Eschenbach? Natürlich schlagen dabei die Chor- und Orchesterwellen auch einmal kräftig ineinander, natürlich gibt es dabei mitunter Musikverluste auf beiden Seiten zu beklagen. Aber gerade die volltönendsten Stellen des Requiems, wo dies öfter geschieht, halten das am besten aus. Und in seinen sanften Passagen geht es auf allen Ebenen beeindruckend konzentriert zu...

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Hamburger Abendblatt

September 1, 2015

Eine ergreifende Totenmesse zum Abschluss

by vfz

Dieser Eschenbach nun brachte mit seinem einzigartigen Gespür für Zeit in der Musik den nuanciertesten und ergreifendsten Verdi zum Klingen, den man sich nur wünschen kann. So leise wie das NDR Sinfonieorchester samt integriertem NDR Jugendsinfonieorchester die ersten Takte spielte, zart und deutlich zugleich, so leise kann nur ein sehr großes Orchester spielen.

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Communities Digital News

March 26, 2014

NSO: Christine Goerke dazzles in all-Richard Strauss concert

by Terry Ponick

[...] Under Mr. Eschenbach’s able baton, the NSO opening last week’s program with the traditional “overture”—in this case, actually Richard Strauss’ early “tone poem,” his Opus 20, entitled “Don Juan,” first performed in Weimar in 1888 with the 24-year old composer wielding the baton.[...]
Mr. Eschenbach—whose own professional story arc once intersected with the late Mr. Szell’s when, as a young concert pianist, he began his shift toward a conducting career—seems to have picked up the Straussian skill set himself, shifting this NSO performance of “Don Juan” into a well-controlled overdrive. He gave the orchestra’s brass sections ample opportunity to shine while still blending that ensemble with the remaining musicians to produce the necessary but uncommonly difficult richness of sound this score requires.
“Don Juan” set both the mood and the expectation high for the pair of Straussian operatic excerpts that followed, the Recognition Scene from his “Elektra,” and the final scenes from his “Salome,” both intense, innovative and powerful one-acters.

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March 14, 2014

"Waiter, There’s a Feather in my Bagel!"

by Harry Rolnick

With Christoph Eschenbach on the podium, and with the Vienna Philharmonic–who would have given the premiere if Schubert had finished it or the 174-year-old orchestra had been invented–that was not a difficult feat. Mr. Eschenbach must have conducted it thousands of times, but as a man of utmost integrity, he would have heard the music in his mind (naturally he needed no score) and given it a reading as if it had just been written.

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February 24, 2014

Romantik satt und ein neuer Star am Flügel

by Konrad Dittrich

[...] Beim jüngsten Konzert des NDR-Sinfonieorchesters in der Lübecker Musik-
und Kongresshalle hießen die Komponisten Tschaikowsky, Schubert und
Liszt, die Dichter Shakespeare, Byron und — wer hätte es gedacht? —
Georg Philipp Schmidt aus Lübeck. Am Pult stand Christoph Eschenbach.
Mitgebracht hatte er seine Entdeckung, den 26 Jahre jungen Pianisten
Christopher Park [...]

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Chicago Classical Review

January 20, 2014

Goerne and Eschenbach deliver memorable Schubert journey

Lawrence A. Johnson

Matthias Goerne performed Schubert’s song cycle “Die schöne Müllerin” Sunday night at Symphony Center. [...]
Goerne and Eschenbach have recorded the Schubert cycles and performed them together around the world, yet there was not the slightest hint of routine in Sunday night’s riveting performance. The partnership between the two men was extraordinary with Eschenbach’s piano amplifying and expanding on Goerne’s vocalism in virtually symbiotic fashion [...]
As in previous collaborations, Eschenbach—who had conducted the Boston Symphony Orchestra the previous evening—was a full partner with Goerne, bringing an equally terraced array of hues and dynamic detailing to his piano playing.

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The Boston Globe

January 18, 2014

Eschenbach masters two classic works with the BSO

by Jeffrey Gantz

[...] Like Claudio Abbado in his 1999 Symphony Hall performance with the Berlin Philharmonic, Eschenbach mastered the harmonic motion of this vast spiritual drama, its ebb and flow, its tension and release. And he did so on a colossal scale, with outer movements that ran 30 minutes each. Textures were massive, but there was toothsome detail as well. Bruckner’s abrupt tempo shifts were not smoothed over, and neither were his rests short-shrifted. Dissonances were as brutal and pitiless as the composer meant them to be; the final resolution was that much more moving. The Ninth is a cosmic symphony; on this occasion, it received a cosmic performance.

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Boston Classical Review

January 17, 2014

Eschenbach does impressive double play with BSO in Mozart and Bruckner

Aaron Keebaugh

Thursday night, Christoph Eschenbach returned to lead the Boston Symphony Orchestra in an inspired, if slightly distant, reading of the colossal work.
Eschenbach’s Bruckner is noted more for its strength of articulation than enveloping warmth. With deliberate gestures, the conductor pulled luminous sheets of sound from the orchestra [...]
On the first half of the program, Eschenbach, conducting from the keyboard, offered Mozart’s Piano Concerto No. 12 in A, K. 414.
Mozart and Bruckner make for an enjoyable pairing on any concert program. And this concerto, with its delicate charm and intimacy, complemented the latter composer’s soul-searching musical journey [...]
The ensemble played superbly; Mozart’s nimble lines glowed with warm blend. Eschenbach answered with a sweetened and ghostlike piano tone. One wanted a little more clarity to his touch, but the performance had its affecting moments.

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Chicago Tribune

December 20, 2013

CSO bids farewell to 2013 with sturdy showing under Eschenbach

John von Rhein

The Christmas wreaths and garlands adorning the Armour Stage at Orchestra Hall may put audience members in a festive mood, but the Chicago Symphony Orchestra's final subscription program of 2013 conveys a serious intent unrelated to the musical sweetmeats served up by the season [...]
But the brief but absorbing centerpiece, Bernard Rands' 1993 "…where the murmurs die…," also spoke to Eschenbach's ability to get to the heart of the matter. The performance was offered in honor of the distinguished, British-born, Chicago-resident composer's 80th birthday, which will arrive in March [...]
Eschenbach had the orchestra playing with comparable commitment for both the Beethoven and Bruckner works. The solemn, massive chords that opened "Egmont" set forth the tensions that were resolved in the blazing Beethovenian drama the conductor whipped up later on [...]
Eschenbach also traveled a middle course, maintaining firm control of the overarching symphonic structure while attending closely to instrumental detail and allowing the music to breathe warmly and flexibly. His handling of transitions, always crucial to the success of any Bruckner performance, was sensitive. You heard toughness and integrity in the orchestra's playing but you also heard heart-ease and tenderness [...]

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Chicago Tribune

July 14, 2012

Eschenbach leads CSO, gifted young soloists, in Brahms bonanza at Ravinia

John von Rhein

Much as one laments the plethora of standard symphonic repertory that fills the summer schedules of big commercial festivals such as Ravinia, criticism is muted when that repertory is dispatched with the beauty and edge-of-seat intensity the Chicago Symphony Orchestra brought to it over the weekend at Ravinia under Christoph Eschenbach's direction.

The all-Brahms program the orchestra presented under clearing skies Friday night in the park could be regarded as a prelude to the recital of German lieder, including Brahms songs, that Eschenbach, in his alternate guise of pianist, will perform with his longtime colleague, baritone Matthias Goerne, Monday in Ravinia's Martin Theatre.

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21 avril, 2012

Il fallait bien tout le talent du tandem Goerne-Eschenbach pour redonner vie à ce Chant du cygne, aussi disparate que dénigré. A écouter sur-le-champ.

par Gilles Macassar

Constitué par les derniers lieder trouvés au chevet de Schubert après sa mort, réunis sous le titre apocryphe Le Chant du cygne, ce troisième cycle, par son assemblage de circonstance, a toujours souffert de n'offrir ni la cohérence ni l'unité des deux précédents — La Belle Meunière et Le Voyage d'hiver. Plus canard boiteux que cygne mourant, en a décidé la postérité. A ce jugement négatif, le nouvel enregistrement que proposent Matthias Goerne et Christoph Eschenbach, tous deux au sommet de leur maîtrise et de leur entente musicale, apporte un démenti sans appel.

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Los Angeles Times

April 17, 2012

L.A. Phil's 'Sublime Schubert' fest kicks off with heat

by Marc Sweb

Baritone Matthias Goerne and pianist Christoph Eschenbach stun a Disney Hall crowd with 'Die Schone Mullerin,' the opener for the L.A. Philharmonic's week of Schubert.
"Sublime Schubert" is what the Los Angeles Philharmonic is calling this week of Schubert and nothing but. The festival began at Walt Disney Concert Hall on Monday night with a performance of the most beloved song cycle, "Die Schöne Müllerin," by possibly history's most beloved composer.
And, yes, the scorching performance from baritone Matthias Goerne and pianist Christoph Eschenbach was sublime, but not in the sense of a heavenly destination occasionally reached by way of the ridiculous. In chemistry, "sublime" forms a verb describing the process of converting a solid to a gas without an intermediate liquid stage.

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The Australian

September 29, 2011

Romance with the Viennese tradition

By Matthew Westwood

The Vienna Philharmonic Orchestra is making a return visit to these shores with a program that should be second nature to this gilded ensemble. Mozart, Beethoven, Schubert, Brahms, Bruckner, Mahler: these composers all made their careers in Vienna, and their music - from classical Mozart to Mahler's high romanticism - is under the Viennese orchestra's skin.

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Fränkischer Tag

16. Februar 2011

"Popmusik ist ganz einfach schlecht"

Von Rudolf Görtler

Christoph Eschenbach, ein Dirigent von Weltgeltung und hervorragender Pianist, interpretiert mit den Bamberger Symphonikern Ludwig van Beethovens "Missa Solemnis". Im Gespräch mit unserer Zeitung äußert er sich auch über den Musikbetrieb und wie man junge Leute für klassische Musik gewinnen könnte.

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September 2, 2010

This is Eschenbach: Tenure at Kennedy Center and NSO Begins in September

By Jeremy D. Birch

This month, Christoph Eschenbach officially assumes his positions as music director of both the National Symphony Orchestra and the Kennedy Center. Beethoven and Mahler are among the offerings in the first few weeks.

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Juli/August 2010

"Wichtig ist eine starke Persönlichkeit"

Von Christoph Forsthoff

Der Pianist und Dirigent Christoph Eschenbach wird beim Schleswig-Holstein Musik Festival besonders geehrt. Interview zum 70. Geburtstag.

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Hamburger Abendblatt

2. Juni 2010

Pianist, Dirigent und Mentor - Fünf Geburtstagskonzerte zum Siebzigsten von Christoph Eschenbach

Von Ilja Stephan

Mahler, Schumann oder Chopin werden im Jahr 2010 weltweit gefeiert, weil deren runde Geburtstage anstehen. Doch beim Festival ist 2010 auch Eschenbach-Jahr. Christoph Eschenbach hat im Februar seinen 70. Geburtstag gefeiert - Grund genug, den ehemaligen Künstlerischen Leiter und Principal Conductor des Festivalorchesters mit einem Jubiläumskonzert, einem Orchesterkonzert, Kammermusik- und Liederabenden sowie einem mehrteiligen Geburtstagsfest in Salzau zu ehren.

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Die Welt

20. Februar 2010

Ein Dirigent braucht keine Haare

Von Kai Luehrs-Kaiser

Interview zum 70. Geburtstag: Dirigent und Pianist Christoph Eschenbach über Flucht, schwere Kindheit und seinen Abschied aus den USA

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The Washingtonian

December 1, 2009

Making Musicians Play Like Devils & Angels

By Cragg Hines

When the National Symphony Orchestra picked Christoph Eschenbach to be its next music director, it didn't play it safe. The drama-loving conductor can be controversial, but he'll never be boring.

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Gustav Mahler Blog by Universal Edition

July 10, 2009

"Mahler is certainly the greatest symphonist ever."

By Wolfgang Schaufler

Interview with Christoph Eschenbach on Gustav Mahler

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April 17, 2008

The Eschenbach Era - An Appreciation

By Bernard Jacobson

Classical music writer Bernard Jacobson looks back at Christoph Eschenbach's tenure as music director of the Philadelphia Orchestra.

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Diverdi Magazine

October 2007

"The position of the conductor is nowadays more regressive rather than progressive"

By Mark Wiggins

Interview with the famous pianist and conductor who is currently music director in Paris and in Philadelphia

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Fanfare Magazine

September 21, 2007

Eschenbach's Philadelphia Legacy: A Recording Contract with Ondine

By Peter Burwasser

Christoph Eschenbach is an intense musician and human being. When meeting him in person, one has the sense that he does not relax easily, which is telegraphed by his fiercely glowing eyes. His curt, Teutonic manner was apparent when we met in his dressing room behind Verizon Hall this past May to chat about his newest Ondine recording. But as soon as the conversation is steered towards the subject he loves so intensely, music, his whole body seems to melt a little, as he happily sings phrases from Beethoven symphonies and conducts an imaginary orchestra. More often, he is in front of a very real orchestra, namely, the one of which he is music director, the Philadelphia Orchestra.

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Partituren 12

29. August 2007

"Ich bin ganz verliebt in Roussel"

Von Arnt Cobbers

Christoph Eschenbach ist viel unterwegs. Gerade war er noch in den USA, nächste Woche reist er durch Brasilien. Schließlich findet sich eine halbe Stunde Zeit für ein Interview während des Schleswig-Holstein Musikfestivals, wo er einen Operetten- und einen Kodály-/Bartók-Brahms-Abend dirigiert und dazwischen einen jungen Tenor bei einem Liederabend begleitet. Im Gespräch erweist sich Eschenbach als Mann der leisen Töne.

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avril 2007

L'hommage: Christoph Eschenbach - l’enfant de plus d’un siècle

Par André Tubeuf

Au piano, du haut de son pupitre, Christoph Eschenbach cultive et déploie ce son intérieur, bien à lui. Nourri de la culture et de l’esprit du Sage.

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Deutschlandfunk - Musikjournal

28. September 2006

Christoph Eschenbach über die Arbeit als Orchester-Leiter

Von Christoph Vratz

Seit den Anschlägen vom 11. September geht es den amerikanischen Fluggesellschaften schlecht. Zumindest nicht gut genug, um in gleichem Umfang die Konzerttourneen der großen US-Orchester nach Europa zu sponsern. Die Auftritte der Klangkörper aus New York, Boston oder Cleveland sind seltener geworden. Nun aber ist es dem Philadelphia Orchestra gelungen, eine solche Tournee auf die Beine zu stellen. Es gastiert u.a. in Frankfurt, Essen, Bonn und Berlin. Chefdirigent ist Christoph Eschenbach. Seit er im Jahr 2003 das Orchester übernommen hat, hat es sich auch personell verändert. Für Aufsehen sorgte beispielsweise die Berufung einer gerade 20-Jährigen als Tubistin. Was heißt es eigentlich, Orchestermitglieder neu integrieren? Welche Aufgaben stellen sich für einen Chef-Dirigenten? Christoph Vratz hat sich darüber mit Christoph Eschenbach unterhalten.

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Mai 2006

"Ich fühle mich in keiner Tradition wohl"

Von Jörg Hillebrand

Mit dem Orchestre de Paris und dem Philadelphia Orchestra leitet Christoph Eschenbach zwei der angesehensten Klangkörper der Welt. Mit beiden nimmt er neuerdings für das unabhängige finnische Label Ondine auf. Über seine Orchester, seine Platten und seine Vorliebe für zeitgenössische Musik sprach der Dirigent mit Jörg Hillebrand.

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March 23, 2006

The Maestro as Mentor

By Susan Gould

Philadelphia Orchestra music director Christoph Eschenbach guides a new generation.

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Théâtre du Châtelet - programme

15 octobre 2005

"Une certaine atmosphère de musique de chambre"

Par Yannick Millon

Entretien avec le chef d'orchestre Christoph Eschenbach.

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International Herald Tribune

October 13, 2005

Eschenbach's united effort behind 'Ring'

By Mary Blume

The most eagerly awaited event of the season is Wagner's 'Ring' at the Châtelet Theater, which begins Wednesday with 'Das Rheingold' and reaches a climax in April with two full performances of all four operas and Plácido Domingo as Siegmund in 'Die Walküre.' Robert Wilson directs and the conductor is Christoph Eschenbach leading his Orchestre de Paris.

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Télérama (n° 2888)

17 mai 2005

La formidable ascension

Par Gilles Macassar

Au fil des ans, l'Orchestre de Paris s'est bâti une sonorité grâce à la baguette de son chef.

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Berliner Philharmoniker - das magazin

März/April 2005

"Nirgends wird Welt sein als drinnen" -
Ein Gespräch mit dem Dirigenten und Pianisten Christoph Eschenbach

Von Jürgen Otten

Es gibt nicht viele Menschen, die das Bundesverdienstkreuz gleich drei Mal zu Lebzeiten erhalten. Christoph Eschenbach ist einer der Wenigen, denen diese Ehre zuteil wurde. Und mit einigem Recht. Sein Einsatz zumal für die musizierende Jugend kann als beispielhaft in der Szene der Jet-Set-Künstler gelten. Aber nicht allein durch sein Wirken in der Nachwuchsförderung hat sich der 1940 im damaligen Breslau (heute Wroclaw) als Christoph Ringmann geborene Musiker einen Namen gemacht.

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Le Monde

18 février 2005

Christoph Eschenbach, directeur musical de l'Orchestre de Paris -
"La crise traversée contribue à notre fusion avec les musiciens"

Par Marie-Aude Roux

Le chef d'orchestre allemand Christoph Eschenbach n'a pas la salle de concerts qu'il mérite. Il est depuis septembre 2000 le directeur musical de l'Orchestre de Paris. Il en a passé deux à la salle Pleyel. Il vient d'en passer deux autres au Théâtre Mogador - un lieu inadapté. Le chef et son orchestre attendent toujours, en dépit de leur retour à Pleyel programmé en septembre 2006, la grande salle parisienne que beaucoup demandent.

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Tempo Magazine

Apr/May/Jun 2004

Christoph Eschenbach: A man of the people

By Lesley Valdes

Before becoming a conductor more than 30 years ago, Christoph Eschenbach was one of the world's foremost concert pianists. Since he became the seventh Music Director of The Philadelphia Orchestra, he has been spreading his extraordinary musical skills well beyond the stage of Verizon Hall.

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L'Express (n° 2756)

26 avril 2004

Christoph Eschenbach -
"La musique m'a sauvé la vie"

Par Bertrand Dermoncourt

Il ne vit que par la musique, et pour la musique. C'est elle, dit-il, qui l'a sauvé alors qu'il était petit enfant, orphelin de la guerre. D'abord pianiste, chouchou de Karajan, Christoph Eschenbach s'est peu à peu tourné vers la direction d'orchestre, avant de devenir l'une des baguettes les plus recherchées de son temps. Il occupe aujourd'hui la direction musicale de deux des plus grandes phalanges mondiales, l'une à Philadelphie, l'autre à Paris, depuis quatre ans.

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Philadelphia Daily News

January 19, 2004

A talk with the maestro

By Tom Di Nardo

Assembling a 30-week orchestra season - a giant puzzle involving guest conductors, dozens of soloists and a vast repertoire - is a monumental task. Philadelphia Orchestra music director Christoph Eschenbach added an extra variable for the 2004-2005 season - an overriding theme of humanity and hope.

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Philadelphia Daily News

January 19, 2004

Eschenbach's theme for 2nd season: Humanity and hope

By Tom Di Nardo

For his second season as the Philadelphia Orchestra's music director, Christoph Eschenbach has embedded the schedule with an undeniably personal stamp. His main focus is the humanity expressed in music, with a series of ongoing celebrations covering a huge span of the repertoire.

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Philadelphia Daily News

October 14, 2003

Orchestra's new music director gets settled -
discusses first days on the job

By Tom Di Nardo

During his first four weeks as the Philadelphia Orchestra's new music director, Christoph Eschenbach was in motion nonstop, with whirlwind tours around the city, speaking engagements, meetings with board members and musicians' groups, planning sessions and interviews.

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Frankfurter Allgemeine Zeitung

September 23, 2003

Musical Whirlwind: Christoph Eschenbach swears in as Director of the Philadelphia Orchestra

By Wolfgang Sandner (translated)

No matter how one may like to judge his takeover as the seventh musical director in the one-hundred-and-three-year-old history of the Philadelphia Orchestra in musical terms: Christoph Eschenbach has demonstrated, in any case, an instinct for the symbolism of the moment and for the inclemency of the weather and used it as a metaphor for a possibly more blessed artistic perspective.

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Frankfurter Allgemeine Zeitung

23. September 2003

Hunderter mit Steuermann
Musikalische Wirbelstürme: Christoph Eschenbach als Chef des Philadelphia Orchestra vereidigt

Von Wolfgang Sandner

Wie man auch immer seinen Antritt als siebter Chefdirigent in der einhundertunddreijährigen Geschichte des Philadelphia Orchestra musikalisch beurteilen mag: Christoph Eschenbach hat in jedem Fall Instinkt für die Symbolik des Augenblicks bewiesen und die Ungunst des Wetters zur Metapher auf eine möglicherweise segensreichere künstlerische Perspektive genutzt.

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The Philadelphia Inquirer

September 21, 2003

Eschenbach era begins on a good note

By The Editor

New Philadelphia Orchestra music director Christoph Eschenbach already is making good on his promise to show the city "more than my back."

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The Philadelphia Inquirer

March 25, 2003

Let's bring new ears to the Philadelphia Orchestra

By Christoph Eschenbach

What does the Philadelphia Orchestra mean to me? I have felt, seen, heard and sensed the orchestra and its organization for some weeks now, and I can happily say that we already are beginning to grow together and to form a symbiosis of a special kind. On that we can fruitfully build for the future.

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Financial Times

May 4, 2002

Old world expert on the new

By Andrew Clark

The Philadelphia Orchestra's new chief conductor is determined to shake things up – and that includes the famous "Philadelphia Sound". Andrew Clark hopes for a glimpse of the sparkle behind his sober front.

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American Record Guide

May 2002

A talk with Christoph Eschenbach: A distinguished past, and new horizons.

By David Wright

At age 62, Christoph Eschenbach can look back on a lifetime of achievements in music: beginning as one of the outstanding young pianists of his generation, he went on to become music director of the Zurich Tonhalle Orchestra, Houston Symphony, Ravinia Festival, and Orchestre de Paris. And he can look forward to still more accomplishments as the designated successor to Wolfgang Sawallisch as music director of the Philadelphia Orchestra, beginning in 2003.

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Frankfurter Allgemeine Zeitung

20. März 2001

Aufbruch in neuer Liebe und neuem Geräusch - Der Dirigent Christoph Eschenbach, das Orchestre de Paris, die deutsche Musik und ein riskanter Tanz auf fünf Hochzeiten

Von Wolfgang Sandner

Ein Klanghauch wie aus einer anderen Zeit: Baßflöte, Streicher, Harfe, ein Flügel, dessen Saiten im Korpus mit den Fingern gezupft werden, Celesta, Schlagwerk, das im dreifachen piano nur eben zu hören ist und bei dem...

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Classica (n° 30)

mars 2001

Christoph Eschenbach - Les naissances d'un chef

Par David Sanson

Christoph Eschenbach vient de fêter son soixante et unième anniversaire auréolé de sa nomination, en 2003, l'Orchestre de Philadelphie. Pour l'heure, c'est entre l'Allemagne et la France que le nouveau directeur musical de l'Orchestre de Paris partage son temps. Parcours d'un homme pour qui la musique est une façon de respirer.

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The Philadelphia Inquirer

January 21, 2001

Music is all he needs to make him happy

By Stephan Salisbury

As a child, Christoph Eschenbach was temporarily robbed of speech by wartime suffering. Music became his language, and the man who will lead The Philadelphia Orchestra swears it is all he needs in life.

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