DEUTSCHE KAMMERPHILHARMONIE BREMEN
SALZBURG WHITSUN FESTIVAL

“The Whitsun Festival owes the other great Mozart conducting performance to Paavo Järvi … The nuanced gradation of different types of allegro (majestic or lively) alone reveals this conductor’s empathy and intelligence. In the Andante cantabile of the ‘Jupiter Symphony’, he takes the opening quite gesturally, as if a figure is entering a space that is alien to it, marvelling and shy. As in the Beethoven cycle, which still sets the standard today, the harmonic structure and the woodwinds with their breath determine the tempo and phrasing: you can hear it when Järvi has the whole orchestra align itself with a chromatic upward movement of the solo bassoon.”
Frankfurter Allgemeine Zeitung, Jan Brachmann, 21 May 2024

“… Paavo Järvi has been the orchestra’s artistic director for twenty years – an extremely fruitful and apparently still inspiring liaison. Even Mozart’s well-known ‘Jupiter’ and ‘Paris’ symphonies seem to have been born in the moment. The tempi are sharpened without the music seeming overheated, the articulation is incredibly light-footed and the differentiated use of vibrato is almost playful and enjoyable.”
Neue Zürcher Zeitung, Marco Frey, 21 May 2024

“It absolutely doesn’t have to be 22 violins, eight cellos and five violas and double basses: Wolfgang Amadeus was able to enjoy such a line-up for his Symphony in D major KV 300a (297) Pariser once in his life. A good half of the Deutsche Kammerphilharmonie on Saturday afternoon was more than enough to ensure that no impact was missed in the Grosse Festspielhaus … Paavo Järvi inspired his orchestra, which was playing in a classical setting, from the beginning of the Allegro assai and also unobtrusively integrated the natural trumpets harmoniously into the overall sound.”
Drehpunktkultur.com, Horst Reischenböck, 19 May 2024

“(Mozart) Symphonies 31 and 41 are performed as a witty and even prickly conversation. An infectious, lightning-quick speech in sound, a kind of Harnoncourt on speed.”
Münchner Merkur, Markus Thiel, 20 May 2024

“Very light-footed and transparent, the conductor let the orchestra dance into the first movement of the symphony in D major and out again in the final Allegro. In the Symphony in C major, Järvi also chose an accurate and relaxed approach with fun tempo. Mozart is clear, sometimes very accurate and fresh, the conductor and his orchestra agreed.”
APA, Larissa Schütz, 20 May 2024

MÜNCHNER PHILHARMONIKER

MAHLER: Kindertotenlieder
ROTT: Symphony No. 1
with Okka von der Damerau, mezzo-soprano

“An interpretation (of Hans Rott Symphony No. 2) from the top view, brilliantly played … Järvi, the confident craftsman, keeps the symphony running hot until the single (!) cymbal hit towards the end.”

“ … Järvi and the Philharmonic are filigree workers, shaping the five pieces (Mahler Kindertotenlieder) into a fine, transparent web … An interpretation between cleverly controlled lyricism and a lush stream of sound … That sounds more like resignation – and yet does not deny the (deceptive) beauty of these songs.”
Münchner Merker, Markus Thiel, 9 May 2024

Rott’s Symphony No. 2 “ … demands the impossible of the brass players: to play lyrically all the time. The Munich Philharmonic masters this in an astonishing way. Paavo Järvi seems to believe in the piece, though it lacks contrasts. And that is the decisive prerequisite for a performance of this piece.c The final cymbal crash may not be in the score, but it is consistent. An orchestra like the Munich Philharmonic, which has an equally great Mahler and Bruckner tradition, would do well to put this work up for discussion …”
Abendzeitung München, Robert Braunmüller, 10 May 2024