Anmeldelser

Please scroll for English

“Rikke Sandberg klaverspil har noget kernesundt, noget friluftsagtigt vitalt, sanseligt og ligefremt over sig….Glædesfyldt uforfærdet gåpåmod, elementær nydelse ved det klingende sammenstød mellem finger og strenge og ogsåen ubekymret lethed…Den fyldige, udpræget syngende tone har ligesom sin egen tyngde, fokuseret i piano, rund og elastisk i forte. Og den retningssikre, viljestærkt rullende puls giver spillet spændstighed og fremdrift…. Sandbergs kongeniale opførelse af Beethovens ‘Eroica’-variationer blev en mættet oplevelse, fejende i sin sammenhæng, stram og skarp i sine detaljer og spillet med et herligt overskud…. Bachs Franske suite i E-Dur blev spillet levende og frisk. Linjerne blev diskret, men stærkt pianistisk modelleret, satskaraktererne cemballistisk differentieret. Og det er ikke alle givet at fåen forsiret sarabande til at swinge såsikkert….”
Jan Jacoby, Politiken

 

Årets CD 2005
“Amadeusværterne nominerede cd’er udfra de 52 plader, der i løbet af 2005 har været ugens cd. Sidste runde rummede 12 cd’er, der blev voteret udfra et sindrigt og indforstået men korruptionsfrit system og Rikke Sandbergs debut cd løb med flest stemmer. Det er Brahms uden begrænsninger. Her kan alle være med, både kendere og nybegyndere. Musikken flyder ubesværet og kommunikerer direkte!”

Carsten Andersen, P2

 

“Selvsikker spilleglæde, teknisk overskud og musikalsk fantasi gjorde Rikke Sandbergs debut til en opløftende klaveraften…en sonate af Domenico Scarlatti var oplagt spillerum for hendes energisk opfattede tempo og rytme og det virtuost spidse staccatospil som ikke mindst programmets slut- og højdepunkt, Brahms’Händel-variationer, gav herlige eksempler på. Artikulationens omhyggeligt doserede tørhed garneret med præcise accenter og en udtalt sans for individuelle karakter gjorde det store værk til aftenens mest forløsende oplevelse – naturligvis med en langt rigere pianistisk udtryksskala end den lille Scarlatti-sats…”
Jan Jacoby, Politiken

 

“En gang om året mødes de danske musikkritikere uden for koncertsalen – når de skal vælge mellem mulige modtagere af Musikanmelderringens Kunstnerpris. I år går den ene af priserne til pianisten Rikke Sandberg. Hør hendes første soloplade og fat hvorfor! De 16 valse af Johannes Brahms glider fuldstændigt ubesværet henover tangenterne. Pladen lyser simpelthen af klarhed. Af flotte stemningsskift og stensikker portrætkunst. Og såer valsene ikke engang det mest fantastiske, nej; Guldet går til den vældige sonate i f-mol. En næsten 40 minutter lang rejse over bjergtoppe og bølgedale, gennem rytmiske finter og melodiske ekkoer. Massiv som en hel symfoni. Godt gået.”
Søren Schauser, Berlingske Tidende

 

“En frit åndende Beethoven fra første slag påtangenterne. Fuld af følelsesstyrke, kraftfuld i det gentagede tema i førstesatsen der signalerede energi og fremdrift. En romantisk spillet Beethoven hvilket i Sandbergs udformning forekom fuldstændigt naturligt. Fordi solisten gav plads til, at musikken kunne finde sig selv og ånde, blev denne fortolkning af opus 81a særdeles intens. Hertil kom en gennemgående evne til at nuancere stoffet, det gjorde, at hver eneste udtryk kom til at ståtindrende tydeligt. En resonansrig og fabulerende Beethovensonate, teknisk og musikalsk velfunderet.

Kongenialt formidlede solisten med overskud (igen) Carl Nielsens spændende opus 40, Tema med variationer. Atter var der masser af artikuleret, frit åndende udtryk. Og det galdt ogsåCésar Francks vældige Præludium, Koral og Fuga. Der blev spillet følsomt, plastisk. Denne fortolkning fik masser af lys – i modsætning til mange gængse fortolkninger hvor den står som uigennemtrængelige blokke.

Denne begavede pianist sluttede en kraftfuld eftermiddag af med Rachmaninoffs Variationer over et tema af Corelli. I pianistens udformning blev der mere tale om en fantasi(rejse), en episk opvisning over hele instrumentets spektrum i den djærve, senromantiske russiske musik.”
Poul Lund, Bornholms Stifttidende

 

“Sandberg spiller med en sådan autoritet at de færreste danske pianister ville kunne hamle op med hendes rigt nuancerede og overlegent beherskede spil.”
Knud Ketting, Jyllandsposten

 

“Et helt koncertprogram udelukkende med værker af Sergej Rachmaninov og tilmed spillet af en ung dansk pianist! Hvornår tidligere han man kunnet opleve noget sådant? Sjældent, i hvert fald……Før pausen stod de ni umådelig krævende Etúde-tableaux påprogrammet. Pådenne rejse ind i Rachmaninovs verden var Rikke Sandberg den bedst tænkelige cicerone. Hendes spil er direkte, ukrukket, glasklart men samtidigt klangfuldt og fabulerende. Der er påeen gang noget gennem redeligt og noget dybt fascinerende over hendes musikerpersonlighed. Man føler virkelig, at der er tale om en nodetro gengivelse, men samtidigt fører hun med sin intensitet og klangkunst lytteren videre ud til ukendte egne i det musikalske univers, her altsåRachmaninovs. For sådan en pianist er Rachmaninovs stykker en gave og for komponisten er hun en lydhør formidler. Det viste hun i samtlige ni stykker, men måske særligt i nr. 7 med betegnelsen Lento lugubre og selvfølgelig i de mange stærkt passionerede satser, hvor hendes formidable kontrol over instrumentet og det klangvolumen var enestående. Efter pausen lagde RIkke Sandberg for med to blomstersatser: Lilacs, hvor det lidt stramme i syrenduften fik sit musikalske udtryk i en kort morbid passage, og den henrivende Daisies, som med indtagende melismer fremkaldte et næsten orientalsk billede. Som slutsten i dette krævende program stod Rachmaninovs sidste soloklaverværk, Variationer over et tema af Corelli fra 1931. Jeg mindes ikke at have hørt en såsmuk opførelse af dette store værk. Fra den gennemsigtige præsentation af temaet og over både de mange voldsomme og ikke at forglemme de sarte variationer, holdt Rikke Sandberg fast i klaverets klang. Ikke én eneste passage var overeksponeret, og ikke pået eneste tidspunkt mistede hun grebet om det tekniske for ikke at sige det musikalske. Denne helt usædvanlige koncertaften sluttede med et ekstranummer: Rachmaninovs charmerende transskription af Fritz Kreisler Liebesleid. Ogsåden blev spillet såaldeles fremragende, at man efter koncerten kun havde et spørgsmål: hvornår får vi igen mulighed for at høre denne exceptionelle klaverkunstner?!
Claus Røllum-Larsen, Dagbladet Roskilde

 

“Endnu ikke fyldt de 30 har pianisten Rikke Sandberg bragt sin første solo-cd påmarkedet. Med teknisk overskud og forbløffende modenhed kaster hun sig over Brahms’tredie klaversonate og finder det perfekte supplement i hans samling af valse. Hun bliver spændende at følge.”
Kultur, Jyllandsposten

 

“Og klaverløvinden Rikke Sandberg har måske aldrig spillet bedre, hvilket ikke siger så lidt.”
Søren Scahuser, Berlingske Tidende

 

“Det bedste ved koncerten var det fremragende musikerskab Leipziger Kammerorkester frembyder. Men en lav gennemsnitsalder og i alliance med Sandberg – der har opnået stor anerkendelse – giver de alt hvad de har til projektet med stor entusiasme og alt den energi, det koster. Særlig Sandberg i Mozarts Klaverkoncert i A-dur k 488 fik sveden til at pible hos både orkester og publikum med præstation i absolut topklasse. “
Henrik Friis, Jyllandsposten

 

“Futtrup played a really superb Debussy Sonata, and one must note the excellence of his accompanist, Rikke Sandberg, whose vibrant pianism created in the Debussy a true partnership, rare in these proceedings, but who also offered sensitive support in Wienawski’s Polonaise brillante.”
… The Strad

 

“Som Brahms fortolker forener den unge Rikke Sandberg magtfuldt teknisk overskud og en klar samvittighedsfuld detaljering med overblik, temperamentsfuldt engagement og overbevisende stilsans…Måden hun hist og her overspiller sine kort med dynamiske eller tempomæssige udsving og ekstremer (især til den langsomme side), er tydeligt nok udtryk for hendes mod til at følge sine impulser til dørs, ogsåhvor det tangerer frækhed. Man lades ikke ligegyldig, for autenciteten er uafviselig og den fanger stærke stemninger. Den store sonate bygges op med fast hånd i udtryksfuldt bøjelige organisk sammenhængende tempi, indtrængende gennemdeklameret med spændstigt ekspansive linier, dejlig strukturbevidsthed og stærke overgange. Her møder den unge pianist kongenialt den endnu yngre Brahms’forening af romantisk temperament og sammenbidt formvilje. Andanten er udsøgt artikuleret og rentegnet men ogsåfølsom sart og øm, og scherzoens uforcerede tempo ruller med et herligt jordfast afsæt, mens finalen lægger ud med spøgelsesagtig lethed. Der er mange farver påpaletten, som man kan forstå. Valsene serverer dem såat sige enkeltvis i mere destilleret form, livsglad dansende med kraftfuldt vid, men ogsåmed skygger af sårbarhed eller elegisk alvor.”
Jan Jacoby, Politiken

 

“Der er altsåvirkelig noget påfærde når Rikke Sandberg kaster sig over klaveret, og bag hendes virtuose og temperamentsfulde spil aner man heldigvis ogsåen sans for musikkens lyriske aspekter. De 16 Brahms-valse, opus 39, foldede sig ud som e gobelin af nuancerede musikalske motiver. Det er helt tydeligt at Rikke Sandberg er vild med disse valse, som hun præsenterede i en teknisk blændende gennemførelse, hvor det lykkedes hende at forene vildskab, drømmende ro og dyb eftertænksomhed overbevisende, samtidigt med at hun demonstrerede alle sine fænomenale pianistiske færdigheder, der ogsåinkluderer sans for fræk rytmik.”
K.E. Watz, Folketidende

 

“hun er såsandelig ikke bange for at tage hænderne fulde, pianisten Rikke Sandberg. Hendes Tivolikoncert stod helt i den store romantiske virtuostraditions tegn: fire af Rachmaninovs ‘Études-Tableaux’, hans Corellivariationer og Brahms’store f-mol-sonate. Det er musik som den fuldbefarne hurtigt kan gøre til hult poserende kaskader, den mindre sikre til en pinlig oplevelse. Rikke Sandberg kommer ikke i nærheden af nogen af delene. Teknisk kan hun stort set gøre med musikken, hvad hun vil, og man har den gode fornemmelse, som rigtig pianistisk musik ogsåskal give, at hun nyder livtaget og dansen med den store trebenede partner. Men først og fremmest er hun musiker, kunstner. Opvisning interesserer hende ikke. Lytteren er fuldstændigt tryg ved at fået oprigtigt, dybt koncentreret og helt igennem ukrukket billede af musikken, der viser, hvorfor og hvordan hun selv holder af den. Der er gods i hendes fortolkninger: stærke profileringer, karakterfuldt artikulerede overflader og en udtryksfuldt organisk deklamation, der uden at overstyre var smukt i pagt med senromantisk følelse. Særligt fængslende blev for mig Brahms’knortede ungdomsværk, som hun formede med varme, diskret humor og en fascinerende sans for sammenhængen mellem arkitektur og melodisk gestik. Man blev båret påhænder gennem sonatens landskab.”
Jan Jacoby, Politiken

 

“Lige fra den første beslutsomme frase i Mozarts Sonate i B-Dur, KV 333, blev man fængslet af Rikke Sandbergs spil. Hendes måde at spille Mozart påvar klassisk, uden sentimentalitet, men med den varme, som gør, at Mozarts fine lyriske stemning, hans idérigdom og hans til tider nærmest Beethoven-agtige dramatik sættes i relief. Det betagende var især pianistindens evne til at gøre Mozarts sonate til en direkte meddelelse, hvor hver frase har sin mening, og musikken danner en fuldstændig sammenhængende og afrundet tekst. Hendes force viste sig dog at ligge i den romantiske og postromantiske musik: Brahms og de to store russiske komponister Skriabin og Rachmaninov. Det var ikke en musik, hun havde lært sig, men en musik, som hun selv var åndsbeslægtet med.

Brahms 16 valse, opus 39, er en musikalsk juvel, som bliver ved med at overraske. Hver vals har sin karakter, sin stemning. Det skifter fra ømhed, ro, nostalgiens smerte til det marchagtige og til en lavine af følelser som ikke er uden lighedspunkter med komponistens berømte ungarske danse. Det er just det, Rikke Sandberg fangede med fantasifyldt tempo- og atmosfæreskift. Musikken var levende og ny, og det er tegnet påen ægte pianist. Hendes Scriabin – sonate nr. 5, opus 53, “Ekstase-digtet! – var ganske formidabel. I denne usædvanlige sonate kunne man tydeligt fornemme selve skabergerningen, som musikken er kaldet til at udtrykke. Der er mysterium, ventetid og spørgsmål, påkaldelse og såen eksplosion af noget helt nyt. Noget farligt, besnærende og uimodståeligt. Følelsen af, at man har været vidne til noget nyt, noget, som aldrig har været til før. Det er det, der ligger i musikken. Og Rikke Sandberg gjorde det hørbart. Det sidste stykke påprogrammet var Rachmaninov, “Variationer over et tema af Corelli”i d-moll, op. 42. Rachmaninov havde selv spillet dette værk, som er hans sidste store klaverværk, i New York i 1932. Han befandt sig i eksil efter, at hans land var blevet ødelagt af det kommunistiske styre. Rachmaninov, som kun var et år ældre end Scriabin, havde lidenskab nok, men ikke den eksaltation, som karakteriserede Scriabin. Rachmaninov var rodfæstet i østkirkens (eller den ortodokse kirkes) spiritualitet, og det, han skrev, har både sjæl, dybde og den afklarethed, som kommer fra hans rødder.

Corelli-variationerne- som i virkeligheden er variationer over et traditionelt tema, som Corelli har brugt i en violinkoncert – er meget smukke. Temaet er enkelt og nobelt, og med temaet i næsten ren tilstand, i en fin indadvendt stemning afslutter Rachmaninov ogsåsin vandring. Sådan lod værket sig forståi torsdags.

Man var vidne til komponistens vandring, til hans angst og smertefulde tilbageblik, til hans erindringer om det tabte land og til den skønhed, som han såfor sit indre øje; En skønhed som ikke er “af denne verden”. Ja dette værk udtrykker virkelig den ortodokse kirkes spiritualitet og man var ikke i tvivl om det ved at høre Rikke Sandberg.

I denne anmeldelse vil jeg tillade mig at bruge et ord, som jeg ikke før har brugt i mine anmeldelser: Rikke Sandbergs spil er dybt originalt. Hun sætter bestemte sætninger i musikken i relief, hun giver nyt omrids og ny farve til fraser, man troede, ma kendte sågodt. Det er overbevisende, og det er et imponerende og talentfuldt tolkningsarbejde. Det er sjældent man oplever det.
Monica Papazu, Randers Amtsavis

 

“Ved Rikke Sandbergs klaverdebut var det bare at læne sig trygt tilbage og lade det komme. Hun kan kunsten at holde sin tilhører fast. Ofte overrasker hun ovenikøbet med en uventet klanglig nuance eller en frasering, man ikke lige havde tænkt på. Men aldrig søgt. Aldrig krukket. I sit fint komponerede program- Beethoven først, Brahms sidst – havde hun ogsåen uropførelse af Anders Koppel, hvis “Solo Concertante II”byder påmotorisk medrivende yderdele omkring et balladeagtigt midterstykke. Ogsådet have hun, helt selvfølgeligt, memoreret. Hun er en af dem, der kan nålangt!”
Knud Ketting, Jyllandsposten

 

“Stående ovationer fulgte Robert Schumanns klaverkvintet, hvor modtagerne af Musikanmelderringens kunstnerpriser 2005, Rikke Sandberg og Den Danske Strygekvartet, forenede deres kræfter efter at have præsenteret sig hver for sig før pausen. Det er vi ikke vant til ved disse prisuddelinger, som gennem mange år traditionelt er foregået ved en orkesterkoncert i Tivolis sommersæson, og hvor de udvalgte solister (sjældnere kammerensembler) derfor ikke er trådt sårent i karakter. I år har koncertsalen været lukket for ombygning, men tilfældigvis var prismodtagerne såheldigt valgt, at de kunne bære en koncert påegen hånd og tilmed finde sammen og skabe en af de fineste samlede koncertoplevelser i prisens nyere historie.

Hvad publikum ogsålod sig overbevise om: Den Schumann var simpelthen kanonflot med sin medrivende organiske energi og sine levende, bølgende balanceforhold. Rikke Sandberg fandt ind i den velsammenspillede kvartet med en suveræn blanding af lydhørhed og formende autoritet og blev i høj grad motor i opførelsens dynamik; og det er, som det skal være, i et værk, der i den grad er tænkt ud fra klaveret. Men hun var aldrig i nærheden af at tromle sine partnere.

Og dog er hun en overmåde kraftfuld pianist, der ynder at have “hænderne fulde”som Musikanmelderringens formand, Thomas Michelsen, sagde i sin overrækkelsestale. Som kvartetten valgte hun en større udfordring, da hun havde scenen for sig selv, nemlig César Francks virtuose, men over lange stræk ogsåindadvendt sværmeriske ‘Prélude, choral et fugue’, hvor hun føjede styrtsøer af noder sammen til lange, åndende forløb med skarpt tegnede detaljer, farverig nuancering og et ekspressivt deklamatorisk nærvær, der sugede opmærksomheden til sig.”
Jan Jacoby, Politiken

 

Rikke Sandberg`s piano playing has something thoroughly healthy, something refreshingly vital, sensual and direct about it……A delightfully persevering wit, a simple joy in the sonorous contact between the fingers and strings and a carefree ease……The full, remarkably singing tone seems to have its own weight ( importance ? ), focussed in the piano passages, round and pliant in forte. The flowing, resolutely rolling pulse gives the playing resilience and drive……Sandberg`s congenial performance of Beethoven `s Eroika Variations was a wholesom and fulfilling experience, sweeping in its tenacity, tight and sharp in its detail and played with a superb abundance…….Bach`s French Suite in E Major was played with fresh vibrancy and life. The phrases were discrete, though executed with a strong pianistic structure, the character of each movement beautifully differentiated.To play an ornamented Sarabande with such flow and assurance is no easy task.
JAN JACOBY, POLITIKEN

 

The hosts of ” Amadeus ” nominiated Cds from 52 entries which, in the course of 2005, have been proclaimed Cd of the week. In adherence to a clever, sound and fair system, in the final round 12 cds were nominated and Rikke Sandberg`s Debut cd collected the most votes. The cd, ” Brahms Without Limitations ”, is a cd for everyone, both for connoirseurs and those less familiar with Brahms. The music flows freely and communicates directly with the listener.
ÅRET`S CD 2005 – CARSTEN ANDERSEN, P2

 

Self assured joy in playing, technical abundance and musical fantasy made Rikke Sandberg`s Debut Concert an uplifting evening of Piano music…….A Sonata by Domenico Scarlatti gave ample opportunity for her energetic tempi and rhythm. The high point of the evening, Brahms ” Handel Variations ”, was also the final piece in the recital. It was played with virtuosic clarity in the staccato passages and there was a careful sensitivity to the balance between dry articulation and subtle embellishment with precise accents and a clear sense for individual character.
JAN JAKOBY, POLITIKEN

 

Once a year, the Danish music critics meet outside the concert halls when they are to chose between possible winners of the Music Critic`s Artists Prize. This, one of the prizes goes to Rikke Sandberg. If you listen to her first Solo recording, you will hear why ! Brahms 16 Waltzes glide effortlessly over the keys. The recording shines with clarity, wonderful changes of atmosphere and imagery. Yet there is something even more fantastic than these Waltzes. Gold was awarded to Brahms tremendous Sonate in F Minor. For almost 40 minutes, the listener is taken on a journey over mountain peaks, through rolling valleys and dales, through rhythmical wit and melodic echoes. As massive as a symphony. Well Done.
SØREN SCHAUSER, BERLINSKE TIDENE

 

From the first contact with the piano keys, Beethoven breathes freely. Filled with strong emotion, powerful in the repeated theme in the First Movement which speaks with energy and flow. A romantic Beethoven which Rikke Sandberg shapes with natural ease. Because the soloist allows the music to live and breathe, this interpretation of Opus 81a is particularly intense. Throughout this performance, the music was filled with subtle nuances which made every phrase sparkle with clarity. Beethoven`s Sonate Opus 81a was filled with resonance, was fabulous and performed with both technica and musical consideration.

A congenial and engaging soloist with much to give her audience ( again ). Carl Nielsen`s exciting Op.40 Theme and Variations. Once more, this was filled with articulated, freely flowing detail, as was Cesar Franck`s poweful Preludium, Choral and Fugue. It was played with emotion and was beautifully sculptured. This interpretation was filled with luminescence, unlike the many prevailing interpretations where the music is played in dense blocks.

This talented pianistended a dynamic afternoon with Rachmaninov`s Variations on a Theme of Corelli. The listener was taken on a journey filled with rich fantasy, through which they were given an epic demonstration of the instruments spectrum of possibilities in this direct, late romantic Russian music.
POUL LUND – BORNHOLMS STIFTIDENDE

Sandberg plays with such authority, that few Danish pianists would be able to match her richly nuanced and superior playing.
KNUD KETTING – JYLLANDSPOSTEN

An entire concert program consisting of works by Sergej Rachmaninov and into the bargain, played by a young Danish pianist ! When could we previously have experienced something like this ? Seldom, in any case…….Before the intermission were nine immensely demanding Etude-tableux on the program. Rikke Sandberg skillfully guided us on this journey into Rachmaninov`s world. Her playing is direct, unaffected and crystal clear, though still sonorous and oratory. There is something honest and deeply fascinating about her musical personality. Her rendition is true to the score, though, with her intensity and play with timbre, she has an ability to lead her audience to unknown regions of Rachmaninovs universe. For such a pianist, Rachmaninov`s works are a gift and for the composer, Rikke Sandberg is the ideal instrument of communication for his music. She demostrated this in all nine pieces, though particularly in Number 7 in the ´Lento lugubre´ and also in the many strongly passionate movements where her formidable control over the instrument and its timbre was outstanding. After the intermission, Rikke Sandberg performed two Flower Movements : Lilacs, where the slightly overpowering scent of Lilac was musically portrayed in a short, morbid passage and the charming Daisies which, with it`s captivating melismatic style, conjured up an almost Oriental image. To end this demanding program, Rikke Sandberg played Rachmaninov`s last solo piano work, Variations on a Theme of Corelli from 1931. I cannot remeber having heard a more beautiful performance of this great work. From the transparent presentation of the theme, then through the many forceful and more delicate variations, Rikke Sandberg`s sensitivity to the piano`s timbre never wavered. Not one passage was exaggerated and every phrase was both technically and musically perfectly presented. This completely exceptional concert evening ended with an Encore : Rachmaninov`s delightful transcription of Fritz Kreisler`s Liebeslied.. This was also played excellantly, such that the audience left the concert hall with just one question : when will we have the opportunity to hear this exceptional pianist again?
CLAUS RØLLUM-LARSEN – DAGBLADET ROSKILDE

Although the Pianist Rikke Sandberg is not yet 30, she has already released her first solo-CD onto the market. With technical brilliance and amazing maturity, she delves into Brahm`s 3rd Piano Sonata and finds the perfect supplement with is collection of Waltzes. She will be exciting to follow.
KULTUR – JYLLANDSPOSTEN

 

The Piano Lioness, Rikke Sandberg has maybe never played better, which is no exaggeration.
SØREN SCHAUSER – BERLINSKE TIDERNE

 

The best thing about the concert was the superior musicianship which Leipzig Chamber Orchestra has to offer. With the average age of the musicians being quite young, when playing with Rikke Sandberg, who has already achieved wide recognition, they gave everything they had to the project with great enthusiasm and all the energy they could muster. In particular, Sandberg`performance of Mozart`s A Major Piano Concerto k 488 had both the orchestra and audience sitting on the edges of their seats with her beautiful presentation.
HENRIK FRIIS – JYLLANDSPOSTEN

 

Futtrup played a really superb Debussy Sonata and one must note the excellence of his accompanist, Rikke Sandberg, whose vibrant pianism created in the Debussy a true partnership, rare in these proceedings, but who also offered sensitive support in Wienawski`s Polonaise Brilliante.
…..THE STRAD

 

Rikke Sandberg`s interpretation of Brahms untites powerful technical competence, clear, conscientious and consistant detail, temperamentful engagement a convincing feeling for style…..The way in which she is able to intensify the fluctuations and extremes of both the dynamics and tempi ( particularly towards the slow side ), is clear evidence of her ability to follow her musical instincts , even when it touches on boldness. One is not left with any feelings of mediocrity, as the authenticity in the playing is so genuine and strongly atmospheric. This great Sonata builds up resolutely through expressively flexible, though organically coherent tempi, punctuated with supple, expansive lines, wonderfully clear structures and strong transitions. This young Pianist congenially embraces the yet young Brahms, with his unity of romantic temperament and strong desire for structure. The Andante is exquisitely articulated and pure but with feeling, delicasy and tenderness. The Scherzo`s unrestrained tempo rolls with a gloriously grounded beat, whilst the Finale is presented with etherial lightness. There are many colours on the palette, which one can understand. The Waltzes are presented individually in a more distilled form, vivaciously dancing with powerful wit, but also with shadows of vulnerability or elegiac gravity.
JAN JACOBY – POLITIKEN

 

One´s attention is captured when Rikke Sandberg begins to play, and behind her virtuoso and temperamentful piano playing, you can determine a sense for the music`s lyrical aspects. The 16 Brahms Waltzes, Opus 39, unfold like a tapestry of musical motives, rich with nuance. It is clear that Rikke Sandberg loves these Waltzes, which she presented with a technically dazzling performance. She was convincingly able to combine knowledge, dreamy calm and deep  pensiveness, whilst at the same time demonstrating all her phenomenal pianistic skill, which includes a sense for bold rhythm.
K.E. WATZ – FOLKETIDERNE

 

Rikke Sandberg is absolutely not afraid to have her hands full. Her Tivoli Concert was completely set in the tradition of the romantic virtuosi : Four of Rachmaninov`s `Etudes-Tableaux`, his Corelli Variations and Brahms` great F Minor Sonata. It is music such as this which fully fledged pianists can easily make to unauthentic, hollow and affected cascades and which can end in an embaressing experience for the less secure pianists . Rikke Sandberg does not come close to either category. Technically, she can achieve what she wants with the music and the listener has the pleasant feeling, as real pianistc music should give, that she enjoys the scuffle and dance with the big, three-legged dance partner. First and foremost though, she is a musician and artist. Show does not interest her.The listner is completely safe in the knowledge that they will have a sincere, deeply concentrated and authentic picture of the music, a manifestation of how and why she cares about the music herself. Her interpretations are filled with valuable qualities : strong, pituresque outlines; characterful and articulated textures and an expressive, organic recitation which, without exaggeration, was perfectly in harmony with late romantic sentiment. In particular, Brahms` rugged work from his youth was particularly captivating. Sandberg molded it with warm, discreet humour and a fascinating sense for balance between structure and melodic gesture. One was carried through the Sonata`s landsacpe on her hands.
JAN JACOBY – POLITIKEN

 

From the first resolute phrasein Mozart`s Sonata in B Major, KV 333, one was captivated by Rikke Sandberg`s playing. Her style of playing Mozrt was classical, without sentimentality, though with a warmth which sculpted Mozart`s fine, lyrical atmosphere, his richness of fantasy and his ocasionally, almost Beethoven-like drama into a relief. Particularly impressive, was the pianists ability to communicate Mozart`s Sonata with such eloquence, where each phrase had its own significance and expression and the music formed an entirely coherent and rounded text. Her strengths really showed in the romantic and post romantic music : Brahms and the two great Russian composers, Scriabin and Rachmaninov. This wasn`t music she had learnt. Rather, it was music she had a connection with.

Brahms`16 Waltzes, Op.39, is a musical jewel which constantly surprises the listener. Each Waltz has its own character and its own atmosphere. It interchanges between tenderness, tranquility, nostalgic longing, march-like passages and an avalanche of feelings, not unlike the composers famous Hungarian Dances. It was precisely that which Rikke Sandberg captured with imaginative tempi and changes of atmosphere. The music was full of vitality and originality showing her as a true pianist. Her Scriabin – Sonata No.5, Opus 53, ”Le Poem de L´Ekstase” was absolutely formidable. In this unususal sonata, one could clearly feel the act of fate which the soloist is called to convey. There is mystery, foreboding, questions and then an explosion of something totally new. It is dangerous, enchanting and irresistable. The listener is left with the feeling that they have been a witness to something new, something which has never manifested itself before. Rikke Sandberg was bale to unveil all this from within the music. The final piece on the program was Rachmaninov`s ” Variations on a Theme of Corelli ” in D Minor, Opus 42. Rachmaninov had performed this, his last great work for piano, in New York in 1932. He was in Exile after his own country had been destroyed by the Communistic Regime. Rachmaninov, who was only one year older than Skriabin, was passionate but had not the exultation which characterised Scriabin. Rachmaninov had strong roots within the spirituality of the Orthodox Church and this was reflected in the soulfulness, depth and clarity of his music.

The Corelli Variations, which are actually variations on a traditional theme which Corelli had used in one of his Violin Concertos, is extremely beautiful. The theme is simple and noble and Rachmaninov ends his journey with it repeated in its almost pure form crating a wonderfully personal and intimate atmosphere. This is how the work was presented on Thursday.

One was witness to the composers wanderings, his fear and painful nostalgia, to his memoriesof a lost land and to the beauty which he could see in his mind. A beauty which is not of this world. Yes, this worktruly expressesthe spirituality of the Orthodox Church and one was in no doubt of this during Rikke Sandberg`s performance.

In this report, I would like to say something which I have never before said in any of my others. Rikke Sandberg`s playing is original. She portrays precise phrases within the music to create a tapestry. She gives new outlines and colours to the phrases which the listener otherwise believed they knew so well. It is a convincing, impressive and talented work of interpretation. It is seldom that one experiences this.
MONIKA PAPAZU – FOLKETIDERNE

 

Rikke Sandberg`s Piano Debut was such, that you could just lean back and enjoy it. She has the ability to hold the attention of her audience. Into the bargain, she often surprises the listeners with an unexpected nuance within her tone or phrasing. However, the music is never affected or contrived. In her well thought out program – Brahms first, Beethoven last – she also had a premiere of Anders Koppel, whos ” Solo Concertante II ” offers motorically driven outer parts around a ballad like middle part. Naturally, she had also memorised this. She is someone who will go far.
KNUT KETTING – JYLLANDSPOSTEN

 

Standing ovations followed Robert Schumann`s Piano Quintet after the winners of the Anmelderingens Artist Award 2005, namely Rikke Sandberg and The Danish String Quartet combined forces after each performing separately before the intermission. This is not something which we are used to seeing with these award presentations which, for many years have traditionally taken place with an orchestra during Tivoli`s Summer season and where the selected soloists ( seldom chamber music enembles ) are therefore not able to show their full spectrum of abilities. This year, the concert hall has been closed due to refurbishments. However, as chance would have it, the Award winners were chosen as such that they were able to give a concert alone and moreover, to come together and create one of the finest collective concert experiences in the award`s recent history.

It was clear from the perspective of the audience, that the Schumann was quite simply excellent, with its alluring organic energy and its vibrant, undulating sense of balance. Rikke Sandberg fitted in perfectly with the beautifully homogeneous Quartet and, with a supreme blend of attentiveness and pliant authority, was largely the driving force in the performance`s dynamic, as she should be in a work which was written predominantly with the piano in mind. However, there was never any risk of her overpowering her fellow musicians.

As Thomas Michelsen, the Music Andmelderingens Foreman said in his presentations speech, what an exceedingly powerful pianist she is, who loves to have her hands full. As with the members of the Quartet, when she had the stage to herself, her choice of program was challenging, namely Cesar Franck`s virtuoso, though over long stretches inrospectively dreamy ” Prelude, Choral et Fugue ”. Here, she unified seas of notes to create long, free passages with sharply emphasized details, colourful nuances with an expressive, declamatory presence which drew the listener in to her.
JAN JACOBY – POLITIKEN