About Per Dybro Sørensen:

 

 

 

"... was opened with Per Dybro Sørensen's splendid performance of "Praeambula".  Berlingske Tidende, DK.

 

"... was given a noble performance by Per Dybro Sørensen". Jyllandsposten, DK.

 

"Per Dybro Sørensen plays with great insight and a straightforward musicality bearing witness to his deep understanding of these composers' idioms.  And it is certainly an asset that he possesses an impressive technique - which he never uses ostentateously - as well as a very beautiful sound."  High Fidelity, Dk

 

"Per Dybro Sørensen makes an absolutely superior contribution. Particularly in Maxwell-Davies' music he shows an analytical capacity that enables him to give a clear account of formal sequences, and his control of ebb and flow in this composer's "Hill Runes" makes his version decidedly better than Bream's recording of the same work from 1981."  Gitarr och Luta. SWE.

 

"... played splendidly and with deep insight by Per Dybro Sørensen". High Fidelity, DK.

 

" I was gripped from the outset by the intensity and the sheer virtuosity of Sorensen's performance. ....... once again, Sorensen's brilliant and imaginative interpretation is central to the success of the performance". Classical Guitar, UK.

 

"They are played with elegance and feeling by the guitarist Per Dybro Sorensen, especially the title piece, which is a great artistic achievement." Dansk Musik Tidsskrift, DK.

 

“These are harpsichord suites transcribed for guitar. The Dane Buxtehude (c 1637 – 1707) finds sympathetic and able performance from his compatriot Sørensen and these suites are high quality early baroque, mostly on a very straightforward stylistic and formal model. Sørensen has opted to keep the original keys, which is quite unusual in these circumstances. As a result there is a remarkable amount of very high register in these transcriptions, which at times sounds rather strange, though the player manages to keep the chords largely in tune even at such high altitudes, and throughout the performance shows no apparent sign of technical strain.

Despite being produced by the respected early music specialist Viggo Mangor, the playing style is not especially ‘historical’ in approach. Sørensen uses a 1993 Romanillos and produces a tone which whiles being always musical and decent, is rather clearer than many go for in this kind of repertoire.

Bream’s early publication of a Buxtehude suite did not exactly take off in guitar programmes but with a bit of extra help from recordings like this the dusty old composer could easily compete with Weiss in the second tier of baroque recital choices.”

 

Stephen Kenyon, “Classical Guitar Magazine” December 2004.

 

 

 

MELOS:

 

Gunnar Berg would (also) have been 100 years old this year. His music is difficult to play as well as to understand. But concentrated listening can open up a universe of profound originality and even poetic clarity. The text book helps. The musicians are Bolette Roed, recorder, and the guitarist Per Dybro Sørensen, who forms a duo with the colleague Michael Norman in the work ‘Ar-Goät’. They play with a fine concentration in the nine duets for recorder and guitar, the sologuitar work ‘Melos’ and the work for solo flute ‘Triedra’. (Dacapo 8.226526)

John Christiansen, Jyllandsposten.

 

 

 

 

 

 

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