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William de Vos is a musician with a significant record of professional musical performance at the highest level. Since 2002 his numerous engagements in New York City, the extended eastern coast of the US, and various other countries overseas, make him stand out a front runner and one of the top players in his field of expertise as a professional musician. William’s musical journey did not begin in this part of the world. Hailing from Australia, his earliest forays into musical performance involved training on instruments such as clarinet, flute and euphonium. However, at the age of fifteen, he was given an opportunity to study the French Horn and soon recognized his life goal of becoming a professional performer on this instrument. He went on to complete a Diploma and a Bachelor of Music in Performance attending the Queensland Conservatorium of Music in Brisbane, Australia. During this time he enthusiastically pursued his professional aspirations, performing with distinction in a great many and varied engagements of performance, One such highlight was performing with Academy of St. Martin in the fields. Playing rank-and-file as well as principal positions for diverse concert, opera, chamber music, brass ensemble and solo events he regularly performed with the Queensland Symphony, Queensland Philharmonic and Queensland Pops Orchestras. Following his graduation in 2000, William was offered a scholarship to continue post-graduate studies at the State University of New York Purchase College, and traveled to the US to pursue this goal and advance his career opportunities. Here, he further developed his professional performance skills and experience under the tutelage of Erik Ralske (Metropolitan Opera) and Stewart Rose (Orchestra of St. Luke’s, New York City Opera, New York City Ballet), graduating in 2002 with a Masters of Music in performance.

William currently fulfills a very active and comprehensive professional career of performance commitments in the Metropolitan New York City region. In this capacity, along with being a member of the New York Scandia Symphony and Westchester Philharmonic Orchestra his performance credits extend to engagements with musical establishments such as the Metropolitan Opera, Orchestra of St. Luke’s, New York City Ballet, New York City Opera and American Symphony to name just a few. Since 2002 he has additionally been in high demand performing numerous engagements with Broadway shows productions such as Phantom of the Opera, Mary Poppins, Aladdin, Follies, On the Town, King and I and Sunset Boulevard.

William resides in Valhalla NY.

William de Vos

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  • Among the best of these is the New York Scandia Symphony, who dedicate themselves to reviving interest in lesser-known Nordic composers as well as premiering new works by emerging composers from the upper reaches of that hemisphere. Last night at Victor Borge Hall in Murray Hill, the highlight of the night, performed by a twelve-piece chamber version of the orchestra, was the American permiere of contemporary Danish composer Anders Koppel’s Symphonie Concertante. A triptych, it’s a characteristically enigmatic and absolutely fascinating work, something to get lost in if not for the endless tempo and stylistic shifts. Conductor Dorrit Matson, a Dane herself, led the ensemble seamlessly through a wary, pulsing first movement that evoked Astor Piazzolla’s later work before engaging Steven Hartman’s clarinet and Andrew Schwartz’s bassoon in a long round of animatedly crescendoing rhythmic hijinks over the swells of the strings and eventually a labyrinth of polyrhythms. And yet, the jousting stopped abruptly during the early part of the second, Largo movement and turned to apprehension, reaching near-horror proportions via the chilling, Bernard Herrmann-esque string motif around which the final Allegro appassionato movement was centered. A celebrity in his native land ever since his days in popular rock band Savage Rose, Koppel deserves to be much better known here.

    Another highlight of the program was Symphony violist Frank Foerster’s Suite of Scandinavian Folk Tunes for string ensemble. Foerster is a very eclectic player and has a great wit – another suite of his, Summer in Fort Tryon Park, is a quintessentially New York tableau, packed with irresistible on-location references. This piece is more serious, a rugged hardanger fiddle-style sea motif linking a series of portraits of several of the Nordic nations: by this account, the Norwegians and Swedes are a serious bunch given to vivid dramatics, while the Finns and Icelandics are party animals. Opening the concert, Matson and the group took Swedish baroque composer Johan Helmich Roman’s Haydn-esque Violin Concerto and tackled its rather rugged, stern underpinnings with a muscular sway beneath violinist Mayuki Fukuhara’s spun-silk swirls; a bit later, Hartman was featured in a velvety version of the Adagio from the Clarinet Concerto, Op. 11 of, a Swedish contemporary of Mozart. They closed with enjoyably jaunty yet precise takes on the Prelude and Rigaudon from Grieg’s Holberg Suite. Concerts like this only add intrigue to the question: what have else we not yet heard from this particular part of the world that deserves to be known equally well over here – and when is this orchestra going to play it?

  • The New York Scandia Symphony’s marathon concert yesterday at Trinity Church was exhausting yet exhilarating for musicians and audience alike, reaching a level of intensity envied by most players and rarely experienced by the average concertgoer. On one level, the members of the ensemble are spoiled rotten. While other orchestras roll out the same tired warhorses night after night, the Scandia dedicate themselves to obscure and rarely heard masterpieces by Scandinavian composers. Which means at least one premiere of some sort at every concert. The price of such riches? Hard work, but this one was well worth being out of breath for (as several in the orchestra literally were by the end).

    The concert had a clear trajectory. They started with just a string orchestra playing a selection by late Romantic Danish composer Poul Schierbeck that sounded like a cheery organ prelude rearranged for strings (which it well could have been – Schierbeck was an organist). They then brought up guest cellist Jonathan Aasgaard for the Prayer by Ernest Block from his suite From Jewish Life. Broodingly cinematic in its Rachmaninovian sweep, it gave Aasgaard a chance to show off a strongly sostenuto, almost hornlike attack. There’s a movement afoot among cellists to hold notes as strongly as possible – the decay on a cello string is almost instantaneous, after all – and whether or not that trend might be part of his agenda or just his usual M.O., it resonated powerfully. It was even more notable as he swooped and dove over the full orchestra on the U.S. premiere of Hungarian/Danish Romantic composer Franz Neruda’s Cello Concerto, a somewhat martial dance theme taking on more of an apprehensive tone as it grew.

    Another work from the Danish Romantic school, Emil Hartman’s Cello Concerto moved through an understatedly heroic theme with echoes of Cesar Franck, to quieter, more introverted, hypnotic territory, to a surprisingly upbeat dance of a conclusion. With considerably more solo parts for cello, it was more of a showcase for Aasgaard than the previous two pieces and he met the challenge head-on, climbing to a ferociously slithery, chromatic solo cadenza toward the end of the first movement.

    They closed with Carl Nielsen’s Sixth Symphony. With its constant, tidal tempo shifts, motifs that make their way around the orchestra and its distant sense of dread, it’s mightily difficult to play, but conductor Dorrit Matson kept a mighty hand on the tiller, maintaining as much ease as there can be while directing such an uneasy composition. In their hands, it took on the shape of cautionary tale about the perils of complacency: snooze and you lose. It opened with a seemingly carefree splash of bells, orchestra playing a rather mundane series of permutations until suddenly the violins gave off a muffled scream. And suddenly those silly bells made sense: they were an alarm, and nobody was paying attention! That violin motif returned again, and again, if never quite as fully horrified as the first time around – horror becomes less horrifying the more you get used to it.

    The second movement, dubbed a “humoresk” by Nielsen, has been called a parody of modernism, and that could be true (it also could be a portrait of a clueless, selfish narcissist, or a political statement – it dates from 1926, you figure it out). Scored for just horns and percussion, the drums were clearly having fun stepping all over the melody, whenever they were needed least. As random as the time seemed, Mattson swung it to make sure it was not so that there wasn’t a millisecond lost when some rhythm reemerged. So the juxtaposition of the strikingly astringent, modernist third movement made quite a contrast, cellos somber, violins aflutter over the horns’ atmospherics. The concluding movement took on the feel of a Mediterranean aria filtered through the lens of Debussy, a careening, out-of-focus, dizzyingly rhythmic series of frozen-rain motifs, from a nail-biting waltz to almost a parody of a march to the sarcastic honk that ended it all cold. The audience didn’t know what hit them: the orchestra knew exactly what had.

    The Scandia roll out their string quartet for their next concert, 5 PM on April 18 at Our Savior of Atonement, 189th St. and Bennett Ave. in the Bronx for an intriguing bill of Grieg, Frank Foerster, Zack Patten, C.E.F. Weyse, Langgaard and Nielsen. Admission is free.

  • The New York Scandia Symphony Sell Out Symphony Space

    Many years – maybe decades – before Alan Gilbert and the New York Philharmonic were thrilling audiences with the sweep and majesty and blustery fun of Carl Nielsen’s symphony cycle, maestro Dorrit Matson was doing the same thing and more with the New York Scandia Symphony. She and the orchestra specialize in both classical repertoire and new music from the Nordic countries. Much of what they play is rare and relatively obscure, at least south of where the aurora borealis is flickering. Which makes them a unique and important part of this city’s cultural fabric.

    And they’re not such a secret anymore: from the looks of it (a few empty seats in the balconies), their Thursday night concert at Symphony Space was sold out. The orchestra rewarded the crowd with rousing, dynamic versions of material that for the most part is not typical for them. This time out, the program wasn’t about discovery as much as it was revisiting some of Scandinavia’s greatest global classical hits via a joint 150th birthday salute to both Nielsen and Jean Sibelius.

    The one lesser-known piece on the bill was Nielsen’s quirky, strikingly modernist Flute Concerto, quite a departure from the late Romantic material he’s best known for, but characteristically flush with subtle (and sometimes not-so-subtle) good humor. Soloist Lisa Hansen held the center with minute command of dynamics while jaunty motives made their way through a characteristically labyrinthine arrangement that was closer to a series of funhouse mirrors than the often stormy intensity of Nielsen’s earlier works. One of those on the program, the Overture from the opera Maskarade, balanced stiletto precision from the strings against the goodnatured rambunctiousness of the brass section (this orchestra’s brass has a visible camaraderie and chemistry, and will sometimes perform as a separate ensemble).

    Drama, suspense and foreshadowing permeated the lushness of Sibelius’ At the Castle Gate (from his Pelease et Melisande suite). Matson brought the drama up several notches further with a roller-coaster ride through his Karelia suite, unleashing the triumph of the first movement, dipping to a long, enveloping sweep upward and then a graceful balletesque pulse that alternated with mighty stadium bombast. The orchestra closed with a similarly triumphant yet warily colorful take of Finlandia, leaving no doubt that this was written not as a piece of nationalistic pageantry but as a slap upside the head of Russian Tsarist aggression.
    In addition to performing in concert halls, The New York Scandia Symphony puts on an annual free summer series at Fort Tryon Park, typically on Sunday afternoons in June: check back at their site for details.

    April 12, 2015 Posted by delarue | classical music, concert, Live Events, Music, music, concert, New York City, review, Reviews | carl nielsen, classical music, concert review, dorrit matson, jean sibelius, Music, music review, New York Scandia Symphony, new york scandia symphony review, New York Scandia Symphony symphony space, New York Scandia Symphony symphony space review, orchestral music, sibelius, symphonic music | 1 Comment

  • Discovery is invariably fun, whether getting a scoop or stumbling onto something that slipped under the radar the first time out. This definitely falls into the latter camp, having appeared on the market a couple of years ago, but it screams out to become part of the canon, a masterfully recorded, emotionally rich collection of the Nielsen orchestral pieces that you’ve most likely never heard and quite possibly never heard of. The New York Scandia Symphony is simply one of the nation’s most adventurous orchestras, devoting a staggering ninety percent of their repertoire to either United States or New York premieres of works by Scandinavian composers. This cd is characteristic. Nielsen’s most familiar symphony is the widely played Fourth, “The Inextinguishable,” along with the fascinatingly voiced, call-and-response-laden Fifth. Yet the Danish composer wrote several other first-class works for full orchestra, collected here for the first time under the inspired direction of Dorrit Matson. It’s early 20th century romanticism, soaring, bright or lushly atmospheric, occasionally tinged with Eastern and Middle Eastern motifs.

    The first three pieces, the Symphonic Rhapsody, An Evening at Giske and the Helios Overture share a robust melodicism that compares with anything Cesar Franck ever wrote. Also included are the crescendoing, darkly stately partita An Imaginary Journey to the Faroe Islands and the subtly uneasy, balletesque Amor and the Poet Overture, written a year before the composer died and inspired by Hans Christian Andersen’s doomed infatuation with the popular singer Jenny Lind. But the centerpiece is the Aladdin Suite, based on the iconic Adam Oehlenschlager novel that sought to appropriate the myth as a reaffirmation of early 19th century Danish identity. The Oriental Festival March, the blazing overture that opens it, works off one of the alltime great catchy hooks, right up there with the Peer Gynt themes and the 1812 Overture. South Asian and Arab influences are alluded to if not directly in the suspenseful Aladdin’s Dream and Hindu Dance which follow, the pace picking up with Prokofiev-esque deviousness in the Chinese Dance – like his protagonist, Nielsen gets around a lot here. The high point is the haunting, vertiginous Market Place in Ispahan, soprano vocalese whirling in counterrotation with booming timpani against a shrill choir of high woodwinds. After that, the explosive arabesques of the Prisoner’s Dance are almost anticlimactic. The suite ends in a crashing, demonic blaze of voice and orchestra with the Blackamoor’s Dance. That the ensemble was able to complete a recording-quality performance of such a dramatic work within the boomy confines of New York’s Trinity Church speaks volumes.

    In addition to this cd, the New York Scandia Symphony has also released three previous cds: a warm collection of Nielsen concertos; a collection of sometimes generic, sometimes fascinating suites by Lars-Erik Larsson and an album of concertos by pioneering early Romanticist Bernhard Henrik Crusell, whose post-Viennese School adventures are on par with pretty much anything Schubert ever did. The New York Scandia’s summer 2009 season includes an ongoing series of Sunday afternoon quartet and quintet shows in Ft. Tryon Park in Washington Heights.

  • Going to see a concert by the New York Scandia Symphony is something akin to being a member of a secret society. They are an organization after our own heart. The NY Scandia dedicates itself to popularizing Scandinavian works from over the centuries, some of which are well-known or even iconic on their native turf but completely obscure here. You can also count on them for at least one US or New York premiere at every show. Thursday night in the comfortable Victor Borge Auditorium at Scandinavia House in midtown they brought their smaller String Symphony chamber ensemble for a program that even by their exacting standards was riveting.

    They took their time opening up with Swedish baroque composer Johan Helmich Roman’s Flute Concerto, whose highlights were a handful of dexterously ornamented yet understatedly precise solos by Lisa Hansen. As a composition, it shows its age, fugal and predictable, yet the ensemble lit into it with such insistent gusto that it was impossible not to believe: they completely sold it. By contrast, the largo from early 20th century Danish composer Poul Schierbeck’s song cycle I Was Born in Denmark was nothing short of transcendent. Schierbeck was an organist, and the string arrangement is unsurprisingly a lush blend of subtle textures, a perfect match for the stately longing and distant anguish of the melody. A piece by Norwegian Romantic composer Johan Svendsen contrasted with its attractive, comfortably steady ebullience.

    Making his North American debut, hotshot Danish accordionist joined the ensemble for a richly genre-blending, emotionally intense yet frequently very playful US premiere of Anders Koppel’s Concerto Piccolo. Koppel began his career as a rock musician while still in his teens, playing psychedelic pop with popular Danish export Savage Rose, but in the following years he moved to film music. This three-part suite proved as fascinating as it was well-played, leaping from jazzy, bass-driven Mingus-esque suspense to macabre Bernard Herrmann atmospherics to a surprisingly upbeat, subtly amusing conclusion. Mogensen matched a whirlwind attack through a knotty thicket of accidentals to several wrenchingly beautiful, minimalistically ambient passages while conductor Dorrit Matson worked overtime but didn’t break a sweat. They closed with another string piece, Frank Foerster’s Suite for Scandinavian Folk Tunes, the composer himself the featured soloist on viola, a similar feast of contrasting emotions, timbres and attacks. The piece interpolated a series of rousing hardanger-style fiddle dances meant to symbolize the five Scandinavian nations against a haunting, ominous “song of the sea” theme that cleverly worked variations on a minor sixth arpeggio. In the depths of the sway and the swells of the string section, the heart of a very inspired noir garage band – or Norwegian surf band from the sixties – had come alive, in a very subtle way. The Scandia Symphony’s next full-orchestra concert is on March 9 at 1 (one) PM at Trinity Church playing yet another premiere-packed program.

    And by the way, Scandinavia House’s cute, lowlit cafe makes a good date-night spot – the organization’s dinner-and-a-movie and dinner-and-concert packages are quite the bargain and the regionally-themed cuisine (notably: fish, berries and fresh greens) turned out to be a very pleasant surprise.

  • Classical music fans in New York looking something more interesting than the same old standards have numerous options. Among the best of these is the New York Scandia Symphony, who dedicate themselves to reviving interest in lesser-known Nordic composers as well as premiering new works by emerging composers from the upper reaches of that hemisphere. Last night at Victor Borge Hall in Murray Hill, the highlight of the night, performed by a twelve-piece chamber version of the orchestra, was the American premiere of contemporary Danish composer Anders Koppel’s Symphonia Concertante. A triptych, it’s a characteristically enigmatic and absolutely fascinating work, something to get lost in if not for the endless tempo and stylistic shifts. Conductor Dorrit Matson, a Dane herself, led the ensemble seamlessly through a wary, pulsing first movement that evoked Astor Piazzolla’s later work before engaging clarinet and Andrew Schwartz’s bassoon in a long round of animatedly crescendoing rhythmic hijinks over the swells of the strings and eventually a labyrinth of polyrhythms. And yet, the jousting stopped abruptly during the early part of the second, Largo movement and turned to apprehension, reaching near-horror proportions via the chilling, Bernard Herrmann-esque string motif around which the final Allegro appassionato movement was centered. A celebrity in his native land ever since his days in popular rock band Savage Rose, Koppel deserves to be much better known here.

    Another highlight of the program was Symphony violist Frank Foerster’s Suite of Scandinavian Folk Tunes for string ensemble. Foerster is a very eclectic player and has a great wit – another suite of his, Summer in Fort Tryon Park, is a quintessentially New York tableau, packed with irresistible on-location references. This piece is more serious, a rugged hardanger fiddle-style sea motif linking a series of portraits of several of the Nordic nations: by this account, the Norwegians and Swedes are a serious bunch given to vivid dramatics, while the Finns and Icelandics are party animals. Opening the concert, Matson and the group took Swedish baroque composer Johan Helmich Roman’s Haydn-esque Violin Concerto and tackled its rather rugged, stern underpinnings with a muscular sway beneath violinist Mayuki Fukuhara’s spun-silk swirls; a bit later, Hartman was featured in a velvety version of the Adagio from the Clarinet Concerto, Op. 11 of Bernhardt Henrik Crusell, a Swedish contemporary of Mozart. They closed with enjoyably jaunty yet precise takes on the Prelude and Rigaudon from Grieg’s Holberg Suite. Concerts like this only add intrigue to the question: what have else we not yet heard from this particular part of the world that deserves to be known equally well over here – and when is this orchestra going to play it?

  • May 30, 2009

    Thursday at Trinity Church conductor Dorrit Matson led the pioneering New York Scandia Symphony through a characteristically enlightening and exciting performance that left no doubt that the Scandinavian composers of the early classical era were just as substantial – and could be sometimes just as schlocky – as their counterparts a little further south. This program featured a trio of compositions drawing on Viennese School influences, and as is the custom with the Scandia, one piece was a US premiere and the other, C.E.F. Weyse’s Symphony No. 6, was making its New York debut, two hundred years after it was written.

    They opened with Kuhlau’s Robbers Castle Overture. This one you know even if you think you don’t – it’s the kind of piece WQXR plays right before the top of the hour. A blazing, heroic theme, it’s essentially a series of codas, one on top of the other, leaving barely room to breathe. But breathing room is what Matson gave it, enhancing the cleverness of what’s essentially a single, long crescendo. The US premiere, Gunnar Berg’s 1950 composition Hymnos (”That little violin piece,” as a member of the ensemble sardonically characterized it afterward) was a revelation. In the same vein as Rachmaninoff’s Isle of the Dead, it’s a tone poem, striking, static and still, the orchestra bringing out every bit of unrelenting tension in its stark, Stravinskian ambience.
    Johan Halvorsen’s Suite Ancienne works off a typical 19th century trope. With a few exceptions (notably Respighi’s Ancient Airs and Dances), lush orchestrations of old folk tunes often leave an uninspired impression, but not the way the Scandia opened this one, careening with a reckless, beery abandon that proved impossible to resist. The second and third segment are somewhat annoyingly jiggy in places, but to the orchestra’s credit, the boisterous cheer never let up and this paid off in the end when finally some wary intensity arrived in the form of a brief, recurring turnaround, stark in its contrast with the endless celebration all around. The Weyse was the closing number, working a simple, extremely straightforward and considerably effective chordal series building to a heroic theme with some striking textural appositions, horns against the strings. The Largo, which followed, was anything but, only backing off slightly from the majesty that would return with gusto as a big dance number in the third movement and conclude with lively exuberance and echoes of Vivaldi in the fourth. It’s the kind of piece that could easily open a Schubertiade bill.

    Fans of brilliant obscurities (the Scandia dedicates itself to premiering works both old and new) are in for a treat, with members of the orchestra playing a series of free outdoor shows at Ft. Tryon Park in Washington Heights this June.

  • “Matson is an exciting and colorful Nielsen conductor and the dedicated New York Scandia players respond splendidly to her inspired direction. Aladdin is magnificent”. Ian Lace, Musicweb – Classical seen and Heard.

  • “The New York Scandia Symphony and its conductor and Music Director, Dorrit Matson serves as a de facto New York branch office of the Danish, Swedish, Finnish and Norwegian Music Information Centers and offers wonderfully and well performed programs of musical discovery and advocacy……….Matson drives her players with a sure and steady hand and knows how to listen to soloists.” Jeffrey James, The Danish Pioneer.

  • “Dorrit Matson, a charismatic and elegantly commanding presence on stage, led her musicians with effective gracefulness and musical intelligence…….. Ms. Matson’s creative vision and tireless energy made the 2014 festival a big success.” Thomas Todd, The Danish Pioneer.

  • “Conductor Dorrit Matson – a Dane in the old country and based in New York City and Asheville, NC – assembled her orchestra beneath an ancient tree in Fort Tryon Park. The symphony, which celebrated its 27th anniversary this year, also showcased the interpersonal closeness and professional commitment of its members, assigning prominent roles and solos to veteran players.” Leeanna Keith, BIEN.

  • “Bernhardt Crusell has certainly become a valuable commodity on the Street. He has been around since 1775, hiding in the aesthetic closet of some inquisitive clarinet players – until Dorrit Matson opened a wonderful door and yanked this composer out of the closet, treating Wall Streeters to a real adventure. She has developed a well attended series at Wall Street’s Landmark Trinity Church, supported by local businesses.”

    “The orchestra’s tone was all the more significant in a reverberant hall where both strings and winds would normally have had an annoying muddy quality. That Matson’s group was so good is certainly the result of an impeccable pitch placement and well balanced strings and winds, no doubt the focus of an experienced and gifted conductor and equally gifted musicians. The orchestra, as a result, came out with its own unique and identifiable sound.” Paul Shelden, The Clarinet.

  • “The recording immediately captivated me and held on firmly for its entire 34 minutes………………. vital, idiomatic, exciting, propulsive, gorgeous. Danish conductor, Dorrit Matson matches the soloists’ intensity and draws from the New York players both the muscularity and ingenuity of the extraordinary score. This is the most enjoyable performance of the work known to me, either live or recorded. A disc combining brilliant and idiomatic readings of the violin and Flute Concertos of Carl Nielsen is hard to come by – until now.” Robert McColley, Fanfare Magazine.

  • “There is a high degree of competence. The execution is first-rate, with fine precision, razor-sharp intonation and confident and inspired leadership.” Carter, American Record Guide.

  • “The Sound is gorgeous – this is a wonderful recording. These are three terrific musicians and they are fortunate that the engineers did not betray them.” Wroon, American Record Guide.

  • “One of the most satisfying experiences for a music lover is to discover a new musical treasure. For those who are willing to look, they can find one in the “Orchestral Works of Lars-Erik Larsson”, recorded by the New York Scandia Symphony under the baton of Dorrit Matson.” Rebecca Cline Howard, The Deseret Morning News, Utah.

  • “Once again the acumen of the performance was masterly”. Dennis Rooney, The Strad.

  • “Who would have thought that one of the year’s most stunning moments in classical music would have taken place in the middle of the day at a landmark, downtown church? On the podium, Dorrit Matson calmly and assuredly led the ensemble through a seamless yet thrilling Romantic program rich with feeling and melody.”

    “Many years – maybe decades – before Alan Gilbert and the New York Philharmonic were thrilling audiences with the sweep and majesty and blustery fun of Carl Nielsen’s symphony cycle, maestro Dorrit Matson was doing the same thing and more with the New York Scandia Symphony. She and the orchestra specialize in both classical repertoire and contemporary music from the Nordic countries. Much of what they play is rare and relatively obscure, at least south of the aurora borealis flickering, which makes them a unique and important part of this city’s cultural fabric. And they are not such a secret anymore: From the looks of it (a few empty seats in the balconies) their Thursday night concert at Symphony Space was sold out. The orchestra awarded the crowd with rousing, dynamic versions of material that for the most part is not typical for them.”

    “The New York Scandia Symphony’s marathon concert yesterday at Trinity Church was exhausting yet exhilarating for musicians and audiences alike, reaching a level of intensity envied by most players and rarely experienced by the average concert goer.” Alan Young, Lucid Culture.

  • “The real surprise is the New York Scandia Symphony, a gem of an ensemble that delivers one suave, spirited and technically irreproachable performance after another. Much of the credit for that has to go to Danish-born conductor, Dorrit Matson, who runs a tight musical ship. Not one to leave any interpretive stone unturned, Matson, who has a fine ear for instrumental registrational balance, draws a sterling sound from her colleagues. With music making as informed as this there is always a danger that the quality of the performances will exceed that of the music itself. In this case, Matson makes a most persuasive case for both.” John Bell Young, St. Petersburg Times, Florida.

  • “Here it is confirmed again, as Copenhagen native Dorrit Matson offers some insight into Carl Nielsen orchestral works ……There is an air of comprehension in their playing and a calmness in Matson’s readings. It is the sort of harmonious arrangement that comes from understanding the bigger picture, and also from not balking at the more maudlin moments … The momentum is infectious, urged on by Matson’s excellently chosen tempi and well judged crescendos ..….the core of Nielsen convincingly emerges.” Andrew Druckenbrod, Gramophone Magazine.

  • “So unfailingly lovely that those lucky enough to purchase the disc (of Lars-Erik Larsson’s orchestral works) will be surprised that the composer has eluded their attention for so long a time. This disc reflects the fact that Dorrit Matson’s New York Scandia Symphony, one of that city’s leading freelance orchestras, has had a significant relationship with Larsson.” Lawrence Vittes, Gramophone Magazine.

  • “The real surprise is the New York Scandia Symphony, a gem of an ensemble that delivers one suave, spirited and technically irreproachable performance after another.” John Bell Young, St. Petersburg Times, Florida.

  • “The recording immediately captivated me and held on firmly for its entire 34 minutes………………. vital, idiomatic, exciting, propulsive, gorgeous. Danish conductor, Dorrit Matson matches the soloists’ intensity and draws from the New York players both the muscularity and ingenuity of the extraordinary score. This is the most enjoyable performance of the work known to me, either live or recorded. A disc combining brilliant and idiomatic readings of the violin and Flute Concertos of Carl Nielsen is hard to come by – until now.” Robert McColley, Fanfare Magazine.

  • “There is a high degree of competence. The execution is first-rate, with fine precision, razor-sharp intonation and confident and inspired leadership.” Carter, American Record Guide.

  • “The Sound is gorgeous – this is a wonderful recording. These are three terrific musicians and they are fortunate that the engineers did not betray them.” Wroon, American Record Guide.

  • “Once again the acumen of the performance was masterly”. Dennis Rooney, The Strad.

  • “Who would have thought that one of the year’s most stunning moments in classical music would have taken place in the middle of the day at a landmark, downtown church? ”

    “ Many years – maybe decades – before Alan Gilbert and the New York Philharmonic were thrilling audiences with the sweep and majesty and blustery fun of Carl Nielsen’s symphony cycle, maestro Dorrit Matson was doing the same thing and more with the New York Scandia Symphony. And they are not such a secret anymore: From the looks of it (a few empty seats in the balconies) their Thursday night concert at Symphony Space was sold out. The orchestra awarded the crowd with rousing, dynamic versions of material that for the most part is not typical for them.”

    “The New York Scandia Symphony’s marathon concert yesterday at Trinity Church was exhausting yet exhilarating for musicians and audiences alike, reaching a level of intensity envied by most players and rarely experienced by the average concert goer.” Alan Young, Lucid Culture.

  • “Here it is confirmed again, as Copenhagen native Dorrit Matson offers some insight into Carl Nielsen orchestral works ……There is an air of comprehension in their playing and a calmness in Matson’s readings. It is the sort of harmonious arrangement that comes from understanding the bigger picture..….the core of Nielsen convincingly emerges.” Andrew Druckenbrod, Gramophone Magazine.

  • “So unfailingly lovely that those lucky enough to purchase the disc (of Lars-Erik Larsson’s orchestral works) will be surprised that the composer has eluded their attention for so long a time.” Lawrence Vittes, Gramophone Magazine.

  • The New York Scandia Symphony and its conductor and Music Director, Dorrit Matson serves as a de facto New York branch office of the Danish, Swedish, Finnish and Norwegian Music Information Centers and offers wonderfully and well performed programs of musical discovery and advocacy.” Jeffrey James, The Danish Pioneer.

© 2024 · New York Scandia Symphony Inc.

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