Press Reviews
"A more fragrant cherry than Karin Dornbusch I have
seldom heard.... To me personally, one finalist, Karin Dornbusch, came as a revelation...
she has a gentle, blossoming tone on her clarinet, a wide expressive register and perfect
command of dynamics all the way from whispering to bellowing."
(Per-Anders Hellqvist,
Göteborgs Posten 1995)
"For convincing musical
interpretation, strength of personal expression and an obvious sense of audience
communication."
(Citation for the 1996
Soloist Prize)
"Karin Dornbusch is manifestly
endowed with the prize-winning qualities of personality and fingerspitzengefühl
for every nuance."
(Thomas Anderberg, Dagens
Nyheter 1996)
"She had a wonderful tone and
exquisite articulation. Sincerity, pride, exuberance and love of her instrument were some
of the ingredients making for a first-class achievement."
(John Lidström,
Länstidningen, Södertälje 1996)
"There was breathless
admiration of Karin Dornbusch's playing in Mozart's clarinet concerto... Her sublime tone
blossoms forth in the dark registers of the clarinet, as enchantingly as in the high ones.
Even in the fastest passages, her legato playing is of silken softness."
(Seth Karlsson, Falukuriren
1996)
"The immensity of her talent
is clear to anyone listening to her first CD."
(Seth Karlsson, Södra
Dalarnes Tidning 1996)
"The highlight of the evening
was Mozart's clarinet concerto with Karin Dornbusch as soloist. She has a sovereign
command of the instrument, leaping with feline agility from one register to another. The
tone is soft, with no joins. The adagio took on an etherial purity of naked pianissimos,
especially after the cadenza. Then came the rondo, which was all humour, playfulness and
elegance."
(Fride Jansson,
Länstidningen, Nyköping)
"A pearl of price!"
(Stig Jacobsson, Hifi & Musik
1996)
"This début record by
25-year-old Karin Dornbusch is the obvious choice for a clarinet lover."
(Björn G. Stenberg, Upsala
Nya Tidning 1996)
"...the playing of Karin
Dornbusch puts new life into the clarinet and its qualities... Dornbusch displays an
immensely versatile and lively relation to her instrument, strenghthens its power of rapid
and rhythmic movement, deepens its capacity for dwelling on a single note, as if that note
were a complete song in itself."
(Hans-Gunnar Peterson, Svenska
Dagbladet 1996)
"...Karin Dornbusch, in whose
impressible personal playing, virtuosity and feeling combined to shape the character of
the different movements... Musicianship of the highest order."
(Lars Hedblad, Svenska
Dagbladet 1997)
"...the 1996 prize-winner,
clarinet artist Karin Dornbusch, has now made a record demonstrating an unparalleled
instrumental confidence... an almost extreme capacity for varying and controlling the tone
colour of her instrument."
(Lennart Bromander, Arbetet
1997)
"...Karin Dornbusch, last
year's winner of the prestigious Swedish Soloist Prize, played with utter buoyancy and
elegance and, at the same time, with absolute fullness and consistence of tone."
(Lennart Bromander, Arbetet
1997)
"In all registers and nuances
she was improvisational and exploratory, and in superb technical control, which was
especially noticeable in the softspoken lyrical interjections. This performance was a
masterpiece in every sense of the word."
(Carlhåkan Larsén,
Sydsvenska Dagbladet 1997)
"Everything is played with
enthusiasm, stunning virtuosity and tremendous brillance."
(P-G Bergfors,
Göteborgs-Posten 1997)
"Judging from 'Clarinet', we
can expect almost anything..."
(Mikael Widell, Dagens
Industri 1997)
(Mikael Bengtsson 1999)
"...the virtuoso passages and the fast
staccatos are perfect, she fills the dark register of the clarinet with thrilling
intensity, the high notes roll like pearls."
(Siegfried Schibli, Basler
Zeitung 1999)
"...the playing of the soloist was
characterised with confidence and elasticity. The shape and the technique was very
well-balanced. This work, which is a masterpiece through its warm sonorous image got an
adaquate interpretation. The applause intensified into a rhythmic clapping."
(Paul Schorno, Basler
Landschaftliche Zeitung 1999)
"...a musician's capacity of agile tone shaping was made evident as Karin Dornbusch entered the stage. John Fernström's clarinet concerto opens with a Bartók-related thunder, where Karin, with self-evidence and steady tone, initially spreads out the lower register of the clarinet... The solo cadenza flashes by in high tempo, without Dornbusch renouncing any aspect of her soft, broad tone."
(Magnus Edholm, Piteå-tidningen, 5 July, 2003)
"Karin Dornbusch excelled in her interpretation."
(Michael Kunkel, Tages-Anzeiger, 11 April, 2005)
"The clarinetist Karin Dornbusch blessed her solo part with passion and contagious enthusiasm. Every note a celebration!"
(Gottfried Wiedemer, Offenburger Tagesblatt, 20 June, 2006)
"The young Swedish clarinetist Karin Dornbusch was convincing in her sincere and at the same time un-pathetic mode of playing. She is incessantly picking up sonant treasures from the depths, thereby opening an entirely new dimension, a new angle of approach."
(Gertrude Siefke, Badische Zeitung, 20
June, 2006)
Interview
Baslerstab, Monday, 2nd of June 2003
Karin Dornbusch:
"Try out the extremes"
The clarinetist about the necessity to exceed limits
…"I grew up in family of singers …My later choice, to play the clarinet, was more of a coincidence. But the clarinet sound is close related to the singing voice and could explain my chiefly proximity to this instrument."
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| Foto: Elena Monti |
Diligence more important than talent
The young artist…reflects on what is being connected to her profession
and how it is to be an artist. For example about practising and the
prerequisites to become a professional musician.
"If you really want to get there, you need great strenght and a strong will. The talent is often the minor part, much more decisive is the diligence" …
"You have to exaggerate, reach limits in order to reduce. To try out the extreme is however a necessity."
Enormous strain
Dornbusch about playing in concerts:
"It needs nerves and an enormous strain. During my playing I forget time and place. First of all I perform a piece, can however, give a lot of my personality and let emotions flow without revealing to the audience who I am. The audience then has the possibility to experiences and interprets all in their own way, that is the greatness of music."
Excerpts from an Interview with Karin Dornbusch by Paul Schorno
