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"Friday night’s BSO program of Austrian and German masterworks, led by Moritz Gnann, brought additional moments of lyricism and drama to the Koussevitzky Shed."

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[...] Gnann is completing his third season as BSO assistant conductor, and in his time with the orchestra he has prepared scores with Andris Nelsons. Like his Latvian boss, Gnann leads with a keen eye to musical detail. His reading of Schumann’s Symphony No. 3, Rhenish, heard Friday night, revealed a firm, multi-dimensional sense of orchestration.

Gnann approached the outer of the symphony’s five movements with sweeping energy, though he lingered on the songlike themes of these movements. The second movement’s ländler flowed like the water of the eponymous river of the symphony’s subtitle.

Leading with sweeping gestures and crouches, Gnann coaxed soft, reverential lines from the ensemble in the third movement. Wind melodies dissolved into soft sonorities, and solo cello wove a burnished melody through the texture. The fourth movement, long thought to be Schumann’s depiction of a processional in the Cologne Cathedral, was as somber and solemn as an ancient ceremony, to which the organ-like brass brought grand solemnity.


Aaron Keebaugh, The Classical Review July 17, 2018

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"A night to remember, for his own performance and that of his piano soloist, 92-year-old Beaux Arts Trio founder Menahem Pressler. 

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After intermission, Gnann, not to be outdone, offered a distinctive reading of the Dvorák. (...)


Gnann let it all unfurl without pushing too hard. The first movement (whose exposition repeat he omitted) was full of contrasts, with a tender second theme and dramatic climaxes. The conclusion was ferocious, but all the more transparent for not being whipped into a frenzy. (...)


Throughout the performance, Gnann made you stop, think, and reconsider. No small achievement in such a familiar symphony."

Boston Globe

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"AT TANGLEWOOD: A YOUNG CONDUCTOR'S MARVELOUS MAHLER"

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"Performances earlier in the weekend were executed with precision, but were not memorable. That changed Sunday afternoon when Moritz Gnann, the orchestra’s assistant conductor, took the podium.


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[...] Gnann had complete control over the shape and color of the opening movement, the softness of the A helping to evoke the quiet of the forest which Mahler augmented with bird calls, offstage trumpet fanfares, and horn melodies. (...)


As the work progressed, Gnann’s attention to detail became apparent. He masterfully weaved the threads of Mahler’s music, allowing parts rarely heard clearly, such as those from the harp and bass drum, albeit played softly, to contribute to the sonority."

Concert Review by Seth Arenstein

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Gnann legte die Vielschichtigkeit der Partitur, welche der Vielschichtigkeit der Vorlage in jeglicher Art gerecht wird, mit ungeheurer Spannkraft offen, machte Brittens geschickte Instrumentation mit transparentem Gesamtklang hörbar, vom Vogelgesang in Billys Wiegenlied bis zum deutlich in der Musik hörbaren letzten Röcheln des armen Jungen, wenn sich die Schlinge des Strangs zuzieht.
Oper-Aktuell

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Oresteia - xenakis













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"Die Deutsche Oper Berlin traut sich an Iannis Xenakis’ «Oresteia» und gewinnt in jeder Hinsicht – dank Moritz Gnann, David Hermann und Christof Hetzer"

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Credits


Photos of Moritz Gnann with the BSO, by Hilary Scott

Portraits by Simon Pauly


Press Folder