REVIEWS

STRING QUARTET NO. 2 - EMPEROR AKBAR, The Brodsky Quartet
"England’s Brodsky Quartet were the Festival’s resident ensemble this year, [...] — and a new work destined for London: the String Quartet No 2 by the young Swedish composer Albert Schnelzer. He celebrates the spectres of Shostakovich, Berg, Ravel — yet speaks with a confident and passionately lyrical voice all his own. "
Hilary Finch, The Times

A FREAK IN BURBANK, Stockholm Chamber Orchestra SNYKO, Rondin
“Schnelzer’s score begins and ends as an exclamation mark whirling from the little woodwind section... It is stylish, attractive and cinematic.”
Svenska Dagbladet

A FREAK IN BURBANK, Swedish Chamber Orchestra / Björkman
“Schnelzer’s music is characterized by energy, but below the surface, the music is lyrical and fragile.”
Nerikes Allahanda

A FREAK IN BURBANK, DalaSinfoniettan / Engeset
“The opening work A freak in Burbank is simply wonderful!”
Falukuriren

BASSON CONCERTO NO. 1 - AURORAL DANCES
Helsingborg Symphony Orchestra /Søndergård / Nilsson
“As a whole the Auroral Dances was a most pleasurable acquaintance which bids well for the future...”
Helsingborgs Dagblad

SYMPHONY NO. 1 - AZRAEEL, DalaSinfoniettan / Björkman
"The concert continued with Symphony No. 1 by young Swedish composer Albert Schnelzer whose new six movement work has been inspired by the Salman Rushdie novel, Satanic Verses. In this exciting, complex composition - both easy- and hard listening - is a remarkable forward going energy, circling, adventurous tutti passages, massive wind attacks (almost in the spirit of Korngold and Weill!), and a very fine sense of orchestration."
Dalademokraten

SYMPHONY NO. 1 - AZRAEEL, Västerås Sinfonietta / Hanson
"... exciting with violent contradictions. Maybe Schnelzer's Symphony No. 1 will be a classic symphonic work, played like Mozart's Horn Concerto in 220 years from now?"
VLT

GLANZVOLL
"Glanzpunkt des Abends war zweifellos die Uraufführung "Apollonian Dances" des jungen schwedischen Komponisten Albert Schnelzer, der es sich nicht nehmen ließ, persönlich anwesend zu sein. [...] Schnelzers uraufgeführte Komposition entpuppte sich mit ihren einzigartigen Harmonien und nachvollziehbaren musikalischen Gesetzen als Spiel- und Hörgenuss. [...] Die sorgfältig gegliederte Komposition steigert sich von liedhaft-klangreinen oder lyrisch anmutenden Passagen bis zu einem orkanhaften Wirbelsturm!"
Südwest Presse, 2003-09-12

NORDIC MUSIC ATTRACT ATTENTION IN PARIS
"After Swedish composer Albert Schnelzer's "Predatory Dances" the audience applauded for nearly five minutes! Schnelzer is reckoned as one of the most promising young Swedish composers today [...]"
Swedish Broadcasting Corporation Homesite, 2004-02-05

DANCE ECSTATIC for string orchestra
(Musica Vitae/cond. Michael Bartosch)
"Albert Schnelzer's DANCE ECSTATIC is an inspired piece that reflects the composer's technical knowledge, [...] and a longing for liberating ecstasy. An ecstasy that is rooted in the Orient's orgiastic and spontaneous emotions. The charged asymmetric rhythms and the flow of warm harmonies exercise an illusory enticement to the listener. My conclusion is that DANCE ECSTATIC is a captivating and suggestive composition!"
Smålandstidningen, 2001-12-11

ITAKA - for soprano, violin and piano
(Trio Sonore)
"The prèmiere performance of Albert Schnelzer's "Itaka" became a poetic rest. Here are influences from Pärt, maybe also Brian Eno. With this concentrated, fragile and vibrating piece, the composer joins an aesthetics that is more about personal expression than being modernistic correct."
Sydsvenska Dagladet, 2003-03-19

DRIV - for flute, bassoon and piano
(Trio Korp)
"Albert Schnelzer is a name to remember. He is born 1972 and his work DRIV had it's prèmiere performance during this tour in Gävleborg and Jämtland. DRIV was the piece that made this evening concert a remarkable event. [...] May we hear it soon on national Radio!"
Hudiksvalls Tidning, 1998-07-26

"And it sure drove off. Wonderful, directly accessible music. Forward going with a strong pulse in the piano. Watchful and aggressive. Instrumentally demanding. [...] DRIV showed that Schnelzer is to be reckoned with. [...] A work and a composer that promise a lot for the future."
Länstidningen, 1998-06-23