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

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OBOE CONCERTO - THE ENCHANTER
Scottish Chamber Orchestra
Francois Leleux - oboe, John Storgårds - conductor
19/20 Nov 2010 - City Halls Glasgow, Queen's Hall Edinburgh

"Albert Schnelzer’s new oboe concerto, The Enchanter, receiving its UK premiere in the super-fluid, breath-defying lungs of oboist Francois Leleux, for whom it was written, lived up to its name. What a ravishing piece, both in its intoxicating and bewitching slow music, which was at once tranquil and mesmerising, with those endless notes during which Leleux appeared not to require oxygen, and in its contrasting, impish, staccato, chattering music that sounded like an excited chorus of disciples drawn to the searing, soaring song of the enchanter."
Herald Scotland

"And Leleux's playing certainly enchants. In three movements, performed without a break, The Enchanter begins ponderously, with drum rolls, and has an almost ominous feel with the oboe continuing in its own unique way. The complex cadenza in the first movement displays Leleux's extraordinary versatility, both in tone and technique. [...] The third movement, featuring strong percussion, has a mischievous quality with obvious Eastern influences, inspired by Rushdie's novel, The Enchantress of Florence. Leleux gave such a flawless, wonderful performance the composer was moved to rush up embrace him while the audience were still enthusiastically clapping."
Edinburghguide.com

"The UK premiere of Albert Schnelzer's Oboe Concerto, 'The Enchanter,' was successfully brought off. Soloist François Leleux took the oboe to new heights of expression. The concerto began with a menacingly mysterious introduction as Leleux's playing showcased his ability as an 'Enchanter' of the oboe.[...] The Second Scene followed with a tranquillity that retained the misterioso from the First Scene. The energy of the finale's Allegro took the concerto to a series of new climaxes, each followed by sprightly solos from Leleux that created waves of descending and ascending chromatic lines. Leleux is a true showman. [...] His brilliance was highlighted in the first movement's cadenza and he exhibited great passion throughout the rest of the concerto."
Musicalcriticism.com

"However, the real draw here was the premiere of Albert Schnelzer’s new oboe concerto. [...] His concerto held me gripped, however. The “Enchanter” of the title is Leleux himself, and it’s a fitting tribute to his spellbinding playing. He turned the oboe into a multi-dimensional character, singing, dancing and leaping through his music. However the Enchanter is also inspired by a character in Salman Rushdie’s The Enchantress of Florence and the atmosphere of magic is apparent right from the off in the quivering, shimmering orchestral textures from which the oboe part grows gently. Schnelzer uses the orchestra brilliantly, treating them like a hugely varied palette from which to draw a rainbow of colours. Filigree flutes, for example, formed the beautiful background to a long, spun-out theme from the soloist in the first movement, and the use of percussion was particularly striking, gong and vibraphone creating a hypnotic effect. While cast in three movements the work seems to work more through contrasting sections: after the central Andante comes the finale which cranks up the energy levels considerably and leads into a cadenza of incredible virtuosity, played with jaw-dropping dexterity by the Enchanter himself. After this came a return to the elegiac mood of the opening and the end of a most satisfying work by a composer whose name I shall look out for in the future."
Musicweb-international.com

"The inner energy of Albert Schnelzer's oboe concerto The Enchanter – partly inspired by Salman Rushdie's novel The Enchantress of Florence and here receiving its UK premiere – is a lot subtler. Oboist Francois Leleux revelled in the exotic warmth of the opening."
The Scotsman

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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