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The gre­at man of the evening, howe­ver, was Jörg Bir­han­ce, who foun­ded the orches­tra in 2005 and con­duc­ted it until 2011. His dis­tinc­tive work with the orches­tra can be felt in every sin­gle bar of music … With Wel­lesz, he empha­ses on the multi­tu­de of lower voices … again allo­wing the shape to beco­me per­fect­ly sculp­ted. … It is a striking cha­ris­ma with which Jörg Bir­han­ce steps in front of the orches­tra, crea­ting the cen­tral point of con­cen­tra­ti­on ab ini­tio. … he remains “one” with the sound­s­cape, lea­ding his musi­ci­ans in a sug­ges­ti­ve man­ner. Bir­han­ce con­ducts with per­fec­ted tech­ni­que… His actions are ful­ly dedi­ca­ted to music and his pro­found devo­ti­on to the works of music can be felt in every sin­gle moment.

(The New Lis­tener Inter­na­tio­nal, 14.12.2015, read the full text here)

Con­duc­tor Jörg Bierhance’s goal is to crea­te phil­har­mo­nic sono­ri­ty that is cha­rac­te­ri­sed by aspects of cham­ber music. And this clear, clean sound, in which each orches­tral voice is able to blossom, came across well during the con­cert … fine defi­ni­ti­on … Schumann’s “Rhe­nish” sym­pho­ny con­clu­ded the beau­ti­ful­ly struc­tu­red evening. The orches­tra ope­ned the first move­ment clear­ly and bright­ly, with con­duc­tor Bier­han­ce then crea­ting an almost idyl­lic and pas­to­ral mood for the sub­se­quent move­ments, with soft can­ti­le­nas and beau­ti­ful horn tones, the cli­ma­xes being pre­sen­ted pen­si­ve­ly and quiet­ly, with much care.

(Badi­sche Zei­tung, May 5th 2008)

…on the who­le, what makes this “litt­le” phil­har­mo­nic orches­tra gre­at is the obser­va­ti­on that they make music without any self-pro­mo­ting atti­tu­de whatsoever. The musi­ci­ans do not merely play instru­ments, but rather they bre­a­the the music through their instru­ments. The Blu­ten­burg Kam­mer­phil­har­mo­nie Munich has revea­led its­elf to be a finely tun­ed and sen­si­ti­ve orches­tra, under the reser­ved and cha­ris­ma­tic direc­tion of Jörg Bier­han­ce.

Rossini’s Over­tu­re to “An Ita­li­an Girl in Algiers” demons­tra­ted this talent from the first note onwards: the melo­dious tut­ti — even and espe­ci­al­ly in the pia­no of the pre­lude -, the inter­nal dyna­mic build-up and the trans­pa­rent orches­tral sound brought back the overture’s true spi­rit and sym­pho­nic for­mat … a gre­at con­cert, nay, a visit at the musi­cal Olym­pus.

(Frän­ki­sche Lan­des­zei­tung, July 9th 2007)

… con­duc­tor Jörg Bier­han­ce led his “Blu­ten­burg Kam­mer­phil­har­mo­nie Munich” — who play­ed with a fie­ry pas­si­on —  with ver­ve and a fine sen­si­ti­vi­ty through this won­der­ful 1787 ope­ra (Don Gio­van­ni). The impres­si­ve intui­ti­ve sen­si­bi­li­ty with which, during the som­bre d-minor over­tu­re, he hin­ted at what was to come, the thun­de­rous furio­so with which he sound­ed the fina­le, as well as the urgen­cy with which he allo­wed the prot­ago­nists’ emo­ti­ons to be expres­sed, were in them­sel­ves alre­ady nota­ble feats…

(Donau­ku­rier, Sep­tem­ber 28th 2006)

… subt­le pia­nis­si­mo-segues and beau­ti­ful­ly colou­red.

(Süd­west-Pres­se, Decem­ber 12th 2005)

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