Andreas Brantelid, Cello


Andreas Brantelid was born in Copenhagen in 1987 to Swedish/Danish parents. After receiving early tuition from his father Ingemar, Andreas made his soloist debut at the age of 14 in a performance of the Elgar concerto with the Royal Danish Orchestra in Copenhagen. Today, Andreas is one of the most sought-after performing artists from Scandinavia, winning worldwide critical acclaim for his ability to make the music not only sound, but both speak, dance and sing.

Highlights of recent orchestra engagements includes appearances with the London Philharmonic, City of Birmingham Symphony, BBC Symphony, and BBC Philharmonic Orchestras, Tonhalle Orchester Zurich, Mahler Chamber Orchestra, Brussels Philharmonic, Yomiyuri Nippon Symphony, Netherlands Radio Philharmonic, Seattle Symphony, Frankfurt Radio Symphony Orchestra, Leipzig Radio Symphony, Hamburger Symphoniker, Orchestre des Champs-Elysées, Scottish Chamber Orchestra, and Munich Chamber Orchestra, as well as all the major orchestras in the Nordic countries. He has worked with many distinguished conductors including Andris Nelsons, Esa-Pekka Salonen, Philippe Herreweghe, Vasily Petrenko, Thomas Dausgaard, Pablo Heras-Casado, Andrew Manze, Sakari Oramo, Jukka-Pekka Saraste, Robin Ticciati, and Heinrich Schiff.

Among the musicians who inspired and strongly influenced Andreas are pianist Bengt Forsberg and violinist Nils-Erik Sparf, both of whom Andreas has played with since 2002 in different chamber music formats. Andreas has also collaborated with artists such as Daniel Barenboim, Gidon Kremer, Joshua Bell, Vadim Repin, Nikolaj Znaider, Lawrence Power and Paul Badura-Skoda. Recently he has formed a trio with Austrian violinist Benjamin Schmid and Norwegian pianist Christian Ihle Hadland.

Andreas Brantelid has appeared in venues such as Dortmund Konzerthaus, where he has been a ‘Junge Wilde’ artist, New York (Carnegie Hall and Alice Tully Hall), London (Wigmore Hall), Zurich (Tonhalle), Amsterdam (Concertgebouw), Barcelona (Palau de la Música), Salzburg (Mozarteum) and Tokyo (Metropolitan Theatre). He also performs at festivals including Verbier, Lockenhaus, Jerusalem, Stavanger, Bergen, Risør, Kuhmo, and Wiener Festwochen, and has been a member of the Lincoln Center Chamber Music Society.

His debut disc of the Tchaikovsky, Schumann and Saint-Saëns cello concertos with the Danish National Symphony Orchestra was released by EMI in 2008, followed by a disc of chamber music by Chopin including his cello sonata (2010), and an Encore disc (2012). A recording of the complete works for cello and piano by Grieg was released by BIS in March 2015. Gabriel Fauré’s complete works for cello and piano appeared as a BIS recording in 2017. In 2021 he released a much acclaimed CD with both Haydn Cello Concertos with the period ensemble Concerto Copenhagen led by Lars Ulrik Mortensen.

Andreas won first prizes in the 2006 Eurovison Young Musicians Competion, the 2007 International Paulo Cello Competition and, in subsequent years, received music awards and fewllowships including the Borletti-Buitoni Trust Fellowship in 2008, the BBC’s New Generation Artist 2008-2011, The Europan Concert Hall Organization “Rising Star” tour in the 2008/09 season. In 2015 he received the Carl Nielsen Prize in Copenhagen. In 2018 Andreas Brantelid has become Artistic Director at the Stavanger International Chamber Music Festival.

Andreas plays the 1707 ‘Boni-Hegar’ Stradivarius, which has been made available to him by the generous support of Norwegian art collector Christen Sveaas. Andreas Brantelid lives with his wife and four daughters in Nærum near Copenhagen.

January 2022.


Andreas Brantelid's appearances in the Nordic region.

Click on the date to get in-depth concert information.


Please note: This repertoire list is for reference only. The choice of repertoire for a particular project remains at the artist’s discretion.

Concertos with Orchestra

Antonin Dvorak

Cello Concerto in B minor, Op. 104

Camille Saint-Saëns

Cello Concerto No. 1 in A minor, Op. 33
Cello Concerto No. 2 in D minor, Op. 119

Dmitry Shostakovich

Cello Concerto No. 1 in E-flat major, Opus 107

Edward Elgar

Cello Concerto in E minor, Op. 85

Franz Joseph Haydn

Cecilia Mass in C Major
Cello Concerto in C major, Hob.VIIb:1

Johannes Brahms

Double Concerto for Violin and Cello in A minor, Op. 102

Luigi Boccherini

Cello Concerto No. 9 in B flat major, G. 482

Niels Rosing-Schow

Chimere - Concerto for Cello and Orchestra

Pyotr Ilyich Tchaikovsky

Variations On a Rococo Theme in A Major, Op. 33

Robert Schumann

Cello Concerto in A minor, Op. 129

Sergej Prokofiev

Sinfonia Concertante for Cello and Orchestra, Op. 125
Pieces for Cello and Piano

Bohuslav Martinu

Variations on a Theme of Rossini

César Franck

Sonata in A Major

Claude Debussy

Cello Sonata

Dmitry Shostakovich

Cello Sonata in D minor, Op. 40

Franz Schubert

Sonata in A minor, D. 821, "Arpeggione"

Frédéric Chopin

Cello Sonata in G Minor, Op. 65

Gabriel Fauré

Cello Sonata no. 2 in G minor, op. 117

Johannes Brahms

Cello Sonata no. 1 in E minor, Op. 38
Cello Sonata no. 2 in F Major, Op. 99

Ludwig van Beethoven

Cello Sonata No. 1 in F major, Op. 5, No. 1
12 Variations in F major on "Ein Madchen oder Weibchen" from Die Zauberflote by Mozart, Op. 66
Cello Sonata No. 2 in G minor, Op. 5, No. 2
Cello Sonata No. 3 in A major, Op. 69
Cello Sonata No. 4 in C Major, Op. 102/1
12 Variations in G major on "See the conqu'ring hero comes" from Judas Maccabaeus, WoO 45
7 Variations on "Bei Mannern, welche Liebe fühlen" from Mozart's "Die Zauberflöte", WoO 46

Luigi Boccherini

Cello Sonata in A major, G. 4

Manuel de Falla

Suite populaire espagnole

Max Bruch

Kol Nidrei, op. 47

Pablo de Sarasate

Carmen Fantasie Op. 25 for Cello and Piano
Zigeunerweisen for Cello and Piano

Sergej Prokofiev

Cello Sonata in C major, Op. 119
Pieces for Solo Cello

Jean Sibelius

Theme and Variations for Cello solo

Johann Sebastian Bach

Cello Suite no. 1 in G Major
Cello Suite no. 2 in D minor
Cello suite no. 3 in C Major, BWV 1009
Cello Suite No. 4 in E flat major, BWV 1010
Cello Suite No. 5 in C minor, BWV 1011
Cello Suite No. 6 in D major, BWV 1012

Zoltan Kodály

Sonata for Solo Cello, Op. 8
Brantelid as inspiration
The Arts desk
Wed, 2018-02-07
“… the highlight of this concert turned out to be the Elgar Cello Concerto, given a far more intimate and low-key reading than we might expect from Petrenko himself. No doubt, Brantelid was the inspiration here…”
Fri, 2017-09-15
“Andreas Brantelid always chooses musicality rather than bluff. One stands in admiration before this impression of fragile sensitivity, despite all the virtuosity, managing to cause manifold musical emotions (…) He clearly lives the music with every fibre of his being, taking inspiration at times from his accompanists, following an attentive conductor, or proving himself a wonderful companion in music.”
One of Top Ten
Wed, 2012-12-12
Andreas Brantelid's latest recording"A Tribute to Encores" has scored as one of the top ten recordings in 2012. "Andreas Brantelid is a virtuoso on the dark cello and perhaps the most exciting name in Danish music life right now. On his latest album he is joined by the experienced pianist Bengt Forsberg and it is entertaining from beginning to end. Notice the incredibly difficult arrangement of »Zigeunerweisen«. Stop listening to this piece on the violin". Søren Schauser, Berlingske
A Future for the Romantic Age
Fri, 2012-02-03
The Danish cellist Andreas Brantelid gave a rare poetic and musically gifted concert together with the Swiss pianist Franceso Piemontesi. Brantelid has for some time enjoyed great recognition as a major talent and been celebrated in the Danish media. His latest feat is to establish contact to a foreign pianist as Francesco Piemontesi. It is not an everyday event to hear such a fulll blooded interpretation of romantic repertoire as with this young Swiss pianist, who in spite of his young age radiates musical maturity. One can listen to a recording on the internet from the Chopin Competition 2011 to understand what I mean. It was a delight to hear the two musicians in Beethoven 5th. Cello Sonata meeting each other with precisely as much affection as the music asks for. The Adagio's searching dialogue is an example of the kind of perfect, sophisticated conversations which only can take place in music. Hindemith's cello pieces were performed with youthful playfulness and intelligent administration of his musical fantasies. In Brahms' first cello sonata Brantelid and Piemontesi delivered a musical statement so plausible that one as audience felt enlightened. Piemontesi and Brantelid are a sensational pair. Their way of making music together is a pleasure in itself, no matter if we are looking at rhythmic precision, harmonic interchanges or enjoyable play with details. Hopefully we will hear them again soon. Camilla Marie Dahlgreen
Debut with Stockholm Philharmonic
Svenska Dagbladet
Sat, 2007-03-24
Swedish/Danish Andreas Brantelid made his debut with the Stockholm Philharmonic with Haydn C-Major Cello Concerto, possibly composed for Joseph Weigl, a cello virtuoso hardly twenty years of age – possibly his time’s Brantelid. The work floats between baroque and classicism, the first movement with its punctuated theme has certain improvised characteristics which Andreas Brantelid took care of with his virtuoso and poetical playing. Or was it rather flowing, with the kind of smooth elegance, which Riklke so much admired in the Danish and French languages. The size of the orchestra was perfect, giving room for a light and transparent sound under Lawrence Renes’ optimistic baton. The soloist contributed to this lightness in the adagio’s long violin theme. Also in the quicksilver finale, where soloist mixed pleasure with excitement. A lyric virtuoso performance which made the audience demand an encore. Brantelid played a Sarabande by Bach.
A New Soloist
Dagens Nyheter
Sat, 2007-03-24
He is young, still quite fresh as soloist. His debut with the Stockholm Philharmonic, if one does not count his appearance with the orchestra for the Nobel Prize seremony in December. And Brantelid, who is yet not 20 has already given numerous concerts. His first performance as soloist was when he was eleven, he has won a number of prizes, a.o. the Eurovision Competition for Young Musicians in Vienna in 2006. Brantelid is more an elegant than a muscular cellist, and he plays Haydn C Major concerto with an evident virtuoso volatility, and plays the phrases with a nonchalant superiority. The orchestra has enough to do to hang on, and the tempo in the finale the solopart is an air show, so effortlessly played that one tends to forget how spectacular Brantelid's playing is. At times I did miss the down-to-earth quality which also is an important ingredient in Haydn's music, but I am confident Brantelid will land there in time.
Belingske Tidende
Sat, 2006-01-28
He adjusts the length of the peg once, twice, three times. The fourth time makes it just right, and the cello is firmly placed in Tivoli’s underground. The music can begin. Already at this point he has the audience in his spell. Andreas Brantelid is 19 years old and a virtuoso. Simply one of the greatest Danish string players ever. Both because this skinny cellist takes such great care with everything, he caresses every tone and tolerates only the perfect. And because he has such fun while doing it. His cello sounds like a violin; Just as clear, just as fast, just as fun. Yes, Brantelid’s performance in Tivoli’s Concert Hall was an outstanding success. There was not one false note in Saint-Saëns’ First Cello Concerto out of thousands. And not one tone without joy. The audience was wild. And he returned – to play Sarasate’s hysterically virtuoso Zigeunerweisen in full tempo – mind you. He was proud afterwards, and so were we.
A Prize
Mon, 2006-01-30
The prize of the evening was Andreas Brantelid. He lifted Saint-Saëns’ Cello Concerto with youthful sensitivity, sincerity and exuberance to an astounding expressive level, with an outstandingly beautiful and moving sound, which even in the virtuoso passages never came out of balance. And how cheeky it may be to tackle Sarasate’s virtuoso violin piece Zigeunerweisen, he not only succeeded in conquering the challenge, but also to do it with such a warmth and true passion that all vulgarity was blown away.
Nordschleswiger Zeitung
Wed, 2006-09-20
Only after five bars of the singing main theme Andreas Brantelid proved Clara Schumann’s remark about her spouse’s cello concerto”so right in cello character” to be true. With his soft, gentle romantically expressively outstretched sound he paid true tribute to his marvelous instrument. He unfolded the concerto with a lovely tone and secure rhythm, closely followed by the orchestra, the concerto was played with rising passion. Dreamlike harmonies in the slow movement, composed like a duet for two cellos, flowed from the cello. In the final movement, titled “sehr lebhaft”, the virtuoso element is in focus. Here Brantelid also showed a masterly command of his instrument, that can only call for respect. The audience showed their enthusiasm and approval by a lengthy applause, and they will make a note of this newly discovered star on the sky of soloists.
Young Winner
Satakunnan kansa
Sat, 2007-09-15
Andreas Brantelid, winner of the EBU Soloist Competitionin 2006 and winner of the International Paulo Competition 2007, is the "must happening" in the Pori Sinfonietta autumn programme. What could we expect? Competition winners and musicality are not always synonymous. Brantelid played the variations most beautifully. It was although he was savouring the music's charm and conveyed it to the listeners so clearly that all details could be heard. The audience was spellbound by his soft pianissimo and the power in the cadenzas.
Aarhus Stiftstidende
Sat, 2008-04-05
20 year old Andreas Brantelid made a convincing impression out of the ordinary in Dvorak Cello Concerto. The melodic parts of the music were in particular very beautiful and moving. It will be very exciting to follow this young musician's development.
Pure Cello Enjoyment
Sat, 2008-04-05
One of Danish music life's greatest talents cellist Andreas Brantelid played the finest concerto imaginable. The tone was pure and always in tune, the phrasing perfect and the structure solid throughout. It was pure cello enjoyment.
Danish Cello Comet
Thu, 2008-05-22
Andreas Brantelid presents himself with three spirited warhorses in EMI Classics Debut Series. The series is a showcase for ambitious young musicians. At the same time it gives EMI the opportunity of spotting new talents. New stars like the pianist Simon Trpceski, composer Thomas Adés and the Belcea Quartet have contracts with EMI after having shown their talent in the debut series. The 20 year old Brantelid does indeed have talent to display. Next month he makes his debut in London's Wigmore Hall. The microphones are placed close to the cello, so one can actually hear the soloist breathe concentrated in Schumann's highly strung cello concerto. The cello tone is caught purely and precisely. Alive and strong. Together with the Schumann specialist Michael Schønwandt Andreas Brantelid takes time to explore Schumann's piece for cello and orchestra and here he is particularly successful. Andreas Brantelid adds primarily freshness and precision to Tchaikovsky's Rococo Variations, which is no small matter. His emphasis of the souldisturbing romance in Saint-Saëns' is balanced with a measure of classicism, which would please the composer, but the soul is not wrung inside out as one can hear in Jacqueline de Pré's playing, whose recording many probably still will use as comparison. With three demanding warhorses, all of approximately 20 minutes duration, the Danish cello comet has left a convincing impression. Thomas Michelsen
Sparks Were Flying
Mon, 2008-06-09
The Norwegian violinist Vilde Frang and the Danish/Swedish cellist Andreas Brantelid have both caused sensations as children. Now they are on their way into the music's international adult world. They seem to have develop from concert to concert and it was a very special experience to hear them with Tivoli Symphony Orchestra. The concerto demands two fully developed soloists. One has heard it like this before and it sounded like that this time too. But it had gotten something in addition which is very rare. Often you imagine that you can hear when two soloists meet up for the first time and rehearse in order to melt two personal interpretations. Frang and Brantelid played up against each other and with each other with a mutual sensitivity and a temperament controlled through the corner of the eye. They opened new sides to Brahms' music. Their interaction ignited sparks. It sounded as though the piece had been composed for them and as though they were just discovering it in the moment.
The Youngsters' Evening
Sun, 2008-06-08
The years are 1986 and 1987. Violinist Vilde Frang's and Andreas Brantelid's birthdates. It was the soloists and not the conductor who carried the evening's concert in Tivoli.' 'The best came after the intermission. Andreas Brantelid is a major promising name storming forward. He has just released his debut cd on the EMI label. Norwegian Vilde Frang has already performed in Tivoli numerous times although she is only in the beginning of her twenties. How brilliantly they suited each other in Brams Double Concerto. She seemed more at ease than when she performed not long ago with Anne-Sophie Mutter, but certainly not less focused than he. They both released Brahms' oil colours onto the canvas with light, vivid and constantly supple bowings. The weight which can seem a little exhausting in Brahms rather compact concerto was gone. It was all Richard Hickox and the Tivoli Symphony Orchestra could do but attempt to support what the standing audience afterwards excitedly applauded and cheered. The four hearts in this review are to be seen as an average for the concert on the whole, but with a little jump upwards, thanks to the soloists'.
A Performer to Watch Out For
The Irish Times
Fri, 2008-06-27
Danish cellist Andreas Brantelid (born 1987) is already well bedecked with prizes and awards, including a period as artist in residence with the Danish Broadcasting Corporation. His debut EMI CD with the Danish National Symphony Orchestra/DR under Michael Schønwandt shows him to be a gifted artist, easy in delivery, eager and sometimes excitable in expressivity, but in a way that avoids forcing of tone. He frequently brings an attractive, almost vocal quality to his phrasing. Brantelid may not yet be as fully at home in Schumann's elusive concerto as in Tchaikovsky's Rococo Variations or Saint-Saëns's First Concerto, but he's still certainly a performer to watch out for. MICHAEL DERVAN
Sat, 2008-06-21
The young Danish cellist Andreas Brantelid, who is giving a recital at London's Wigmore Hall next Saturday, makes his impressive recording debut with this combination of three classic 19th-century concertos. His playing - warm and supple of tone - has the lyrical allure, lithe technique and discreet dramatic flair to give this familiar music a fresh impetus, while his orchestral compatriots add a thoroughly integrated range of complementary colours that show a sympathetic response both to the soloist and to the music. Geoffrey Norris
Romantic Debut
Dagens Nyheter
Wed, 2008-06-18
In his debut recording this young Swedis/Danish cello comet plays some of the standard works for his instrument. The available material for comparison is naturally overwhelming, but if one can make oneself heard through the impact of collected solo cello ocean half is won. And Brantelid does achieve just that. Not by playing with his muscles or lightning espression - Brantelid's technique gives a more easy flowing expression. The attraction lies in his natural lyrical and intensely beautiful playing which moves the focus from his fingers' dexterity to the introvert passages in the music. As one can hear in Schumann, where the cello sings beautifully together with the Danish National Radio Symphony Orchestra and conductor Michael Schønwandt. And if Tchaikovsky's sweet Rococo variations might seem a little on the strict side, Brantelid's makes magic when he downscales the last variation's longing Russian sadness to the most simple folk song. Sara Norling
Strong Debut
Mon, 2008-06-30
He is just 20, Andreas Brantelid who here makes a strong debut. Saint-Saëns' brilliance, Schumann's melancholy and the beloved Rococo Variations. The Dane masters all this effortlessly, unaffected and with fine articulation.
Already An International Name
Tue, 2008-07-08
21 year old cellist Andreas Brantelid is already about to establish himself as an international artist. In EMI's Debut Series he presents himself with three romantic cello concertos. A little ways into Saint-Saëns I find something unexpected. In the sequence where the winds have the melody. Here I suddenly forget the soloist. His tone has melted into the music. Andreas Brantelid gives his solo a lightness which carries far. And it seems as though the old foxes in the Danish National Symphony Orchestra DR and conductor Michael Schönwandt blend nicely with Brantelid's slender but powerful sound. Brantelid controlled the Tchaikovsky Rococo Variations already when 16. He confirms now his understanding of the many sides of the variations. And in Schumann he reaches the bottom of the cello's low register, touches the top and adds the necessary shining dark red colours to the recording. One is reminded how important Schumann was to Brahms. For the next CD one might expect a repertoire which spans wider. But as long as Brantelid explores whatever hides behind the soloistic brilliance, he can play music from any epoch he chooses.
Brilliant Young Player
Thu, 2008-07-10
An auspicious debut for a brilliant young player in cello favourites. Andreas Brantelid, yet another brilliant cellist of the younger generation, plays this attractive group of works with an exceptionally wide tonal range, matching the delicacy of the Danish orchestra in the subtlety of his pianissimo as he moves into the second subject of the first movement of the Saint-Saëns. The contrasts with the boldness of his attack at the start. There is a similar delicacy in the slow movement and a comparable range of expressions in the finale. In the first section of the Schumann Brantelid opts for a measured, reflective approach, using the most persuasive rubato. That contrasts with the spikiness with which he tackles the main subject of the finale, with the chattering passagework beautifully shaped. In the Rococo Variations he is magnetic throughout, characterising each variation compellingly, with rubato finely controlled. His spontaneity in the little cadenza-like links is most persuasive too and that leads to an impulsive account of the last variation and the coda, with flawless double stopping. First-rate sound, making this an excellent recommendation for anyone fancying the coupling. Edward Greenfield
BBC Music Magazine
Sun, 2008-06-01
Here is a very promising cellist indeed. Taught by Torleif Thedéen and Frans Helmerson, Andreas Brantelid combines some of the tonal subtlety of the former with the big-scale muscularity of the latter. Even more promising is the relationship he seems to have struck up with Michael Schønwandt of the Danish National Radio SO. Too often in such recordings the orchestra is relegated to backing band to an inexperienced soloist, but here there is a real ensemble vision of the works. Schønwandt allows Brantelid space to dream in the Schumann, which he does with supreme lyricism. This is a convincing account, thoughtful and elegantly phrased. Yes, it lacks the impetuous fire and mystery brought by such great cellists as Rostropovich and Isserlis, and tends towards the careful, particularly in the final two movements. Angst and spontaneity are also lacking in Saint-Saëns' Concerto No. 1 which Brantelid plays so accurately that we are perhaps too aware of the actual notation. Where the 20-year-old is strongest is in the music of limpid grace such as in the second movement of the Saint-Saëns and in the more languid Rococo Variations. Here Brantelid's nonchalant flair and range of timbres is mesmerising. As he nears the end of a blazing cadenza in the Rococo, he releases the sound to magical effect, and returns to the melody with velvet tread. I, for one, shall be going to hear him at the Wigmore Hall in June. Helen Wallace
Andreas Brantelid and Bengt Forsberg in Wigmore Hall
Classical Source
Mon, 2008-06-30
The Danish cellist Andreas Brantelid, just turning 21 and here making his Wigmore hall debut needs no critical advocacy. The winner of the European Young Musician competition in 2006, and already signed up for several ‘rising star’ programmes, among them BBC Radio 3’s New Generation scheme, he is sure to have plenty of exposure on Europe’s concert platforms. This recital included an outstanding performance of the Schubert, one that made its episodic construction both within and between movements seem both logically inevitable and emotionally rich. The best thing about Brantelid’s playing is his intonation, which matches any string-player in the world in its effortless precision. Next is his unforced beauty of tone: always in perfect taste. When it is so easy to over-sentimentalise Schubert, Brantelid’s performance was striking in its expertly judged restraint. The Fauré was likewise a great success, its allusive, almost timid expressivity ideally suited to Brantelid’s virtues. Late Fauré is an acquired taste, a retreat (because of the composer’s deafness?) into its own world in something of the way that we hear in late Beethoven. Brantelid’s clarity of sound and thought made light of the piece’s intellectual difficulties, while allowing a singing plangency in the funeral-march-like slow movement, thought to be Fauré’s gesture to the centenary of Napoleon’s death. In both pieces Bengt Forsberg was unobtrusive, unassuming, but his great skill amply demonstrated a tremendously satisfying unity of ensemble and thought-world. Janáček’s Fairy Tales received an expertly balanced account, but sowed the first seeds of doubt in the listener’s mind. Brantelid’s playing was uncommonly beautiful, but it was not sublime. Eventually, the sensitivity and impeccable nature of his interpretation came to seem one-dimensional. And of all pieces, one cannot play the Franck (his Violin Sonata) with the allusiveness and diffidence that so suits Fauré. Brantelid has plenty of time for his playing to deepen and mature. One cannot help thinking that the most famous cellists have also had giant musical personalities, and extroversion of approach – Casals, Rostropovich, Jacqueline Du Pré.
The Right Mould in Frederiksværk Festival
Fri, 2008-07-25
'Schubert's Arpeggione sonata is a piece which can reveal itself through a cello, violin or clarinet. In a genius like Andreas Brantelid one can hear all three instruments in one. The theme which is introduced in the piano nearly bleeds to death in the cello but following one hears operalike tones which are abruptly ended in the second movement, and finally all imaginable splendour breaks out in the last movement. In Janacek's Fairy Tales the enchantment is complete both in piano and cello. In Franck's Sonata Marianna Shirinyan and Andreas Brantelid carry us into distant worlds with magical pleasure. In the aftermath the music continues to sing in your mind. The fortunate audience is lucky to wallow in the riches of the festival. We are happy we could enjoy a little slice.
Andreas Brantelid at the Wigmore
Musical Opinion
Mon, 2008-09-15
Schubert's Arpeggione Sonata is a melodious if rambling piece yet the quality of Andreas Brantelid's cello playing on 28 June was evident virtually from the first, with every note, every phrase, precisely defined, every pitch exactly centred, his ease of meovemnt seemingly complete. The long lines of the Adagio were most beautifully shaped, nimbleness in all registers unfailing in the Allegretto. Fauré's Cello Sonata No. 2 Op. 117 is an old man's typically concentrated music and therefore seemingly difficult for a player like the 21-year-old Brantelid, yet he very well understood this piece, for example the restlessness of the first movement, nicely underlined by Bengt Forsberg's offbeat piano support. The Andante borrows from Fauré's Chant funéraire, the noble elegiac tones being well sustained by each instrument. The light and joyous Allegro vivo is constantly inventive on two very contrasting themes that in this performance were subject to subtle differentiation. Brantelid adopted a woodier tone for the quasi-rustic thoughts of Janácek's Pohadka of 1907-08, this three-movement outing being characteristically unconventional while not wholly typical of the composer's later music. There was great execution by the cellist, especially in the closing Allegro, and fine playing by Forsberg throughout. Finally came a thoughtful reading of the César Franck's A Major Sonata, the tempos sensitively inflected and all leading to a sonorously brilliant conclusion.
Mesmerising in Wigmore Hall
The Strad
Wed, 2008-10-01
The cello is sometimes described as the instrument nearest to the human voice, and the lyrical melodic material of Schubert's Arpeggione Sonata certainly benefits from such a vocalised concept, as the young Danish cellist Andreas Brantelid demonstrated. He peppered the sequence of beautiful melodies with sophisticated nuance, commanded a wide and varied tonal palette and exhibited a gloriously fluid bowing technique. Following a mesmerisingly beautiful Adagio, Brantelid managed to create a tangible lightening of atmosphere at the opening of the finale. The auditorium breathed as one, and then was happily swept away be the melodic optimism of the music. Brantelid and Bengt Forsberg were equally persuasive in Janacek's 'Fairy Tale'. Because of the fragmentary nature of the material, the work can sound disjointed, but a bold dramatisation generated a wholly convincing story in their hands. Likewise Fauré's Second Cello Sonata, which ought to grace the concert platform more frequently, was compelling, and both artists demonstrated an instinctive empathy for the side-slipping, quicksilver harmonies, while delivering the melodies with an austere beauty of tone. As ever, Franck's Sonata proved the emotional roller-coaster of the evening, with a particular intensity to the playing in the second movement. But the duo judiciously cooled the temperature in its Fantasia.
Bull's Eye
Skånska Dagbladet
Sat, 2009-01-24
Andreas Brantelid's performance of the Saint-Saëns Cello Concerto no. 1 was fresh and brave with a dazzling technique and musical to perfection. It was the perfectly right way to go about the concerto - the ripe beauty was given freshness and new life. The performance ignited the audience and they did not stop applauding until they were rewarded with an encore.
Imbued with a youthful enthusiasm underpinned by interpretational maturity
Mon, 2010-01-18
The young Danish cellist, Andreas Brantelid, may only be in his early 20s, but he’s a fast-rising star. Amongst a myriad of achievements, he was the 2006 recipient of the Eurovision Young Musician of the Year award, and is currently on the BBC’s New Generation Artist scheme. His 2008 debut recording of concertos by Saint-Saens and Schumann stood out for its confident lyricism and lithe technique. For his second disc, he has joined forces with two other young rising talents: Vilde Frang, the young Norwegian violinist and protégée of Anne-Sophie Mutter, and the Armenian pianist Marianna Shirinyan. Frédéric Chopin exhibited most of his compositional prowess as a composer of piano music, and never felt entirely comfortable working in other mediums. Much has been made of this fact, and possibly too much. One can hark on about how he was forced to enlist the help of the cellist August Franchomme as he wrote the cello part of his Grand Duo. Or, about how, even 14 years later as he penned his Cello Sonata, he was still complaining, “I write a little and cross out a lot.” One can also point out that the styles of these chamber pieces are a far cry from the subtle nuances and clean lyricism of his piano compositions. However, it’s still fabulous music, and all three works here are a gift for chamber musicians: they’re packed with dramatic possibilities, and everyone is given an equally fair crack of the melodic whip. Brantelid’s ability to reach the emotional core of a work is as evident here as on his previous disc, particularly in the Sonata. There is more supple delivery of technical challenges too, whether silky-smooth double stopping, or fast runs executed with both precision and panache. Crucially, this is also a very successful chamber collaboration; the strings blend perfectly with each other in tone and balance, and are elegantly supported by Shirinyan, who knows when to provide a subtle cushion of colour and when to enjoy her many forays into the spotlight. The overall sound is warm, technically perfect, and imbued with a youthful enthusiasm that is underpinned by interpretational maturity. Charlotte Gardner
Exceptional Maturity
Birmingham Post
Thu, 2010-02-25
At the heart of this concert of English music was a performance of exceptional poise and maturity by the young soloist Andreas Brantelid of Elgar’s Cello Concerto. This was a cohesive interpretation in which the lighter elements, deftly handled, were never over-shadowed by the adagio – which was pensive and melancholy but not the tear-drenched lament for a land of lost content which more indulgent players make it. The tussle between resignation and defiance was made all the more vital, with Brantelid’s vividly projected playing always matched by the orchestra under Michael Seal. By Norman Stinchcombe
Astonishing Maturity
Sunday Times
Mon, 2010-03-08
Amid the avalanche of solo piano recordings descending upon us during Chopin’s 200th- birthday year, this record comes as welcome respite. The 1846 Cello Sonata is almost his last work, pointing to new, unrealised directions in his artistic thinking. In the rhapsodic outer allegros and the deeply felt largo, Chopin strives for a Schumannesque sense of struggle and yearning, yet the music remains unmistakably his own, especially in the dance-like scherzo and finale. The Danish cellist Andreas Brantelid is only 23, but, with his Armenian pianist Marianna Shirinyan, he reveals astonishing maturity, bringing youthful freshness and vigour to a work championed on disc by Rostropovich and du Pré. With their Norwegian violinist Vilde Frang they are delightfully exuberant in the trio, and Brantelid clearly has fun in the virtuosic, if salon-bound, Meyerbeer variations. Hugh Canning
Fri, 2010-04-30
The supercellist Andreas Brantelid showed new sides of himself and the cello in the world premiere of Niels Rosing-Schow's cello concerto 'Chimere'. Conductor Thomas Søndergård backed him 100%. The 22 year old Danish cello comet storms ahead abroad and performs with some of the best musicians in the world. Thursday evening he was soloist with Danish National Symphony Orchestra in Niels Rosing-Schow's exciting work 'Chimere'. The title refers to a supernatural firebelching creature - existing of equal parts goat, lion and dragon. Such a dangerous monster demands an orchestra - and the Danish National Symphony Orchestra filled the stage and up front Andreas Brantelid let his cello whimper, whisper, cry and sing with tremenous security and adroitness through the demanding piece. One heard oriental sounds, instisting single notes. Icy effects which one associated with an electronic sound universe. Brantelid and the orchestra changed character constantly - from the very soft to the shouting, violent and wild. Thomas Søndergård followed Andreas closely. The two excellent musicians have performed together before, and one felt their coordinated pulse throughout the work. The three movements were catching throughout and culminated with an overwhelming roar.
Berlingske Tidende
Sat, 2010-05-01
Rosing Schow's new cello concerto has it all. Welcome to hundred different kind of trickling and crackling, bird songs in top and whale songs in the deep, to overtones and undertones of all kinds. And young Andreas Brantelid added the last magic. With this innocence which is completely unlike any other. The Danish virtuoso seems to be the most exciting Danish artist at this time.
Cello Concertos
Chopin Cello Music
With Marianna Shirinyan and Vilde Frang
A Tribute to Encores
Accompanied by Bengt Forsberg, piano
Press Service

Photo by Ida Wang

Photo by Ida Wang

Photo by Ida Wang

Photo by Ida Wang

Photo by Ida Wang

Photo by Ida Wang

Photo by Ida Wang