What the critics say about Lindberg
2003-2006 2000-2003 1995-2000 1990-1995 1982-1990
2011-2012
London Premiére of Lindberg´s Dawn at Galamanta
Lindberg´s music had plenty of colours and spunk...the lamentation of Lindberg´s score was memorable indeed.
The London Times
Lindberg´s Of Blood so Red in Riga
It is safe to say that Christian Lindberg is clearly recognized as a respected composer. His piece "of Blood so Red" proved this not only professionally, but also through splendid imagination and intuition.
Riga Diena
Lindberg underscored his credentials as a serious conductor
with a barnstorming account of Sibelius´s Second Symphony…
The Guardian
World Premiére of Peking Twilight for Symphony Orchestra
Like in Gershwin´s Raphsody in Blue the beginning is like a wideopen panorama window. The music contains so much! Gothic romanticism in the brass, a hint of Bach conuterpoint and American rythm and flavours. Dpspite references the music stands steadliy on it´s own feet.
Svenska Dagbladet
Not since the Vaughan-Williams´ tuba concerto has there been
such beautiful melodic writing for a brass instrument
Chicago Sun Times
Tchaikovsky Symphony no 5 with Royal Stockholm Philharmonic Orchestra
Lindberg´s interpretation really lived up to the praise from a critic in St Petersburg recently. While Herbert Blomstedt´s interpretation some weeks ago in Berwaldhallen mostly seemed like an attempt to tame Tchaikovsky with a Brahms whip, Lindberg´s view was totally in harmony with Tchaikovsky´s own intention with neither excesses nor understatements, but with the passion always present.
Dagens Nyheter
World Premiére of Lightning over Kythnos, Royal Stockholm Philharmonic
With it´s violent character and raphsodic form the piece gave the impression of a symphonic poem.
Dagens Nyheter
He gives classical music a completely new face. With the lightness of
a ballet dances he created a light, crisp and fresh interpretation.
Conducting Debut Lahti Symphony Orchestra
Christian Lindberg is a force of nature. His energy and enthusiasm are unrivaled
and he understands how to establish an instant connection with an orchestra.
Hans Verbugt, Royal Flemish Philharmonic, director of Gergiev-Festival
His body language is part of his success…the car industry in Scandinavia
might be in crisis, but when it comes to musicI can only say: Respect Old Swede
Nürnberger Zeitung
He led a performance of Sibelius´ Second Symphony
that I never expect to hear bested
US conducting debut, Phoenix Symphony Orchestra
Sibelius and Nielsen with Royal Liverpool Phihlharmonic Orchestra
Lindberg provided a thrilling conclusion to Nielsen´s Helios Overture. Only a Scandinavian could be so determined to make the most out of the daylight while it lasted
The Guardian, London
Sandström Echoes of Eternity with Royal Liverpool Philharmonic Orchestra
Christian Lindberg, who played exquisitely, conducted a bit and then multi-tasked superbly by using the crook of the trombone to beat time or waving on occasional finger in the air while holding on carefully to his instrument - and still playing. An amazing sight.
The Arts desk
2006-2007
The New York Times: You could stick a kazoo in his hands, and he’d sell the concert hall out
Artist in Residence, Musikverein:
Sonorous legatos, capricious leaps, rumbling extreme depths: like some Paganini of the trombone Christian Lindberg places a range of expressions....only a soloist of the calibre of Christian Lindberg can dance at them all. … entertaining in the best sense and, thanks to Lindberg’s effortless virtuosity, a thrilling experience.
Die Presse, Wienna
Chicago Sun Times September 30, 2006:
Seventy-six trombones may well have led the big parade, but even with a row of the finest virtuosos in the world at the Chicago Symphony Orchestra, precious few opportunities exist for these middle voices of the brass section to step out to center stage with a full concerto of their own. The most golden of opportunities arrived Thursday at Symphony Center with the world premiere of trombone performer-composer god Christian Lindberg´s Chick ´a´Bone Checkout, a wild, raucous, melodic, virtuosic, soulful and even moving work for a soloist playing bass, tenor and alto trombones with a large orchestral accompaniment.
So often such works are novelty items or occasional tributes to an overlooked instrumentalist. But Lindberg, 48, has distilled a lifetime of experience to write a piece with real legs, depth and heft. The Swedish dynamo has combined his knowledge of the instrument and the repertoire with a real study -- both historical and emotional -- of Chicago, its landscape and its history to give himself a "text" for the 21-minute work. (The title condenses the idea of a trombonist "checking out" Chicago.)
Lindberg has absorbed the Chicago poems of Carl Sandburg to create both the titles for his seven-section score and its animating spirit. Not since the slow movement of Vaughan Williams´ 1954 bass tuba concerto has there been such beautiful melodic writing for a low brass instrument as there is in the section "Morning With Orange Juice."
Vernon gave it his heart just as he gave his prodigious lungs and chops to the wild rides of "The Chicago Butcher," where he was joined in a triple solo by his colleagues, principal Jay Friedman and Michael Mulcahy, and "Prohibition." But it´s the last movement, "Wind and Mortar," where the concerto´s themes and styles all come together, and the trio returns, that makes clear this is a real and cohesive piece: "dig and dream," as Lindberg paraphrases Sandburg´s "Windy City," "dream and hammer until your city is finished."
BY ANDREW PATNER
Chicago Tribune September 29 2006:
The Chicago Symphony Orchestra´s concert Thursday night was the first in my experience where I wanted to award the soloist points on sartorial spiffiness alone... a concerto for three trombones, turned out to be at once a frisky and freewheeling portrait of Chicago and an affectionate tribute from one great master of the trombone to another.
The Swedish composer Christian Lindberg, a terrific trombonist in his own right who has soloed with the CSO, dedicated "Chick´a´Bone Checkout" to Vernon, a close friend, on commission from the CSO.
Although Lindberg cites the poems of Carl Sandburg and a book on Chicago by a Swedish author as the inspiration for his 21-minute suite, its true roots would seem to lie in the sounds of Chicago´s jazz clubs and blues hangouts. The seven movements (bearing titles such as "Vivid City," "Chicago Butcher," "Prohibition" and "Wind and Mortar") are miniature tone-pictures that allow Vernon to growl, wail, skitter and riff on alto, tenor and bass trombones. He did so with virtuosic ease.
You have to admire its unabashed tunefulness, its resourceful use of the orchestra, its big-shouldered vitality. Most of all, you have to admire how adroitly Lindberg captured his pal Charlie´s raffish personality in sound.
So unbounded was the audience reception that an encore was de rigueur. Surprise: A beaming Lindberg jumped onstage, hugged Vernon and grabbed one of Vernon´s trombones so the two friends could join in a sizzling arrangement (presumably Lindberg´s) of Henry Mancini´s "Peter Gunn" theme. Of course they were wearing matching fedoras.
John van Rhein
The London Times:
The two most electrifying entities in contemporary music: Stravinsky´s Petroushka and Christian Lindberg. The next time this marvel is in town, don´t stay away.
Usedom Festival Sept 06:
Dirigent Christian Lindberg stürmt geradezu hüpfend auf die Bühne, in schwarzen Lederhosen und lila-schwarzem Poloshirt, mit einem breiten Lächeln auf dem Gesicht...Sein Mund formt Laute, seine Bewegungen sind voller Rhythmik, so als müsste er die Noten direkt auf sein Orchester übertragen. Lindberg verkörpert die Musik und reißt alle mit. Schaut man in die Gesichter der schwedischen Orchestermitglieder kann man immer wieder sehen, wieviel Spaß ihnen ihr Zusammenspiel bereitet. Wolfgang Amadeus Mozarts frühes Konzert für Horn und Orchester Nr. 4 ist sicherlich ein Höhepunkt des Abends. Lindberg spielt, zum Publikum gewandt, auf der Alt-Posaune. Sein Orchester folgt ihm blind. Den Abschluss des sehr unterhaltsamen Konzertabends bildet ein Stück von Sergej Prokofjew. Stimmungsvoll, harmonisch, träumerisch... Langer Beifall.
ANETTE PRÖBER OSTSEE-ZEITUNG 25 Sept 06
Last Night of the Proms sept 06:
The highlight, unsurprisingly, was Swedish trombonist Christian Lindberg, after performing his own arrangement of Mozart´s bestknown horn concerto (the Rondo, prompting some barn dancing in the crowd, oddly), he stole the show by arriving on stage in kilt and seventies brown leather jacket on board a triple-lamped Harley to perform the finale of Sandstrom´s Motorbike Odyssey. The Herald
World of Winds 4 August 2006:
Concerto for Winds and Percussion with the composer himself as conductor becomes in many ways the high point of the evening. He is a musical firework in every way, and the influences are so formidable that it creates almost an epidemic, first in the orchestra and then in the audience...
Trondheim´s Adresseavisen
Reingau Festival August 2006:
In Christian Lindberg hatte er den zuverlässigen, flexiblen Begleiter, der sich mit einem Concerto for Winds and Percussion auch als bemerkenswerter Komponist vorstellte. Dieses harmonisch interessante Werk ist ein packendes, witziges Musikantenstück, fesselt durch aparte Klangmixtur, wird angetrieben von skandierendem Rhythmus, überrascht mit vielen plötzlichen Wendungen, gewinnt Farbe durch die starke Einbeziehung des Schlagwerks und viele Instrumentalsoli.
Begeisterter Beifall für Komponist und Dirigent, der sprühend vor Vitalität am Pult stand und dessen plastisch nachformende Zeichengebung auch der den Abend beschließenden Hommage a Joaqin Sorrolla mit ihren Boleroanklängen und Folklorezitaten hinreißendes Format verlieh. Mit der stürmisch eingeforderten Zugabe konnten sich die Zuhörer noch einmal an dem pompös ausladenden vollen Bläsersound des exzellenten Orchesters erfreuen. Schön wäre es, wenn man dem Ensemble in zwei Jahren nach neuer Erarbeitungsphase wieder begegnen könnte.
In kleinerer Besetzung erhielt die erlesene Klangmischung in Igor Strawinskys Mémoire de Claude Debussy unter der präzise ausformenden Leitung Christian Lindbergs farbige, rhythmisch scharf akzentuierte Kontur.
Richard Hornicke
Montserrat Festival August 2006: In center of admiration is Christian Lindberg, another natural phenomenon, but in absolute top shape...It is unquestionable that Christian Lindberg is the first world-wide figure on his instrument, and I must say that it was great to finally notice that he is human: Between millions of notes I heard him play these days I finally noticed three without 100% perfection. What an incredible trombonist! Scales arpeggios. glissandi is mastered with elegance, and in a operatic potpurri of melodies from Carmen, Don Carlos and Magic Flute he creates sensation.
Levantes, Valencia
2003-2006
Iceland Symphony Orchestra May 2006: One of the best performances I have heard in a long time...his trumpet concerto Akbank Bunka was melodic and gripping, exotic and full of surprises...Lindberg also performed Schubert´s Ouverture in C in the Italian Style. The interpretation was energetic and yet refined.
Morgunbladid, Reykjavik
Swedish Wind Ensemble Spanish Tour Feb 2006: Festive and with quality under the direction of Trombonist Christian Lindberg, the Swedish Wind Ensemble performed in Barcelona. This was a concert showing great confidence: vigorous, with lots of show elements and at a high musical level...The programme was very varied... pure-blooded, descriptive, giving great characteristic landscapes of sounds...Lindberg´s own Mandrake in the Corner... had great colour and vitality, and is composed in a very well structured traditional language.
JORGE DE PERSIA 8 March 06
Heraldo de Aragon: The cold Sunday morning was warmed up significantly by a vital and highly entertaining concert with Christian Lindberg and the Swedish Wind Ensemble… A magnificent trombonist... We got a chance to hear him in his own Mandrake in the Corner... an absolutely magical atmosphere was created in a real astronomic sense... The concert ended with a very tasteful opera potpourri in which Casero and Lindberg gave dramatic presentations of opera favourites like Papageno/Papagena, Adios a la Vida by Puccini and others – a splendid conclusion. As encores we heard first a Swedish Dance, then a slow and beautiful prelude by Lars Erik Larsson, and finally an extrovert version of the Paso Doble Espana Cani, an interpretation to be proud of.
JAVIER SAYAS (27/02/2006)
Malmö Symphony Orchestra Feb 2006: Trombone with Illuminating Power
The name Christian Lindberg is still a guarantee of the unpredictable, and there is always a particular illuminating power musically in his trombone show... In Three Medieval Dances Lindberg plays so that one feels the echo of the bronze luur, and gets carried away by both contemplative and virtuosic elements, as if the bell of the trombone were hiding both flutes and drums. These rythms were a great introduction to Martinsson´s trombone concerto nr 1 Fairlight, rich in density and shining light at the same time. In the end the piece reminds of a big-band duel. The music is spectacular, sometimes so cleverly written that it really sticks out, and it is full of imagination...
Matti Edén
Jenaer Philharmonie Dec 2005: Enthusiasm for Christian Lindberg in Jena
Virtuosity on various instruments has been developed in an astonishing way lately. A true example of this is the trombonist Christian Lindberg, probably the greatest in the world. But in the 4th subscription concert he also impressed us as a conductor. And when have we heard our bass section so virtuosic and alive as under Lindberg´s precise guidance?
Stenhammar in his 2nd Symphony reminds us of Brahms or of a Baltic Tchaikovsky... This is Scandinavian music at its best. In sum: A truly worthwhile presentation thanks to Lindberg´s energetic leadership...The evening made one long for more of the kind, perhaps with Lindberg once again?
Thüringische Landeszeitung 24.12.05
Bremen Philharmonie October 2005 : The spirit of Easy Rider thundered out of the bell.
Trombonist Christian Lindberg gave a brilliant performance at the orchestra’s first concert of the season. If one closes one’s eyes, one can imagine Peter Fonda on his bike in the cult film Easy Rider. Christian Lindberg, trombone virtuoso from Sweden showed the excited audience all that one can do with a trombone, even in a few seconds 150 ways of imitating a motorbike...and not to be forgotten: a brilliant orchestral score performed with delight and enthusiasm by the Bremen Philharmonie...Leopold Mozart, a minor master...an elegant and effective work that Lindberg gave a devoted and impressive performance of, accompanied by an inspired orchestra.
Hartmut Lück
Nordic Chamber Orchestra 15 October 2004: The contrasting programme was remarkable, and Lindberg´s interpretations excellent. It is wonderful to see that our new chief conductor chooses to promote the neglected Pettersson. The interpretation of his 3rd String Concerto was convincing both musically and technically. With clear and balanced ensemble playing the moving seriousness of the music was brilliantly carved out. In Prokofiev´s Classical Symphony the orchestra, pushed energetically by Lindberg, managed well to take care of all the surpricing and extrovert moments of the piece.
Sundsvalls tidning
Euscadi Orchestra, Spain 23 Oct 2004: The piece Behac Munroh by Lindberg is brilliant and spectacular. A collage with reminiscenses of Jazz, American music, Spanish...a thousand things, all put together with diabolic rhythm in a fantastic and extrovert way. The fusion beween the two soloistic parts and the bombastic orchestra score was important for the general impression. The two brass solo parts showed a total range of the instruments with all colours, fireworks, various techniques and sound palettes. Lindberg in leather trousers was dominant on stage, as well as Antonsen, and both impressed with great control and sound quality.
Conducting Norrlandsoperans orkester, Umeå Sweden: Christian Lindberg´s electrifying presence managed like a lazerstream to put focus on the work...in the sparklng introduction Christian Lindberg shows what a wichmaster he is...a very accessible work in five movements illustrating the unhappy Gunnar Hede, who loves music, becomes insane, but gets sane by love to the young Ingrid who in his turn Gunnar Hede has saved from the death. Christian Lindberg´s electrifying presence managed like a lazerstream to put focus on the work...in the sparklng introduction Christian Lindberg shows what a wichmaster he is...a very accessible work in five movements illustrating the unhappy Gunnar Hede, who loves music, becomes insane, but gets sane by love to the young Ingrid who in his turn Gunnar Hede has saved from the death.
Palau de la Musica, Barcelona, recital: The Swede Christian Lindberg, who has managed to bring in the trombone as a soloinstrument in the great international concerthalls, and his companion Gunnar Idenstam, know that surprices is something that works in their act. They master this tool into perfection. To see Lindberg is a complete spectacle. Besides being an extraordinary virtuoso, he is a born communicator that captures the audience with technical abitily, musicality and an overwhelming amount of energy. From the moment the two instrumentalists enters the stage they break down all the conservative preconceptions. Their natural behaviour on stage is like a fresh breeze that freshens up the rigid conventionalism, and invites you to have a wondeful time enjoying music.
Lindberg also played two pieces of his own. One solopiece of diabolic virtuosity, Joe Jack Binglebandit and a concertant piece for trombone and organ, Octopus Panda, combining a virtuosic ecclectic musical language with great sense of humor and direct expression. The concert ended with an incredible arrangement of Ravel´s´Bolero and a suite from Romeo and Juliet. The audience responded with a great amount of cheer, admiring whistling and overwhelming applauds.
Jenaer Philharmonie September 2003:
Conducting trombonist mastered everything effortlessly
Christian Lindberg is one of those musicians for which there seems to exist no limitations. Whatever he touches turns into gold by itself. …….The programme of the Jena Philharmonics was built entirely on the versatility of Lindberg´s radiance and if anyone until now thought that Lindberg could only play the trombone he was corrected in this concept. The Joker Lindberg showed himself first as an effortless conductor with Rossini´s Wilhelm Tell Overture.
In the second half of the programme the e-minor Symphony by Jean Sibelius sounded and it was difficult to imagine that a further emotional increase would be possible here. Under Lindberg the dismal minor of the late romantic tone language received a more friendly interpretation and this without taking even a shade of the credibility of the work away. The Joker Lindberg showed calibre also as a conductor! Hat off!
Karl Müller Schmied
2000-2003
Portland Oregon 28 apr 2003 Oregon Symphony Orchestra
Trombonist takes Schnitzer audiece on a wild ride
Christian Lindberg doesn´t just play the trombone. He sings into it, twirls it around, writes in the air and points it nobly to the heavens. He does everything short of set it on fire. It´s been 11 years since the Swedish virtuoso played Jan Sandström´s trombone tour de force with the Oregon Symphony. Now slightly shorter, A Motorbike Odyssey is still an impressive work and Lindberg remains an astonishing player, so at ease with his instrument that he appears to make it an extention of his body. He certainly knows how to sell a piece. For "A Motorbike Odyssey" Lindberg sproted cowboy boots, leather pants and a black-and-white shirt that resembled a jockey racing jersey. The music depicts a journey through the Everglades, a village in Provence and Australia´s outback. After popping a wheelie and roaring up a five-octave scale, Lindberg plunged listeners into an eerie swamp marked by an alligator choir...The roar gave way to ghostly chanting as Lindberg hummed and sang into the trombone while continued to play it. Talk about breathtaking. Lindberg seemes to have lungs of a whale.
Washington 4 April 2003
National Symphony Orchestra Kalevi Aho trombone concerto
...a curious and often very effective catchcall that has a spectacularly virtuosic part for trombone that calls for the soloist, here the dazzling Christian Lindberg, to croak and croon in equal measure. Opening with dense, plush, urgent sonorities...made them sound fresh and inspired...a long, honking cadenza that had Lindberg simultaneously singing and squalling through his trombone..
The Washington Post
Cincinnati 1 feb 2003 Cincinnati Symphony Orchestra:
By the time he finished the two solos plus an encore one got the feeling there was nothing the Swedish virtuoso could not do on his instrument...in Haydn...Lindberg phrased beautifully in the slow movement, and his cadenzas, which he penned himself, were feats of fearless wizardry...Motorbike Odyssey had the teens in the crowd leaning over the railing...Lindberg performed it all with phenomenal control...the crowd was on its feet.
Cincinnati inquirer
Berlin 1 dec 2002 Berlin Philharmonic Orchestra:
Christian Lindberg played the incredibly difficult solopart in an absolutely grandious manner, with great stage presence, and the audience were all exited, not the least by his two humoristic encores.
Berliner Zeitung
Berlin 3 dec 2002 Berlin Philharmonic Orchestra:
We then got to hear the motorbikecharmour Christian Lindberg who went on stage in leathers, as if he whad his Harley between his legs. Luciano Berio wrote the piece "SOLO" for thiis astonishing player and his instrument. . An incredibly difficult piece with flattertzunge, multiphonic and extremely long held notes that in every instance were greatly shaped by Lindberg.
Der Tagespiegel
London 21 Oct 2002, Barbican Recital:
HE HITS the platform running, in black leather trousers. And then, with a sweep of his trombone slide, the fun starts, with gurgles, dive bombs, gorgeous cantabile, very rude noises, and an awesome degree of virtuosity...With his piano partner Roland Pontinen he was offering a recital called Love, Death and Bandidos: Stolen Works from a World of Passion. Transcriptions were at this concert’s heart. Prokofiev’s bittersweet, winding melodies proved useful gifts for Lindberg and his long, golden breaths; the slow tread of Juliet’s Farewell was impressive....Schumann’s Fantasiestücke, usually met with clarinet or cello on the top line, were an even better match: this music needs a warm embrace, and Lindberg’s lips went straight to its lyrical soul. But the real transcription fireworks went up with Lindberg and Pontinen’s selection from The Firebird. In and out of the trombone’s mouth went two mutes, tightening or clouding the sound to taste; in idle moments one of them was smartly parked between Lindberg’s legs. How could we miss Stravinsky’s opulent orchestration when the Infernal Dance loped bright and snarling, or the lullaby’s quiet song sat so sweetly? The next time this marvel is in town,don’t stay away.
The London Times
SOLO is a strong piece by Italy´s distinguished senior composer. It requires a trombonist as astonishingly talented as Lindberg to display the enormous range and virtuosic abilities of this normally unsung member of the brass choir. I cannot think of a more brilliant, more fiercely committed reading than the one he and Robertsson gave us thursday night. The beaming soloist bounded back with an encore - the opening movement of his own KOKAKOKA, a rude little postmodernist joke that mixed music, speech and foot stamping. As if all that weren´t enough, Lindberg even took a turn as a CSO section trombonist for the Sibelius symphony. He and his newfound colleagues gave it a reading full of taut, windswept intensity.
John von Rhein, Chicago Tribune
..the soloist, Swedish trombone virtuoso Christian Lindberg for whom the work was written, was having such a terrific time that his enthusiasm was infectious...his virtuosity was stunning, ranging from golden sustained tones that rose above the Chicago Symphony Orchestra like mesmerizing beams of light to agitated swoops, slides and leaps full of groans, stammers and screams...the magnetism of his rich perfectly shaped, onenote song was irresistable
Chicago Sun Times
Toronto 15/2 2002, Toronto Symphony Orchestra
Trombonist steals the show
If you can name another international trombone virtuoso, you have my respect. However, with a player as powerful and as musical as Lindberg on the scene, one trombone virtuoso may be enough...Lindberg took the loudest instrument in the orchestra, noted for its ability to provide deep and powerful textures, and made it a sprighly,dancing, lyrical, flexible solo star...Lindberg soared from deep to high treble in an instant, flutter-tongued his way through amazingly quick passages. and demonstrated his total command of the trombone´s possibilities. However, it was in the modest 18th century Mozart that Lindberg´s art was almost more in display. providing a galant and restrained performance on the trombone is almost more difficult than pulling off a high-powered. all-out performance, but Lindberg´s lyricism, hisarticulation and his spirit of fun (all necessar to fully realize the music of the Enlightenment) were impressive.
The Globe and Mail, Toronto
Was für ein Posaunist! Wen wundert´s da noch, dass Christian Lindberg kürzlich in einer Reihe mit Legenden wie Louis Armstrong und Miles Davies zu den bedeutendsten Blechbläsern des 20. Jahrhunderts gewählt wurde. Im Grossen Musikvereinsaal überzeugte der Musiker, der wie ein Popstar mit Lederhose und offenem Hemdkragen daherkommt und beim Applaus Kusshändchen ins Publikum wirft...Nein, nichts scheint unmöglich bei dem Musiker.
Wiener Zeitung
1995-2000
Michael Haydn Concerto with London Philharmonic sept 99:
Lindberg tosses off figuration with such dazzling agility that he could be playing an oboe rather than the notoriously cumbersome brass instrument. Delivered at the brisk tempi adopted here, Lindberg makes of the work a tour de force...the man has star quality. Barry Millington
Berio SOLO in Victoria Hall, Geneva dec 99:
Le tromboniste Christian Lindberg apparait comme le héros d´un instrument dont il se sert ici avec nobless, sens de l´eclat et poésie des altitudes. Au sortir de ce magnifique concert, l´onirique SOLO continue de hanter, telle une stèle taillée à meme la plu belle pierre de, Carrare. Daniel Robellaz
Gran Canaria Festival January 1999:
El verdadero espectaculo llego de la mano de Christian Lindberg, magnifico trombonista que nos expezó a deslumbrar con una brillante lectura del Concierto de Gerog Ph. Telemann. Acto seguido foe una obra del proprio Lindberg, Arabenne. Musicalmente la obra tenia bastante sustancia, no sólo para el trombón sino para la agrupación e cuerda, com momentos muy intensos a la vez que bastante asequible al oido poco acostrumbrado, vaya, que no era el efecto por si mismo.
M.R. Sánchez M.
The independent, London: World Premiére of Sandström Cantos de la Mancha:
But it was Christian Lindberg´s evening, as he pitched in with the world premiere of Cantos de la Mancha. Forget Richard Strauss, this is the one. True, aspiring trombonists must discrobe from pantaloon to hose, ooze mock (or genuine) Lorcan cante jondo, wheeze, flail and mutter as toothlessly as Roy Dotrice´s John Aubrey. But the high jinks, the pathos, the generosity in approaching Cervantes´old man of La Mancha - both mentally and physically, one foot in the grave (and he knows it) - are what counts. And Lindberg - who (here) never went OTT - added a spiritual maturity to his range. The piece is a winner.
Roderic Dunnett
Lindberg at the BBC-Prom 1996:
...with his (Muldowney) new Trombone Concerto commissioned by the BBC and premiered last night at the Proms, he may have a hit. The Virtuoso Swedish trombonist Christian Lindberg, leads the orchestra in a merry burlesque: a comic genius, dispatching gags at full pelt, if you like. He sings as well as plays, he produces weird chords, he sends melodies soaring. Lindberg perfectly caught the mixture of gloomy petulance and doomed ambition that Hancock invested in his most famous sketches. As he played the slow movement trying to maintain som edignity against all odds, this listener at least was reminded of Hancock as the would-be heroic juror in his great skit on Twelve Angry Men: Does Magna Carta mean nothing to you? Did she die in vain?
Richard Morrison, The London Times
Oregon Symphony Orchestra, April 1996
In Lindberg´s hand, the slinkiest of brass instruments becomes beautiflly suited fo a starring role. If one could bottle Lindberg´s sound, it would probably taste similar to cognac. Rich and round with intoxicationg depth, Lindberg´s tone easily carried over the top of the symphony. And, as a soloist, he proved that the trombone is incredibly versatile.
Kip Richardson, the Oregonian.
1990-1995
Japanese premiére of A Motorbike Odyssey in Suntory Hall, Tokyo:
The highlight of the evening was Christian Lindberg in Jan Sandström´s A Motorbike Odyssey, where Lindberg showed his complete technical superiority, but this was not pure entertainment, Lindberg fascinated us all with his overwhelming expression.
Shipichiro Okabe
British Premiére Iannis Xenakis Troorkh
But on to Christian Lindberg´s performance of Troorkh: What a blow that is!...almost impossible rapid passages with no space to breath, staccato figures over five octaves and extreme variations in volume. Lindberg played it brilliantly! Thanks to him, arguing for the legitimacy of the trombone as a concerto instrument is a thing of the past. The Herald
Zwillich Trombone Concerto, Carnegie Hall 1994:
The solo part, passionately played by Christian Lindberg turns the trombone into a persuasive lyrical instrument. In the slow moment mr Lindberg´s splendid playing sang against high, weeping string phrazes.
The New York Times
Scottish Chamber Orchestra March 1994
No doubt who stole the show last night at the Scottish Chamber Ochestra. On he marched, a big man, an even bigger musician. His name? Christian Lindberg. The game? Sheer musicianship and entertainment. The effect? Instant stardom with an audience. What an astonishing player was the Swedish trombonist. Dazzling virtuosity ad glorious, velvet lyricism marked his playing of Michael Haydn´s Concerto, but when he prowled on stage for his second piece, trousers yanked up short braces, dickie-bowed like a clown, looking like a refugee from a Marz Brothers film, Lindberg the consummate entertainer was unveiled. Te crowd went daft. Pure magic, Bring him back!
Michael Tumelty, Glasgow Herald
World Premiére Sandström Don Quixote:
Brilliant Don Quixote. Art music is fenced in by many rules - some visible, but ost invisible. Hidden beneath layers of tailcoats and mannerism, the thumping of the human heart that once composed the music is hardly audible. The pages of the programme that we discreetly rustle describe the intentions: at best, a story of a person´s will to reach others with his thoughts and feelings. When Christian Lindberg performs Jan Sandström´s Don Quixote, a rare event takes place: a human being of flesh and blood, albait a virtuoso, is transformed before our eyes into the Knight of the Sorrowful Countenance, Don Quixote e la Mancha - a character that, since Cervantes wrote his novel at the beginning of the 17th century, has become a symbol of the dreamer, devorced from theality, who cultivates his visions and tilts at windmills although he ought to know better. The whole show is extremely bold, and might be accused of being spectacular if it were not the very great earnestness, in the music and its performance alike. Together Jan Sandstöm and Christian Lindberg tell a story of courage, of daring to believe in the voice of one´s heart and a demented dream, of the courage to live. It is an experience that leaves clear traces behind.
Marianne Söderberg, Norrbottenskuriren
1982-1990
American Record Guide October 90)
I must be careful not to gush when I write about the young Swedish trombonist, Christian Lindberg. He is in a class of his own. With each new recording , he makes a laughing-stock of previously-held notions of what can be played on the trombone. Lindberg´s technical facility and high register seem limitless, allowing him to tackle works that others wouldn´t een dream of attempting.
Kilpatrick
US Recital Début 1988
A whir of percussions came over the loudspeaker. Seconds later, the trombonist bounded onto the stage with a blast that pulled me right out of my seat. His programme started with a physical chock and continued to surprise and excite the listener right to the very end. Lindberg dazzled us right from the start with his amazing breath control and embouchure. From whisper-quiet pianissimos to bold bravura blasts, he managed to do more with the trombone than many of us had imagined possible. Lindberg´s vivaciousness was inescapable. He remained in touch with his audience, whether playing Cage´s minimalis composition or a dazzling Hungarian dance.
Robert D.Shaffer, The Argus
Australian Recital Début 1988
This Swedish artist has the best of every musical quality one could hope to experience. And he has the virtuosic skills to interpret his gifts. Christian Lindberg became a part of his instrument, his instrument a part of him. He whispered through his horn, the horn talked back. They embraced each other, crooned,wept until they both fell asleep. This was incredibly mime, and fantastic sound...The two last works by Guilmant and Weber were beautifully played, Lindberg demonstrating not only his virtuosity, but his ability to sing into this most beautiful instrument.
Cythnia Hydes
Australian Début with Orchestra
Christian followed with what for me was the highlight of the evening, a most beautiful rendering of the Andantino and Presto by Michael Haydn. Rarely have I heard such alto playing - lovely tone with plenty of colours, shades and nyances - absolutely delightful....the kind of trombone playing I´d expect to hear in heaven...
Ed Kleinhammer
San Fransisco Chronicle 1986:
Christian Lindberg, the young Swedish virtuoso, is turning out to sound like a Segovia or Casals of the trombone - a man who is establishing a whole new expectation of how fine an instrument can sound.
British Recital Debut, Wigmore Hall 1985:
It is rare to hear a recital devoted entirely to the trombone, and rarer still to hear one of such ingenuity and excellence as that given by Christian Lindberg. He took up a baroque instrument for introductory pieces by Cesare and Frescobaldi, handling with subtlety and fluidity what seemed, in his hands and breath, almost improvisatory sequential patterns and delicately pointing the details of their artifice.For Michael Haydn and Jean-Marie Leclair there was the alto trombone, its warm, elegant voice melifluosly proportioning each nuance of timbre and dynamic in Haydn´s Andantino, and displaying remarkable control in the long breaths and testing trills of Lindberg´s own transcription of Leclair´s B minor Sonata.
The trombone´s potential for both beauty and comedy had been exploited in Basta, written for Lindberg by Folke Rabe, with its vocal multiphonics and indeed, in the theatrical clowning, brilliantly brought off, of Berio´s Sequenza V.
The London Times
CD-début Virtuoso Trombone 1984:
If Christian Lindberg isn´t the Paganini of the trombone, then he is arguably its Sutherland. Lindberg´s playing is remarkable for its combination of power agility and tonal beauty.In addition to his technical facility, Lindberg has a huge range of timbral colours at his command. He can make his trombone sound like a trumpet, a horn, or a tuba at will. He can pitch detached notes with precision, or connect thm into a smooth legato, In short he can do just about anything on the trombone except make it speak - and he comes close to that in the Luciano Berio piece. Things start off with a bang, with Flight of the Bumblebee, and difficult though it is, it gives only a preview of Lindberg´s agility. Two lengthy works by Sulek and Martin...brings out all of Lindberg´s expressive capablilties. Lindberg simply flies through all the technical difficulties in Blue Bells of Scotland, and creates just the right expression.
Roland Graeme, Digital Audio
Début with Orchestra , Stockholm 1984:
Christian Lindberg is a complete musician from tip to toe, and a complete stage personality. Whatever instrument he would have chosen one would have said: Great, great, he will make a huge career as a soloist. Nothing can stand in the way of this direct musical expression. Now trombone happens to be the instrument that Lindberg is playing. With that tool of expression he is absolutely phenomenal. He comes in on stage with a energetic and happy positive approach loaded with things that has to be translated into music. He takes up the trombone, points it upwards, turns to the audience to get even closer. And the instrument becomes an extention of himself. Chaste as a Recorder, sensual as a Saxophone, fullsounding as a French Horn, signalling as a Trombone one can easily recognize the Lindbergian sound.
Leif Aare, Dagens Nyheter
Recital Début 1982 Stockholm
The thunder hit at the first number of the evening: Christian Lindberg immediately extablished hinself as a man of sensation. His trombone sounded like melted gold in the magnificent interpretation of Hindemith´s Sonata for trombone and piano
Leif Aare, Dagens Nyheter