03. September 2014

dogma chamber orchestra wins the ECHO Classic 2014

„DO.GMA#3 – The Shostakovich Album” (BERTHOLD records / MDG) awarded the Symphonic Recording of the Year (20th/21st century music).

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30. Juli 2013

Interview with Julian Waterfall Pollack

Julian Waterfall Pollack talks on the album “Waves Of Albion” by the Julian Waterfall Pollack Trio (June 7th, 2013)

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10. Juli 2012

DO.GMA#2 – American Stringbook wins ECHO Klassik!

Unbelievable: With only their second CD-Production the do.gma chamber orchestra has been awarded the German ECHO Klassik for the best surround production of 2012

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Mikhail Gurewitsch
Do.gma Chamber Orchestra bei den Proben
Gruppenfoto Ensemble do.gma chamber orchestra
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  • Intro & Line Up
  • Releases
  • Press Quotes

The do.gma chamber orchestra was founded by Mikhail Gurewitsch in 2004, then concert master of the Baden Württemberg Chamber Orchestra „I Sedici“. Since then, young already internationally experienced musicians have come together under his leadership to interpret music in a modern way.

do.gma stands for an unadulterated approach to classical music that goes beyond a slick, polished aesthetic: one which plays to as wide a consensus as possible. Its perspective is that of a generation of younger artists performing for today’s audiences: faithful to the original music, but also intensively seeking new interpretative possibilities - as has been the case in all periods of musical history.

do.gma does not see itself just as a homogenous group of professional musicians, who share the same artistic outlook. It is also an ensemble of soloists, which brings together personalities and the many-sided musical experiences of orchestra members into a complex acoustic sound. The tension between solo impulse and its trademark ensemble spirit drives creativity and forms the artistic substance of the do.gma chamber orchestra.

This intensive orchestral method has a direct influence on the choice of repertoire. The concert programme of the orchestra and its musical productions include not only work from the Barock, Classical and Romantic periods, but also pieces by contemporary composers, and do.gma’s own compositions. 

DO.GMA #4 - British. Now!

This CD is a snapshot, inspired by the diversity of 20th and 21st century British music. It fuses the traditional with Modernism, Romanticism with Minimalism, paired with a good portion of underlying humour. All these components make music from the British Isles, classical and beyond, unique and fascinating. 

We have combined a popular composition – Benjamin Britten’s “Simple Symphony” – with less well-known pieces by Lennox Berkeley and Gavin Bryars, as well as the first recording of a work especially composed by Michael Nyman for the dogma chamber orchestra.


DO.GMA #3 - The Shostakovich Album

The dogma chamber orchestra has written music history with its third Album “DO.GMA#3”. For the first time ever the complete 24 Preludes by Dimitri Shostakovich can be heard on CD in a version for string orchestra. Just as they did in their previous two albums, the award-winning ensemble has re-interpreted a masterpiece of classical music to suit the musical zeitgeist.

This album is special for the concertmaster Mikhail Gurewitsch not only because DO.GMA#3 is a world premiere. “Shostakovich has played a very important role in my life,” he explains. “No other composer is so characteristic and symbolic of the dramatic events of the first half of the 20th century. As a freethinking person he had to withstand and endure a good deal, but he used music as a creative mask and to create some free space for himself.” 
The 24 Preludes came easily to Shostakovich. They took just two months from idea to completion – from the end of December 1931 until the beginning of March 1932. Critics of the day especially praised Shostakovich’s flexibility. Shortly before he had created a tragic figure - “Lady Macbeth of the Mtsensk District”. In the Preludes he repeatedly introduced comic and satirical moments.

Audiences, then and now, have marvelled at the charm and complexity of the Preludes. A close listen uncovers the influences of, amongst others, Haydn, Chopin, Prokofiev and Stravinsky – as well as elements from gypsy romances, music from the criminal milieu and popular songs from the 1920s and early 1930s. This is music that even now, at the start of the 21st century, has not lost its fascination. 
In 1935 Shostakovich developed his 24 Preludes into a duet version for piano and violin. Since then string orchestras on both sides of the Atlantic have tried, time and again, to create an orchestrated version. The Russian composer Grigory Korchmar, in 1990, was the first to do so successfully. No recording was made then. Shostakovich’s heirs gave their permission for Korchmar to give his score to a publisher in St. Petersburg, who published the music in 2013. The dogma orchestra have achieved musical pioneer status with their recording of the complete Preludes.

Alongside the Preludes, DO.GMA#3 also includes Shostakovich’s 8th String Quartet, one of the best-known pieces of 20th century instrumental chamber music and one of Shostakovich’s most personal compositions. Written in Gohrisch, a village close to Dresden, it is dedicated to the victims of Fascism and the 2nd World War. It is also a musical memorial, as described by the composer in a letter to a friend in 1960. Shostakovich writes: “In my opinion, should I die, hardly anyone will write a piece dedicated to my memory. Therefore I have decided to write it myself. You could write on its cover: dedicated to the memory of the composer of this quartet.”


DO.GMA #2 - American Stringbook (2011)

The do.gma chamber orchestra is taking an exciting journey, exploring the origins and development of classical American music.


DO.GMA #1 (2010)

Pyotr Ilyich Tchaikovsky (1840-1893)
Serenade for Strings op. 48
Souvenir de Florence op. 70

We often hear that classical music is dead, or has a meagre uptake, albeit highly subsidised within elite circles, and is of little importance. However, the reality is quite different. Classical music today is more relevant than ever. It inspires ever anew with its energy. It is provocative, awakes emotions and invites one to make new discoveries. 

We would like to present you fresh and new interpretations of two of the most important works of chamber music in Russian musical history: the “Serenade for Strings” and the “Souvenir de Florence” by P.I. Tschaikowsky: two fascinating pieces of music. We have broken away from the traditional, antiquated and mostly risk and discourse-free versions, smothered in sugar-sweet, glamorous icing, that have found their way into the standard repertoire of many chamber orchestras. 

do.gma adopts a different direction with this CD production. While taking into account the original intentions of the composer, we aim to free the artistic core of a piece of work and capture musically the life attitudes of a younger generation – this is what the do.gma Chamber Orchestra stands for. 

With “do.gma #1” we hope to bring you closer to this timeless music of a great master, and wish you an exhilarating and thrilling musical experience.

Making-Of Video of DO.GMA #1


International Record Review, December 2010
[…]“His performance is clean, rhythmical, faithful to the score and very well disciplined. It's exciting in the last movement and charming, without ever being arch, in the 'Waltz'. The players are a responsive group and produce a convincing and sensitively shaped account of the 'Elegy'. In short, this is very fine, with fresh, spirited playing that is likely to provide plenty of enjoyment.” […]

Class Actuell 3/2010
"[…]These finely controlled multi-channel recordings have markedly different instrumental line-ups: Souvenir is produced in the usual sextet formation. The whole stage is set into motion by motifs composed to move through the particular instrumental positioning. The musicians play the Serenade with the 1st and 2nd violins placed opposite each other This allows significantly greater lucidity, but also has an astonishingly taut symphonic impact. The result: with do.gma#1 the young chamber orchestra achieve a successful debut, surprising us with its sprit, a fascinating freshness and an undogmatic lightness. Keep up the good work!"

SWR2, New from the classical music market.
"[...] played with youthful verve, but also a differentiated, sumptuous sound, and with well-balanced refinement. Good string quartets spring up like mushrooms, but chamber orchestras of such quality are rare."

" [...] really surprises with a superlative lightness of touch, a fresh Tschaikowsky[...]"

"to declutter music such as the String Serenade that is often played, almost too often played; to chip away the sugar icing that blanketed it for decades - that's the purpose of this chamber orchestra. And it has been successful." ()

"[...] (The musicians) approach both pieces with tremendous enthusiasm, and with a lightness of touch, which greatly benefits Tschaikowsky’s music: they adorn, they breath and they dance – and they really do express […] the spirit of a new generation of musicians.

"Classical music played with enthusiasm, freshness and lightness of touch. The do.gma Chamber Orchestra, from the first bar gets to the core of the music. This is complete Tschaikowsky[…]"
"the listener is drawn in by the sincerity and lightness of touch."
"[...] a great concert by a young orchestra that we will be hearing much of."

Nassauische Neue Presse
"Energy instead of Kitsch – Tschaikowsky now sounds very youthful."
"[…] The ensemble impresses with its supreme precision[...]
To experience the seamless harmonic relationship between the highs of the violins and the lows of the violas and cellos was a breathtaking pleasure."

Rieser Nachrichten / Augsburger Allgemeine
" ... the orchestra is able to demonstrate its special abilities with feeling, modulated dynamic, powerful tonality and youthful freshness."

"A full sound and dramatic playing."
"The uniformity of the passages played in unison is awesome."

"Refreshingly different"
"The do.gma chamber orchestra thrills with Schubert and Tschaikowsky in the Margravial Opera House."

Kulturjournal FOYER
"Over-polished aesthetic and formality are dispensed with."
"… concerts and recordings that hardly give the listener the chance to sit back […] here the public is involved as a partner in a dialogue."


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