| Site review by Castor February 14, 2006
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Performance: Sonics (MC): |
Julia Fischer’s first two SACDs for PentaTone have been outstanding and this one is no exception.
To stand out in an already crowded field on CD of these popular concertos, any new version must have special qualities and this one certainly has them.
These performances do not completely eschew period style even if they lean toward the romantic side of the spectrum, but I would be surprised if those who generally prefer period sounds did not find Julia Fischer’s alert and imaginative playing more than acceptable.
In each of the four works she plays with beautiful sweet and silvery tone and her interpretations miss nothing of the varying mood of the music from the limpid Adagio of K216 to the graceful Rondeau of K218.
There is total rapport between soloist and the conductor Yakov Kreizberg who even provides the tasteful cadenza for the slow movement of K216, while most of the others are by Fischer herself.
The Netherlands Chamber Orchestra’s crisp and euphonious playing completes the pleasure of listening to this disc.
The sound is equal to the best PentaTone releases; which means that it is absolutely superb. There is a feeling of space around, and precise positioning of, the soloist, and the engineers have perfectly captured the acoustic signature of the Waalse Kerk in Amsterdam.
I look forward to the release of the remaining three Mozart concertos by this wonderfully talented young artist later in the year.
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Copyright © 2006 Graham Williams and SA-CD.net
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| Site review by Polly Nomial October 11, 2006
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Performance: Sonics (MC): |
As with my previous of experiences of Pentatone and the playing of Julia Fischer, we are given a real treat. This is not completely HIP nor is it played in the Romantic style that was prevalent before the mid-1980's; instead, tasteful vibrato is applied by Fischer with lean (but firm) textures and appropriately spritely tempos.
Julia Fischer is as high powered as ever, and whilst this may strike a note of fear into some readers I would like to assure them that it not anywhere near as "intense" as that other great German violinist, Anne-Sophie Mutter. The cadenzas are written mainly by Fischer herself (together with contributions from Kreizburg, Sam Franko & also one from Joseph Joachim); throughout they reflect Mozartian style rather than a modernist or C19 viewpoint and may be considered a model of good taste.
From dashing & brilliant Allegro's to warmly expressive Adagio's all the protaganists inspire each other to give us a fine present for Mozart's anniversary year. The Netherlands Chamber Orchestra responds with real style and finesse to every direction from Kreizburg and accompanies Fischer very sensitively indeed.
As we have come to expect, the Pentatone recording is a model of how to present music in multi-channel sound.
Very highly recommended, even to HIP purists.
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Copyright © 2006 John Broggio and SA-CD.net
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| Review by GBL2001 May 10, 2006 (2 of 4 found this review helpful)
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Performance: Sonics (S/MC): / |
This version can compete with my favorite Arthur Grumiaux one with the plus of the SACD sound
Very nice
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| Review by sunnydaler October 5, 2007 (2 of 3 found this review helpful)
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Performance: Sonics (S): |
After being fascinated by her Bach and Tchaikovsky recording, I bought this one. Fischer/Kreizberg managed it again.
I must confess that I was not satisfied with the recording venue(church)'s reverbrant sound but it grew on me. Every parts are given the same treatment. The soloist is not high in the mix and especially, woodwinds which were often embedded in the shades of strings on historical recordings sound vibrant. Listen to 3:35 in the 2nd movement to concerto no. 4. The soloist plays the same melody on E and then on G string. This contrasted sound is quite moving.
These young Mozart compositions are full of life and youth. They are more about taste and musicality than technique. The soloist should play as if s/he is part of the orchestra. The soloist and the orchestra share a lot of melody and that's a quite different thing from much violin dominated ones of 19C. Fischer's singing, colorful playing quite suits well to these pieces. The performance give me a impression of spring. Bright, lively, warm and so on.
5 stars for performance and 4 stars for sound. I deducted one star because I suppose PentaTone can do a better job than this.
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| Review by threerandot April 10, 2008 (5 of 5 found this review helpful)
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Performance: Sonics (MC): |
Julia Fischer plays with sensitivity and mastery in this recording of Mozart's Violin Concertos in G and D, plus two equally enjoyable fill-ups!
The Concerto No.3 in G, K.216 opens with a light and airy Allegro, followed by the tender and passionate Adagio. Just listen to those strings and winds! The Concerto closes with the bouncy Rondeau.
Concerto No.4 in D, K.218 also opens with an Allegro which seems to present some technical challenges which the soloist is more than capable of handling. Listen for horns and winds underscoring the action. The Andante cantabile is just like an opera aria, filled with sweet longing. The concerto closes with a jubillant Rondeau.
The Adagio for Violin and Orchestra in E, K.261 is the first of two movements that Mozart used as substitutes in his concertos at different times. Julia's tone sings with a sweet and tender passion and this really shows how much Mozart wanted his concertos to have the qualities of opera arias.
The Rondo for Violin and Orchestra in B flat, K.269 closes the disc with light and bouncy rhythms. I think I can hear more of Haydn's influence on Mozart here than in the rest of the disc.
Ms. Fischer has always had a light, singing tone and this is to the advantage in this collection of works for violin by Mozart. Filled with grace and good humor, this is another great Pentatone release for Julia Fischer and Yakov Kreizberg. The Netherlands Chamber Orchestra are a wonderful group of players and their contribution should not go unnoticed.
Although the recording venue may seem a little large at first for these works, it soon becomes apparent that the open acoustic actually seems to enhance the intimacy of these performances. I might appreciate a slight more warmth around the sound, but this is a quibble when these works are played so beautifully. Highly recommended.
(This review refers to the Multichannel portion of this disc.)
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