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Site review by Castor November 5, 2006
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Performance: Sonics (MC): |
This, the second volume of Julia Fischer’s survey of the Mozart Violin Concertos retains all the virtues of the earlier one, as described in my review of that disc Mozart: Violin Concertos - Fischer/Kreizberg.
Once more her beguiling playing constantly illuminates these pieces. It is unfailingly fresh and observant to every nuance of the music, while the Netherlands Chamber Orchestra under Yakov Kreizberg provides equally stylish accompaniments.
In the two early concertos K 207 and 211 a harpsichord continuo is used and in the liner notes soloist and conductor explain convincingly the reasons for its inclusion. The instrument is well integrated into the quite rich orchestral texture and remains quite discreet while adding a touch of extra colour to the overall sound.
As before the cadenzas are most inventive, a model of their kind, allowing us to appreciate the un-showy virtuosity of Julia Fischer’s playing, and crucially, they are just the right length.
The vivid recording places soloist and orchestra in a pleasantly reverberant church acoustic, the Doopsgezinde Kerk, Haarlem which, to my ears, has added a fraction of heaviness to the bass line when compared with that of the Waalse Kerk in Amsterdam, the venue used for the earlier recording.
That minor quibble apart, this is an exemplary recording by PentaTone and a superb addition to the discography of this talented young artist.
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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): |
Once again, Pentatone & Julia Fischer have provided us with a gem of a disc. The performances are comparable with those of the other solo violin concertante works (Mozart: Violin Concertos - Fischer/Kreizberg) and give more evidence for this wonderful conjunction of Fischer and Kreizburg who clearly enjoy working together. One of the most pleasing aspects is that they are both young (Fischer especially so) and can continue making music as a partnership for a long time to come - at least I certainly hope they will do so.
Fischer provides radient playing that even outshines the previous disc and, overall, sounds a smidgeon more relaxed that gives the concertos a glow that infects the listener, causing smiles to break out all round. The slow movements are played ever so beautifully it seems almost perverse that Mozart followed them with more music. Still, followed they are and Fischer (once again providing her own cadenzas) makes one almost dance with joy. The Finale to the "Turkish" concerto is taken a little faster than those educated by artists such as Oistrakh or Schneiderhan will be used to but the playing is in no way breathless.
As indicated, the partnership with Kreizburg and the superb Netherlands Chamber Orchestra continues to blossom with lively and a chamber-music type of response within the orchestra and also with Fischer. The sound is also excellent, which makes this and the partnering disc a compelling first choice for these works.
Highly recommended - I do hope that the Sinfonia Concertante will turn up from these artists soon...
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Copyright © 2006 John Broggio and SA-CD.net
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Review by Windsurfer October 1, 2006 (12 of 12 found this review helpful)
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Performance: Sonics (MC): |
Even if you have impossibly high expectations for Fischer and PentaTone, I predict those expectations will be more than met with this disc!
What glorious playing! Here we have (again from these artists - and let's include the members of the Netherlands Chamber Orchestra here) period informed but not period governed performances of exceptional quality. All concerned are playing here with one mind with beautiful integration - the soloist plays from within the orchestra, as if in a string quartet, rather than apart from it. These people are all listening to one another!
Fischer's kalidoscopic tonal quality brings to mind the most brilliant jewel-like sounds set upon and arising from a golden luminosity which serves as its foundation. Like the period style performers, Fischer's playing is imbued with a fine sense of lightness and energy. Unlike period performers, Julia never makes a whining sour note.
A quote from Castor's very fine review of Numbers 3&4 is apropo to this disc as well:
"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."
While I was, for some reason, particularly struck by the performance of concerto # 2, each performance is the best of any I have ever heard! Again, the sound here ranks among the best PentaTones. We are provided an airy, tightly focused recording with ample and well defined bass. The feeling is of being present in Haarlem's Mennonite Church as the music is being played. It is simply superb!
Even if you think this music should be the exclusive domain of period performers, you owe it to yourself to acquire this one. I predict you will want to listen to it again and again. If your previous inclinations toward this music are represented by such as Anne Sophie Mutter or Itzhak Perlman, you really, really need to give this a listen!
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