|
Site review by Polly Nomial May 7, 2007
|
Performance: Sonics (MC): |
As with her illustrious predecessor, Anne-Sophie Mutter, Julia Fischer has recorded both the Brahms concertos at a relatively tender age. Comparisons between the two approaches are fascinating with Karajan easily showing his greater experience in the tutti passages of each work. However from a purely solo point of view Fischer carries all before her in the violin concerto only for Mutter to offer a greater sense of line in the double concerto which, despite some slightly sour intonation, outweighs Fischer’s offering.
Accompanied by her usual conductor, Fischer offers peerless playing of the violin concerto. The intonation has to be heard to be believed and the other aspects of her chamber-music like approach are of equally high stature. Every phrase is freshly minted and glows with a rapt innocence. Whilst she is playing the Netherlands Philharmonic Orchestra Amsterdam match her approach quite beautifully under the direction of Yakov Kreizberg – the chamber like interjections of the woodwind are very touching. However the orchestral-only passages reveal the difference in calibre between Fischer’s orchestra and the Berliner’s; the oboe soloist in the second movement sounds uninterested compared to Lothar Koch.
The reading of the double concerto, recorded a year earlier, has a very different approach from Fischer. Whether this was inspired by Daniel Müller-Schott is hard to fathom but the soloists are certainly very direct and without a trace of the longer line in the outer movements, alarmingly so in my opinion – the playing is very much less sensitive when compared to their wonderful disc of Mendelssohn. As ever, the playing of Fischer is technically perfect and Müller-Schott matches her phrase for phrase. Fortunately, a year makes a world of difference for Fischer in the violin concerto and whilst there are orchestral deficiencies, the violin concerto can be returned to for Fischer’s contributions.
The recording is the usual high standard but I must reluctantly say that this disc is largely for those who are willing to put aside the “solo” orchestral contribution and revel in Fischer’s wonderful account of the violin concerto. The double concerto is not in the same league.
As for ratings, the sound is consistently worthy of 4.5 stars (the walls don’t quite melt away although the balance is wonderfully natural). The performance of the double concerto is probably only 2 stars. Fischer’s performance in the violin concerto is definitely a full 5 stars but the orchestral contribution (or, more accurately, lack of it) drags it down to 4 stars. Overall, I’d suggest that 3 stars is a fair summary.
|
Copyright © 2007 John Broggio and SA-CD.net
|
|
|
Site review by Castor April 18, 2007
|
Performance: Sonics (MC): |
Within the first few minutes of listening to this version of the Brahms Violin Concerto it becomes clear that this is a very special recording of the work.
Yakov Kreizberg moulds the orchestral introduction of the first movement in a masterly fashion, building the tension superbly right from the start and up to the first commanding entry of the soloist, Julia Fischer. Her rapt statement of the main theme floating on the soft cushion of orchestral tone is quite magical, while she plays the beautiful second subject using a meltingly subtle rubato.
With the next orchestral tutti the excellent quality of the Netherlands Philharmonic Orchestra’s playing under their Chief Conductor becomes self-evident, and throughout the concerto the balance achieved between soloist and orchestra by the Polyhymnia engineers is well nigh perfect.
As is clear from her previous concerto recordings, there is a wonderful rapport and symbiosis between Fischer and Kreizberg that results in the music making always sounding ‘right’ - never contrived or awkward.
She plays the usual Joachim cadenza with a winning blend of fantasy and technical accomplishment, and moves towards the movement’s close with playing of beguiling tranquillity and lyricism.
The changing moods of the slow movement are again perfectly captured by this partnership, and it is a pleasure to hear the interplay between violin and woodwind at the return of the main theme reproduced with such clarity.
Fischer attacks the finale with tremendous fire and her combination of laser-accurate intonation and breathtaking virtuosity brings this outstanding performance to a thrilling close. It is genuinely hard to believe that a performance of such maturity comes from someone aged just 24.
For the Double Concerto Fischer is joined by Daniel Müller-Schott, an ideal partner as already demonstrated by their outstanding Mendelssohn disc Mendelssohn: Piano Trios - Fischer, Gilad, Müller-Schott.
Pacing of the first movement is ideal with crisp orchestral playing, Kreizberg’s alert accompaniment keeping the music moving forward and avoiding any of the wallowing found in some performances of this work on disc.
The lovely Andante is played with a ripe richness, but textures are always clear, while the interplay between the two well-matched soloists and orchestra, from 3.03 onwards, is quite ravishing.
The finale, Vivace non troppo, opens with a lightness and delicacy that contrasts well with the more emphatic playing of the second theme and completes the second superb performance on this disc.
PentaTone’s recording made in the spacious acoustic of the Yakult Hall in the Beurs van Berlage, Amsterdam is state-of the-art, achieving a clarity and warmth lacking in so many Brahms recordings from the past.
This is undoubtedly my SACD of the year and I commend it to all who love these concertos as well as to the many admirers of the charismatic Julia Fischer.
|
Copyright © 2007 Graham Williams and SA-CD.net
|
|
|
Review by Windsurfer June 8, 2007 (9 of 9 found this review helpful)
|
Performance: Sonics (MC): |
Brahms, to the manner born?
Actually to say that this is Brahms, "to the manner born" would discredit this magnificent achievement. One should say "This is Brahms as it should always have been played!"
As has been remarked elsewhere, Julia Fischer is an astonishingly gifted young artist. Her gifts extend well beyond the fact that she has flawless technique and perfect intonation. Well beyond even her gloriously rich and unusually powerful sound. What this recording makes plain is that Fischer is also gifted with a profound and lyrical musicianship which as she desires, turns fiery, steely, gutsy, heroic, or portrays heartmeltingly sweet lyricism. All that is here in abundance. But also you will find a lightness of touch that amazes, accompanied as it is by such enormous power in the declamatory chording - and such an urgency of purpose in the faster sections, that one finds one holding one's breath, then gasping at the realization of the arresting magnificence of what she has achieved! What passion and committment, what heart!
This will be a real eye opener for anyone still gender biased against women as interpreters of the Brahms Violin Concerto. No recording or performance I ever heard has conveyed to me, the excitement and power, and the sense of "rightness" that characterizes this one, not Stern, not Heifetz, not Oistrach, not Milstein. As for Hahn, Mutter, and Mullova, all pale beside this. This is truly unparalleled playing of the concerto....yet she makes it all seem so effortless! And all this power and excitement gives way as called for, to rich lyricism, phrases broadly sung, with heartrending beauty. Then you are almost shocked as the violin returns to its exciting and powerful opening of the third movement. Brahms should have heard this! I do wish Brahms could have heard this.
Is anything lacking? Certainly not from Fischer! From the outset, I find Kreizburg's accompaniment ideal if different from what one might expect. Certainly where the orchestra interfaces directly with Fischer, the nature of that interaction displays a desire to match as much as possible the quality of Fischer's singular playing, her tone, her phrasing. In the tuttis however, one frequently encounters a gruffness that is surprising - but a gruffness to my ears that seems appropriate to Brahms. This is not the refined playing of Brahms one is accustomed to. It is a more Beethovenish Brahms, very masculine, hearty and full of power. Listen to the strong basses and the timps in the triple forte passages. Listen to the magnificent horn passages, where the horn answers the violin. The timbres achieved, setting off the preceding violin passage are remarkable.
If you listen to this concerto for the quality of the oboe playing in the introduction to the second movement you will be disappointed. This oboe does not even begin to match the Berlin Philharmonic counterpart on Anne Sophie Mutter's first disc with Herbert Von Karajan, nor does he match the playing of the principal oboe of the New York Philharmonic when Fischer played this with Maazel and the NYP in April.
But I never bought a recording of the Brahms Violin concerto for the quality of the oboe! .... Have you?
What of the double concerto with Mueller-Schott? Well, here we encounter a level of chamber music playing in a concerto that you will have to hear to comprehend. Now the old warhorse seems freshly minted - conceived with lightness and joy. Tone for tone, phrase for phrase, these two friends intertwine and match each other in what for me is a striking rendition of this concerto. It looks to a new standard in a unique conception where the notion of “the longer line” is irrelevant. Think of fireworks illumining the night sky! Then simply settle into accepting a new and revelatory interpretation of this music. The second mvmt sings broadly however, and throughout the entire concerto, I must reiterate, the sounds these two make are nothing if not supremely beautiful.
I have only listened to the multi-channel layer. It put me in a center seat about 7 to 10 rows back in the hall. The sound on this sacd is wonderful! You are there! You are there in a way that could never be possible in mere stereo. This is not the perfect PentaTone recording, there have been better, more lucid in orchestral tuttis. But this one is very very good, well beyond the average SACD, and far beyond any rbcd.
I say: Six stars for the Violin concerto, Five for the Double! 4.5 for the sound. But I feel a little churlish taking off a half star because PentaTone have not exactly matched their own very best here.
|
Was this review helpful to you?
|
|
