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Gil French
American Record Guide, March 2012

[Sergei Ostrovsky’s] beyond technique, highly expressive, and utterly musical, with a warm tone.

The superb engineering is balanced, warm, and embracing…Here’s the perfect chocolate bath for the traditionalist still open to something new and for anyone with a romantic bias. © 2012 American Record Guide Read complete review on American Record Guide online



Robert Reilly
Catholic News Agency, January 2012

Robert Reilly’s Favorite of the Year

an absolute charmer and displays Weinberg’s ability to create insinuating or, perhaps I should say, ingratiating melodies…the bittersweet Concertino is worth the price of the disc. © 2012 Catholic News Agency See complete list




David Hurwitz
ClassicsToday.com, January 2012

The big discovery here is Mieczyslaw Weinberg’s Concertino of 1948. It sounds for all the world like a Russian take on Barber’s concerto: highly lyrical, with a touch of restrained melancholy and a bittersweet harmonic palette that’s very memorable. It also receives the finest performance on disc, though Sergey Ostrovsky (concertmaster of the Orchestre de la Suisse Romande) is never less than musicianly in all three works. He sports a somewhat slender but attractive tone, and his intonation is spot-on. This serves the gently reticent Weinberg work perfectly. © 2012 ClassicsToday.com Read complete review



Byzantion
MusicWeb International, December 2011

This attractive release brings together three violin concertos by lesser-known Russian-based composers. They’re in sparkling interpretations by yet another gifted Russian violinist and a fine conductor following in his late father Kurt’s illustrious footsteps. © 2011 MusicWeb International Read complete review



V. Vasan
Allmusic.com, December 2011

the prodigious talents of Sergey Ostrovsky (with the brilliant Bournemouth Symphony Orchestra under the direction of Thomas Sanderling) are the unifying factor on this excellent CD. Ostrovsky’s violin positively sings, and he has no problems with technique… The orchestra matches the violinist’s level of intensity and energy, always giving its all, no holds barred. His cadenza, though played into the string, is not too weighty; Ostrovsky bows with a liquid, lyrical sound. He truly has something to say as an artist, his musical statements are indeed decisive. © 2011 Allmusic.com Read complete review



David Denton
David's Review Corner, October 2011

The world premiere of Mieczyslaw Weinberg’s Violin Concertino is coupled with two immediately attractive concertos that are nowadays seldom performed. We are presently in a Weinberg revival, this score from 1948, which looks backwards to the late Romantics, being markedly different to other works that have appeared on disc. Szymanowski with a hint of Americana is a similarity that springs to mind, its three conventional movements, with a major cadenza to open the second, has big and imposing gestures placing it in the world of the big virtuoso concertos. Arensky’s concerto is a Tchaikovsky clone, but none the worse for that, its construction in one continuous movement offering the soloist ample opportunity to display outgoing technical brilliance. The accompaniment, that is more than functional, offers orchestral solos that play a major part in the delightful central waltz section. Only eight years junior to Arensky, Julius Conus was his pupil at the Moscow Conservatoire, the concerto similar to his mentor’s in its continuous construction. It was to be his only major work, much of his life spent as a journeyman orchestral musician that at one stage took him to New York as the orchestra’s concertmaster. The big and bold orchestral opening sets the scene for a work once so popular that Heifetz and Kreisler placed it in their staple repertoire, and it was through Heifetz’s recording I came to know the work. Why such a viable alternative to the Bruch concerto is now so seldom heard is strange. All three scores are played with flair and an abundance of virtuosity by Sergey Ostrovsky, the Russian-born concertmaster of the Orchestra de la Suisse Romande. Thomas Sanderling draws superb playing from the Bournemouth Symphony in a perfectly balanced recording. Very much recommended.






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8:23:18 PM, 26 July 2014
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