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Tully Potter
MusicWeb International, February 2017

I must stress that the music-making is very vital throughout, with orchestral playing that is irreproachable apart from my reservation about occasional brusqueness; and anyone seeking a fresh view on these well-loved concertos ought to enjoy the performances. © 2017 MusicWeb International Read complete review




Infodad.com, December 2016

Kraggerud’s readings of the concertos are very fine. His violin tone is warm and rich in the lower register, sweet and even in the upper, and the concertos’ cadenzas—Kraggerud wrote his own—are sparkly to the point of effervescence, if perhaps not entirely in conformity with cadenzas of Mozart’s time, being of considerable length that is somewhat out of keeping with the movements within which they appear. © 2016 Infodad.com Read complete review



David Denton
David's Review Corner, November 2016

This DVD release of Mozart’s three violin concertos filmed before an audience, should not be confused with the audio recording made by the same performers. Both were made in the Akershus Castle Church in Oslo, but here we have a spoken introduction to each work and it contains as an additional track, the Adagio in E major. For a review of the interpretations I would refer you back to my review of the audio version in June of this year (Naxos 8.573513) as the comments would be equally appropriate to both. In summary I commented that his view “makes you smile as he imparts so much happiness” and that “his slow movements have grace and elegance, his dynamics throughout never exaggerated”. That he is so enjoying his view of the music is here most obvious in his facial expressions, and he communicates that pleasure to the orchestra which he also directs, joining with them, as was customary in Mozart’s time, in the orchestral introduction to movements. He has supplied his own cadenzas using music from that movement and keeping well within the style of Mozart’s writing. Though not a period instrument ensemble, the Norwegian Chamber Orchestra has twenty-six musicians, also in keeping with Mozart’s period, the orchestration largely given to the strings. Each concerto is introduced by Kraggerud who has some appropriate viola stories that are highly amusing. Naturally they are in Norwegian, but there is an English translation in subtitles. The long applause brings the obligatory encore with a performance of the alternative second movement to the third concerto that Mozart composed to please the violinist, Antonio Brunetti. It was later published and given its own catalogue number. Strangely the video shows that Kraggerud was using the printed solo part for all three concertos, a most usual sight in present-day concert halls. From a visual point of view, the video is unfussy, though maintaining viewer interest with so few musicians and a very small venue must have been rather a trial for the producer. The sound is rather more reverberant than the CD alternative, but is still very acceptable. © 2016 David’s Review Corner





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