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Jens F. Laurson
Ionarts, January 2014

Best Recordings of 2013: #9 - New Release

With the Danish National Chamber Orchestra’s extraordinarily spirited playing, Symphonies 6 through 8, K45a (doubtful), and K.45b (“Old Lambach”) are kid’s stuff no longer. With Fischer, it’s fun, if not rapturous going throughout. Comparing to earlier releases of their now complete Mozart Symphony cycle, you can hear how much ensemble and conductor have come to grow into this project, how more self-assured, how much more daring they have become, how much more into their own they have come, how much they have grown to arrive at a functionally-bold Mozart-synthesis. Splendid, nifty liner notes and presentation round off this most enjoyable release. © 2014 Ionarts Read complete review




Alain Steffen
Pizzicato, October 2013

Adam Fischer gives Mozart the chance to show in the early symphonies the same artistic ambition than in the late symphonies. So, the listener is fully aware here of young Mozart’s genius. © 2013 Pizzicato



Richard Wigmore
Gramophone, September 2013

…Adam Fischer directs his trim, precise Danish band with verve and imagination. Rhythms are tinglingly alive…They relish the swagger and bold dynamic contrasts of the D major symphonies, give a true maestoso breadth to the opening movement of K45a, and bring a scampering, coltish glee to the finales. Fischer nicely judges, too, the guileless charm of the slow movements, delicately balancing the textures and never allowing accompaniments to lapse into autopilot.

Tweaking Mozart’s marked dynamics for expressive effect, he turns the rather dull-looking Andante of K45 into a quasi-operatic dialogue that pitches grace against gruffness. You can imagine the composer smiling in approval.

…if you want these symphonies on modern instruments, played with élan, sensitivity…and a palpable sense of enjoyment, Fischer is your man. © 2013 Gramophone Read complete review on Gramophone




Steven Ritter
Audiophile Audition, July 2013

These are the earliest of the symphonies to have been released by Fischer so far, and also one of the sprightliest and most exciting albums. The readings are full of vigor and panache, with excellent technical facility and a buzzing swarm of vibrant and fulsome emotion. Mozart’s early pieces (these were composed from 1767-68) often get the short straw by those who really don’t know them, and they are not anything like the later symphonies in complexity or profundity. But they are full of great tunes, superb craftsmanship, and a youthful zest that is the hallmark of so many of the composer’s works at this time, composed as they were for entertainments and specific occasions.

It’s still too early to tell how this series will turn out—the later pieces have a lot of competition that has to be dealt with. But these first five or six volumes give us reason to hope that Fischer’s Mozart will end up being as important and ingratiating… © 2013 Audiophile Audition Read complete review



Classic FM, June 2013

This is Mozart looked at afresh. The polished playing on modern instruments of the Danish National Chamber Orchestra is bright and breezy and the recording is crisp and sparkling with every detail audible. © 2013 Classics FM Read complete article



David Denton
David's Review Corner, May 2013

The second in this cycle of Mozart’s complete symphonies cover the two years beginning in 1767 when he was just eleven years old. Though they were the years of his apprenticeship as a symphonist, and was much under the influence of Haydn and his father, you only have to go to the disc’s second track—the Andante of the Sixth—to hear an opera composer in the making. They were essentially happy works, lasting in total not much more than ten minutes, the use of the Minuet adding a rhythmic attraction so deftly handled. As he progressed, so did he enlarge the orchestra that he used, yet they are still lightweight in texture. That is why I have particularly enjoyed the Naxos discs using the Northern Chamber Orchestra where their lightness of touch has taken us back to the world of music in the Royal Courts of Europe. By contrast the Danish performances, directed by Adam Fischer, are much more robust and point to the Mozart symphonies that are yet to come. His tempos are sprightly, and his internal balance of the orchestra is ideal, the horns just standing out a little as ‘natural’ horns would have done in Mozart’s time. I gather that this is not a period orchestra, their texture being both warm and round. © David’s Review Corner





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