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Michael Greenhalgh
MusicWeb International, December 2013

In beginning his complete symphony cycle with the early works Fischer has honed a style which even better serves the greater density of the later symphonies. His Haffner has a winning combination of suave, light phrasing and biting articulation of rhythm. His Prague is tougher, yet with more contrasting warmth and charm. © MusicWeb International

Michael Greenhalgh
MusicWeb International, November 2013

…what impresses me about Fischer is that he uses his chamber forces to bring a fresh perspective on these Mozart symphonies. In this he demonstrates a gain in clarity of texture and argument without any loss of impact. © MusicWeb International Read complete review

Rob Cowan
Gramophone, November 2013

MOZART, W.A.: Symphonies, Vol. 1 (A. Fischer) - Nos. 1, 4, 5, 43 6.220536
MOZART, W.A.: Symphonies, Vol. 10 (A. Fischer) - Nos. 35 and 38 6.220545

Interesting that at the start of the eight-year old Mozart’s First Symphony’s opening Molto allegro, the marking for the first two chords is a secure forte, then the dynamic drops to piano for the slow chords in the fourth bar. Adam Fischer uses those intervening bars to build a dramatic crescendo, which certainly has an effect. In fact the whole of the first movement is greeted with a level of dynamic incident that lends the music an extra degree of impetus.

Fischer appreciates the importance of a secure bass-line, notably in the Andante of K19, whereas in the fierily driven finale he employs saucy, fast-action string slides. The Andante of K19a enjoys a winning lilt and the opening of K22 has a definite ‘Mannheim’ feel to it. Fischer and his enthusiastic Danish players imbue this youthful music with spirit and energy; they make the most of what’s in front of them and I have certainly never heard performances of early Mozart symphonies that I prefer.

The coupling of the Haffner and Prague symphonies of course ups the artistic stakes a thousandfold and here Fischer takes on a wealth of memorable competition. For the opening of the Haffner there’s a stern call to arms, followed by a brief easing of tempo, then a bristly transition to the busy main exposition. No repeats here, of course…though with playing as vivid as this you hardly need them. Just try the finale’s limpid opening and the ‘shock-tactic’ timpani-dominated onslaught that follows. You’re given a full roster of repeats and, as with Vol 1, the SACD sound is well balanced and admirably transparent. © 2013 Gramophone Read complete review on Gramophone

David Denton
David's Review Corner, July 2013

Adam Fischer’s tenth volume of Mozart’s complete symphonies offer the most highly charged performances of the two popular works that we have on disc. Though played by a chamber orchestra these are very weighty accounts that have the feel of a big orchestra, and are much removed from the sound of period instrument ensembles. Fischer’s tempos are urgent without every sounding rushed, and though the slow Andantes are endowed with much beauty, I guess it will be the punchy sound of the outer movements that will linger in the memory. Dynamic contrasts are sharply etched throughout, though I am not quite sure that I would want to live with so much prominence given to the timpani in the outer movements. The string playing is warm and fulsome, and the woodwind are a particular delight in both works. Repeats are taken - as one would expect in such an important edition, and Fischer’s weighting between the various sections of the orchestra have been faithfully captured in sound quality that is clear and very pleasing. © 2013 David’s Review Corner

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