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Lynn René Bayley
The Art Music Lounge, November 2019

Fischer becomes the only conductor to present complete boxed sets of the Mozart, Haydn, Beethoven and Mahler Symphonies.

Fischer conducts the fugue with a nice swagger, no chopping or parsing of the rhythm, and the chorus is pretty good… © 2019 The Art Music Lounge Read complete review



Huntley Dent
Fanfare, November 2019

Countertenor Morten Grove Frandsen blends into the quartet naturally enough. The proportion between orchestra and chorus is evenly balanced. …Like every other reading in Naxos’s new cycle, Fischer knows what he’s about and accomplishes his aims skillfully. © 2019 Fanfare Read complete review




Marc Medwin
Fanfare, November 2019

Ádám Fischer’s Mozart and Haydn symphony cycles regularly crossed the permeable boundaries between interest and exhilaration, and his new set of Beethoven symphonies follows suit. … The opening of the Seventh Symphony has never sounded so cleverly orchestrated, and Beethoven’s wittily humorous eloquence has never been on such continuous display. … The Danish Chamber Orchestra’s excellent playing ensures a set in which relationships, between orchestral groups, between sections of movements, and between symphonies, are thoughtfully and provocatively delineated. These renditions showcase Beethoven’s revolutionary side in a way few other sets even come close to managing. © 2019 Fanfare Read complete review




Remy Franck
Pizzicato, September 2019

The main feature of the new complete recording of the symphonies is probably the diversity of the rhetoric showing Beethoven’s various facets. This eloquence is achieved with a consistently slender, low-vibrato music-making with a wide range of tempi, rhythm and dynamics. Exciting contrasts, powerful accents, expressive rubato let Beethoven ‘talk’ in a most persuasive way.

The Danish Chamber Orchestra, which was virtually dead and then successfully revived in 2015, plays with a sparkling enthusiasm, technically at a high level and following Fischer’s conducting with much concentration. © 2019 Pizzicato Read complete review




Nalen Anthoni
Classical Ear, September 2019

Fischer the empowering musician always maintains essential tension … dedicated musicianship communicated on an immense scale is yours for the taking.

Ádám Fischer, trusting the text, then transits into the main Allegro con brio with sharp attack and tense flow, showing that Beethoven had no fears. Continue into the Andante cantabile con moto slow movement and absorb how Fischer relaxes into a singing tone and flexible phrasing. Here is a combination of effervescence, expressive variety and inner vitality that also reflects in lithe, coruscating playing (violins separated) throughout this cycle. Absorb, too, his observance of all repeats and almost total observance of Beethoven’s metronome markings. © 2019 Classical Ear Read complete review





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