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James Manheim, January 2020

…The players of the Danish Chamber Orchestra excel. They have worked with Fischer for a long time on interpretations like this, and they respond to him with a praiseworthy level of detail. One possible bottom line: if you enjoy hearing a conductor rethink music from the ground up, check this out, even above Fischer’s other recordings. Another: the Ninth Symphony here has little of its grandly humanistic effect, which Beethoven surely intended. Lastly, as a technical accomplishment, these versions fall into a great European tradition. © 2020 Read complete review

ICMA, January 2020

Adam Fischer and the Danish Chamber Orchestra present a very convincing, coherent and meaningful set of Beethoven’s symphonies whose main characteristic is the rhetorical diversity showing all Beethoven’s various facets. This eloquence is achieved with a consistently slender, low-vibrato music-making and a wide range of tempi, rhythm and dynamics. Exciting contrasts, powerful accents, expressive rubato let Beethoven ‘speak’ in a most persuasive way. © 2020 ICMA

The Arts Desk, January 2020

Ádám Fischer’s pragmatic humane approach to performing and recording Beethoven’s nine symphonies makes this one of the most entertaining modern cycles out there… witty, volatile and full of energy. © 2020 The Arts Desk

Pierre Jean Tribot
Crescendo (France), January 2020

Ádám Fischer achieves an exceptionally high level of expertise almost rising to the level of Nikolaus Harnoncourt (Teldec) and Paavo Jarvi (RCA) © 2020 Crescendo (France)

Zev Kane
WQXR (New York), December 2019

The Best Classical Recordings of 2019

With this gripping Beethoven cycle, Fischer has become the first conductor to record the complete symphonies of Haydn, Mozart, and Beethoven. This is no garden variety act of completionism—he drives his Copenhagen-based band with a fierce meticulousness that rivals Karajan, Kleiber, and other greats. © 2019 WQXR (New York)

Simon Thompson
MusicWeb International, December 2019

Ádám Fischer has been working for years on his cycle of the symphonies with the Danish Chamber Orchestra. It’s either tremendous good luck or brilliant planning that it has appeared in time for the anniversary; but ultimately it doesn’t matter, because I think we’ll be talking about it for a long time after the anniversary.

The players of the Danish Chamber Orchestra are fantastic, too. It was in the Fourth symphony that I most appreciated the difference made by natural timps: they’re fantastic in the big “ta-dah!” revelation as the first movement’s introduction gives way to the main allegro, and their distinctive thwack gives the pulse of the slow movement as much energetic crackle as the helterskelter fun of the finale. © 2019 MusicWeb International Read complete review

Rob Cowan
Gramophone, December 2019

If you’re after a rationale behind this extraordinary set of performances, Fischer himself provides one in the booklet interview accompanying the CDs. ‘I need to find out why a piece of music was written’, he says, continuing: ‘It is not sufficient merely to follow Beethoven’s instructions, as this may not suffice to convince the orchestra and the audience. I have to feel it in my body why it was so important to him. And not only that, I have to want what he wanted, make his will my own.’ And you can take him at his word.

I find these performances utterly fascinating… The recorded sound is excellent. © 2019 Gramophone Read complete review on Gramophone

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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