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David Hurwitz
ClassicsToday.com, May 2016

[Eggert’s] astonishingly virtuosic scoring and control of texture not only preserves the music’s humor and spirit, it actually enhances it. Even the bass drum contributes a solo.

Gérard Korsten plays…with proprietary relish, and the orchestra responds enthusiastically to his leadership. © 2016 ClassicsToday.com Read complete review



Donald R Vroon
American Record Guide, March 2016

The orchestra is small but good—about 50 musicians. © 2016 American Record Guide Read complete review on American Record Guide



Jerry Dubins
Fanfare, March 2016

…I find this music tuneful, inventive, and very enjoyable. …Gérard Korsten and the Gävle Symphony Orchestra seem to invest a good deal of capital to present the music of their fellow countryman in the best light possible. © 2016 Fanfare Read complete review



Bob McQuiston
Classical Lost and Found, December 2015

The recordings made in November 2009 and March 2014 consistently project a wide, well-focused soundstage in an ideal acoustic. The instrumental timbre is characterized by clear, somewhat brittle highs, a lifelike midrange, and clean lows that include passages riddled with articulate bass drum strokes. © 2015 Classical Lost And Found Read complete review




Steven A. Kennedy
Cinemusical, November 2015

…these are good little works that do indeed deserve more awareness. The music is quite thrilling at times and the melodic ideas are equally engaging. The use of the orchestra is also quite striking with the way different winds and brass are integrated into the texture. The completion of this series will certainly be of further interest to those exploring this musical period. © 2015 Cinemusical Read complete review



John France
MusicWeb International, October 2015

The sound quality is excellent. The playing is well-judged, classily and enthusiastically played by the Gävle Symphony Orchestra and their conductor, Gérard Korsten. © 2015 MusicWeb International Read complete review



Bruce Reader
The Classical Reviewer, October 2015

Of all the byways of 18th/19th century music here is a composer that is well worth hearing, especially his two symphonies which are really attractive works that hold the attention throughout.

They are given wonderfully accomplished and fluent performances by the Gävle Symphony Orchestra under Gérard Korsten and an excellent recording from the Gävle Concert Hall, Sweden. There are informative booklet notes. I’m rather looking forward to hearing the second volume in this set. © 2015 The Classical Reviewer Read complete review



David Denton
David's Review Corner, October 2015

Though Sweden would lay claim to the composer, Joachim Nikolas Eggert, he lived there for just ten years at the end of his life, dying in 1813 at the age of thirty-four. Yet in that period he contributed much to the musical life of Stockholm, principally as a conductor, introducing the city to the ‘modern’ music of Beethoven, and giving the first Swedish performances of many major works by Mozart. He had been born on a Baltic island and musically educated in Germany, with the influences of Mozart and Haydn colouring his output. It is believed he completed four symphonies—which are being recorded on two discs—though details of his life and output before his arrival in Stockholm are sketchy. Certainly the First shows a very confident composer with a ready ability to create attractive melodic material that he then skilfully orchestrated. His Minuet and Trio third movement is certainly as engaging as any in Mozart’s symphonies, while his bubbling finale sounds like a happy Beethoven. That his music was still evolving comes in the Third composed two years later, the smooth change from the sombre opening to the main section of the first movement being just one example of his uncommon skills. Indeed the whole score could sit comfortably as an early work from Beethoven, only lacking in overall balance, the second and third movements added together hardly longer than half the length of the first… Eggert also wrote incidental music, here represented in eight atmospheric cameo pieces for Granberg’s play, Svante Sture, and a bubbling and joyful overture to Marten Alten’s comedy The Moors of Spain. Neat and committed playing from the Gävle orchestra with their conductor, Gérard Korsten, and at the Naxos price it is a perfect introduction to Eggert. © 2015 David’s Review Corner





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