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Michael De Sapio
Fanfare, November 2016

…a continuous revelation, with Friedemann Eichhorn’s dapper performances recreating the stylistic world of the galant turn-of-the-19th century. © 2016 Fanfare Read complete review



Michael De Sapio
Fanfare, May 2016

…Rode gave due attention to the orchestra, never treating it as mere “backup.” The Jena Philharmonic Orchestra provides stylish and characterful support, particularly impressive in the perturbed passages of the E-Minor Concerto’s first movement. Conductor Nicolás Pasquet is not afraid to employ a degree of tempo fluctuation in the theme groups of the concerto movements. © 2016 Fanfare Read complete review



Jerry Dubins
Fanfare, March 2016

I gave Eichhorn high marks for the previous volumes I reviewed and can recommend this one unreservedly as well, …Eichhorn provides his own cadenzas to the concertos, and in this case, all four of the works on the album are asterisked by Naxos as world premiere recordings… © 2016 Fanfare Read complete review



Bob McQuiston
Classical Lost and Found, November 2015

…Friedemann Eichhorn (b. 1971) delivers magnificent performances, proving again he’s one of today’s finest up-and-coming artists. An incredible virtuoso, he uses his prodigious technique only in service to the music.

His violin is convincingly captured, and the orchestral timbre is lifelike… © 2015 Classical Lost and Found Read complete review




Steven A. Kennedy
Cinemusical, November 2015

The pieces are perfectly fine representations with interesting melodic content and in fine performances. The lyrical writing is perhaps the most wonderful discovery here as Rode’s music explores a warm and, dare one say, romantic expressive quality of the instrument while also creating just enough “fancy” articulation and passage work to add to the excitement. Orchestral writing is equally assured. © 2015 Cinemusical Read complete review



David Denton
David's Review Corner, October 2015

Today’s young superstars should listen to this disc to know what they are missing, the concertos full of outgoing virtuosity that made Paganini’s concertos popular. Born in Bordeaux in 1774, Pierre Rode had a life of mixed fortunes as a soloist who toured throughout Europe, his many compositions mainly written to prove his dexterity on the instrument. Today his name is known to students as they plough through his instructional exercises, good for their technique, but musically very boring. He was to write thirteen concertos, this being the fourth disc in a complete cycle from Friedmann Eichhorn, who adds his own cadenzas of finger-knotting dexterity. The Second comes from the composer in his mid-twenties when he was enjoying much popularity, the long orchestral and dramatic introduction showing a debt to no one, and begs the question whether Paganini owed much to him. At almost half an hour, it was quite long for the era, the gently lyric second movement a particular joy. The Eighth is much shorter, but highly regarded in his lifetime, its finale a helter-skelter romp oozing with fun for the listener but taxing on the performers. Rode also wrote a number of Variations on popular melodies that are fiendishly difficult, the present disc including two that make huge demands. Even Eichhorn sounds hard pressed in the ‘Nel cor più non mi sento’ variations, though elsewhere he makes it almost sound too easy, left hand fingers flying around, and the bow bouncing over the string with split-second accuracy. The Jena Philharmonic are in fine form under Nicolás Pasquet, and the engineers produce an ideally balanced and well detailed sound. © 2015 David’s Review Corner





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