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Jed Distler, February 2017

…violinist Ekaterina Frolova and pianist Mari Sato revel in the outer movements’ sweeping climaxes, but also imbue the central slow movement’s starkly lit phrases and telling silences with nuanced drama. What is more, their interpretation has a fervency and forward impetus… © 2017 Read complete review

James A. Altena
Fanfare, January 2017

This is clearly a well-integrated reading by skilled and committed artists who have fully entered into the spirit of the work. …rewarding scores that repay repeated hearings with considerable pleasure. Highly recommended to all fans of fin de siècle chamber music. © 2017 Fanfare Read complete review

Jerry Dubins
Fanfare, January 2017

These are wonderful performances of Walter’s quintet and sonata, …Highly recommended. © 2017 Fanfare Read complete review

Paul L Althouse
American Record Guide, January 2017

The performers, mostly Austrian, but coming from as far as Russia, China, and Japan, were all born decades after Walter died, but they play with understanding and fine technique. A welcome recording, then, and recommended to lovers of late romantic chamber music. © 2017 American Record Guide Read complete review on American Record Guide

Grego Applegate Edwards
Gapplegate Classical-Modern Music Review, November 2016

These are highly dramatic, bravura, complex, late romantic works with plenty of chromaticism and thematic density.

Helping us appreciate the music a good deal is the performances of those involved: Ekaterina Frolova on violin and Mari Sato on piano for the sonata; Patrick Vida and Lydia Peherstorfer on violins, Sybille Häusle on viola, Stefanie Huber on cello, and Le Liu on piano for the quintet. All have delved deeply into the scores at hand and have come up with fully satisfying performances, expressive more than sentimental, dynamic in all the right ways. © 2016 Gapplegate Classical-Modern Music Review Read complete review

Bob McQuiston
Classical Lost and Found, September 2016

Each of these works is performed by a different group. The artists for the sonata, violinist Ekaterina Frolova and pianist Mari Sato, give excellent accounts of this demanding music. They instill it with great feeling, and an attention to detail that reveals all its delicate shadings, setting a new standard for this rarity.

As for the quintet, violinists Patrick Vida and Lydia Peherstorfer with violist Sybille Häusle, cellist Stefanie Huber and pianist Le Liu take center stage. They deliver technically accomplished, highly sensitive accounts of a long overlooked chamber masterpiece. Their meticulous phrasing, astute dynamics and well-judged tempos bring out all the intricacies of this exquisite score. © 2016 Classical Lost and Found Read complete review

Bob Stevenson
MusicWeb International, September 2016

…very intelligent performance with no technical shortcomings to distract the ear. The violinist has a lovely, bright tone and she is supported by a fine pianist. The recording is excellent, with just the right halo of atmosphere. © 2016 MusicWeb International Read complete review

Blair Sanderson, September 2016

The Violin Sonata is thoughtfully interpreted and smoothly played by violinist Ekaterina Frolova and pianist Mari Sato, though in the Piano Quintet, violinists Patrick Vida and Lydia Peherstorfer, violist Sybille Häusle, cellist Stefanie Huber, and pianist Le Liu play with more wildness and intensity, suiting the unpredictable nature of the piece. © 2016 Read complete review

Erica Jeal
The Guardian, September 2016

[Walter’s] 1908 Violin Sonata, given a full-bodied, spirited performance by violinist Ekaterina Frolova and pianist Mari Sato, is an ambitious, sweeping work which, with its melancholy tinge and its restless, halting, slightly exotic middle movement, joins the dots between the sonatas of Brahms and Elgar. © 2016 The Guardian Read complete review

Rob Barnett
MusicWeb International, August 2016

[Walter’s four-movement Piano Quintet] is an exultant work with plenty of joyous activity for each of the five musicians. It is demonstrative, tense and brimming with intense cantabile. …performances are more than capable with the listener gaining the feeling that the players know the music well enough to enjoy putting it across rather than having to concentrate on forming the notes. © 2016 MusicWeb International Read complete review

Norman Lebrecht
Musical Toronto, August 2016

The musicians in these readings, led by violinist Ekaterina Frolova, make the best of material that promises more than it delivers. A fascinating psychological exercise. © 2016 Musical Toronto Read complete review

David Denton
David's Review Corner, August 2016

Bruno Walter was one of the most revered conductors working in the first half of the Twentieth century and was largely responsible for championing the music of Mahler. Little is known of his ‘other’ life as a composer who stylistically followed on very much in the footsteps of Schumann and Brahms, and did not fall into line with the late-Romantic school that surrounded him at the time. Though he obviously had an interest in hearing his works performed, the last one—the Violin Sonata from 1908—was the only chamber music score published in his lifetime. It had been composed for Arnold Rose, the Vienna Philharmonic’s first violinist, the work resourceful in its supply of thematic material, the outer movements of a powerful disposition as if Brahms had continued composing into a new generation. In three movements, it is a score lasting just short of half an hour, the piano—Walter was a fine pianist—given a role of equal significance to the violin. Three years earlier he had completed the Piano Quintet, the first performance given by the Rose Quartet with Walter at the keyboard. This is in a different league, the material instantly likeable and memorable, the drama that is introduced into the opening movement spilling over into a rather turbulent second, to be followed by a quirky quasi-scherzo. A finale of strength and complexity ends a score that is well worth hearing. The recording in the overly reverberant Vienna University for Music and Performing Arts falls below the high standard we have come to expect from Naxos. © 2016 David’s Review Corner

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