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David Hurwitz
ClassicsToday.com, May 2016

The performances are very good: well played, energetic, smartly paced, and sensitive to Eggert’s colorful scoring and adventurous use of instruments. Conductor Gérard Korsten clearly understands that the music deserves persuasive advocacy, and that’s just what it receives. © 2016 ClassicsToday.com Read complete review



Göran Forsling
MusicWeb International, May 2016

We have to be grateful for what [Eggert] managed to accomplish, and for the excellent work Gérard Korsten and the Gävle Symphony Orchestra have done on this disc and its companion. © 2016 MusicWeb International Read complete review



ClassicalCDReview.com, March 2016

Lively folk music tunes abound, orchestral writing is assured, and often Eggert uses percussive effects (particularly the bass drum) most effectively, sometimes with humor. The music easily could have been writtten by Schubert or Berwald, high praise indeed. The performance is outstanding, and the recording is excellent. © 2016 ClassicalCDReview.com Read complete review




Remy Franck
Pizzicato, February 2016

Here we have a convincing and atmospheric account of two symphonies in which the composer Joachim Eggert invested a lot of good and personal ideas. © 2016 Pizzicato



Lisa Flynn
WFMT (Chicago), January 2016

One of the more forward-looking Swedish composers and conductors of his age, Joachim Nikolas Eggert (1779–1813) died before achieving wider European recognition and has remained neglected ever since. His Second Symphony evokes moods both stormy and lyrical, revealing a technical brilliance that foreshadows Schubert. The Fourth Symphony reflects the military backdrop to the political unrest of the times. © 2016 WFMT (Chicago)



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



David Denton
David's Review Corner, December 2015

This second disc completes the known symphonies of Joachim Nicolas Eggert, a composer of German origin who spent the last ten years of his life in Sweden. In that brief period he was to revitalise the musical life of Stockholm as a conductor, and introduced the audiences to ‘contemporary’ music of the time, including the works of Beethoven. To that point details of his life were sketchy, so that the extent of his composing before his years in Sweden is largely unknown, though the First Symphony, on the prior disc (see October review), was so accomplished as to suspect that he was already versed in the genre. Stylistically he was wedded to Mozart and Beethoven—his musical education having been spent in Germany—and by the time he was composing the Second Symphony in 1806, there were many others of merit composing in that mode. Calling for a large orchestra, its opening movement is quite impressive in its weight, while the slow movement is unusually sturdy. Lightness rather than the thoughts of a dance for the Minuet, the fast moving strings underpinning the much slower brass and woodwind making for an unusual finale. The Fourth was probably written in 1810, and nothing much had changed after an opening Adagio where Beethoven had been the inspiration. Still, he was to find memorable thematic material for the opening movement, before we a plunged into a war-like Adagio with the timpani imitating cannon shots. The disc also contains Eggert’s alternative and entirely different version of the second movement, and features a horn duet solo that in style looks far forward. A delightful Minuet and Trio and an energetic finale completes the work, but do play it as a whole with the alternative second movement inserted. Assured playing from the Gavle Symphony with Gerard Korsten conducting. © 2015 David’s Review Corner





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