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Claire Jackson
BBC Music Magazine, June 2020

The music of Carl Czerny (1791-1857) adorns most piano students’ desks: the composer is best known for his copious technical pieces and etudes, created as he passed on the knowledge he gleaned from his mentor and muse Beethoven to his pupils—including Liszt and Thalberg. 

The compositional style remains technically brilliant, rather than imaginative. Tuck does her best to put a virtuosic stamp on the fast-moving iterations of the theme, and achieves a degree of success. Happily, Czerny’s more mature Rondo reveals a change of pace: the Chopinesque Introduzione is delightfully luxuriant, while the subsequent dance leaps and twists. © 2020 BBC Music Magazine Read complete review

John France
MusicWeb International, September 2018

Czerny’s Introduzione e Rondo Brillant in B flat major, op.233 was written around 1833. The precise date is unknown. The work opens with a grave ‘introduction’ in the minor key. The technical challenges appear huge, but Rosemary Tuck is equal to them with this bravura performance. This is a hugely enjoyable piece that one thinks would be a pleasing crowd-puller at any concert. © 2018 MusicWeb International Read complete review

Clive Paget
Limelight, July 2018

The first movement [Piano Concerto in D Minor] is a behemoth, weighing in at 25 minutes, but although overlong it holds the attention pretty well. Tuck and Bonynge pace it well, giving each episode space to breath, and Tuck’s endlessly busy fingers offer much to admire in terms of sheer technique. © 2018 Limelight Read complete review

Jed Distler
Gramophone, June 2018

Rosemary Tuck’s technical poise and genuine feeling for the idiom make a compelling case for these flawed but interesting works, while the balance between the soloist and the English Chamber Orchestra under Richard Bonynge’s solidly supportive leadership replicates the perspective one might perceive in a modest-size concert hall. © 2018 Gramophone Read complete review on Gramophone

Colin Clarke
Classical Music, May 2018

The first Concerto of 1811/12, is expansive and dramatic; the exposed horn solos are beautifully played by High Seenan, Tuck plays her own brilliantly inventive cadenza, co-written with Alan Jones.

The Euryanthe piece was written shortly after that opera’s premiere. Czerny has space to explore Weber’s delicious theme in detail, with some wonderfully reflective passages from Tuck. © 2018 Classical Music, January 2018

The seriousness of this work, which here receives its world première recording, is evident throughout, and both Bonynge (himself a fine pianist) and Rosemary Tuck perform the work with the grandeur, even hauteur, that Czerny intended. …if the pleasures of these pieces are scarcely profound, they are nevertheless quite real, and the fine quality of the performances helps produce a disc that is highly satisfying from start to finish. © 2018 Read complete review

Records International, December 2017

The 20-year-old Czerny was completely under the spell of Beethoven when he wrote his first piano concerto in 1811–12. It’s Emperor in size—40 minutes—and its brief adagio slow movement leaks into the finale like in Beethoven’s Piano Concerto No. 4. That finale, though, is a rollicking hunting genre-piece with plenty of action for the four horns the score calls for (and who have so much to do in the outer movements that the traycard lists the principal horn player too), finishing off the first piano concerto we’ve found that sounds as much like Beethoven as Ries’ symphonies do. And the 24-minute Euryanthe piece from 1824, also a first recording, is in Czerny’s best bravura style. … © 2017 Records International

David Denton
David's Review Corner, November 2017

Viennese-born Carl Czerny composed over a thousand works including nine symphonies, many concertos and sacred scores to underline his religious lifestyle. A friend and pupil of Beethoven, he composed very much in the same style, but that became a double-edged sword, the concert-going public preferred the new horizons that Beethoven opened rather than the young man who followed in his wake. The result was a degree of success and popularity in his lifetime that soon evaporated, concert promoters sending his music into the realms of the forgotten. Now the eighty-seven-year-old conductor, Richard Bonynge, is on a mission to bring his music back into today’s world, and has already achieved a modicum of success, this being the third disc of his works to be released on Naxos. Strange to relate that this pupil of Beethoven was to become the mentor of Franz Liszt, and you hear in the myriad of notes employed in the Introduzione e Rondo Brilliant where Liszt gained his inspiration. The First Piano Concerto, completed in 1812, was very extended by concerto standards of the time, lasting some forty minutes, its three movements being an enjoyable experience, the solo part being quite demanding without being a virtuoso showpiece. It is conventional in shape with a quite forceful opening movement and a jolly finale surrounding the gentle Adagio. It finds a nimble soloist in the Australian-born Rosemary Tuck, but could the outer parts of the first movement have been played a notch quicker? This extremely well-filled disc, concludes with one of the fashionable romps based on an operatic theme. Neat and ideally balanced playing from the English Chamber Orchestra, the bright London church acoustic adding the sparkle that the music needs. A worthwhile curiosity with most of the disc in ‘World Premiere Recordings’. © 2017 David’s Review Corner

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