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Gil French
American Record Guide, September 2017

The orchestra itself is excellent, as are balances. The acoustics in the Pardubice House of Music are adequate; less resonance makes it sound more like an opera house than a concert hall. © 2017 American Record Guide Read complete review on American Record Guide

Uwe Krusch
Pizzicato, May 2017

The series of recordings of Bériot’s violin concertos is nearly completed with this edition. And again, accomplished artists bring in all their skills to let the music become vivid and colourful. © 2017 Pizzicato

Bob McQuiston
Classical Lost and Found, April 2017

BÉRIOT, C.-A. de: Violin Concertos Nos. 4, 6, 7 (Ayana Tsuji, Czech Chamber Philharmonic, Pardubice, Halász) 8.573734
BERIOT, C.-A. de: Violin Concertos Nos. 2, 3 and 5 (Quint) 8.570360
BERIOT, C.A. de: Violin Concertos Nos. 1, 8 and 9 8.555104

The performances on this release by violinist Ayana Tsuji and the Czech Pardubice Chamber Philharmonic Orchestra under Michael Halász are equally commendable… They featured soloists Philippe Quint accompanied by the Slovak Radio Symphony Orchestra with Kirk Trevor on the podium, and Takao Nishizaki along with the Belgian Radio & Television of the French Community (RTBF) Brussels Symphony Orchestra lead by Alfred Weller.

The recordings on this most recent release were done last year at Suk Hall in Pardubice, Czech Republic, some sixty miles east of Prague. Those on the other discs were made in 2006, and 1989 at sites in Bratislava, Slovak Republic, and Brussels, Belgium, respectively. Despite all these differing circumstances, the three albums project amazingly consistent, generally good sounding sonic images in warm accommodating venues.

As for the instrumental timbre, the highs are pleasant, if a tad tinkly, and the midrange pleasing. Beriot’s conservative scoring precludes any heavy bass, but what’s here is lean and clean with no low string hangover. In closing, all three soloists are technically accomplished virtuosos with superb tone, and this showy music would have probably come off as even more dazzling had they been a bit more highlighted. © 2017 Classical Lost and Found Read complete review, April 2017

Tsuji and Halász play the music with substantial joie de vivre and a fine sense of pacing and balance. © 2017 Read complete review

Robert Benson, April 2017

These sparkling performances by young Japanese violinist Ayana Tsuji show judges at the 2016 Montreal International Competition chose wisely when they awarded her numerous prizes. These are charming, worthy concertos that deserve a place, at least occasionally, in the concert hall. Thanks to Naxos for making them available in splendid performances. …A splendid release! © 2017 Read complete review

Records International, April 2017

This brings to nine the number of Bériot’s ten violin concertos which Naxos have released in 2003, 2008 and now. These three are between 13 and 18 minutes in length, No. 4 effectively just the first movement of a regular concerto, the other two examples of the composer’s innovative (for his time) three-movements-in-one form. Attractive melodies are adorned with demands on the player’s technique but always in the service of a flowing, lyrical early Romanticism. © 2017 Records International

David Denton
David's Review Corner, March 2017

Born in Belgium in 1802, and largely self-taught, Charles Auguste de Bériot, was, for a period of ten years, one of Europe’s most sensational concert violinists. The tragic death of his wife, the celebrated diva, Maria Malibran, was a shock that saw him largely withdraw from stage appearances at the age of thirty-six, the remainder of his life given to teaching and composing. With a total command of the instrument as a performer, his concertos—of which he wrote ten—were in a style marrying the showmanship of Paganini with the lyric qualities that characterised the French concertos of the time. Even today they present a challenge to the virtuosity of the soloist, though the young Japanese violinist, Ayana Tsuji, displays an ease that almost derogates the feats of dexterity she is performing. The one-movement Fourth offers Tsuji an opportunity to demonstrate her impeccable ricochet bowing and a faultless intonation in passages of double-stopping. The Sixth, from 1849, is in three linked movements, the slow movement forming a bridging passage that leads to a short and mercurial finale. The Seventh follows exactly the same shape, both displaying the composers geniality, yet equally revealing his inability to conceive ‘catchy tunes’. That is overcome when he borrowed themes, such as the one used in the Air varie, while there is a suggestion of outside influences in his dances for the Scenes de ballet. Musical confectionery beautifully served-up, the Septuagenarian conductor, Michael Halász, knowing perfectly how to support the soloist with de Beriot’s basic accompaniments. Eight of the nine concertos are now available on Naxos. Reliable sound quality. © 2017 David’s Review Corner

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