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Kenneth Keaton
American Record Guide, July 2019

Vojin Kocic is a Serbian guitarist and a born prize-winner. This recording is part of his prize for first place in the 2017 Heinsberg International. After that, he won the 2018 Michele Pittaluga International, so we’ll be hearing another Naxos release from him shortly.

Get the Kocic recording for yet another young virtuoso who will enjoy a fine career. © 2019 American Record Guide Read complete review on American Record Guide



Terry Robbins
The WholeNote, May 2019

The debut CD by Serbian guitarist Vojin Kocić (born 1990) follows his win at the 2017 Heinsberg International Guitar Competition in Germany—and what a debut it is, with music ranging from the Baroque to the present day (8.573906 naxos.com).

Kocić’s own arrangement of the Bach Partita No.2 in D Minor BWV1004 for solo violin works beautifully. It’s essentially the violin score note for note, with a crystal-clear line, superb articulation in the numerous fast runs, a lovely sense of pulse and a warm resonance that allows the implied harmonies to sound through. © 2019 The WholeNote Read complete review



David Denton
David's Review Corner, February 2019

Serbian born, Vojin Kocic, has been creating a performing career largely based around fifty competitions, this disc coming as a result of winning in Heinsberg 2017. He opens the programme with Bach’s Second Violin Sonata in a straightforward transcription from the unaccompanied violin score, the one major difference coming from the violin’s ability to play legato passages. That said, Kocic negotiates the fast Giga with absolute accuracy and precision, and elsewhere the guitar can play chords in a way hardly possible with a modern violin bow. Maybe he rushes passages in the final Ciaccona, but the whole is an impressive performance. On a disc playing for over eighty two minutes, there is still room for Manuel Ponce’s extended Theme, Variations and Fugue on La Folia de Espana. I am probably biased, but I prefer to hear a guitar playing music written for the instrument, and after the Bach we find Kocic is here a completely different performer, the range of colours so much more rewarding to hear. Originally written for the great Segovia, it is not a show-piece for technical virtuosity, but it offers plenty of challenges as the melodic line is supported by a complex accompaniment. We move back a generation to Giulio Regondi’s Introduction and Caprice from 1864, and then, in complete contrast, we have yet another work composed for use in a competition—Phosphenes by Marek Pasaieczny. I’m not sure what it hopes to prove, but as a whole the disc is an imposing ‘visiting card’ for Kocic immaculately recorded by Naxos’s Canadian team. © 2019 David’s Review Corner





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