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Robert Maxham
Fanfare, January 2020

Rashidova is brilliant and sounds commanding on Sauret’s own 1685 Stradivari. That’s a recommendation in itself… © 2020 Fanfare Read complete review

The Strad, October 2019

Fascinating recordings of rarely heard virtuoso gems

Nazrin Rashidova is working through his 24 Etudes-Caprices and here, as on the earlier Volume 2, uses Sauret’s own c.1685 Strad. The pieces are substantial and although the virtuosity level is high—Rashidova plays superbly—there is poetry amid the note-spinning, as in nos.16 and 18. © 2019 The Strad Read complete review

Records International, August 2019

With its spellbinding effects and exceptional variation of form and dynamics, Volume 3 of the Études-Caprices continues the exploration of this monumental work’s fusion of virtuosity and expression. Rashidova plays on Sauret’s own 1685 Stradivari violin. © 2019 Records International

David Denton
David's Review Corner, July 2019

We have now reached the third disc in Emil Sauret’s monumental score with Nazrin Rashidova here playing the famous ‘Sauret’ Stradivarius violin from around 1685. The famous French-born virtuoso found time between hectic tour schedules, in which he amazed audiences, to teach in conservatories, and part of that teaching was to be encapsulated in the 24 Etude Caprices. It was to include, as famous composers had previously employed, a work in every key, while at the same time offering students substantial works they could use to impress audiences. At the same time they were to develop and tax every facet of violin technique, and as they were for unaccompanied violin, they could be used for a personal exercise of key technical elements. At the same time the lack of interesting thematic material makes them far more attractive to violinists than to concert-goers. They also largely keep away from the outgoing virtuosity for which he became famous, the young Azerbaijani-born British violinist avoiding such temptations, while creating a feeling of pent-up technical mastery. She certainly manages to impart a scene of tranquillity in the extended Fifteenth, while the Sixteenth is often an interesting exploration of a conversation between two people using the double-stopping that requires the exactitude of Rashidova’s immaculate intonation, particularly in the animated conclusion. It is in the Seventeenth that we do find memorable melody, and ‘tricks of the trade’ in the pyrotechnics of the finale, and it is here that I would commend your introduction to the composer. As I commented previously in the series, the recorded sound is as perfect as you will ever hear. © 2019 David’s Review Corner

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