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Phillip Scott
Limelight, October 2019

A single instrument conveys a slice out of a Soviet composer’s world.

Weinberg’s playfulness is evident (try the skipping Tenth Prelude) as well as his introversion, as in the quietly lyrical Twelfth. Prelude No 21 opens with a direct tribute to his friend Dmitri Shostakovich by quoting the opening DSCH motif of the latter’s First Cello Concerto. (The musical influence between the two composers flowed in both directions.) Kremer plays with authority, and immaculate tone and pitch. A fascinating discovery. © 2019 Limelight Read complete review



Jonathan Woolf
MusicWeb International, August 2019

…Kremer brings stylistic awareness, technical assurance (and these are exceptionally demanding works) as well as resinous tonal production, set in a slightly resonant acoustic.

…Kremer’s violin arrangement represents a formidable commitment to perpetuating this repertoire for his own instrument. © 2019 MusicWeb International Read complete review




The Strad, July 2019

Solo cello music appropriated for the violin—in dazzling, charismatic style. © 2019 The Strad




James Manheim
AllMusic.com, June 2019

…The violin transcription here by Latvian star Gidon Kremer squeezes the original work’s broad range but also adds a level of virtuosity on the high notes that wasn’t there originally. The 24 preludes do not form a set in all the major and minor keys as do those of Bach or Chopin, and they’re perhaps more etudes than preludes, each of them exploring a little technique or motif. Combined with Kremer’s brilliance, this creates a slightly mysterious effect… © 2019 AllMusic.com Read complete review



Richard Whitehouse
Gramophone, June 2019

All in all, this is a fascinating and expressively inclusive opus to which Kremer does justice with his resourceful and idiomatic transcription, his tensile and incisive tone only abetting the music’s plangency. © 2019 Gramophone



Kevin Filipski
The Flip Side, May 2019

The vital, forceful music of Russian composer Mieczysław Weinberg (1919-1996) has become more visible on recordings and in live performances. Case in point: violinist extraordinaire Gidon Kremer, who is part of two new Weinberg discs. The first is Kremer’s own violin arrangement of Weinberg’s 24 solo cello preludes, making them as seductive as such succinct works can be over the space of 50 minutes. © 2019 The Flip Side



Colin Clarke
MusicWeb International, April 2019

It needs a player of Kremer’s stature to cope with the demands of No. 6, with its perilous spreads and leaps, while the tenebrous seventh, an ethereal shadow (perhaps a ghost of a memory) reveals just how much a sense of atmosphere Kremer can conjure up.

Kremer’s virtuosity is on full display in this cycle, but it is in the absolute resonance with Weinberg’s language with which Kremer's speaks that marks this out. © 2019 MusicWeb International Read complete review




Uwe Krusch
Pizzicato, April 2019

Mieczyslaw Weinberg composed his 24 Preludes for the violoncello. Gidon Kremer transcribed them for the violin. His playing outstandingly shows the depth of feelings and the technical richness of this pieces together with his genuine admiration for this composer. © 2019 Pizzicato




Jed Distler
ClassicsToday.com, March 2019

On violin, the Sarabande (No. 18) takes on a stentorian character quite different from the cello’s warmer resonant overtones. The elegant concluding Menuet (No. 24) falls within the cello’s tenor and mezzo-soprano ranges in such a way that the long lines suggest a seamless conversation between two singers. By contrast, the music’s high-lying range on the violin conveys a completely different impression: ethereal, otherworldly.

…Kremer’s effective arrangements and fiercely focused interpretations deserve equal consideration. © 2019 ClassicsToday.com Read complete review





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