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Robert Maxham
Fanfare, July 2017

…the drama in the Patuzzis’ readings goes well beyond surprise. …Maristella brings a strong attack and a sumptuous tone to these works and a sense of fantasy that enhances the already strong musical effect of Schumann’s accompaniments.

…when they’re good, even a curmudgeon would be forced to admit, they’re good. Recommended, but with caveats and qualifications. © 2017 Fanfare Read complete review

Joseph Magil
American Record Guide, May 2017

Swiss violinist Maristella Patuzzi was born into a family of musicians and studied with Mark Kaplan and Sergei Krylov. Her technique is very good, and she seems to have no difficulty playing these difficult works. …she does not play the usual, nearly as difficult, sautille variant. Schumann’s harmonies are more Germanic than Paganini’s, so the character of the music changes a bit. © 2017 American Record Guide Read complete review on American Record Guide, January 2017

The exceptional interweaving of violin and piano here may owe a little something extra to the fact that Maristella Patuzzi performs with her father, pianist Mario Patuzzi, with whom she has made other recordings: the two have a familial bond that seems to extend to deeply similar understanding of the material and strong mutual respect for each other’s contributions to these readings. Certainly this is an unusual and, in the most literal sense, inauthentic performance of the 24 Caprices. But it is an excellent interpretation of the authentic Schumann elements of a composition that remains wholly Paganini’s while at the same time offering fascinating glimmers of Paganini’s tremendous influence on one of his great contemporary admirers. © 2017 Read complete review

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