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Jerobear
Review Corner, January 2019

It’s a playful and fun programme, the music being spirited, and with lots of impressive effects…

Hossen, who did the research, obviously plays well and he is accompanied by the Vienna Classical Players under Martin Kerschbaum. © 2019 Review Corner Read complete review



The Congleton Chronicle, December 2018

It’s a playful and fun programme, the music being spirited, and with lots of impressive effects. © 2018 The Congleton Chronicle



John Whitmore
MusicWeb International, September 2018

The playing of Mario Hossen is fabulous. The orchestra sounds like a fairly small group but plays extremely well for the soloist. The recording is slightly boxy and lacks depth but it is well detailed. Mr Hossen is presented well forward but his magnificent playing can withstand being caught in such a spotlight. …This is a thoroughly enjoyable CD but probably only one for lovers of violin virtuosity and Paganini completists. © 2018 MusicWeb International Read complete review



Robert Maxham
Fanfare, September 2018

Hossen proves to be an incisive advocate of Paganini’s style, which combined hyper-sharp technical effects with Rossinian melody, and he brings a hint of witchcraft to the popular variations on Le Streghe. He produces a tone slicing as cleanly as a surgical knife from the upper registers of the 1749 Giovanni Battista Guadagnini upon which he plays, and ingratiating warmth from the lower registers. His overall staccato-like articulation in the harmonics of the Suonata con Variazioni doesn’t always make them sound immaculate, but it should rivet listeners’ attention. © 2018 Fanfare Read complete review



Joseph Magil
American Record Guide, May 2018

What I enjoy most is the orchestral accompaniment for all of the pieces. I have heard some of them with only piano accompaniment. The other novelty here is what Dynamic claims is the world premiere recording of the Religious Introduction and Rondo of the Bell. The introduction has something I have never heard before in Paganini: a chorus.

The musicians are very good, and Hossen has plenty of technique. © 2018 American Record Guide Read complete review on American Record Guide



Records International, February 2018

The first three items listed [Le Streghe, M.S. 19, Non più mesta, M.S. 22 and Iā€ˆPalpiti, M.S. 77] are played a semitone higher, as Paganini intended, in D major, therefore sounding as if it were written in E flat major, which is the key of the orchestral accompaniment. The Religiosa introduzione, with men’s chorus in its first section, is the first version of Couvent du Mont St. Bernard, M.S. 67. … © 2018 Records International





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