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Steven E. Ritter
Fanfare, May 2012

Tetzlaff consistently manages to pursue new and in-depth understandings into standard works with huge discographies while avoiding cheesy and often peculiar affectations that appear interesting and insightful on first hearing before degenerating into irritating eccentricities on repeat.

It is a little odd that he is only now coming to the Mendelssohn concerto…In a way I think maybe this has helped his interpretative understanding. He does not think of the Mendelssohn solely as a flashy or any way substandard work compared to the other two, but as a solid, well-crafted, and indeed iconic piece of music that set the bar very high for all subsequent Romantic concertos.

Tetzlaff’s seriousness elevates this concerto from pseudo-flash into the realm of the truly sublime…expertly executed and rendered to high-performance perfection…

Tetzlaff is such an artist, and this reading of this long-suffering work [Schumann concerto]…shows itself far more deserving of enlightened audiences…This is a really underrated piece that just might have found its ideal exponent.

The Fantasy…is given a superb reading by Tetzlaff, with Paavo Järvi and his excellent Frankfurt forces with him all the way, as on each piece here. Terrific Schumann and profound…Mendelssohn make for a very desirable disc. © 2012 Fanfare Read complete review on Fanfare

Elaine Fine
American Record Guide, March 2012

no recording has convinced me of the ultimate merit of this work until this one.

Tetzlaff has a remarkable technique and a sometimes audacious approach to phrasing that adds a bit of extra spice to the Mendelssohn and supports the unusual nature of the solo material of both Schumann pieces. What impresses me most about the Schumann concerto is the relationship between the sometimes athletic solo line and an exquisite orchestration that reflects the tonal qualities of the violin’s warmest registers. What impresses me the most about this concert recording…is the conductor’s ability to make the work as much a piece for orchestra as it is for violin. © 2012 American Record Guide Read complete review on American Record Guide

Duncan Druce
Gramophone, February 2012

A particularly clear recording, with finely balanced orchestral textures and distinguished solo woodwind playing, helps make this one of the most impressive accounts of the work available. Tetzlaff [is]…a wonderfully expressive player, projecting a keen sense of the Andante’s long melodic lines.

…Tetzlaff shows an admirable lightness of touch, and the wistful character of the opening is well caught. …the Concerto…remains a fine performance: Tetzlaff takes us right to the intimate heart of the slow movement, after which the pure, luminous D major sonorities of the finale make a particularly stirring effect. © 2012 Gramophone Read complete review on Gramophone

Terry Robbins
The WholeNote, February 2012

The Mendelssohn is a beautiful performance, never over-played, with an affecting slow movement and a finale that displays detailed, subtle and sensitive playing without ever losing a sense of line…Tetzlaff…does a lovely job with this work, as he does with the Fantasy for Violin and Orchestra…It was originally felt to be a brilliant and cheerful piece… © 2012 The WholeNote Read complete review

David Hurwitz, January 2012

Christian Tetzlaff is an absolutely fabulous violinist, and this repertoire suits him perfectly. His tone is unfailingly sweet, penetrating, and lyrical, but never burdened with excessive vibrato. His intonation is as accurate as we have any right to expect, his phrasing of the big tunes always natural and unaffected. In the slow movements, particularly that of the Mendelssohn, he makes his expressive points with an unobtrusive mastery that’s truly moving, and seemingly inevitable. The music sounds as though it is being composed on the spot, songfully and spontaneously.

The couplings are perfectly chosen and even more impressive, if possible. Schumann’s two clumsily orchestrated concertante works for violin and orchestra are full of beautiful ideas, but they so often bog down in what can seem like tiresome repetition. Not here. Tetzlaff plays with evident affection, making light of the difficult and often unforgiving solo parts… Superb engineering, ideally balanced, puts the finishing touch on an irresistible release. © 2012

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