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Greg Keane
Limelight, March 2015

Tetzlaff is up with the best in virtually anything he does and his performance and interpretation is very fine.

Ondine’s sound, Storgårds’ conducting and the Helsinki Philharmonic are all excellent… © 2015 Limelight Magazine Read complete review



Huntley Dent
Fanfare, March 2015

Tetzlaff gives this gray, despairing work a very sympathetic reading. One also notices, as in the First Concerto, how superior the conducting of John Storgårds is. Along with his soloist, there’s not a generic gesture anywhere. The Helsinki Philharmonic plays with rapt attention, and Ondine’s recorded sound is so clear and intimate that you catch the buzz of the bass clarinet’s reed in the middle of a chord. In all, this new release comes close to being my desert island choice. © 2015 Fanfare Read complete review



Phil Muse
Audio Video Club of Atlanta, March 2015

…outstanding performances of Tetzlaff and an excellent Helsinki Philharmonic under John Storgårds. Beautifully detailed sound recording enhances the whole package. © 2015 Audio Video Club of Atlanta Read complete review




Alain Steffen
Pizzicato, January 2015

This analytical, very precise and well balanced performance is a viable alternative to other, more emotional interpretations. © 2015 Pizzicato



Jim Svejda
Fanfare, January 2015

In the First Concerto, Tetzlaff’s pointed, logical approach works best in the darkest moments of the opening Nocturne and in the grieving Passacaglia, whose anguish Tetzlaff invests with a dignity that many violinists completely miss. He’s also extremely impressive in the more reflective passages of the great cadenza which leads into the boisterous finale. © 2015 Fanfare Read complete review




Julian Haylock
The Strad, December 2014

Christian Tetzlaff might have been born to play the Shostakovich concertos. His questing spirit, penetrating tonal inflections and clarity of vision are ideally suited to music that restlessly probes the dark side of the human psyche.

John Storgårds and his Finnish players follow him every inch of the way, enhanced by wide-ranging sound of unusual richness and depth. © 2014 The Strad Read complete review



Leslie Wright
MusicWeb International, November 2014

[The works here]…are spectacularly well performed and recorded. © 2014 MusicWeb International Read complete review



David Gutman
Gramophone, November 2014

Tetzlaff…makes the [pieces] his own in leaner, anti-rhetorical fashion. © 2014 Gramophone Read complete review on Gramophone




Stephen Greenbank
MusicWeb International, October 2014

The sound is absolutely terrific. The recording engineers have to be praised for achieving an ideal balance between soloist and orchestra. Whilst Oistrakh’s 1956 recording of the Op. 99 with the New York Philharmonic under Mitropoulos and the Op. 129 with the Moscow Philharmonic under Kondrashin from the 1960s have always been benchmarks for me, these performances from Ondine offer worthy alternatives in state-of-the-art sound quality. Tetzlaff’s interpretative insights into these complex scores set the bar high. I have no hesitation in nominating this release as a Recording of the Month. © 2014 MusicWeb International Read complete review




Blair Sanderson
AllMusic.com, October 2014

…Tetzlaff brings his own energy, concentration, and seriousness to his performances, and he shows a clear respect for the past and a connection to the tradition Oistrakh started. Add to his penetrating insights the exceptionally clear and controlled accompaniment by John Storgårds and the Helsinki Philharmonic, and the marvelous clarity and depth of Ondine’s recording, and the excellence of this recording becomes apparent…[this] release will bring a new audience to these challenging works and give weight to Tetzlaff’s increasingly important catalog. © 2014 Allmusic.com Read complete review





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