Classical Music Home

Welcome to Naxos Records

 
Keyword Search
 
 Classical Music Home > Naxos Album Reviews

Album Reviews



 
See latest reviews of other albums...

Jens F. Laurson
MusicWeb International, January 2020

The indubitably great Christian Tetzlaff plays the Beethoven and Sibelius Violin Concertos on this disc: ‘Great’, slightly ‘difficult’ solitaires of the late classic and late romantic period, respectively.

If you focus sufficiently just on the violin part, meanwhile, little lightning bolts of superlative playing will strike you. The way Tetzlaff creates casual sparks in the Sibelius finale will put a bright smile on your face. © 2020 MusicWeb International Read complete review



Gil French
American Record Guide, January 2020

…There’s the breathtaking, flawless playing of Christian Tetzlaff. His isn’t so much a warm sound as a lyrical one, deeply expressive and nuanced yet precise. His flexible arpeggios come from the heart and a 100% immersion in the music.

At the end I was left literally breathless, chilled, with tears in my eyes. This wasn’t mere virtuosity. It was the first time I heard the entire concerto not as a big serious opening movement followed by a smarmy II and a light, skipping III, but as one magnificent, powerful entity from start to finish. © 2020 American Record Guide Read complete review on American Record Guide



Huntley Dent
Fanfare, January 2020

…With very close miking, every nuance of Tetzlaff’s playing in the slow movement is gripping and even more passionate than in the first recording. Ticciati also grasps that this movement is the soul of the concerto and pours himself into it. The “polacca for polar bears” finale moves with gratifying velocity, an improvement over the heavy trundling many other violinists deliver. Tetzlaff’s tone is delicate compared with the command of Heifetz, but the two are evenly matched virtuosically.

…The Beethoven performance makes a greater contribution to the work’s discography. I won’t soon forget how deeply Tetzlaff moved me. © 2020 Fanfare Read complete review



Will Yeoman
Limelight, December 2019

Tetzlaff’s coupling proves endlessly illuminating.

To the Beethoven first, and here soloist, orchestra and conductor are so clearly in accord (Tetzlaff goes so far as to say he and Ticciati “share a heartbeat”). If in the first movement they open up space to allow the drama to unfold, they imbue the slow movement with a deceptive naivete while injecting brio and sprezzatura into a joyful Rondo. The miracle here is the masterly combination of levity and depth. © 2019 Limelight Read complete review



Terry Robbins
The WholeNote, December 2019

Tetzlaff has recorded both concertos before, but clearly feels he has more to say—or to add, perhaps—this time around. Quite striking, given our being accustomed to the Auer, Joachim and Kreisler cadenzas, is the use of the first movement cadenza with added timpani that Beethoven wrote for his transcription for piano and orchestra, as well as cadenzas and ornamentation by Beethoven in the other two movements (again presumably back-sourced from the piano version, as there were none in the original violin score), although Tetzlaff says in the booklet conversation that he has never done it differently.

Insightful comments on both the Beethoven and Sibelius help to illuminate his approach to their performance and both the physical and intellectual demands. The performers are clearly of one mind in engrossing, intelligent and deeply satisfying performances. © 2019 The WholeNote Read complete review



David Mellor
Classic FM, November 2019

Concertos are a good way of getting people into music, or allowing established concerto lovers to hear popular favourites a bit differently.

Christian Tetzlaff’s coupling of the Beethoven and Sibelius Concertos with our own Robin Ticciati and his Berlin band has received first rate reviews everywhere. And deservedly so.

Both these concertos are played with real insight, and not just treated as display pieces.

This Ondine recording is excellent. © 2019 Classic FM




Infodad.com, November 2019

…The new Ondine recording featuring Christian Tetzlaff and the Deutsches Symphonie-Orchester Berlin under Robin Ticciati seems determined to get listeners to hear the concerto from a new perspective. This comes through in multiple ways in what is a very muscular performance that, although it eschews virtuosity for its own sake, gives the concerto a large, impressive sound that belies its essentially Classical-era construction. … And that is what ultimately makes works like these deserving of their place in the standard classical repertoire: they are amenable to highly varied, even experimental approaches by many different performers, with each well-considered version serving to show listeners something new and enlightening in the compositions. © 2019 Infodad.com Read complete review



The Strad, November 2019

Tetzlaff should be applauded for taking it at a true Adagio molto… © 2019 The Strad




Rob Cowan
Gramophone, October 2019

The engaging, ever-communicative artistry of Christian Tetzlaff led us to focus on him this issue—a quality perfectly demonstrated in these questing, excellent concerto performances.

…Tetzlaff’s sweet, delicately spun tone contrasts with, or should I say complements, Ticciati’s assertive, occasionally bullish accompaniment. The Larghetto is beautifully done, its effect underlined through the sheer energy and character of the outer movements.

The Concerto’s opening is candidly emotional, with imaginatively deployed varieties of attack (a Tetzlaff speciality) and Ticciati again engaging his soloist with the utmost intensity, lunging fearlessly at Sibelius’s dynamic writing, whether the deafening growl at 7’07” or the movement’s fiercely driven close. As with the Beethoven, Tetzlaff is at his lyrical best in the Adagio. Both performances sidestep interpretative convention without either offending or displacing their finest rivals. In many respects, a real knock-out. © 2019 Gramophone Read complete review on Gramophone



Hank Zauderer
My Classical Notes, September 2019

…Violinist Christian Tetzlaff performs two violin concertos in fresh new interpretations together with the Deutsches Symphonie-Orchester Berlin directed by the orchestra’s exciting new music director, Robin Ticciati.

Christian Tetzlaff is considered one of the world’s leading international violinists and maintains a most extensive performing schedule. © 2019 My Classical Notes Read complete review



Leighton Jones
The Classic Review, September 2019

Tetzlaff in these new recordings is paired with the Deutsches Symphonie-Orchester Berlin conducted by Robin Ticciati, who have bonded naturally to produce interpretations elevating these works to another level. Together they curate the most interesting path into the extraordinary emotions beneath the surface of the notes.

Tetzlaff’s technical prowess is flawless, never seeming stretched; his consistently beautiful tone, range of vibrato speeds and inherent lyricism are uncompromising.

A highly commendable and recommended release. © 2019 The Classic Review Read complete review




Erica Jeal
The Guardian, September 2019

Well-known works played with impressive nonchalance and grace by violinist whose touch is light, and right

…Tetzlaff’s tone, of disarming sweetness with just a little ferocity in the background, is just right for this irresistibly propulsive interpretation. … Tetzlaff emerges unscathed, even as his listeners are left breathless. An exhilarating new look at familiar music. © 2019 The Guardian Read complete review




Rafael de Acha
Rafael’s Music Notes, September 2019

A Mount Everest of a composition, it took several failed attempts to deliver a satisfying premiere of Sibelius’ violin concerto in D Minor, Opus 47. So it is not surprising that the formidable Christian Tetzlaff took up the challenge, pairing it with the Beethoven violin concerto in D Major, Op. 61. He recorded it with the Deutsche Symphonie Orchester Berlin for the Ondine label, with the meteorically-rising Robin Ticciati at the helm.

The splendid results evidence careful attention to Sibelius’ precisely annotated and fluctuating tempo markings and time signatures. Beyond all that, depth of feeling and keen intellectual insight separate this recording of both the often heard Beethoven and the somewhat rare Sibelius from many in the pack. © 2019 Rafael's Music Notes Read complete review





Naxos Records, a member of the Naxos Music Group