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James A Altena
Fanfare, September 2018

I have listened to this performance several times through now, sometimes twice in a row, and its magic has yet to pale. Remarkably, though, when I go back to auditioning other performances, my previous distaste for the work immediately emerges all over again.

It appears as if I will be wed to this one performance for this score—but this one is all I need.

I’m rapidly being persuaded that Kondrashin deserves to rank with Walter, Bernstein, and Solti in the pantheon of deified Mahler maestros. © 2018 Fanfare Read complete review




Infodad.com, June 2018

…It is an interesting and very worthy performance that many lovers of this music will want to own for the insights it offers into the symphony itself and into Kondrashin as a conductor. © 2018 Infodad.com Read complete review



Terry Barfoot
MusicWeb International, May 2018

The best things in Kondrashin’s performance can be found in the two inner movements—the Scherzo is placed second—and in the more lyrical aspects of the outer movements, for example the ‘Alma theme’ second subject of the first movement and the atmospheric slow introduction in the finale. Moreover the third movement is beautifully shaped, and its rich-toned climax is particularly rewarding for the listener, with some magnificent playing from the orchestra. © 2018 MusicWeb International Read complete review



Lynn René Bayley
The Art Music Lounge, April 2018

Predictably, Kondrashin does an excellent job with the slow movement, surely one of Mahler’s most moving and beautiful creations. Kondrashin is especially effective here in the movement’s loud outburst at the 10:25 mark, but even elsewhere he shapes the music effectively and dramatically.

In the long and sometimes tortuous final movement, which runs nearly a half-hour, Kondrashin again resorts to speediness in certain moments, although here they seem to work to the music’s advantage, tightening the overall structure and not allowing the music to drag, as it often does in performance. He also relaxes the tempo enough to give the third-movement allusions their proper effect. And to his credit, he makes much more of the three hammer blows than do most conductors, even Leonard Bernstein in his excellent Vienna Philharmonic recording of this symphony. For once, then, his sometimes-hectic pace has a beneficial effect. © 2018 The Art Music Lounge Read complete review





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