Julia Fischer, Netherlands Chamber Orchestra, Yakov Kreizberg – Mozart: Violin Concertos (2011) [MCH SACD ISO + DSF DSD64 + Hi-Res FLAC]

Julia Fischer, Netherlands Chamber Orchestra, Yakov Kreizberg - Mozart: Violin Concertos (2011) [MCH SACD ISO + DSF DSD64 + Hi-Res FLAC] Download

Julia Fischer, Netherlands Chamber Orchestra, Yakov Kreizberg – Mozart: Violin Concertos (2011) [MCH SACD ISO + DSF DSD64 + Hi-Res FLAC]
SACD Rip | 3x SACD ISO | DST64 2.0 & 5.0 > 1-bit/2.8224 MHz | 192:50 min | Scans + PDF Booklets | 9,9 GB
or DSD64 2.0 Stereo (from SACD-ISO to Tracks.dsf) > 1-bit/2.8224 MHz | Scans + PDF Booklets | 7,61 GB
or FLAC Stereo (carefully converted & encoded to tracks) 24bit/96 kHz | Scans + PDF Booklets | 3,86 GB
DSD Recording | Features Stereo and Multichannel Surround Sound | Label: PentaTone # PTC 5186 453

German violinist Julia Fischer is recognized worldwide for possessing a talent of uncommon ability and as an exceptionally gifted artist, reflected in the numerous awards and effusive reviews she has received for both her live performances and recordings, including being named ‘Artist of the Year’ at The Gramophone Awards in 2007 and ‘Instrumentalist of the Year’ at the 2009 MIDEM Classical Awards. PentaTone is pleased to present this collection of her critically acclaimed recordings of Mozart’s Violin Concertos, packaged together. The set also includes her recording featuring the Sinfonia concertante for Violin, Viola and Orchestra in E flat, K.364.Violin Concertos Nos. 1, 2 & 5 Review:
This follow-up to Julia Fischer’s widely acclaimed disc of Mozart’s Concertos Nos 3 and 4 confirms the 23-year-old as a player of dazzling maturity and technical finish. Her tone is sweet and imaginatively coloured, her shaping of the music invariably interesting, with each phrase related naturally to its place in the larger scheme. In fast movements, launched by Yakov Kreizberg’s bristling, bright-eyed tuttis (the orchestral sound slightly inflated by the reverberant church acoustic), Fischer tends to be fierier and more assertive than either Pamela Frank or James Ehnes. The opening Allegro of No 5 and the outer movements of No 1 are superb in their mingled finesse of detail and exhilarating sweep – and I liked the aptly scaled cadenzas concocted jointly by Fischer and Kreizberg. More controversial is the triple-time finale of No 2. Fischer’s unusually swift, tense reading is certainly effective, though here, as occasionally elsewhere, I did miss the wit and playfulness found by Ehnes and, especially, Frank. It would be an exaggeration to say that Fischer slightly romanticises the slow movements. But she does cultivate a more intense vibrato and a more moulded, espressivo style of phrasing than either of the rival versions, especially in the seraphic Adagio of No 5, where her tempo is by some way the broadest of the three. While her performance is subtle and very beautiful, I am even more moved by Ehnes and Frank, both of whom seem to me to capture a crucial quality of spiritual innocence that eludes the more sophisticated Fischer. Ultimately, though, it all boils down to taste. Certainly, no one could deny the intelligence, panache or musical insight of Fischer’s vividly imagined performances.

Violin Concertos Nos. 3 & 4 Review:
It takes a lot of guts to write your own cadenzas. After all, most of the concertos in the standard repertoire already have their standard cadenzas, usually supplied by either the composer or some exceedingly well-known soloist, and the chance of any current soloist touching the same celestial heights is doubtful at best. Nevertheless, on this disc of Mozart’s Third and Fourth violin concertos coupled with his Adagio K. 261 and Rondo K. 269 for violin and orchestra, Julia Fischer not only writes most of her own cadenzas, she touches the same celestial heights as the greatest masters of the bow. Fischer has a pure tone, an impeccable intonation, and an immaculate technique, but she also has a warm heart and a radiant soul, and her performances of Mozart’s concertos are as clear and luminous as the music. Beyond that, Fischer has the rare talent of writing cadenzas that partake of the substance of the music but transfuse it with the joy of Fischer’s soul, and the result not only touches the heart, it touches the infinite. Yakov Kreizberg leads the Netherlands Chamber Orchestra in stylishly polished performances and provides the cadenza for the central Adagio of the Third concerto, but this is Fischer’s show and she proves herself a star. PentaTone’s 2005 sound is warm, deep, and full.

Sinfonia Concertante Review:
German violinist Julia Fischer, 24 years old when this recording was released, is surely a bright new star, all charisma as her diminutive self stands between conductor and collaborator Yakov Kreizberg and violist Gordan Nikolic on the cover of this disc. She has a steely technique that she brings to Mozart’s Sinfonia Concertante in E flat, K. 364 – not a steely work, but the musicianship here is superb. Fischer and Nikolic make an attractive pair in the work, her razor-sharp tone set against his gutsier sound production, all the contrasts held together by Kreizberg’s brisk tempos and no-nonsense forward drive. There are recordings of the Sinfonia Concertante that play more directly to sentiment, but the work’s intricate architecture breathes in this interpretation. An additional bonus is the inclusion of the rarely heard Concertone in C major for two violins and orchestra, K. 190, a work that also has solo oboe and cello parts and seems to hang in the balance between the concerto and sinfonia concerante (multiple-soloist) genres. The performers bring a nice lilting quality to the first two movements, rather sprawling creations of the young Mozart that demand really compelling soloists of the sort on display here. The only complaint is over-resonant sound, the result of PentaTone’s decision to record in a Haarlem church – the wrong place for music intended for a medium-sized, crowded, well-upholstered room. It destroys the intimate scale of the performance and causes the soloists and the harpsichord continuo of the Concertone, especially, to sound a bit like they are swimming in a watery chamber. The clarity of Fischer’s playing, however, is not compromised, and it’s a real wonder. She has also recorded two of Mozart’s solo violin concertos with the same forces, but this disc in a way suggests even greater talents.

Tracklist:

DISC 1:
01. Violin Concerto No. 1 in B flat, K.207 – Allegro moderato
02. Violin Concerto No. 1 in B flat, K.207 – Adagio
03. Violin Concerto No. 1 in B flat, K.207 – Presto
04. Violin Concerto No. 2 in D, K.211 – Allegro moderato
05. Violin Concerto No. 2 in D, K.211 – Andante
06. Violin Concerto No. 2 in D, K.211 – Rondeau (Allegro)
07. Violin Concerto No. 5 in A, K.219 – Allegro aperto
08. Violin Concerto No. 5 in A, K.219 – Adagio
09. Violin Concerto No. 5 in A, K.219 – Rondeau (Tempo di menuetto)

DISC 2:
01. Violin Concerto No. 3 in G, K. 216 – Allegro
02. Violin Concerto No. 3 in G, K. 216 – Adagio
03. Violin Concerto No. 3 in G, K. 216 – Rondeau (Allegro-Andante-Allegretto-Allegro)
04. Violin Concerto No. 4 in D, K. 218 – Allegro
05. Violin Concerto No. 4 in D, K. 218 – Andante cantabile
06. Violin Concerto No. 4 in D, K. 218 – Rondeau (Andante grazioso)
07. Adagio for Violin and Orchestra in E, K. 261
08. Rondo for Violin and Orchestra in B flat, K. 269

DISC 3:
01. Sinfonia Concertante for Violin, Viola and Orchestra in E flat, K. 364 – Allegro maestoso
02. Sinfonia Concertante for Violin, Viola and Orchestra in E flat, K. 364 – Andante
03. Sinfonia Concertante for Violin, Viola and Orchestra in E flat, K. 364 – Presto
04. Rondo for Violin and Orchestra in C, K. 373 – Allegretto grazioso
05. Concertone for 2 Violins and Orchestra in C, K. 190 – Allegro spiritoso
06. Concertone for 2 Violins and Orchestra in C, K. 190 – Andantino grazioso
07. Concertone for 2 Violins and Orchestra in C, K. 190 – Tempo di menuetto (Vivace)