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3 of 3 found the following review helpful:
An Extraordinary Debut Recording from One of Our Finest Young Violinists Aug 21, 2008
Acclaimed German violinist Julia Fischer truly burst onto the scene with this electrifying PentaTone recording of Russian Violin Concertos composed by the likes of Khachaturian, Prokofiev and Glazunov. This was - and still is - a splendid showcase of her formidable musical talents, since she plays each work with ample passion and empathy as well as exquisite technique; hers may be the "brightest" bright tones I have heard either live or in recordings from the current rising generation of virtuoso violinists hailing from Europe, North America and Asia. It is simply no exaggeration to assert that she plays with the ample technical depth and maturity shown by the mature Anne-Sophie Mutter, coupled with the emotional intensity of a Joshua Bell; without question she is the best twenty-something violinist I have heard, period. Her exceptional fiery performance of the Khachaturian Violin Concerto in D minor is like no one I have heard; it is quite simply a class by itself in its emotional range. Her excellent playing of the second work, the Prokofiev Violin Concerto No. 1 in D major, is surprisingly self-assured and confident, in spite of its technical complexity. Last, but not least, she offers a compellingly lyrical account of the Glazunov Violin Concerto in A minor. In all three works she has splendid musical partners in Russian-American conductor Yakov Kriezberg and the Russian National Orchestra, whose performances of these works are as compelling as Fischer's. Anyone who is not acquainted yet with Fischer's admirable blend of technical brilliance and emotion will find much to be admired in this remarkable recording.
1 of 1 found the following review helpful:
Extrordinary violin playing - Don't miss this! Apr 27, 2008
A rich program of three violin concertos, as different from each other as can be imagined. Each is a gem, although the Prokofiev is the acknowledged masterpiece. Julia Fischer, now approaching her 25th birthday and already named "Artist of the year" 2007-2008 by Gramophone Magazine was but 21 when this recording was made.
"Wunderkind" is German for "a child of genius" and that is what was demonstrated here. The playing is characterized by gloriously rich and varied tonal colors, by flawless technique, and perfect intonation.
But this is much, much, more than brilliant fiddling. Each concerto is treated as a separate gem of individual beauty. Julia Fischer provides passionate performances with immense feeling that arise from a deep understanding of the music she is playing. She is an intellectual artist, but one with great heart! Pre-eminent among todays young musicians, Julia Fischer is surely destined to be recognized as one of the greatest violinists of all time!
Just a word about the sound. Although it will play on any CD player, I listened to this disc as a multi-channel SACD. The rear or "surround" channels were recorded to capture the reflections from the rear and side walls and on playback the listener is virtually transported to the concert hall. This is uncanny and quite wonderful. It makes regular stereo something you never want to have to put up with anymore.
9 of 11 found the following review helpful:
 Fine playing and accompaniment but where's the fire? Feb 09, 2008
After hearing critics trip over themselves finding superlatives for the recordings featuring German-born and Russian-trained Julia Fischer, I chose this recording to dabble in her sound-world. Fischer is clearly the hottest young violinist on the international circuit these days. She has gone around the world playing the great violin concertos including those on this recording as well as Brahms and Beethoven, typically to more wet pants reviews.
This recording, made in 2004, was Fischer's first. She chose the Khachaturian, she says in the notes, because it was her love child. She betrays a bit of her youth by admitting she doesn't know why conductors warned her against playing it and fans don't clamour for it. Apoparently, she never heard that Chicago critic that said, "He who steals Khachaturian steals trash."
I like Khachaturian, of course, and having a temporary empty spot in my collection for this concerto I thought I'd give the 25-year-old's version a spin. My verdict: she plays very well with sweetness and some vigor but she nearly completely lacks fire. This is uniform throughout the disk as she concentrates on the lyrical and not fiery aspects of the Khachaturian, Prokofiev and Glazunov concertos.
While I wouldn't count this recording a complete success for this reason, I think her style works best in the Glazunov, a lovely and not very consequential thing that leaves a strong impression under Julia's tutelage. All told, this is a much different impression than the one I got from the last great young female virtuoso I tried -- Hilary Hahn in her wonderful reading of Barber's Concerto a decade ago. If Fischer represents the best in new virtuosity on the scene, I don't hear it in this recording even though others do.
For his part, Russian conductor Yakov Kreizburg -- whom Fischer says she enjoys working with -- is on good behavior throughout this recording, providing firm and appropriate support for the soloist and offering brio and dash when in the lead or in tutti. I've heard some wayward stuff from Kreizburg in other recordings but there's none of that here. His work in the opening movement of the Khachaturian is better than the soloist's, I'd say, full of fire and wanton expression. Too bad it didn't rub off on Julia!
The Pentatone recording, a super audio hybrid, is clear and open but also one dimensional and not particularly impressive either played in super audio or tradtional stereo formats. Everything appears to be on one plane across a flat sound stage with the music before you. The bass response is not very prevalent, nor is the sound of the timpani very impressive. There is neither the depth nor the definition I've heard from the best SACDs.
So my analysis is this recording is probably overrated. Fischer is a fine player with an even temperament that needs some juice in this music. Kreizburg tries to help her out in this regard but he's following, not leading. Julia sounds a lot more like an intellectual German than a hot-headed Russian in this recording, perhaps because she's trying to copy her idol, David Oistrakh. If so, she should have taken more time to find her own way around these scores.
3 of 4 found the following review helpful:
Wonderful CD Dec 20, 2007
I am a neophyte in classical music with a small SACD collection. This is my favorite and I enjoy it immensely. Highly recommended.
7 of 8 found the following review helpful:
The young Fischer has a definite "wow" factor Mar 11, 2007
Even a jaded listener would blink twice at this recording, which showcases the German violin prodigy Julia Fischer. She's quite a dynamic player, and although lightning-fingered virtuosos aren't that rare nowadays, Fischer also possesses real charisma. She exudes confidence in every bar, and besides her gorgeous tone, she has an uncanny ability to phrase for someone so young. In all three works here she's able to shift effortlessly from Khachaturian's brash, semi-kitschy Soviet fireworks to Prokofiev's lyrico-ironic modernism and finally Glazunov's plush-velvet sentimentality. Only the Prokofiev concerto comes close to being a masterpiece, but you'd never know that from Fischer's complete dedication to each one.
PentaTone's remarkably vivid sonics make a big impression--this company has been in the forefront of SACD sound for a while--bringing Fischer's violin to life quite remarkably. Even better is Yakov Kreizberg's conducting of the exuberant Russian National Orch. His style is extroverted, like Gergiev's, with unihibited Russian vitality. I'm on the verge of gushing, but how can one help it when confronted by such a brilliant all-around production?
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![Russian Violin Concertos [Hybrid SACD]](http://ecx.images-amazon.com/images/I/51EE09HRQSL._SL160_.jpg "Russian Violin Concertos [Hybrid SACD]")
