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Track Listings
| 1. Fantasy for Violin and Orchestra, Op. 131 (Schumann) - Christian Tetzlaff/Frankfurt Radio Symphony Orchestra |
| 2. Violin Concerto in E minor, Op. 64 (Mendelssohn) - Christian Tetzlaff/Frankfurt Radio Symphony Orchestra |
| 3. Violin Concerto in D minor, WoO1 (Schumann) - Christian Tetzlaff/Frankfurt Radio Symphony Orchestra |
Product Description
Review
It is typical of Christian Tetzlaff's questing musical intelligence that he should choose to launch his new association with the label Ondine not with a conventional pairing of the Mendelssohn violin concerto with one of its usual recording partners, such as the concertos by Tchaikovsky or Max Bruch, but frames it instead with two of the most problematic works in the Romantic violin concerto repertory, and makes a total success of all of them. Both the Fantasy for violin and orchestra and the Violin Concerto are late Schumann, and are regularly cited as examples of how rapidly Schumann's creative powers waned in the 1850s, but for the first time in my experience, Tetzlaff's performances more than compensate for their shortcomings. Even if the orchestral accompaniments inevitably remain rather prosaic and four-square, he brings both urgency and a compelling sense of purpose to the violin writing, so that its weaknesses, its sometimes blunt phrasing and routine figuration, are entirely transcended. It's a remarkable piece of musical alchemy, but then his way of presenting the Mendelssohn concerto as if it were a new discovery is exceptional, too. But if Tetzlaff's performances are unquestionably five-star, unfortunately neither the sound nor the rather routine contribution from the Frankfurt Radio Orchestra under Paavo Järvi quite measures up to them. **** --Guardian,15/12/11
In short, this uncommonly interesting CD is well worth the attention of the genuine lover of echt-Romantic repertoire. The recording quality and balance throughout are first-class :the presentation is also very good. I enthusiastically recommend this disc. --IRR,Jan'12
Tetzlaff treats it with affection and virtuosity in turn. Performance *** Recording *** --BBC Music Magazine,Feb'12
A fine performance:Tetzlaff takes us right to the intimate heart of the slow movement,after which the pure, luminous D major sonorities of the finale make a particular stirring effect. --Gramophone,Feb'12
The recording is full-bodied,vivid and appropiately balanced. --Gramophone,Feb'12
The recording is full-bodied, vivid and appropriately balanced. --The Strad,Feb'12
The recording is full-bodied,vivid and appropiately balanced. --Gramophone,Feb'12
In short, this uncommonly interesting CD is well worth the attention of the genuine lover of echt-Romantic repertoire. The recording quality and balance throughout are first-class :the presentation is also very good. I enthusiastically recommend this disc. --IRR,Jan'12
Tetzlaff treats it with affection and virtuosity in turn. Performance *** Recording *** --BBC Music Magazine,Feb'12
A fine performance:Tetzlaff takes us right to the intimate heart of the slow movement,after which the pure, luminous D major sonorities of the finale make a particular stirring effect. --Gramophone,Feb'12
The recording is full-bodied,vivid and appropiately balanced. --Gramophone,Feb'12
The recording is full-bodied, vivid and appropriately balanced. --The Strad,Feb'12
The recording is full-bodied,vivid and appropiately balanced. --Gramophone,Feb'12
Product Description
Christian Tetzlaff, violon - hr-Sinfonieorchester (Orchestre Symphonique de la Radio de Francfort) - Paavo Järvi, direction
Customer Reviews
Most Helpful Customer Reviews
2 of 4 people found the following review helpful
Format:Audio CD
Christian Tetzlaff has risen to become one of the most admired international soloists, much favored by top conductors like James Levine for his musicianship and reflective, thoughtful style. Tetzlaff represents the kind of virtuoso who puts the score ahead of crowd-pleasing display (in the lineage of restrained virtuosity exemplified by Szeryng and the deep musicality of Menuhin). Restraint is the key feature, in fact, of this unusual pairing of the thrice-familiar Mendelssohn concerto and the long suppressed Schumann. The composer's heirs suppressed the work feeling that it showed too much evidence of Schumann's mental and musical deterioration, and there was a vigorous fight not to let it be played even as late as 1937. Since then a handful of violinists have made it a cause, the most prominent being Gidon Kremer, but there is no denying its flaws. This wandering, diffuse work is far from inspired, despite its shining moments.
I wish that Tetzlaff showed more conviction in both works. The Mendelssohn is all but reticent, missing the exuberance of the first movement, dwelling on the slow movement as if it were a meditation, and finding some vitality only in the mercurial finale. Everything is graceful and lovingly done - Tetzlaff is never less than musically impeccable - but I didn't sit up and take notice the way I do when I hear any of Isaac Stern's recordings. Perhaps this performance fits the model of "letting the music speak for itself," a model that rarely touches my heart or arouses my interest. I want interpretations that are more involving.
The same graceful reticence marks the Schumann, and here it works better, because even when the music flags in interest, Tetzlaff is always there to gracefully bridge the gaps. The dancing finale in particular is enjoyable, and Paavo Jarvi's alert conducting helps carry the show. The preceding slow movement gives us some appealing melancholy, even if the central theme is not one of Schumann's best. For all its sweetness, this lied for violin and orchestra feels unfocused, as if Schumann has lost his concentration. That is even more true in the long (14 min.) opening movement, which consists of gestures in search of a structure, one event following another without sufficient interest or coherence to hold the listener. Of course, "the listener" always means "this listener;" esteemed artists have a reason for reviving this score.
In the end, neither reading is griping enough to surpass the best rivals, and the opening Phantasie Op 131 by Schumann stands as a perfect example of how even the most refined artistry can't rescue a distressingly banal score.
I wish that Tetzlaff showed more conviction in both works. The Mendelssohn is all but reticent, missing the exuberance of the first movement, dwelling on the slow movement as if it were a meditation, and finding some vitality only in the mercurial finale. Everything is graceful and lovingly done - Tetzlaff is never less than musically impeccable - but I didn't sit up and take notice the way I do when I hear any of Isaac Stern's recordings. Perhaps this performance fits the model of "letting the music speak for itself," a model that rarely touches my heart or arouses my interest. I want interpretations that are more involving.
The same graceful reticence marks the Schumann, and here it works better, because even when the music flags in interest, Tetzlaff is always there to gracefully bridge the gaps. The dancing finale in particular is enjoyable, and Paavo Jarvi's alert conducting helps carry the show. The preceding slow movement gives us some appealing melancholy, even if the central theme is not one of Schumann's best. For all its sweetness, this lied for violin and orchestra feels unfocused, as if Schumann has lost his concentration. That is even more true in the long (14 min.) opening movement, which consists of gestures in search of a structure, one event following another without sufficient interest or coherence to hold the listener. Of course, "the listener" always means "this listener;" esteemed artists have a reason for reviving this score.
In the end, neither reading is griping enough to surpass the best rivals, and the opening Phantasie Op 131 by Schumann stands as a perfect example of how even the most refined artistry can't rescue a distressingly banal score.
Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
3.5 out of 5 stars
2 reviews
2 of 3 people found the following review helpful
3.0 out of 5 stars
Disappointing
14 Dec 2012
By JHM
- Published on Amazon.com
Format:Audio CD
Mr. Tetzlaff plays like an accomplished violinist however, I'm bothered very much by the bombastic accompaniment from the Frankfurt Radio Orchestra. From all my years as a principal symphony musician, I could never get away with playing this loud and overpowering! I feel that Tetzlaff must have been very overwhelmed and bothered. I know I would have been. To my ears, the orchestra sounds like "an elephant in a china shop". Of all the selections, the Schumann concerto is very beautiful but sounds immensely difficult. What a shame that the orchestra plays so loud! The soloist should never be overpowered but here he is. Orchestral sensitivity is certainly missing.
2 of 3 people found the following review helpful
4.0 out of 5 stars
An unusual coupling to show off Tetzlaff's refinement
15 Nov 2011
By Santa Fe Listener
- Published on Amazon.com
Format:Audio CD
Christian Tetzlaff has risen to become one of the most admired international soloists, much favored by top conductors like James Levine for his musicianship and reflective, thoughtful style. Tetzlaff represents the kind of virtuoso who puts the score ahead of crowd-pleasing display (in the lineage of restrained virtuosity exemplified by Szeryng and the deep musicality of Menuhin). Restraint is the key feature, in fact, of this unusual pairing of the thrice-familiar Mendelssohn concerto and the long suppressed Schumann. The composer's heirs suppressed the work feeling that it showed too much evidence of Schumann's mental and musical deterioration, and there was a vigorous fight not to let it be played even as late as 1937. Since then a handful of violinists have made it a cause, the most prominent being Gidon Kremer, but there is no denying its flaws. This wandering, diffuse work is far from inspired, despite its shining moments.
I wish that Tetzlaff showed more conviction in both works. The Mendelssohn is all but reticent, missing the exuberance of the first movement, dwelling on the slow movement as if it were a meditation, and finding some vitality only in the mercurial finale. Everything is graceful and lovingly done - Tetzlaff is never less than musically impeccable - but I didn't sit up and take notice the way I do when I hear any of Isaac Stern's recordings. Perhaps this performance fits the model of "letting the music speak for itself," a model that rarely touches my heart or arouses my interest. I want interpretations that are more involving.
The same graceful reticence marks the Schumann, and here it works better, because even when the music flags in interest, Tetzlaff is always there to gracefully bridge the gaps. The dancing finale in particular is enjoyable, and Paavo Jarvi's alert conducting helps carry the show. The preceding slow movement gives us some appealing melancholy, even if the central theme is not one of Schumann's best. For all its sweetness, this lied for violin and orchestra feels unfocused, as if Schumann has lost his concentration. That is even more true in the long (14 min.) opening movement, which consists of gestures in search of a structure, one event following another without sufficient interest or coherence to hold the listener. Of course, "the listener" always means "this listener;" esteemed artists have a reason for reviving this score.
In the end, neither reading is griping enough to surpass the best rivals, and the opening Phantasie Op 131 by Schumann stands as a perfect example of how even the most refined artistry can't rescue a distressingly banal score.
I wish that Tetzlaff showed more conviction in both works. The Mendelssohn is all but reticent, missing the exuberance of the first movement, dwelling on the slow movement as if it were a meditation, and finding some vitality only in the mercurial finale. Everything is graceful and lovingly done - Tetzlaff is never less than musically impeccable - but I didn't sit up and take notice the way I do when I hear any of Isaac Stern's recordings. Perhaps this performance fits the model of "letting the music speak for itself," a model that rarely touches my heart or arouses my interest. I want interpretations that are more involving.
The same graceful reticence marks the Schumann, and here it works better, because even when the music flags in interest, Tetzlaff is always there to gracefully bridge the gaps. The dancing finale in particular is enjoyable, and Paavo Jarvi's alert conducting helps carry the show. The preceding slow movement gives us some appealing melancholy, even if the central theme is not one of Schumann's best. For all its sweetness, this lied for violin and orchestra feels unfocused, as if Schumann has lost his concentration. That is even more true in the long (14 min.) opening movement, which consists of gestures in search of a structure, one event following another without sufficient interest or coherence to hold the listener. Of course, "the listener" always means "this listener;" esteemed artists have a reason for reviving this score.
In the end, neither reading is griping enough to surpass the best rivals, and the opening Phantasie Op 131 by Schumann stands as a perfect example of how even the most refined artistry can't rescue a distressingly banal score.
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3.5 out of 5 stars
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