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专辑简介

This remarkable album marks the recording debut of German violinist Julia Fischer as well as the beginning of her extraordinary partnership with Russian-born conductor Yakov Kreizberg, which would result in numerous PENTATONE releases before the conductor’s untimely death in 2011. Together they tackle three Russian violin concertos which have been tragically overlooked, shedding new light on these masterpieces.

Fischer recalls first becoming enthralled with Khachaturian’s violin concerto at the age of 11, stating “I noticed straight away how impressive this work could be, and since then I have striven to establish it as a part of the standard violin repertoire.” The addition of Yakov Kreizberg and the the Russian National Orchestra, one of the premier ensembles to rise from the ashes of the Soviet Union, provided the perfect opportunity to showcase Russian repertoire.

The best-known work on the album is Serge Prokofiev’s Violin Concerto No. 1, a tour de force which features Prokofiev’s satirical tendencies and lyrical talents in equal parts. Rounding out the selection is Alexander Glazunov’s Violin Concerto in A minor, a triumph of Russian Romanticism which Fischer clearly relishes in this performance, declaring that the work was “absolutely delightful and rewarding for the instrument.”

The maturity of the repertoire selection, superb audio quality and delightful interplay between soloist, conductor and orchestra all contribute to a truly stunning debut album. The violin concertos of Khachaturian, Prokofiev and Glazunov are preserved in timeless beauty, providing a testament to the masterful artistry of Yakov Kreizberg, the Russian National Orchestra and a very precocious Julia Fischer.

\”As Julia Fischer explains in the booklet-notes to this, her first CD, she has an abiding love of the Khachaturian Concerto, a work she found impossible to sell to concert-promoters. The freshness of her way with the Khachaturian is immediately striking in the chattering figuration of the opening, and she brings a rare tenderness to the lyrical second subject. The orchestral sound is impressive, too. Though Itzhak Perlman and Lydia Mordkovitch produce a beefier sound, the refinement of Fischer\’s performance makes it equally compelling. This concerto has claims to be the composer\’s finest work, claims which the yearning tenderness of the slow movement support.

The clarity of Fischer\’s performance in the finale brings lightness and sparkle. In the Glazunov, too, it\’s the clarity and subtlety of Fischer\’s playing that marks out her reading. She finds the tenderness of the slow middle section of this one-movement work, and gives an easy swing to the bouncy rhythms of the final section. In the Prokofiev she takes a meditative view of the wistful melodies, the element, she says, that most attracts her, even if she does not quite reach the depths of Kyung-Wha Chung\’s version. A unique coupling, superbly recorded, that could hardly be more recommendable.\” (Gramophone Classical Music Guide)

\”…could hardly be more recommendable, with warmly compelling performances from the brilliant young German virtuoso, superbly recorded in full, bright, clear sound…The clarity and freshness of her performance are what immediately strike home\” (Penguin Guide)