Symphony No.1 in C, Op.21 |
||
| 1 | Adagio molto – Allegro con brio |
9. 00 |
| 2 | Andante cantabile con moto |
6. 49 |
| 3 | Menuetto – Trio (Allegro molto e vivace) |
3. 33 |
| 4 | Finale (Adagio – Allegro molto e vivace)
|
5. 44 |
| 5 | Allegro con brio |
16. 18 |
| 6 | Marcia funebre (Adagio assai) |
13. 59 |
| 7 | Scherzo (Allegro vivace) |
5. 54 |
| 8 | Finale (Allegro molto) | 11. 09 |
Total playing-time: |
72. 55 | |

The fruits of megalomania It is all too easy to forget that when Ludwig van Beethoven presented his early symphonies to the Viennese public at the beginning of the 19th century, the genre there had already lost much of its allure. But the facts speak for themselves: by around 1795, well-known symphonic composers such as Haydn, Gyrowetz and Vanhal had relegated the symphony to oblivion and were concentrating on other artistic projects. And it seemed the new generation of Viennese composers were not the least bit interested in mastering this genre. The reason for this waning popularity was the slow erosion of court culture. Although every 18th-century Austrian court had employed its own orchestra, such excesses were being pruned vigorously in the aftermath of the Enlightenment. Furthermore, the Viennese concert society no longer operated regularly at the end of the 18th century, so public symphonic concerts were not being organised. Anyone preferring financial security to artistic integrity was therefore better advised to write operas, this being pretty much the safest choice for composers in those days, despite the fluctuating taste of the average Viennese music lover. After all, a commercially successful opera did a great deal more for one’s fame than a solidly constructed string quartet or an innovative symphonic work. This explains Beethoven’s repeated (but unsuccessful) attempts -- right up to 1807 -- to persuade the directors of various city theatres to give him a job as an opera composer. Tom Janssens
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“Certainly not just another same old Mozart release for his 250th
Anniversary - this is a superb interpretation and recording that easily stands
up to any of the competition.”
--John Sunier, audophile audition
“Evident again is the combination of scrupulous attention to detail
with a spontaneity that gives the music sparkle and wit.”
--Michael Kennedy, Sunday Telegraph
“Fischer's sound is lighter and leaner than Mutter's, her style of
phrasing more poised, line being paramount, her vibrato quick but subtly
deployed. The Third Concerto's Adagio is a model of sublime composure, the
outer movements aided considerably by nicely characterised support from the
Netherlands Chamber Orchestra under Yakov Kreizberg. “…I'd say
that anyone on the look-out for a digitally recorded CD of Mozart violin
concertos could hardly do better.”
--Robert Cowan , The Independent
“With smart and elegant support from the Netherlands Chamber Orchestra
and Yakov Kreizberg this is a musically engaging and rewarding issue, one
complemented by a naturally balanced recording, Fischer integrated with the
orchestra – the only audiophile possibility when the soloist offers
such wonderful true, clean and perceptive turns of phrase without egotistical
dominance. Volume two please!”
--Colin Anderson, classicalsource.com
“Disc of the Month, BBC Music Magazine (September
2005)
"Fischer does it again....every note gives the impression of being there
for a reason, articulated through attack,, dynamic, phrasing and timbre, but
at the same time integrated into the whole." performance*****, sound*****
--Martin Cotton, BBC Music Magazine
“Astonishing maturity from this young player produces some magical
Mozart. …. The SA-CD sound is superb.. and the qyality and integrity
of Fischer’s playing bode well for future volumes.”
--David Vickers, Gramophone
“Playing the violin seems to be innate for Julia Fischer. Mozart is
more than just the notes on the page and she knows that. Her phrasing, her
effective use of dynamics and esthetic pauses, and her slow tempos give her
music a spiritual quality. To put it simply, Julia Fischer is a true artist,
absolutely, one of the "up-and-comers."
--Julie Amacher, Minnesota public radio
“Julia Fischer is another young violinist of prodigous talent and
musicianship. Her elegant and stylish performances of two Mozart concertos
with Yakov Kreizberg conducting complementary accompaniments will delight
all who have admired the qualities which make her Bach exceptional. Evident
again is the combination of scrupulous attention to detail with a spontaneity
that gives the music sparkle and wit. She provides her own cadenzas in certain
movements and in the Adagio K. 261 and the Rondo K. 269 which
complete this admirably recorded disk.
--Michael Kennedy, The Sunday Telegraph
“Fischer's sound is lighter and leaner than Mutter's, her style of phrasing
more poised, line being paramount, her vibrato quick but subtly deployed.”
--Robert Cowan, The Independent