[이자벨 파우스트(바이올린)] 신보

바르토크 : 바이올린 협주곡 1 & 2

연주: 이자벨 파우스트(바이올린), 스웨덴 라디오 심포니 오케스트라, 다니엘 하딩(지휘)

 그라모폰 에디터스 초이스

Financial Times

27th July 2013


“Faust...relishes i[the First's] warmth and volatility while respecting its musical integrity. The second concerto exemplifies Bartok’s mature synthesis of traditional and modern styles. I do not share leading violinists’ faith in its greatness, but Faust puts her unshowy brilliance at its service.”

The Telegraph

1st August 2013


“Faust finds an ideal tonal pungency to voice the folk-like intonations, whether fiery or wistfully fragile, which she allies to a natural sweetness and flexibility of timbre and phrasing. The orchestra is a potent force, too, in underpinning the rhythms and radiating colour. A compelling disc.”

The Times

8th August 2013


“Faust plays with sweet ecstasy in the passionate first movement [of No. 1], lyrically opulent enough to suggest Richard Strauss. She’s equally impressive in the puckish second movement, kicked into life by gawky solo notes played without vibrato — one of her research discoveries...Music to cherish.”

The Guardian

8th August 2013


“probably the most beautiful and subtly nuanced version [of No. 1] available. The same intelligence is very much at work in the second concerto...Harding, sometimes a variable Bartokian, is clean, committed and incisive here. Make sure you read Faust's own essay in the sleevenotes: she writes about Bartok as persuasively as she plays him.”

Sunday Times

11th August 2013

“[Harding and the orchestra] bring a glittering, sometimes gritty edge to Bartok’s scoring — and underscore her detailed readings of this deeply felt, violently passionate music. In Faust’s powerful performance, the long solo of the first concerto’s opening andante sostenuto sounds like a lament for lost love”

BBC Music Magazine

September 2013


“Faust resists the kind of full-blown romantic ardour that might seem appropriate to music inspired by a protracted love affair. Instead she weaves her sinewy melodic line in a more introverted manner...The effect is totally magical...[in the Second Concerto] Fausts draws you into the ebb and flow of the musical narrative”

The Strad

September 2013

“Faust negotiates the composer’s idealised fantasising with a poetic sensitivity that captures the almost cinematic cut-and-thrust of the music’s churning emotions… She finds the perfect match in Daniel Harding’s lucid accompaniments and sound of exceptional textural transparency.”

The Arts Desk

31st August 2013

“it’s to the credit of Faust and Harding that this compelling, elusive music never feels shapeless, and the livelier second movement is cheeky, gutsy and pungent. Beautifully recorded, and Faust’s self-penned sleeve notes make fascinating reading.”

International Record Review

September 2013

“everything registers in this richly conceived performance”

MusicWeb International

18th September 2013

“solo playing of sensitivity and playfulness and an orchestral sound that fits it like a hand to a glove...This disc is a winner. The sensitivity of the playing and the empathy of the orchestral accompaniment put it in a very special class which is worthy of comparison with any other set in the catalogue.”

BBC Music Magazine

Christmas Issue 2013

“For quality of soloists, this disc ranks top dog… exquisite. Padmore’s opening recitative arioso uses silence more eloquently than any other recording I’ve heard, while limpid beauty of Scholl’s Countertenor voice combined with the subtlety of his interpretation makes the simplest melodies the most eloquent.”

Gramophone Magazine

November 2013

“Jacobs has a magnificent vocal presence of soloists from Choir I - led by the polished and increasinly believable Evangelist of Werner Gura...and a Christus in Johannes Weisser who is intensely human, even febrile as he confronts the terrible events one by one...Jacobs's attention to texture and matters of accentuation is what defines his most compelling short-term characterisation”

The Guardian

21st November 2013


“A performance of overwhelming sincerity, it's not without controversy...Not everyone will care for it, and some might also be surprised its sensuous immediacy and by Jacobs's ornate way with the recitatives. But the mix of drama and meditation is breathtakingly sustained and the choral singing astonishing in its beauty.”

The Independent

11th October 2013


“Care is taken to represent the distance between the choirs, along with the parts played and sung from the "swallow's nest gallery"...The results are magnificent, particularly the choral blend in "Kommt, ihr Tochter, helft mir klagen" and "Ich will hier bei dir stehen"… this will surely be the spatially definitive version.”

The Times

18th October 2013


“the novelty lies in Jacobs’ games with acoustics and space in his studio location in Berlin...this spatial separation keeps you listening intently and listening afresh. Jacobs’s Passion is intimate, dramatic, conducted with audible love...Gura’s Evangelist makes a compelling guide; Fink is most eloquent, with Johannes Weiss solid as Jesus”


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