Poème

My local radio station is responsible for my acquisition of 90% of my over 1,000 classical cd collection. On my morning drive into work, I was transported to another place. I have several readings of Vaughan-Williams "The Lark Ascending". I thought it must be Hilary Hahn who's exquisite reading I've reviewed before. But this was different. I was shocked when the announcer said Julia Fischer was the player. I ordered the cd straight away. Her playing of the 4 pieces on the cd is fabulous. The standouts , for me, are of course "The Lark" but also Chausson's Poeme. The orchestral support is phenomenal. This cd was the perfect introduction to the apparently limitless talents of Julia Fischer. Sheku & Isata Kanneh-Mason, 2 fellow Decca artists, will be releasing their new cd in 2 days. I have pre- ordered it knowing that it will be another wonderful addition to their collective discographies. To Decca powers that be, I suggest an all Beethoven cd showcasing these 3 stellar artists. The large work would be The Triple with the Monte Carlo orchestra supplanted with various Beethoven piano trios. Just planting a seed here. It would be a best seller!!!

Several years ago in Aspen, Colorado, I heard, for the first time, Julia Fischer perform and was very impressed. Now, she has hit "the big time" recording for Decca some "biggies"--Chausson "Poem" and Vaughn Williams' "Lark Ascending." She along with the Orchestra Philarmonique of Monte-Carlo led by Yakov Kreizberg perform the aforesaid works with great beauty and feeling -really lovely renditions. However, for me the two (2) unknown, to me, compositions that are on this disc are really what make this album called "Poem" worth owning.Ottorino Respighi's very atmospheric "Poema autunnale" was previously unknown to me and I guess it would be called a "Program Piece" that depicts the "Autumn Season" beautifully. Fischer plays it beautifully with great intonation and great feeling--I love the work. The other featured composition that was also unknown to me is the very dramatic Josef Suk composition "Fantasy". In that work Julia displays her great technique playing very brilliantly as does the orchestra. All are outstanding. I really enjoyed this recording. The sound is also very fine indeed.

I freely admit that most post-baroque solo violin music... well, I have been known to refer to a lot of it as "cat torture." But OMG this album is ravishingly beautiful. Just listen to the opening of the Chausson and feel all the tension melt away. This is gorgeous stuff, played exquisitely. Fischer is expressive and passionate without being sloppy or overwrought. And if you, like me, are bothered by constant out-of-tune vibrato on high pitches, have no fear. The intonation is accurate from beginning to end. Julia Fischer really "gets" this music. In fact this may be the best recording of The Lark Ascending out there. Buy it. Do not hesitate.

The selection of music in this work is superb. Listening to the CD is like reading a love story (in order).

This is arguably the best recent recording of the Chausson. Julia Fischer plays it with a rich dose of sultry darkness and fiery intensity, and the sound quality of the recording is very good as well.

My personal favorite bit o' fluff by Ernest Chausson. Sweet, sympathetic reading by Ms. Fischer.

This was a joy to hear!

This ravishingly romantic program should win Julia Fischer even more fans as she continues her move from the relatively small circulation of her early label, Pentatone, to Decca. The repertoire has been astutely chosen, mixing two chestnuts -- the Chausson Poeme and The Lark Ascending of Vaughan Williams -- with two obscure works by Suk and Respighi. But this isn't 69 min. of swooning background music. After stating its dreamy melody in double-stops, the Respighi Poeme autumnale picks up speed and becomes a showpiece. I wouldn't call it inspired. Violinists are always looking to expand their fairly limited concerto repertoire, and yet there is only one other version of this work in the catalog, according to the product description. that may be because Respighi's idiom hews fairly close to movie music, but there's enough atmosphere to keep the ear engaged, especially when you have a soloist, like the impeccable Ms.Fischer, determined to bring out the best in the score.Josef Suk was both composer and violinist, and his Fantasy Op. 24 fits the instrument better, falling directly in line with the folk-flavored romanticism exploited by Goldmakr, Joahcim, and Dvorak in their concertos. I've never been able to decide if Suk would be considered a prominent composer if his countryman Dvorak had never lived. the Fantasy is by turns lyrical, robust, and sparkling, but the orchestral accompaniment doesn't reveal themes or development of any great moment. There's enough sweep to keep your attention form wandering; the work is ambitious and fairly long (24 min.), but Suk winds up giving us a string of episodes more than an organically unfolding concerto. I doubt, despite the product description, that it will gain more than a toehold in the concert hall, but it's worth a listen.The Chausson and Vaughan Williams owe their popularity to a shared mood of soaring lyricism and their focus on the violinist as a rhapsodic singer of melody. Both are inward, with the Chausson perhaps being the more private and voluptuous, the Vaughan Williams more ethereal and chaste. Audiences have cherished them equally, and Fischer joins a line of recorded versions. Her taste and innate musicality save them from being cloying. I'm not a fancier of either work, so I can't give reliable comparisons. Everything seems nicely in place here, and the late Yakov Kreizberg leads his Monte Carlo orchestra well, not that either is asked to do much. Fischer's recording career has moved step by step with Kreizberg, the brother of another Russian emigre conductor, Semyon Bychov, by her side. His death from cancer at the age of 51, which came this March, adds a sad note to this CD, and a special poignancy to The Lark Ascending, which is about the soul as much as anything in the natural world.

Julia Fischer est l'une des plus grandes violonistes de sa génération : elle l'a prouvé chez Bach , les concertistes russes , Schubert ...Ici , un programme fort bien composé , tout en douceur , sensualité et lumière .Mais parfois emporté et brûlant , d'une puissance charnelle dans l'évocation , aussi .Plaisant à écouter et réécouter et prodigue en raffinement .Elle est accompagnée par l'excellent orchestre de Monte-Carlo et le talentueux Yakov Kreizberg , disparu si tôt ...Enregistrement de 2010 , ample et défini , qui prouve que Decca n'a rien perdu de sa maîtrise des prises de son .

Recd as described in reasonable time despite Covid-19 scenario .CD plays well . Would recommend this seller.

"Ein guter Musiklehrer", meinte Julia Fischer mal in einem Interview mit der FAZ, "fragt ein Kind, das mit dem Musikunterricht anfängt, was es bei dieser oder jener Musik empfindet." Gut möglich, dass das ihr persönliches Credo ist - dass sie selbst, als Musiklehrerin (nun mit einer Professur in München) wie als Musikerin vor allem das spielt und macht, bei dem sie selbst etwas empfindet. Und das ist gut so, denn nur so konnte wohl diese CD erscheinen, die, was die Auswahl der Musik, des Orchesters, des Dirigenten und der Solistin angeht, ein Glücksfall ist. Großartige Musik großartig gespielt unter der Leitung eines so inspirierten wie inspirierenden Dirigenten, Yakov Kreizberg (1959-2011), von einem so nuancen- wie farbenreich und dynamisch spielenden Orchester, dem Orchestre Philharmonique de Monte-Carlo, und mit einer Solistin, die über das Vorzeigen von Virtuosität bereits so erhaben ist, dass eben diese (tatsächlich stupende, schwierigste Passagen mit behender Leichtigkeit meisternde) Virtuosität spielerisch wirkt: geradezu selbstverständlich. Und, ja, bei dieser Musik gibt es eine ganze Menge zu empfinden: Ich zum Beispiel habe dabei Engel singen gehört, und die waren definitiv nicht von dieser Welt, auch wenn sie sich über streckenweise dunkler Erde bewegten. Am meisten beeindruckt hat mich Ralph Vaughan Williams "The Lark Ascending" - vielleicht das beste Beispiel für Victor Hugos oft zitierten Satz, wonach die Musik das ausdrücke, "was nicht gesagt werden kann und worüber zu schweigen unmöglich ist". Wobei es ungerecht wäre, bei einem Gesamtkunstwerk ein Einzelstück hervorzuheben. "Männer", meinte Julia Fischer noch in dem erwähnten FAZ-Interview, "streben nach dem ewigen Glück." Ihr Lebensziel sei dagegen "der innere Frieden". Gut möglich, dass sie das mit Produktionen wie dieser nicht nur selbst erreichen kann, sondern auch der Hörer. Ob Frau, ob Mann.

OTTORINO RESPIGHI 1879-1936 14:231.Poema autunnale JOSEF SUK 1874-1935 24:482.Fantasy in D minor ERNEST CHAUSSON 1855-1899 16:053.Poeme,op.25 RALGH VAUGHAN WILLIAMS 1872-1958 14:274.The Lark Ascending JULIA FISCHER violin Orchestre Philharmoniqu de Monte-Carlo Yakov Kreizberg各曲の詳細はウィキペディアあたりで調べてみてください。フィッシャーの意図がなんとなくわかると思います。大家の名曲に飽きちゃった人にはお勧めですね。音楽の美しさについては何も言うことがありません。レスピーギがお勧めです。解説によると、フィッシャーは１９９９年にかのシノーポリに一緒にやらないかと誘われ、レコーディングの予定だったようです。思い入れがあるのかもしれません。ただ、レスピーギの後に、突然スークが始まるものですから、余韻に浸る暇がないのが難点です。

great