Bach : Concertos - Julia Fischer, Academy of St Martin in the Fields

J.S. Bach : Concertos

Julia Fischer, Academy of St Martin in the Fields

Recorded : St Paul's, Deptford, London, 2-4 June 2008.

Julia Fisher : Violin

Alexander Sitkovetsky : violin : in tracks 1,3

Andrey Rubtsov : oboe : in tracks 10, 12

"…her playing is beautifully honed, technically without flaw."

Gramophone Magazine, February 2009

"I think there is a place for performances as beautifully conceived and played as these, even if the sound is romanticised and approached from the perspective of later music. Fischer's pristine tone and sizzling technique are well partnered by Alexander Sitkovetsky in the Double Violin Concerto and by Andrey Rubtsov in a reconstructed work for violin, oboe and strings. Fischer is for those who like their Bach seamless and consoling, rather than challenging."
Sunday Times, 8th February 2009 ****

“Lively, brilliant, determined. Anew violin star”. (Diapason)

“……Her characteristically full, blooming tone brings David Oistrakh’s soulful singing sound back to mind”. (Frankfurter Allgemeine Zeitung)

Reviews :

ClassicsToday.com : David Vernier / 2/5/2009

Around five years ago a young Hilary Hahn made her debut with her new label, Deutsche Grammophon, with exactly these same concertos, and it was no accident that the well-prepared, extraordinarily talented violinist enjoyed a successful result. The same holds true here: this time the label is Decca, and the remarkable violinist is 25-year-old Julia Fischer, who already has several acclaimed recordings to her credit, including the solo sonatas and partitas of Bach, Russian violin concertos, and concertos by Mozart, Tchaikovsky, and Brahms. If you haven't heard these timeless works in a while, and especially if your taste has leaned mostly to period-instrument renditions, you owe it to yourself to re-enter the Bach violin canon with these splendid, scintillating, stylish performances that totally respect Bach's scores while reminding us that "modern" instruments can still play the daylights out of these pieces just as credibly as their most revered ancient ancestors.

The first thing you notice--it's the famous "double" concerto--is not Fischer's playing but rather the wonderfully agreeable ensemble, how everything just fits so well together. And in this work that's just how it should be. Of course, we perhaps shouldn't be surprised because no orchestra is better at this sort of thing than the Academy of St. Martin in the Fields--and Fischer has carefully chosen her partner, "Sasha" Sitkovetsky, with whom she had previously performed and who had shown an obvious artistic/interpretive compatibility with her in Bach. There's absolutely nothing studied about these performances; the give and take between the soloists is easy and playful and fun--the way Fischer believes these concertos should be realized.

None of this is to suggest that Fischer is anything less than serious regarding her technique or interpretive decisions. She may play the fast movements of the A minor concerto slightly faster than some, but there is no sense of frenzy, nor is her tone ever coarse, and unlike many of her speed-demon colleagues, every detail--runs, rapid turns and bow-crossings--are absolutely clear, clean, and comfortably executed. The slow movements are lovely and lyrical and uncorrupted with any hint of inappropriate romantic mannerism. In fact, Fischer's Bach sounds as natural and effortless as if she were born to it--and given that she was playing the A minor concerto when she was five(!) and had a lesson in Bach playing from Yehudi Menuhin at age 11, that's not far from the truth! We've seen and heard our share of beautiful and very talented violinists during the last 10 years or so, and most have quietly vanished from the spotlight; but given her obvious dedication and consistently impressive work so far, it's a good bet that Julia Fischer is going to be a major virtuoso presence for many years to come. . (I place "modern" in quotes because Fischer actually plays a 1742 Guadagnini!)

The first thing you notice--it's the famous "double" concerto--is not Fischer's playing but rather the wonderfully agreeable ensemble, how everything just fits so well together. And in this work that's just how it should be. Of course, we perhaps shouldn't be surprised because no orchestra is better at this sort of thing than the Academy of St. Martin in the Fields--and Fischer has carefully chosen her partner, "Sasha" Sitkovetsky, with whom she had previously performed and who had shown an obvious artistic/interpretive compatibility with her in Bach. There's absolutely nothing studied about these performances; the give and take between the soloists is easy and playful and fun--the way Fischer believes these concertos should be realized.

None of this is to suggest that Fischer is anything less than serious regarding her technique or interpretive decisions. She may play the fast movements of the A minor concerto slightly faster than some, but there is no sense of frenzy, nor is her tone ever coarse, and unlike many of her speed-demon colleagues, every detail--runs, rapid turns and bow-crossings--are absolutely clear, clean, and comfortably executed. The slow movements are lovely and lyrical and uncorrupted with any hint of inappropriate romantic mannerism. In fact, Fischer's Bach sounds as natural and effortless as if she were born to it--and given that she was playing the A minor concerto when she was five(!) and had a lesson in Bach playing from Yehudi Menuhin at age 11, that's not far from the truth! We've seen and heard our share of beautiful and very talented violinists during the last 10 years or so, and most have quietly vanished from the spotlight; but given her obvious dedication and consistently impressive work so far, it's a good bet that Julia Fischer is going to be a major virtuoso presence for many years to come.

Classic fm magazine : Mike Ford / Feb 2009

Voted Best Newcomer by BBC Music Magazine in 2006 and acclaimed as Artist of the Year in the prestigious Classic fM Gramophone Awards only a year later, 25-year-old Julia Fischer is already being hailed as one of the truly great violinist of the twenty-first century.

Although this is a brilliant new release from Julia Fischer, the input and performance of the Academy of St Martins in the Fields is nothing short of awe-inspiring. Performing in their 50th anniversary year, they have become a unique driving force as an ensemble that inspires soloists to deliver amazing concerto performances. As Julia Fischer enthuses: “They are my favourite orchestra – the only orchestra where I dare to lead. We have such a great sense of community…….I play along with the orchestra in the tuttis – I am almost part of the orchestra, it’s almost like a concerto grosso.”

Fischer has been close to the music of Bach for virtually all of her life having played the A minor concerto and Double Concerto at the age of five. When she won the 1995 International Yehudi Menuhin Competition at the age of eleven she received a violin lesson in Bach playing from Yehudi Menuhin himself. “He influenced me in a very special way, because of how much he loved Bach and how much the music meant to him.”

Julia Fischer plays a 1742 Guadagnini violin.

classicalsource.com

Reviewed by: Colin Anderson

There's a vim and vigour to these performances that sacrifice neither poise nor good ensemble; furthermore, the 'on the move' approach to the allegro movements does not become wearing or spill over into the slow ones, all of which are deeply expressive. The playing style is modern, the tones not devoid of vibrato, the expression not shy of soul-bearing. Nor is there any extravagance. Nothing middle-of-the-road, either. There is certainly a 'historically informed' leaning here, but, most of all, this is music-making that is absorbed, observant and natural, an appreciation of what you can't (shouldn't) do with this music (anymore) yet no restriction on making it heartfelt or taming its bold strides. This is Julia Fischer's first recording for Decca (having already built-up a fine discography for PentaTone). In choosing Bach she presents music by Western music's founding father with a judicious blend of electricity and eloquence. The Academy of St Martin in the Fields offers vivid and focussed support – there is real fraternity with the violinist – the bass line being especially telling, and the harpsichord well captured, too; and if the sound itself can glare a little and be over-projected, then the performances themselves also have a vibrant communication that tends to deflect the listener away from the fact that it's the acoustic itself that is somewhat bright (and not helped by the relative closeness of the performers). The sublime slow movements of the two-violin concerto and the one for violin and oboe are very affectingly turned – and have time to breathe – while Fischer's partners, Alexander Sitkovetsky and Andrey Rubtsov, are not only her equals in terms of musicianship but also complementary in approach. It's good also that distinction is made between Andante and Adagio – thus the former at the centre of BWV1041 and the latter that is the core of BWV1042 (and which is particularly moving here) are distinguishable for their respective markings. As for Fischer herself – already established as one of the finest violinists of her generation – she once again puts the music first while imbuing it with discernible personality and infinite observation. These are sure-footed, virtuoso and searching performances – very much for our age (without slavishly following an earlier Romantic one or approximating anything Bach himself might have known) and, yes, with something of Fischer's beloved Yehudi Menuhin present. There's also a daring that reminds of another hero of hers, Glenn Gould. In short, nothing from the museum or lecture-room is to be found here.

01. Concerto for 2 Violins, Strings, and Continuo in D minor, BWV 1043 : I. Vivace [0:03:28.26]
02. II. Largo ma non tanto [0:06:41.06]
03. III. Allegro [0:04:40.56]
04. Violin Concerto No.1 in A minor, BWV 1041 : I. Allegro moderato [0:03:27.62]
05. II. Andante [0:06:22.53]
06. III. Allegro assai [0:03:35.53]
07. Violin Concerto No.2 in E, BWV 1042 : I. Allegro [0:07:15.67]
08. II. Adagio [0:06:38.03]
09. III. Allegro assai [0:02:36.70]
10. Concerto for Violin, Oboe, and Strings in D minor, BWV 1060 : I. Allegro [0:04:57.59]
11. II. Adagio [0:05:31.41]
12. III. Allegro [0:03:34.73]

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