Julia Fischer & Gordan Nikolic -《莫札特: 交响协奏曲/ 双小提琴协奏曲》(MOZART Sinfonia concertante)[SACD 24bit/88.2KHz 2.0][FLAC]
朱莉娅 费舍尔（Julia Fischer）
德国小提琴家、 法兰克福音乐学院教授，1983年生于德国慕尼黑。母亲Viera Fischer 出生于斯洛伐克，1972年移居联邦德国，是钢琴家。父亲Frank-Michael Fischer是数学家，出生于东德，同年移居西德。
4岁生日之前，Fischer就开始跟随Helge Thelen学习小提琴，几个月后又同时跟他妈妈学钢琴。她说：“本来妈妈是钢琴家，我也想学钢琴。但是我的哥哥已经在学钢琴了，所以妈妈想让我学别的乐器，于是我就去学小提琴，并且一直坚持下来。”Fischer最初在Leopold Mozart Conservatory学习小提琴。9岁的时候被慕尼黑音乐学院（Munich Academy of Music）录取，并在Ana Chumachenco门下求学。
青少年时代，她认为自己的音乐灵感大部分来自于Glenn Gould, Evgeny Kissin和Maxim Vengerov。她甚至觉得没有机会嫁给Gould这样的音乐天才而遗憾。
Fischer曾在林肯中心、卡耐基音乐厅等知名场所演奏。曾与众多国际知名的指挥家合作，诸如Lorin Maazel, Christoph Eschenbach, Yakov Kreizberg, Yuri Temirkanov, Sir Neville Marriner, David Zinman, Zdeněk Mácal, Jun Märkl, Ruben Gazarian, Marek Janowski, Herbert Blomstedt, Michael Tilson Thomas等等。足迹遍布美国，巴西和日本以及绝大多数欧洲国家。
1995年：第一届国际奖， 梅纽因比赛奖金，此外还有一个特殊的，“最佳巴赫独奏作品奖” 1996年：在裏斯本举办的欧洲电视网青年器乐大赛冠军
2005年：专辑俄罗斯小提琴协奏曲获得欧盟ECHO Klassik Award
2007年：The Classic FM Gramophone Awards年度艺人
2007年：专辑柴可夫斯基小提琴协奏曲获得ECHO Klassik Award
German violinist Julia Fischer, 24 years old when this recording was released, is surely a bright new star, all charisma as her diminutive self stands between conductor and collaborator Yakov Kreizberg and violist Gordan Nikolic on the cover of this disc. She has a steely technique that she brings to Mozart's "Sinfonia Concertante in E flat, K. 364" -- not a steely work, but the musicianship here is superb. Fischer and Nikolic make an attractive pair in the work, her razor-sharp tone set against his gutsier sound production, all the contrasts held together by Kreizberg's brisk tempos and no-nonsense forward drive. There are recordings of the "Sinfonia Concertante" that play more directly to sentiment, but the work's intricate architecture breathes in this interpretation. An additional bonus is the inclusion of the rarely heard "Concertone in C major for two violins and orchestra, K. 190," a work that also has solo oboe and cello parts and seems to hang in the balance between the concerto and sinfonia concerante (multiple-soloist) genres. The performers bring a nice lilting quality to the first two movements, rather sprawling creations of the young Mozart that demand really compelling soloists of the sort on display here. The only complaint is over-resonant sound, the result of PentaTone's decision to record in a Haarlem church -- the wrong place for music intended for a medium-sized, crowded, well-upholstered room. It destroys the intimate scale of the performance and causes the soloists and the harpsichord continuo of the "Concertone," especially, to sound a bit like they are swimming in a watery chamber. The clarity of Fischer's playing, however, is not compromised, and it's a real wonder. She has also recorded two of Mozart's solo violin concertos with the same forces, but this disc in a way suggests even greater talents. (James Manheim)
"Fischer’s outstanding recordings of the solo violin concertos obviously had to be completed with the “concertante” works and the C major Rondo (K373), and they don’t disappoint…..If you have the solo concerto discs, you won’t want to miss this." - (Classical CD of the week) Hugh Canning, The Sunday Times
Pentatone have really backed a winner with Julia Fischer. Only in her mid twenties she is consistently praised to the skies for her concert performances and recordings. To cap it all, Gramophone named her Artist of the Year in their 2007 awards. Having already produced well received versions of Mozart's Violin Concertos with the Netherlands Chamber Orchestra under Yakov Kreizberg, she here turns her attention to the wonderful Sinfonia Concertante K.364. In this and the earlier Concertone for 2 Violins and Orchestra K.190, she is partnered excellently by Gordan Nikolić and the result is a disc of elegant and eminently enjoyable music-making.
Although they are performances that have evidently learnt a little from 'authentic' performance, they retain, especially in the tutti sections of the Sinfonia Concertante, a sense of grandeur and occasion. Although the orchestra lacks nothing in rhythmic bite when required, listen for example to the vigorous pizzicati at 1'18 in the first movement. The actual sound of the Netherlands Chamber Orchestra, especially when listening as an SACD, is refreshingly vibrant; there's no smooth lacquer masking the orchestral details. Against this backdrop, Fischer's sweet toned violin and Nikolić's pungent and plangent viola converse playfully.
Throughout, the playing by the two soloists has an irresistible joie de vivre, but with no lack of intimacy: their shared cadenza in the first movement is particularly delightful. The glorious Andante is made to sound like a real, human dialogue – the slightly confused liner note is without doubt right here when it notes 'the slow movement, especially, could easily be a duet from one of his operas'. Nikolić's viola playing gives one a good idea of why Mozart was so fond of the instrument and Fischer's playing is remarkably unaffected, she might be a star player but she is a natural chamber musician too. Although some more Romantic versions of the work might wring out more in the way of tortured emotion in this movement, this subtle, understated performance is every bit as moving. The Presto is despatched with evident relish capping a fine performance of one of the greatest works of Mozart's pre-Vienna period.
The Concertone, an earlier work dating from 1774 – as indicated by the distant clinking of a harpsichord in the orchestra – is a wonderfully easy-going complement to the meatier Sinfonia Concertante. Although lighter (and slighter), it provides ample demonstration of Mozart's elusive genius. Much of the compositional process is based on repetition and sequential writing which, in anyone else's hands, could so easily end up being tedious. However, Mozart employs these devices artlessly and to wonderful effect. He's helped significantly by the playing of Fischer and Nikolić, as well as Hans Meyer, the orchestra's oboist, who also plays a significant part (indeed the booklet essay contradicts the cover's designation - and Grove's - by calling it a Concertone for two violins, oboe and cello). The conversation here might be less involved and serious than in the Sinfonia Concertante but is every bit as enjoyable for the listener, as evidently it was for the performers.
This disc is the icing on the cake of Fischer's Mozart concerto series on Pentatone and is another distinguished addition to her burgeoning discography. Let's hope we don't have to wait too long for the next.
By Hugo Shirley
PentaTone PTC5186 098
Gordan Nikolic- violin (K. 190) / viola (K. 364)
Hans Meyer- oboe (K. 190)
Herre Jan Stegenga- cello (K. 190)
Yakov Kreizberg & Netherlands Chamber Orchestra
Wolfgang Amadeus Mozart (1756 - 1791)
Sinfonia concertante for violin, viola & orchestra in E flat major, K. 364
01. I. Allegro maestoso
02. II. Andante
03. III. Presto
04. Rondo for violin & orchestra in C major, K. 373
Concertone for 2 violins & orchestra in C major, K. 190
05. I. Allegro spiritoso
06. II. Andantino grazioso
07. III. Tempo di menuetto: Vivace