Znaider built a reputation as a strong violin soloist and is a conductor as well, working with such ensembles as the Mariinsky Theater Orchestra.
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Concertos - Released January 4, 2010 | RCA Red Seal
Distinctions Diapason d'or - Choc de Classica
This may or may not be the most passionate, polished, and persuasive performance of Elgar's magnificent Violin Concerto ever recorded, but it is surely the greatest recording violinist Nikolaj Znaider has yet made. Listeners who have followed his career have long recognized him as a major talent; his stupendous technique, glittering tone, distinctive timbre, and wholehearted commitment to the score are tremendously impressive. Not all of his recordings have been successful, though. His disc of encores was staggering in small doses, but deadly dull if heard all at once, and his recording of the Mendelssohn and Beethoven concertos was all but sunk by Zubin Mehta's overbearing accompaniment. Here, Znaider has a stunningly difficult work that demands his complete aesthetic and emotional attention, and a conductor who not only knows and loves the work, but knows how to accompany a soloist. Znaider tears into Elgar's love letter of a concerto with such unquenchable ardor that one fears for his instrument and his heart. He consistently triumphs over every difficulty, and his performance is as emotionally affecting as it is musically impressive. On the podium, Znaider has a true partner in Colin Davis, and together with the superlative Staatskapelle Dresden, they turn in one of the finest recordings of Elgar's concerto ever made. Recorded in lush and enveloping digital sound, this disc should be heard by anyone who likes the work or enjoys great violin playing.
Concertos - Released March 2, 2018 | London Symphony Orchestra
Danish violinist-turned-conductor Nikolaj Znaider, who won the prestigious Reine Elisabeth Competition in Brussels in 1997, has decided to record Mozart’s complete violin concertos, conducted from the violin with the London Symphony Orchestra. Znaider has a particularly strong relationship with that orchestra, with which he has been performing as a soloist since 2005, and as a conductor since 2011. For his Mozart project, he has of coursed reduced the orchestra’s string section to a more Mozartian, nearly chamberlike size, so that the solo violin weaves seamlessly into the delicate musical fabric, as if it were some kind of “primus inter pares”. This is a particularly deft approach to those two magnificient scores, both written in 1775, and their youthfulness – the composer was but 19 years old – is contradicted by their astonishing broadness of scope: the Fifth concerto lasts about half an hour, a very unusual length for a concertante work at that time. Znaider plays them in such a way that their “lengths” seems absolutely “divine”, Mozart thus predating Schubert by some decades… © SM/Qobuz
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