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Violin Solos - Released September 8, 2017 | Ondine

Hi-Res Booklet Distinctions Diapason d'or de l'année - Diapason d'or - Le Choix de France Musique - Choc de Classica - Exceptional Sound Recording - 5 Sterne Fono Forum Klassik
Of course, since years Bach’s Sonatas and Partitas for solo violin have been recorded over and over again, including by world’s best and most prestigious solists. But when violinist Christian Tetzlaff releases a brand new recording, we can only say: “Friends, countrymen, lend Qobuz your ears”. Concerts with Christian Tetzlaff often become an existential experience for interpreter and audience alike; old familiar works suddenly appear in an entirely new light, also – of course – within the frame of a new studio recording such as this one. Essential to Tetzlaff’s approach are the courage to take risks, technical brilliance, openness and alertness to life. Such an interpretation becomes a real challenge for the aficionado and guarantees a brilliant musical adventure.
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Violin Concertos - Released April 13, 2018 | Ondine

Hi-Res Booklet Distinctions Diapason d'or - Gramophone Award - Gramophone Record of the Month - Exceptional Sound Recording - 5 Sterne Fono Forum Klassik - 5 étoiles de Classica
Today, Finland is one of the richest musical countries on Earth. Thanks to the exceptional quality of its musical teaching it produces numerous composers, conductors and artists who perform all over the world. The very rich catalogue of the dynamic Finnish publisher Ondine contains several recordings of the German violinist Christian Tetzlaff (Sonatas and Partitas for Solo Violin) by Bach, Mozart's sonatas, Trios by Brahms, concertos by Mendelssohn, Schumann and Shostakovich); and the Finnish conductor Hannu Lintu (Sibelius, Mahler, Enescu, Berio, Messiaen, Lindberg, Melartin), but it is their first record together. Bartók's two Violin Concertos were written thirty years apart, for two virtuosos. While the Second Concerto in the form of variations on a theme that develop ingeniously across three movements, has been well-known for a long time, the first remained unheard for years. Written as a declaration of love for the Hungarian-Swiss violinist Stefi Geyer, for whom Bartók had fallen, it was a secret kept by the dedicatee: it was only long after the composer's death that the violinist let Bartók's patron and close friend, the conductor Paul Sacher, know about the work. He would see that it was performed, with Hansheinz Schneeberger, but only in 1958. Bartók's two concertos, essential parts of the repertoire for violin and orchestra would enjoy a well-deserved resurgence in interest among a younger generation of violinists – the recording of the same works by Renaud Capuçon for Warner came out a few weeks ago. This new version, magnificently recorded, carefully explores all the orchestral richness, in perfect dialogue with Christian Tetzlaff's outstanding violin. © François Hudry/Qobuz
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Classical - Released August 12, 2016 | Ondine

Hi-Res Booklet Distinctions Gramophone Record of the Month - 5 Sterne Fono Forum Klassik
The duo of violinist Christian Tetzlaff and pianist Lars Vogt released a fine live recording of Brahms' violin sonatas in the early 2000s, but they've outdone themselves with this carefully considered and highly original version. The Brahms violin sonatas are middle to late works, and especially the Violin Sonata No. 2 in A major, Op. 100, and Violin Sonata No. 3 in D minor, Op. 108, give the feeling, the one you so often get from late Brahms, that once you dive into the music you may never come out again: the motivic complications are fearsome. Tetzlaff and Vogt marry the complexity to a gentle spirit that diverges from the earlier recordings. Tetzlaff has a lovely way of taking a little pause during the transition passages, as if to let you reflect on what you've just heard, and Vogt matches him with playing that is both quiet and detailed. Sampling can't do justice to music-making of this kind, but try one of these late-sonata opening movements for an idea of what's on offer here. The rare Brahms Scherzo from the collaborative F-A-E Sonata of 1853 and excellent sound from the Sendesaal Bremen are added attractions in this Ondine release, but the main thing is really masterly and deliberate playing. © TiVo
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Chamber Music - Released October 2, 2012 | Ondine

Hi-Res Booklet Distinctions 5 de Diapason - Gramophone Editor's Choice
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Chamber Music - Released March 31, 2009 | PentaTone

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Chamber Music - Released October 5, 2018 | Ondine

Hi-Res Booklet Distinctions Gramophone Editor's Choice
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Classical - Released November 1, 2011 | Ondine

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Violinist Christian Tetzlaff moved to Finland's Ondine label with this 2011 release, perhaps reflecting the thinking of his new employer with the program. It combines the most standard of standard works, the Mendelssohn Violin Concerto in E minor, Op. 64, with two fairly unusual works by Schumann, the Fantasy for violin & orchestra, Op. 131, and the still rarer Violin Concerto in D minor, WoO 1. Both works were negatively impacted by the spreading word of Schumann's descent into madness, and the concerto was completely suppressed by his successors. It was revived, ironically enough, in Germany in the 1930s after Nazi authorities banned the concerto by Jewish-born Mendelssohn. Thus, there is a kind of double linkage among the works on the album: the historical one, and the one that stems from the gradual rediscovery of Schumann's works of the 1850s: the way to appreciate them is to listen for the ways in which they avoid sounding like Mendelssohn, or even like earlier Schumann. The concerto's outer movements lack a memorable theme but are formally dense, even experimental. This fits the rather cerebral approach of Tetzlaff, who takes his time in both the concerto and the Fantasy and brings out many small details. The real find here, however, may be the Mendelssohn, which Tetzlaff manages to make very affecting without layering on the vibrato as in the standard approach. Instead he lets phrasing carry the load, and one feels in the end that he has stripped away a layer that generations of Russian violin tuition have brought to the work. He is aided in both cases by condcutor Paavo Järvi, who keeps the Frankfurt Radio Symphony Orchestra firmly in the background where it belongs here. A lively recording from Tetzlaff that will reward repeated hearings. © TiVo
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Classical - Released September 2, 2014 | Ondine

Hi-Res Booklet Distinctions 5 de Diapason
As violinist Christian Tetzlaff steadily records the core concerto repertoire, he expands his modern coverage with the pair of concertos by Dmitry Shostakovich, which were originally composed for David Oistrakh. Inevitably, Tetzlaff's interpretations will be compared to the great Russian virtuoso's, whose performances are still held in the highest esteem and are rightly admired for their gravitas, intensity, and emotional depth. However, they are historical recordings that present the concertos in the light of Shostakovich's and Oistrakh's experiences in the Soviet era, and because of this, it is tempting to regard them as landmarks that no one can ever match or surpass. Yet Tetzlaff brings his own energy, concentration, and seriousness to his performances, and he shows a clear respect for the past and a connection to the tradition Oistrakh started. Add to his penetrating insights the exceptionally clear and controlled accompaniment by John Storgårds and the Helsinki Philharmonic, and the marvelous clarity and depth of Ondine's recording, and the excellence of this recording becomes apparent. While it won't displace the older Oistrakh recordings collectors still cherish, this 2014 release will bring a new audience to these challenging works and give weight to Tetzlaff's increasingly important catalog. © TiVo
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Chamber Music - Released September 24, 2013 | Ondine

Hi-Res Booklet Distinctions Gramophone Record of the Month
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Classical - Released March 11, 2016 | Ondine

Hi-Res Booklet Distinctions Gramophone Editor's Choice
This performance of the fiery Fantasy in G minor for violin and orchestra, Op. 24, of Josef Suk, with violinist Christan Tetzlaff catching the full impact of the irregular form with its dramatic opening giving out into a set of variations, is impressive. And Tetzlaff delivers pure warm melody in the popular Romance in F minor, Op. 11, of Dvorák. But the real reason to acquire this beautifully recorded Ondine release is the performance of the Dvorák Violin Concerto in A minor, Op. 53, a work of which there are plenty of recordings, but that has always played second fiddle (if you will) to the Brahms concerto. Tetzlaff and the Helsinki Philharmonic under John Storgårds create a distinctive and absorbing version that can stand with the great Czech recordings of the work. Sample anywhere, but especially the slow movement, where Tetzlaff's precise yet rich sound, reminiscent for those of a certain age of Henryk Szeryng, forms a striking contrast with Storgårds' glassy Nordic strings. In both outer movements as well, Tetzlaff delivers a warm yet controlled performance that is made to stand out sharply. Ondine's Super Audio sound, captured at the Helsinki Music Centre, is another major attraction for a recording that's destined to become part of the core Dvorák repertory. © TiVo
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Chamber Music - Released August 10, 2018 | CAvi-music

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Classical - Released January 1, 2003 | PentaTone

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Classical - Released June 24, 2016 | CAvi-music

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Violin Concertos - Released September 13, 2019 | Ondine

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It takes a good deal of confidence to record these two most familiar of all the Romantic violin concertos, especially if you have recorded them both before, as violinist Christian Tetzlaff has. Confidence is what Tetzlaff is all about here, and it gives him the wherewithal to create a genuinely original reading of the Beethoven Violin Concerto in D major, Op. 61. His tempos are fast, but others have taken the concerto fast. He de-romanticizes Beethoven's big melodies: although there's no hint of historical performance here, the sparing use of vibrato is common enough these days, partly as a result of that influence. If you imagine a 20th century Beethoven violin concerto performance from the Eastern European-Israeli sphere, say that of Itzhak Perlman, you will find Tetzlaff at the opposite extreme. So far, so good, and you can take your pick among recordings according to whether you favor these tendencies. Where Tetzlaff demands attention is in his overall structuring of the concerto, which seems to unfold as a single set of grand gestures. At least, that is, up to the cadenzas, which are adapted from the ones Beethoven wrote for the alternative piano version of the concerto. This may seem a stretch, but tune in to Tetzlaff's mood, and you'll find that the music has built up enough momentum to support these unusual, irregular cadenzas. The Deutsches Symphonie-Orchester Berlin under Robin Ticciati keeps up well with Tetzlaff's interpretation and never drags, which in this case is a bit of a tall order. The Sibelius Violin Concerto in D minor, Op. 47, is a bit closer to the mainstream, although even here, Tetzlaff is taking pains to dissociate himself from the big Romantic tradition: sample the finale, where you may wish for something a bit more rousing in the main theme. Impressively bold, and well worth your time. © TiVo
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Classical - Released June 19, 2020 | Ars Produktion

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Classical - Released September 20, 1995 | Warner Classics

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Chamber Music - Released June 9, 2015 | Ondine

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The Brahms piano trios are subtle works only slightly resembling the more outward and active string quartets and piano quartets and quintets. Despite the low opus number of the Piano Trio No. 1 in B major, Op. 8, these are all three really late works: Brahms revised his youthful trio in 1889, largely keeping the themes, but redoing the inner content in the dense motivic manner of the composer's late style. The 1889 version of the trio is frequently played, but one of the many attractions of this German recording of the three trios is that violinist Christian Tetzlaff, his cellist sister Tanja Tetzlaff, and pianist Lars Vogt get the distinctively inward nature of the reworking, the only such piece in the Brahms catalog. There are many other attractions: the almost trance-like quality of the slow movements (sample that of the Piano Trio No. 3 in C minor, Op. 101, CD 1, track 7); the low-key dynamics of the whole thing, which more closely resemble the rooms in which the music would have been heard than do the big symphony halls where Brahms is usually played; the superb studio sound from the Ondine label, which fits the aims of the performers exceptionally well. This performance avoids the sweeping Romantic Brahms mode, but neither could it be called intellectual: it is, rather, intimate and extremely intelligent. A fine set that will provide years of satisfying listening. © TiVo
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Classical - Released January 1, 2006 | MusicMasters

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Classical - Released June 12, 2007 | Warner Classics

Béla Bartók's Sonatas (2) for violin and piano (1921-1922) reflect the influences of Schoenberg, Debussy, and Hungarian folk music, though not necessarily in that order and not always in a distinguishable way. Lusty and austere by turns, the Violin Sonata No. 1 has many violent, expressionist episodes, though these are ameliorated somewhat by slower passages involving blurred, atmospheric chords and long, ethereal melodies, inflected by whole tones and pentatonic scales. Bartók's integration of atonality, impressionist harmony and folk song is more thorough in the Violin Sonata No. 2, and the ideas and moods are more unified through his clear and consistent development. While this sonata has its eruptions, they are more plainly inspired by Hungarian dances than by tortured emotions. At a remove of two decades, the Sonata for solo violin (1944) is neo-Baroque in its abstract forms, figurations, and counterpoint, and is often reminiscent of Bach's partitas, though expressed in a more ambiguous tonal language. Violinist Christian Tetzlaff and pianist Leif Ove Andsnes display great technical skill and expressive control in these idiomatic performances, though they seem too subdued in the softest sections. Nevertheless, Virgin's recording is excellent, so every note is heard; and Tetzlaff sounds perfectly clear in the solo work. © TiVo
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Classical - Released November 30, 1994 | Warner Classics