Julia Fischer Vivaldi

Julia Fischer Violin Vivaldi
Julia Fischer Vivaldi Spring
Julia Fischer Age

The four Seasons, Vivaldi's perennial work features 2 dazzling picture edits over 1 sumptuous soundtrack. Choose between the director's cut or the performance edit with Julia Fischer and the Academy of St. Martin in the Fields, in a dome by Norman Foster. Amazon.com: Vivaldi: The Four Seasons / Julia Fischer Violin / The Academy of St. Martin in the Fields by KULTUR VIDEO: Movies & TV. Vivaldi: The Four Seasons / Julia Fischer Violin / The Academy of St. Martin in the Fields by KULTUR VIDEO Format: DVD. 3.4 out of 5 stars 9 ratings. DVD $43.84 Additional DVD options: Edition Discs Price New from Used from. Vivaldi’s Four Seasons are four violin concertos depicting the seasons of spring, summer, autumn, and winter. They are some of the most extravagant examples of music that tells a story.

Julia Fischer, born in Munich, Germany, is of German-Slovakian parentage. Her mother came from the German minority in Slovakia and emigrated from Košice in Slovakia to the Federal Republic of Germany in 1972. Her German father moved in the same year from Eastern Saxony to West Germany.

She has worked with internationally acclaimed conductors, such as Lorin Maazel, Christoph Eschenbach, Yakov Kreizberg, Yuri Temirkanov, Sir Neville Marriner, David Zinman, Jun Märkl, Ruben Gazarian, Marek Janowski, Herbert Blomstedt, Michael Tilson Thomas and with a variety of top German, American, British, Polish, French, Italian, Swiss, Dutch, Norwegian, Russian, Japanese, Czech and Slovakian orchestras. Julia Fischer has performed in most European countries, the United States, Brazil and Japan; in concerts broadcast on TV and radio in every major European country, as well as on many US, Japanese and Australian radio stations.

In 2003 Julia Fischer – already for six years present in US concert halls at that time – appeared with the New York Philharmonic under the baton of Lorin Maazel playing the Sibelius Violin concerto in New York's Lincoln Center as well as the Mendelssohn Violin concerto in Vail, CO. Her 2003 Carnegie Hall debut received standing ovations for her performance of Brahms Double concerto with Lorin Maazel, Han–Na Chang and the Bavarian Radio Symphony Orchestra. Fischer has been on orchestral tours with Sir Neville Marriner and the Academy of St. Martin in the Fields, Herbert Blomstedt and the Gewandhaus Orchestra, the Royal Philharmonic Orchestra and the Dresden Philharmonic.

In autumn 2004 the label PentaTone released Julia Fischer's first CD: Russian violin concertos with Yakov Kreizberg and the Russian National Orchestra. It received ravishing reviews, climbed into to the top five bestselling classical records in Germany within a few days and received an 'Editor's Choice' from 'Gramophone' in January 2005. Other critically acclaimed recordings include sonatas and partitas for solo violin of J. S. Bach, the Mozart violin concertos and the Tchaikovsky violin concerto.

Julia Fischer began her studies before her fourth birthday, when she received her first violin lesson from Helge Thelen; a few months later she started studying the piano with her mother Viera Fischer. She began her formal violin education at the Leopold Mozart Conservatory in Augsburg, under the tutelage of Lydia Dubrowskaya. At the age of nine Julia Fischer was admitted to the Munich Academy of Music, where she continues to work with Ana Chumachenco.

Among the most prestigious competitions that Julia Fischer has won are the International Yehudi Menuhin Violin Competition under Lord Yehudi Menuhin's supervision, where she won both the first prize and the special prize for best Bach solo work performance in 1995 and the Eighth Eurovision Competition for Young Instrumentalists in 1996, which was broadcast in 22 countries from Lisbon. In 1997 Julia Fischer was awarded the “Prix d‘Espoir” by the Foundation of European Industry. She recently had the opportunity to play Mozart's own violin in the room in which he was born at Salzburg to honour his 250th birthday.

Her active repertoire spans from Bach to Penderecki, from Vivaldi to Shostakovitch, containing over 40 works with orchestra and about 60 works of chamber music.

Find out more at https://en.wikipedia.org/wiki/Julia_Fischer

SACD Review

Russian Violin Concertos

Aram Khachaturian: Violin Concerto in D minor
Serge Prokofieff: Violin Concerto #1 in D Major, Op. 19
Alexander Glazunov: Violin Concerto in A minor, Op. 82

Julia Fischer, Violin
Russian National Orchestra/Yakov Kreizberg
Pentatone SACD PTC5186591 79:24

Piotr Ilyitch Tchaikovsky

Violin Concerto in D Major, Op. 35
Sérénade mélancolique
Valse Scherzo, Op. 34
Souvenir d'un lieu cher, Op. 42 *

Julia Fischer, violin
* Yakov Kreizberg, piano
Russian National Orchestra/Yakov Kreizberg
Pentatone SACD PTC5186610 68:25

Julia Fischer Violin Vivaldi

The Russian Violin Concertos SACD, originally released in 2004, was not only Julia Fischer's first recording for Pentatone, but her first featuring her as soloist in concerto repertory. She had previously appeared on an EMI CD of Brahms's G minor Piano Quartet and an Opus Arte DVD of Vivaldi's The Four Seasons. In the very interesting album notes Ms. Fischer explains her choice to record these three concertos, which really comes down to the fact that she loves the music in each work and finds it a great honor to perform them with the Russian National Orchestra under the late Yakov Kreizberg. Since making this recording Fischer has become recognized as one of the leading violinists of her generation and has made her mark as a pianist as well, most notably with her highly praised recording of the Grieg Piano Concerto.

As the reader can glean from the heading, this is a well-filled disc, containing almost eighty minutes of music. More importantly, the performances are excellent. Julia Fischer was about twenty-one when she made these recordings, which is all the more astonishing because in each work her interpretive acumen, sense of maturity and all-encompassing technique are qualities one associates with a seasoned master of this kind of challenging repertory. She captures the vivid color, bouncy rhythms and infectious exoticism of the Khachaturian about as well as anyone: the first movement has all the drive and passion one could want, while the lovely lyricism in the second soars in such singing tones and the finale lifts your mood with its abundance of energy, joy and playfulness.

Fischer's Prokofiev is just as effective: the mixture of energy and acid in the second movement Scherzo comes across splendidly and the composer's lyrical themes in the outer movements are sensitively and subtly phrased, perfectly capturing their dreamy and utterly enchanting character. Her Glazunov is lovely and fairly straightforward in its approach, but she always focuses on the lushness and Romantic character of the music. In fact, in each of the works Fischer is especially effective in pointing up the plentiful lyrical aspects, as well as the more joyful and brighter moments. Yakov Kreizberg and the Russian National Orchestra offer fine performances too, seconding her generally warm and heartfelt way with the music.

There is much competition in these three works, especially in the Glazunov and Prokofiev. You may do better in individual performances of these concertos, but you'll likely not find a collection of these three works this well played. Excellent sound by Pentatone on this SACD!

The Tchaikovsky disc, originally released in 2006, is just as convincing. Fischer may well be slightly understated in the first and second movements of the concerto, but she makes her interpretation work owing to her deft sense for phrasing Tchaikovsky's heart-on-sleeve music, which amounts to playing up both the warmth and sincere grandiosity of the first movement main theme and the yearning and sadness of the alternate theme. Indeed, Fischer captures both the passion and pride of Tchaikovsky about as well as anyone. Alongside more fiery and driven approaches by Heifetz, Kogan and others, Fischer compares favorably because she imparts a sense of passion with a perfect balance of elegance and warmth. Her finale lacks nothing in the way of fire and drive: her clean, brilliant technique allows her to deliver the main theme with all the energy and color you could want, while the stately swagger of the alternate theme comes across convincingly in its colorfully jaunty and joyful manner. Yakov Kreizberg and the Russian National Orchestra turn in splendid support and the Pentatone sound reproduction is vivid and well balanced. In the end, this is a brilliant performance, perhaps one to challenge the best among the current and past competition.