Notes & Reviews:
The Guardian, September 2012
A gorgeously expansive account of the Brahms, allowing the long-limbed melodies in the first two movements all the space they need...Just occasionally it all becomes a bit too indulgent...The Berg, too, is wonderfully fluent, but quite detached.
The Telegraph, September 2012
Capuçon has an impressive grasp of the concerto's expressive contours, using his technical arsenal with finesse and tracing the music's breadth of line and its arching shapes while maintaining its inner momentum. The rhythmic punch and energy of the finale are echoed by the orchestra's powerful attack and buoyancy...This is altogether a remarkable disc.
BBC Music Magazine, November 2012
Despite the intensely lyrical nature of the violinist's tone, Capucon also projects a harsher more angst-ridden view of [Berg's] music...the Brahms is something of a mixed bag. Things don't get off to a good start with a poorly focused orchestral tutti...The performance is certainly lifted by Capucon's gloriously rich sound which seems to galvanise the orchestra into playing the score with a greater degree of involvement.
Gramophone Magazine, November 2012
The instruments of the Vienna Philharmonic blend with particular smoothness and the bass-line is wonderfully firm and resonant. Capucon plays with passionate commitment; he's particualrly successful in the first movements of the Brahms in keeping a sense of momentum within a flexible tempo...Capucon's Berg has a similar character to his Brahms - full of passionate feeling but set in a context of blended, generally suave sonorities.
MusicWeb International, January 2013
Caputon's playing is a delight throughout. At the soloist's entry in the Brahms concerto, he strides onto centre-stage with defiance but quickly allows the orchestra to tame his stridency so that within seconds the violin's tone is purring and beautiful...The Berg concerto is just as well played...He is in love with this work...and his affection for it comes through with every lovingly crafted phrase.
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