Kreisler: Viennese Rhapsodic Fantasietta

“It's clear that Charlie Siem enjoys playing these pieces and there's no feeling of struggle as he steps up to their various virtuoso challenges...Siem's appearance of having a good time is shared by Caroline Jaya-Ratnam, who is not only a sympathetic accompanist but is ready, at the right moment, to take a share of the limelight.” Gramophone Magazine, April 2011

“I like the touch of melancholy he finds in Sarasate's gypsy tunes. The Bazzini is spectacular: ricochets, left-hand pizzicati, stratospheric harmonics and all...Waxman's famous Heifetz-inspired Carmen Fantasie, with its fine mix of lyricism and finger-twisting, is lovingly done here, and perhaps the track to which I am most likely to return.” International Record Review, March 2011

“Leonidas Kavakos's Kreisler is authentic in the best meaning of that term, namely a keen approximation both of the music's spirit and of the composer's inimitable playing style. Few Kreisler recitals have recalled, in so much minute detail, the warmth, elegance and gentlemanly musical manners of the master himself. It was an inspired idea to open the programme with that nostalgic evocation of Old Vienna, the eight-minute VienneseRhapsodic Fantasietta, a Korngold sound-alike that can't waltz without smiling wistfully or even shedding the odd tear. Kavakos has mastered that lilting 3/4 to a T. His tone is uncannily familiar – cooler and less vibrant perhaps than Kreisler's own during the earlier part of his recording career but with a similarly consistent (though never overbearing) vibrato. But don't imagine that these performances are mere imitations: an individual personality does come through, it's just that a Kreislerian accent has become part of the mix – at least for the purposes of this recital. The programme has been very well chosen, ending with what are surely Kreisler's three most famous miniatures – Liebesleid, Liebesfreud and Caprice viennois. The Slavonic Fantasie after Dvorák is among the most interesting, incorporating as it does the first of the four RomanticPieces. Cyril Scott's Lotus Land is haunting and exotic, while Kreisler's own Zigeuner-capriccio provides a fine example of Kavakos's slightly melancholy puckishness. Péter Nagy's stylish accompaniments add yet more flavour to the menu.” Gramophone Classical Music Guide, 2010