CLICK HERE FOR SPECIAL REVIEW OF ERNOE ROZSA CD-RECORDING BY PLAYING PAGANINI VIOLINCONCERTOS 3 & 4 (All Cadenzas by Ernoe Rozsa) WITH REFERENCE OF ACCARDOS PAGANINI-CD BY THE DEUTSCHE GRAMMOPHONE:

http://www.classicstoday.com/review.asp?ReviewNum=2720

http://www.violinist.com/discussion/response.cfm?ID=5069

WWW.CASSICSTODAY.COM

NICCOLO PAGANINI

Violin Concerto No. 3 in E & No. 4 in D minor

Ernö Rózsa (violin)

Slovak Radio Symphony Orchestra

Michael Dittrich

Naxos- 8.554396(CD)

Reference Recording - Salvatore Accardo/London Philharmonic/ Dutoit (DG)

Paganini's First and Second violin concertos were taped for Naxos several years ago by the Russian violin virtuoso Ilya Kaler. At the time these seemed ideal bargain recommendations, but they're vastly eclipsed in overall quality by these amazing performances of Concertos Nos. 3 and 4 by 30-year-old Romanian-born violinist Ernö Rózsa. Rózsa and the Slovak Radio Symphony are currently engaged in recording all of Paganini's works for violin and orchestra, and once completed their survey should become a first recommendation in this repertoire.

Concertos Nos. 3 and 4 are not only formidably demanding from a technical standpoint, but also are extremely difficult to interpret musically. Rózsa has all the violinistic equipment necessary to tackle these fiendish scores, as he impressively shows in the first movement cadenza of the E minor work. For comparison, I turned to Salvatore Accardo's account on Deutsche Grammophon with Charles Dutoit and the London Philharmonic. Accardo is rightly regarded as a Paganini specialist, but he is neither as subtle in his phrasing and inflection nor so stylish and polished in bravura passages as Rózsa. Where Accardo is pleasingly warm-toned in the songful Adagio, Rózsa digs deeper and plays with greater imagination than we normally hear in this music. A constant feature of his musicianship is its wide- ranging coloration and nuance: you're never left with the impression that Paganini's slow movements are just entr'actes.

In Concerto No. 4 Rózsa's interpretation has something palpably demonic about it, surely coming closer to the composer's own intentions than Accardo offers in his version. While the opening movement brings moments of mercurial brilliance and panache, the Adagio has a depth of sentiment rarely encountered outside a live performance. Packed with risk-taking solo playing and complemented by good, detailed sound, this release makes for an unmissable addition to anyone's basic violin library.

--Michael Jameson“

UNITED KINGDOM, 2002

----------------------------------------------------------------------------------------------------------

Niccolo PAGANINI (1782-1840)
Concertos for violin and orchestra
No 3 in E Major (1826) [41.52]
No 4 in D Minor (1829) [33.48]
Ernö Rósza (violin). Slovak Radio Symphony Orchestra conducted by Michael Dittrich
Recorded February 1999
NAXOS 8.554396 [75.39]
Crotchet AmazonUK AmazonUS Amazon recommendations

The two concertos on this disc are among the six composed by Paganini, along with many other solo works for violin. All these compositions were intended for Paganini himself to play in concert and so, understandably, they provide above all an opportunity for display by a virtuoso.

Naxos claim that these recordings are "the first recordings of the uncut original versions of both Concertos as played by Paganini himself." Therein, I fear lies a problem, at least as far as the Third Concerto is concerned. Though Paganini was a violinist of the first rank he was not in the same league as a composer and some of the material in both concertos is on the thin side. Frankly, both works are too long and would benefit from judicious editing.

The Third Concerto is particularly extended. The first movement, based on a slightly banal march theme lasts an astonishing 22 minutes. During this time Paganini seems to employ every trick in the fiddler's book and the soloist here, Ernö Rósza takes full advantage. Rósza himself supplies all the cadenzas for both works and he certainly enters into the spirit in every sense - the first movement cadenza for the Third Concerto lasts a few seconds short of seven minutes!

In the slow movement of this concerto Rósza proves that he has more to offer than mere virtuosity. The movement in question is a much less self-indulgent cantabile, which Rósza plays beautifully.

I would agree with the author of the sleeve notes that the Fourth Concerto is more lyrical than its predecessor. It is also significantly shorter and, I think, all the better for that. Certainly, I enjoyed it more.

Throughout the programme Rósza plays with great skill and technical accomplishment. When Paganini presents him with an opportunity for more lyrical expression he displays a lovely singing tone. I hope Naxos will record him in some more rewarding repertoire. The Slovak Radio Symphony Orchestra and Michael Dittrich accompany efficiently.

John Quinn

FINNLAND, PORI SINFONIETTA 2002, REVIEW

Ernö Rózsa ei mennytkään saunaan

Sinfoniettan pojat olivat järjestäneet Viulismin helmiä –konsertin solistille Ernö Rózsalle mahdollisuuden päästä saunaan torstain konsertin jälkeen. Elämänsä ensimmäistä kertaa saunaan menossa ollut Rózsa istuikin alkuillasta lupaavasti pyyhe harteillaan. Musiikkikeskustelut kuitenkin voittivat tällä kertaa suomalaisen saunan. Asiaan lienee vaikuttanut myös se, että Ernön kone Helsingin kautta Düsseldorfiin lähti aamukuudelta, ja ennen sitä piti vielä vaihtaa osoitteita ja mielipiteitä seuraavaa vierailua varten. Kapellimestari Dmitri Slobodeniouk sen sijaan osoittautui saunamieheksi parhaasta päästä! (lue mm. lentosimulaattoreita harrastavan Diman haastattelu Juttuarkistosta)