Review By BaCi,Café Momus,February 2010
Bár Erich Wolfgang Korngold nem is olyan régen, 1897-ben látta meg a napvilágot a világviszonylatban közelinek mondható Brünn városában, mégis csak kevesen ismerik a komolyzene hazai rajongói közül.
Review By John Fleming,St. Petersburg Times,December 2009
The Violin Concerto is gloriously kitschy and overflowing with themes from Korngold’s movie scores, such as Juarez, Anthony Adverse and The Prince and the Pauper.
There has been no shortage lately of recordings of the concerto by virtuosos from James Ehnes to Nikolaj Znaider. Now Quint adds his lyrical style to the field, well supported by Mexico’s Orquesta Sinfonica de Mineria under Carlos Miguel Prieto. Orchestras on the lookout for fresh concert openers ought to check out the Schauspiel Overture, which Korngold composed as a teenager…
Review By Patric Standford,Music & Vision,November 2009
‘…his emotional command is convincing.’
Despite the name, Philippe Quint was born in Russia and has so far excelled in performances of rich romantic twentieth century pieces by Bernstein, Corigliano, Virgil Thomson, William Schuman, Ned Rorem and Miklós Rózsa, and is well armed to present a thoroughly persuasive and assured performance of Korngold’s superb concerto. There are no flaws here, and his emotional command is convincing. This is a performance I would listen to repeatedly, and stands very high among others of note, including Perlman and the work’s dedicatee Heifetz.
His well controlled and effortless technique also provide a brilliance to that ebullient finale.
Review By Gil French,American Record Guide,November 2009
Philippe Quint is absolutely gorgeous in the Violin Concerto: deeply expressive, with a wealth of tone colors that project Korngold’s ecstatic melodies over long arches…A word about the orchestra, another of the many hidden classical music gems that exist between Mexico and the tip of South America: in English it would be called the Mining Symphony, a fully professional ensemble established by university-based music-loving mining engineers for the Music Academy they established in Mexico City in 1978. (Mining was the foremost economic activity in colonial Mexico.) Prieto has been principal conductor since 2006…the sound on this album is warm, resonant, and very nicely balanced.
Review By Robert Maxham,Fanfare,November 2009
Like the more recent violinists to tackle the Concerto, Quint emphasizes its sweep and lyricism, soaring to moments of rapturous intensity that make their point unmistakably, even if Heifetz’s indelible performance lurks in the background. Quint makes the first movement cogent, never either stale or derivative—and certainly not as percussive to the bone as Heifetz’s crisp staccato made it seem. In fact, if it sounds like one of the great Romantic masterpieces in Naxos’s recording, that may be as much due to Quint, or to Prieto and the orchestra, who provide a sympathetic and, in the slow movement, a magical accompaniment, as to the composer’s virtuosity. Quint plays throughout with a silvery tone that’s warm even in the middle registers
Korngold’s Overture to a Drama, from his 14th year, may not display the same maturity as his Violin Concerto, but it prefigures its sumptuous melodic style and its harmonic lavishness, if not the slickness of its brightly variegated orchestration. In fact, it may be a weakness in the orchestration itself rather than any aspect of Prieto’s performance that prevents the score from making a very deep impression. Korngold adapted the Concert Suite from Much Ado about Nothing for violin and piano, but the full score’s rich orchestral garb makes it even more effective in that more penetratingly witty original version. Prieto and the orchestra generously serve up the youthful and rambunctious good humor of the Suite. The recorded sound throughout combines depth and clarity, and places the soloist in a balance with the ensemble that’s natural if forward. Very highly recommended.
Review By Jessica Duchen,BBC Music Magazine,October 2009
Philippe Quint, Russian-born and Juilliard-trained, is a fast-rising star in the States, and deservedly so: here he’s produced one of the most persuasive and empathetic recordings of the Korngold Violin Concerto in the catalogue. His seductive tone captivates from the first note, his quicksilver virtuosity suits the piece to perfection, and he gives the work precisely the shaded, bittersweet magic it deserves. This isn’t as much a ‘Hollywood concerto’ as its reputation suggests—Korngold sketched the gorgeous opening melody as a concerto idea years before he crossed the Atlantic, and simply recycled it for the movie score Another Dawn. It is full of very central-European sehnsucht and one senses Quint identifies deeply with this,