The Copenhagen Chamber Soloists present this all-Mendelssohn album in a manner that is very exemplary of what good chamber music should be. The ensemble plays very well together, with great spirit and unity throughout all the works. This is evident from the sprightly beginning of the Concerto for Violin, where the phrasing is clear and the touch is light, a style that lends itself well to Mendelssohn's music. The entire work is played with a lively attitude, a keen sense of musicianship, and an engaging dialogue between the orchestra and the violin, even when fast runs are slightly sloppy or hurried, and the violinist's bow hand is too light at times. The sound is lyrical and graceful with a less-heavy feel, not unlike, say, that of Menuhin. The Allegro third movement is fiery, yet it never loses momentum; its energy gives the listener the feel of a Hungarian or Central European dance. The second work of the album, the Octet for strings, showcases how well the Copenhagen Chamber Soloists know each other as musicians. They feel the music, can play in perfect unison (such as in the Presto), and create dynamics with great control. This is not to say that everything is perfect, for the violin sounds too tentative at the beginning of the piece as its line emerges from the octet's, the ensemble's touch is overall too light, and the bass is not so clearly audible. In sum, the opening movement needs more power, though it is well played. However, the Andante moves nicely and the Scherzo is in constant motion with a jocose spirit. These musicians clearly have a keen sense of musical detail, and the sense of joy they imbue throughout the whole album makes it a pleasure to listen to. The only unforgivable sin, perhaps, is the rapid cut off on the last chord of the Presto: it's a rather shameful ending to an album that is played with such good taste.
© TiVo