Ariadne Daskalakis

Expect the unexpected, as phrases that invariably emerge as stylistically premonitory of things to come, instead give Classical norms a thorough spring-clean. As a result, the Fantasy’s unusual, segueing four-movement structure feels almost impressionistic in its temporal reappropriations – little wonder the premiere audience didn’t know what to make of it.

The relatively early, orchestra-accompanied A major Rondo, D438, D major Konzertstück, D345 and B flat Polonaise, D580 also emerge as freshly minted, especially the latter’s infectiously lifted dance rhythms and gently aerated textures. By comparison, even the lithe-toned take-nothing-for-granted Gidon Kremer with the Chamber Orchestra of Europe (on DG) feel slightly old-school by comparison.

Julian Haylock, BBC Magazine

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