“Janina Fialkowska and the string ensemble achieve an almost perfect consensus in their playing…As always, the playing is of the highest quality.” ****½
Richard Todd - The Ottawa Citizen - 1 November 2007
Performance **** Sound ****
"The Chamber Players of Canada make light work of music Mozart described as falling ’pleasingly on the ear’ while retaining something for the connoisseur.
The pianist is prizewinner of the first ever Artur Rubinstein Competition, Janina Fialkowska, who displays something of Rubinstein’s innate twinkling elegance in readings that highlight the chamber qualities of Mozart’s scores. She finds lambent soulfulness in the Andante of K414 - a concerto stamped with vintage A major Mozart - and the buoyant, incisive strings make it easier to achieve the light-on-its-toes perkiness of K413’s minuet-flavoured Finale. Mozart’s woodwind can never lightly be excluded, so characteristic are they; but turn a blind ear: the Chamber Players of Canada won’t disappoint you!"
Paul Riley - BBC Music Magazine - March 2008
Jean-Jacques Millo - Opus HD Magazine - March 2008
"...Janina Fialkowska is a fine Mozartian in these recordings of Concertos No. 11 and 12 in the composer’s chamber arrangements (with double bass added for strength). She finds the crossroads of simplicity and lyricism; the style is neither naiVe nor arch. But neither is it middle-of-the-road! Violinist Jonathan Crow leads a spirited and idiomatic ensemble (the start of No. 12 could be taken for a string quintet) and the filler, the early Quartet K. 157 in C Major, is warm (this time with no double-bass ringer). Again, the direct expression of all four string players preserves the performance from the anonymity of "Mozart" style. ****
Arthur Kaptainis - The Gazette - 1 November 2007
Claude Gingras - La Presse - 9 March 2008
"In March, pianist Janina Fialkowska and her favourite chamber-music collaborators came to the Glenn Gould Studio to seduce us with two Mozart piano concertos that the composer had reduced to salon-size forces. This disc, recorded shortly afterward, captures the same magic of impeccable musicianship and transparent phrasing." ****
John Terauds - The Toronto Star - 16 October 2007
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