"...he shapes the two epoch-stylistically similar works with the necessary density and depth and yet remains so focused that any slide into an exuberant interpretation is avoided. As a result, he offers a very pleasing view of these two concertos, which were appreciated not only by their dedicatees and premiere violinists and are gladly heard again."Pizzicato, 23-7-2023
Alexander Glazunov was a Russian composer, pianist and conductor. In his music he reconciled the folkloric and nationalistic style of the Mighty Handful, a group of Russian composers devoted to nationalistic music, with the more cosmopolitan style of composers such as Tchaikovsky. He was a gifted artist in the use of counterpoint, a master of design and a brilliant orchestrator. Young composers like Shostakovich and Prokofiev eventually considered his music old-fashioned while also admitting he remained a composer with an imposing reputation.
Glazunov had a phenomenal musical memory, which enabled him to complete several unfinished works by Borodin with the help of Rimsky-Korsakov, amongst others the Third Symphony and the opera Prince Igor. He reconstructed its overture from memory.
As a conductor Glazunov introduced both his own works and the works of his Russian colleagues abroad. He appeared amongst others at the Russian concerts during the 1889 Paris World Fair.
Glazunov's most popular works are his ballets Raymonda and The Seasons, his two Concert Waltzes and some of his later symphonies. He is also known for being one of the few classical composers who wrote for the saxophone.
...he shapes the two epoch-stylistically similar works with the necessary density and depth and yet remains so focused that any slide into an exuberant interpretation is avoided. As a result, he offers a very pleasing view of these two concertos, which were appreciated not only by their dedicatees and premiere violinists and are gladly heard again.
Koelman's sound is an irresistible mixture of warmth and inviolability, with echoes of Heifetz's energetic tempi and fast finger vibrato. In the delightful third movement of Saint-Saëns Violin Concerto No. 3, Koelman alternates the virtuoso and ethereal passages in a fluid manner and like quicksilver. The cadence in Glazunov, with trills in flawless double stops, is a prelude to an exciting finale the likes of which you only hear from top violinists.
De Volkskrant, 20-7-2023
Koelman's affinity with this repertoire is obvious (too), he plays both concertos with flawless technique, with a romantic touch (of course!), glowing and shiny in tone, filled with a lot of passion and tension. In short, that is exactly what these two concerts need and get. Like the soloist, conductor Paul K. Haug draws beautiful tension curves, while the orchestral playing is unmistakable. Music is played on the edge of the chair, the orchestral sound is not heavy-handed, flexible and agile, with the right dose of gravity.
The collaboration between soloist and conductor is ideal, the striking expressive profile that so adorns and connects both concerts comes into its own in these performances. All things considered, this is a top-notch artistic achievement
Opus Klassiek, 01-7-2023