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September-October 2009, "American Record Guide" magazine


Fischer's style is a cosmopolitan mix of French high-baroque sensibility, slylus phantasticus contemporary folk idioms, and Italian chamber music style. The Plainte of Suite No.7 reminded me of Bach's D-minor Prelude from WTC I. The Prelude of Suite No. 6 is like a toccata of Reincken or Bohm. The Aria that precedes the variation SCI of Suite No. 5 is a gentle anthem, like Purcell's 'Fairest Isle' or a love song by Theile Or Krieger. The beauty of this Aria is matched only by the last variation of the set; the moisture and roundness of sound of the repeated string figuration evokes images of Aurora, morning dew, or a scene from A Midsummer Night's Dream.
Martynova is clearly enthralled by the lush detail of this music. She uses the broken style to full advantage, hand in hand with rhythmic freedom in the pulse. The grand scale of her Courante in Suite No.1 is a1most equine in its grace and muscularity. When the rondeau of the passacaille returns for the last time with its foreboding lamento figure, she expresses its inevitability like the denouement of a great drama. The excellent release deserves repeated listening.


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