Tetzlaff uses quite a bit of rubato in the opening [of the Mendelssohn], giving a few moments of doubtful ensemble...But he shapes dynamics and phrases sensitively, and the slow movement is less febrile and more poised...Tetzlaff treats [the Fantasy] with affection and virtuosity in turn. In the [Schumann] concerto, Jarvi's powerful delivery of the dramatic introduction grabs the attention, as does Tetzlaff's first entry.

If I describe the Mendelssohn performance as meticulous, this is not to suggest a lack of spontaneity or awareness of the broader picture but rather a situation in which a determination to follow the composer's instructions has led to an account of unusual depth and subtlety...Tetzlaff takes us right to the intimate heart of the [Schumann] slow movement.

Tetzlaff and Jarvi are as one, the 'give and take' being almost as chamber music, writ large. It is also a wholly Romantic performance [of the Mendelssohn], a yielding choice of tempos that permit flexibility without losing sight of the underlying forward momentum...This uncommonly interesting CD is well worth the attention of the genuine lover of echt-Romantic repertoire

[Tetzlaff] brings both urgency and a compelling sense of purpose to the violin writing, so that its weaknesses, its sometimes blunt phrasing and routine figuration, are entirely transcended. It's a remarkable piece of musical alchemy, but then his way of presenting the Mendelssohn concerto as if it were a new discovery is exceptional, too.